Alice Peacock – Who I Am (Peacock Music).

Singer-songwriter Alice Peacock presents fourteen original tracks on this, her third album. First known in the UK through touring with Lucy Kaplansky, she has gone from strength to strength with each album release and for this one she has returned to her own independent label. She believes that this gives her more freedom and time to develop. Opening with Different From The Rest she tries to prove this last statement to be true. This is piano-led, as is the rest of the album, and has American popular music stamped all over it. It’s good middle of the road stuff but it doesn’t quite live up to its name. Baby Come Back is sedate and not particularly exciting and it’s not until Here I Go Again that things start to improve. On this, she is vocally very good and although the music remains gentle it is starting to stir. I can’t say a bad word about it but it just needs that little something extra. Time is a slow jazz-based, Janis Ian type of song that is very relaxing and shows her to be an excellent songwriter. Taught Me Well builds up into a very good song and this is where Alice Peacock shines – the construction of her songs is exemplary. The problem is that she shares a genre with a number of singers who are of the same quality. Jon Bon Jovi would be proud of the rock ballad, Anyone But Me but she spoils it by following with the weak Runaway Day.

Love is a sultry acoustic based offering with Beatles-esque strings in the background and Only A Memory is reflective and airy with a lovely chorus. Her problem seems to be consistency and that is shown on I’m Still Here. This is pleasant enough but there’s nothing different and the follow up, Sunflower is another of the weak tracks. The album is starting to peter out and nice is about the only word I can use for Finding My Way. The title track does redeem things a little as Alice puts a little grit into her vocal and lets it rip. She does have a knack of writing a catchy chorus and this is an excellent example. There are tinges of New Country on If You Could Only See Your Eyes and this builds up very well. This could be another one that could make an impact in the AOR field.

Overall, this is a better than average album from an artist who has the song writing capabilities to make it in the very busy field in which she has chosen to pitch her tent.

http://www.alicepeacock.com/

David Blue.

Derrin Nauendorf – The Rattling Wheel (Rising Records).

This is Derrin’s first album with a full band and he continues to improve and deliver his songs in a different way. Universe Demands is one of two new songs as far as I can tell and delivers his usual stunning guitar work. This is a very powerful opener that confirms Derrin’s growth into a wonderfully mature artist and validates his choice to enter the full band arena. He raids his back catalogue effectively for a number of songs for his band to play and Shipwrecked is a case in point. This is from his last album, 2005s New History. The stripped down version is excellent and this is just as good with just a little hint of a backing vocal providing the finishing touch. He returns to his debut album, Natural, for I Won’t Turn My Back. This is also on his first live album, Live At The Boardwalk, and I feel that this is the seminal version. For me, the new adaptation loses a bit of the originals impact but it is a fantastic song anyhow. Derrin describes his 2003 album, Wasteland, as being from a very dark place and the haunting Where Two Men Go Tonight is a fantastic example of this. It builds up very effectively and will chill you to the bone. Queensland, from New History, is speeded up and benefits tremendously from the addition of a band. Quite superb!

Deliver Me An Angel is another from Wasteland but this doesn’t really gain anything from the extra bodies and possibly spoils what I believe to be one of his best ever songs. The first album, Natural, gets raided again for Reason You Came Here and this is typical Nauendorf, big guitar sounds and moody vocal. This song really suits the band format and I pick out bassist Rick Foot for particular praise. My Hurricane is the second, and last, of the new songs. There are more power chords and it builds just like a hurricane. This must rank as the highlight of the album and hopefully will help confirm 2007 as Derrin’s year. Shatter Like Stars completes a hat-trick as it has appeared on both of Derrin’s previous two albums. If you are hearing this for the first time then you are hearing an emotion-packed song that successfully makes the transition to a full band but I also suggest that you listen to both of the previous versions, you will not be disappointed. Long Road Home was first heard on Wasteland and this up-tempo version benefits greatly from the addition of mandolin, which is a masterstroke. I haven’t mentioned Derrin’s voice too much but it, like he, has grown up and he has a Paul Weller tone here. The closing track, All The Faces, is another from the dark Wasteland. It’s a sombre finish but it works very well. Ladies and gentlemen, this is Derrin Nauendorf.

http://www.derrinnauendorf.com/

David Blue.

Dave Arcari – Something Old, Something Borrowed EP (Buzz Records).

Erstwhile Radiotones frontman Arcari brings his style of alt. blues to the solo scene. Johnny Cash’s Blue Train is kept short and sweet but it played with Dave’s usual passion and cracking National slide guitar. The traditional Stagolee was really made famous by Mississippi John Hurt and Arcari gives it a fair treatment. He plays fingerpicked acoustic guitar and is the first time that I’ve really heard him sing without his renowned snarl – a pleasant surprise. Robert Johnson’s Travelling Riverside Blues has him return to National guitar and his vocals are maturing all the time. This song confirms that he is now an artist to be reckoned with. It’s Robert Johnson again on Preachin’ Blues and this is an old Radiotones favourite. Arcari returns to his manic style for a passionate rendition. The EP closes with Trouble In Mind and he returns to acoustic fingerpicking. Unfortunately, this is the weakest track but I suppose I can’t expect the same levels of energy throughout. I don’t think that this is his song but it does get better as it gets going.

http://www.davearcari.com/

David Blue.

Memphis Gold – The Prodigal Son (Chet Chandler).

Chester Chandler aka Memphis Gold has shared a stage with the best of them; Bernard Allison, Otis Rush, Taj Mahal and Robert Cray to name but a few. The thirteenth child of fourteen, he was mentored by his father, John, and the Reverend Robert ‘Tim’ Watkins whose claim to fame was that his song ‘That’s No Way To Get Along’ appeared as ‘Prodigal Son’ on the Rolling Stones album Beggars Banquet. So it is appropriate that Memphis Gold has decided to call his album Prodigal Son in an homage to his mentor. Come Wit Me features a funky bassline and is an excellent opener with Memphis Gold’s smoky voice complimenting it well. There’s a surprising harmonica break, considering the style of the song but it shows what a clever artist we have here. Don’t Let Her Ride is a vibrant, bouncy, staccato blues. There’s some tremendous barrelhouse piano from Kurt Gibbons and excellent guitar from the main man himself. This will easily be a favourite. He keeps the fast pace going with Crabcakes and it’s Gibbons again who makes himself the star on this happy tune. The pace is slowed down for Big Leg Woman which is a classic guitar blues that highlights Memphis’ lovely voice and top class guitar work. The title track confirms that he could have been a preacher himself. This is a chugging blues on the Gospel side. The instrumental Chicken It is enjoyable and enthusiastic and runs up to the more sombre and serious 3s Tonic. This is a slow, hypnotic blues that doesn’t change much throughout. What it does do is show that there is another guitar star on the block.

Preacher Blues swings along very well and the addition of horns from Robert Eldridge is of great effect. Memphis is not at his most PC on Test Drive That Woman but if you put aside the lyrical content then you have a good old time blues underneath with the horns on fire again. Serves Me Right has a lovely guitar intro and has a classic blues theme. This is an all round top song and really deserves to be heard by more people. The album has been well above average so far but the closing two tracks let it down somewhat. The instrumental Melt Down Baby is a strange one and doesn’t seem to hang together completely – maybe Memphis has suffered a meltdown of his own. The closing track, Bedroom Mumba, is most definitely the weakest track on the album and is a disappointing way to finish what is an excellent album.

http://www.memphisgoldprod.net/

David Blue.

Marion James – Essence (Soul Food Records).

Essence is the debut release from Soul Food Records, a new independent label from Nashville. They have picked a steady hand in the shape of Marion James
to guide their new journey and if the follow up releases show the same standard then they should be about for some time. Essence starts with Tables, a James original that is funky R&B of high measure. The Nashville born chanteuse shows all of her experience through her accomplished vocal. Add a very tight band and you have a recipe for success. Give Me Love is a slow blues with her guitarist (Jack Pearson) to the fore. He has a lot to live up to as the guitarist in Marion’s early 60s touring band was none other than Jimi Hendrix but Pearson is a star in his own rite having played in The Allman Brothers Band. He turns in a great solo and compliments Marion’s considered vocal very well. She returns to the funk for the self-penned My Mama and this is power all the way. Things are slowed down again for Let’s Straighten It Out, a straightforward, bluesy smoulderer before she goes off into the swinging blues of 24 Hours with the pianist on top form. Until The Real Thing Comes Along has her continuing to alternate between slow and up-tempo. This is jazzy, nightclub fare and her voice copes with it as well as it does on the other genres.

Please Don’t Waste My Time is a raunchy, Chicago style blues written by James and I Should Have Known is a classy, slow blues from Little Johnny Taylor – both are performed to the highest of standards. Be Anything keeps it slow and is another one for a dark, smoky nightclub. Marion tries hard to contemporise things with Feel It. It takes a while to get going and, then again, only just. This is a missed opportunity. So many will relate to You’re History Baby and I’m sure that many people will have said it in the past. This song, more than most of the others, highlights the undercurrent of power that Marion has in her songs and it builds up very well. There’s another of the slow, nightclub songs in I Want To Be Loved (But Only By You). It doesn’t really do it for me but it is sung by a performer who is comfortable in her own ability. The album finishes with an interview with Marion, interspersed with a couple of short songs played by her on piano. This gives us a wonderful insight into Marion the person and Marion the musician.

http://www.soulfoodrecords.com/

David Blue.

Johnny Nicholas – Livin’ With The Blues (Topcat Records).

Johnny Nicholas’ second release of 2005 was the original Livin’ With The Blues and followed the re-release of Thrill On The Hill. This album has seven new Nicholas compositions added to five classy covers and highlights both his song writing and instrumental skills. He begins with the Cajun style Froggy Bottom, a medium paced, infectious original that would grace the start of many an album. This is followed by another of the originals, Hill Top, which is old style country mixed with a jazz edge. This instrumental throws up some excellent individual performances, none more so than Floyd Domino on piano and Ray Benson on guitar. The Roosevelt Sykes song You Can’t Be Lucky All The Time is a hypnotic piano led blues that highlights Domino again and I’ll Be Around, a Chicago blues, confirms the status of Floyd Domino as the star of the album so far. Johnny’s voice shows a couple of cracks but this is an emotional song and re-affirms the loss of the veneer of his previous recordings. His voice certainly has matured into a top class instrument and this Howlin’ Wolf song suits him to a tee. The next original, Dirty People, bounces along nicely and has a good sax solo from Greg Piccolo. Teardrops On My Windowpane is another new song and is in the classic ‘Woke up this morning’ vein. The fractured guitar and sleepy sax make this a classy track.

The title track is a Brownie McGhee song and has the classic McGhee sound. Harmonica instead of accordion may have been a better option although with the electrifying guitar solo he manages to make the song his own. Talking of making a song his own, Nicholas turns in a version of Need Your Love So Bad that is completely different to the well-known Fleetwood Mac track. His vocal duet with Marcia Ball is sublime. Honeydrippin’ Baby is a swinging blues with added horns and the lightning fingers of Joel Guzman on accordion. Johnny goes all cowboy on us with Texas Drifter, which is surprisingly good for a genre of songs that I don’t particularly like. Red Young on organ keeps up the high standard of soloists. I’m From Texas is a big band blues (Texas Swing) that produces yet another great all round performance from the band. The closing track, Down In The Alley, is a little slow for my liking (those of you that have read my reviews will know that I like an album normally to finish on a high note) and really should be in the middle of the album. It’s pleasant enough and highlights Nicholas’ voice again but it’s nothing special although the little bit of slide guitar does lift it momentarily.

http://www.topcatrecords.com/

David Blue.

Jim Suhler & Alan Haynes – Live At Blue Cat Blues (Topcat Records).

Jim Suhler and Alan Haynes are two names that I’m not too familiar with but on reading their histories I’m surprised that I haven’t. Suhler has accompanied heavyweights such as George Thorogood and Haynes has played with Muddy Waters, Albert Collins and Hubert Sumlin, amongst others. No pressure then! They open with Too Poor To Die, a Louisiana Red song that is a pounding Chicago blues. This is a slide guitar festival and the Thorogood power is evident. Suhler has the vocal for this and passes it off effectively. Knockin’ At Your Door is an Eddie Taylor song and Suhler & Haynes give it a great slide guitar intro before going off into top class blues rock. I can’t remember if Rory Gallagher covered this but, if he did then Suhler & Haynes more than matched it. Haynes takes the vocal and although his voice is softer he does carry the same sort of effectiveness. They turn to Freddie King for I Wonder Why and Hynes keeps the vocal. Good enough version and that’s all I have to say. Down And Out In Texas follows and this is an original Suhler composition. This is a chugging blues where Suhler takes on the vocal himself and both provide some lovely guitar. Haynes is considered to be more of the blues stylist but their interaction is quite superb.

Don’t Do It is a good rocking blues that gets the crowd going and twin guitars swapping riffs is just what I want to hear. This is followed by Oh My Baby’s Gone which is a rhythmic blues played with ease and a slower Say Your Prayers. This is possibly the weakest track on the album and although I can’t complain about the standard of the guitar playing, there’s just something missing! They finish with a cover of Jimi Hendrix’s Are You Experienced. A mistake, I hear you ask? Maybe, but this is technically excellent although not up to the masters standard.

http://www.topcatrecords.com/

David Blue.

Edwin Holt – Second Time Around (Topcat Records).

Backed by the members of Johnnie Taylor’s band, vocalist and harmonica player Edwin Holt describes this album as “blues with funk on the side” and it’s difficult to disagree on the evidence of the 13 tracks on offer. He opens with the powerful I Don’t Think I’m Going To Make It and don’t be fooled by the understated start. Holt displays a strong voice and the band provides a rounded sound. The title track drifts off into a relaxing soul/R&B feel before Holt unleashes some surging harp and a pounding rhythm section for the self-penned Red Clay Back Road Mama. This is a fine blues indeed. You’re In For A Big Surprise is loaded with horns and gives a Big Easy sound with Holt continuing the excel on vocal. The funk comes in the shape of Back Line with its snappy bass line and organ. Holt’s voice takes on this new style with ease and the song, whilst not outstanding, is pleasant fare. He stays in the same vein for Somebody’s Getting’ It before returning to R&B on Steal Away where his voice is strangely reminiscent of Daryl Hall. There’s more guitar work creeping in as the album goes on and I’m certainly not complaining about that.

Jack About Nothin’ confirms my feeling that Holt seems to favour the R&B route and why not as he’s very good at it and certainly has the voice for it! I Want To Walk With You is a slow bluesy stroller and we get right back to the blues with Down To The Bone. The slide guitar makes this medium paced rocking blues a favourite. The classiest track on the album is The Right Reverend Of The Blues with the church organ at the start to give the air of authenticity. This is a thoroughly enjoyable swinging blues that goes off into a Blues Brothers style speeded up finish. A cover of Stevie Wonders Higher Ground is a surprise on a blues album but Holt funks it up, if that could be possible, and makes it a bit more staccato than the original. The vocal is great and the bass from Wes Stephenson is stylish on this very good cover. Holt closes with One More River To Cross and the emotion filled vocal is a tremendous way to finish.

http://www.topcatrecords.com/

David Blue.

Johnny Nicholas – Thrill On The Hill (Topcat Records).

Thrill On The Hill is Topcat’s 2005 re-release of Antone’s 1994 album and the move to CD has given it a fresh breath of life. This live album opens with Robert Johnson’s Kind Hearted Woman and Nicholas keeps true to the original but adds harp for a great live sound. House Cleaning Blues is another in the Delta blues style, this time with guitar and piano only. The first of Nicholas’ original songs is My Rice Ain’t Got No Gravy. This is more upbeat than its predecessors and slips into the rhythm & blues that Nicholas plays so well. Prince Charming (now we know where Adam Ant got the title) is a night club blues but very good nonetheless and the piano is superb. He returns to electric blues for the standard 12 bar of Blue & Lonesome before turning to the mandolin for, surprisingly enough, Mandolin Boogie. The introduction of this instrument adds a bluegrass fell to a top class boogie. Son House’s John The Revelator is given the Johnny Nicholas treatment and when singing a capella you have to do it very well – he, and his backing singers passed the test.

Nicholas shows that he can produce good adaptations of older songs and Johnny Young’s Sleeping With The Devil is a case in point. This rolling, swinging blues with its lung bursting harmonica breaks is excellent and shines out on an album of dazzling songs. I don’t know what it is about Cajun music but whenever I hear a song in that style I just can’t stop moving. The latest song to move me is Let’s Go To Big Houston and I’ve been whistling this for days. Another song, another style and Johnny goes all Jazzy on us for Tomorrow Night. It has some lovely piano work but this slow offering provides little else. The closing track on the original album was Johnny’s Deathray Boogie/Thrill On The Hill and the breakneck piano gets the crowd going again as it builds up to a piano duet towards the end.

Topcat have added four bonus tracks to augment the original eleven. There’s two of Johnny’s and two of Robert Johnson’s. Mandolin Moan is slow, slow blues but the mandolin still has that novelty value and gains it pass marks for that alone. Nicholas’ version of Stones In My Pathway is slightly different from the original but its cleaner sound is good in its own way. His slide guitar is excellent on this song that is seldom covered, probably because it is one of the more difficult Johnson songs to play. The last original song is the punchy guitar instrumental, Thinkin’ Bout Junior and the final track is a great version of Phonograph Blues. The best way to play Robert Johnson songs is to keep it plain and simple and that is exactly what Nicholas does here. In doing so he keeps the audience in the palm of his hands and that’s about the best accolade a live album can achieve.

www.topcatrecords.com

David Blue.

Johnny Nicholas And The Texas All Stars – Rockin’ My Blues To Sleep (Topcat Records).

Although this is a 2001 recording it probably hasn’t seen the light of day on this side of the Atlantic. Produced by Stephen Bruton, who also plays on the CD, this is Nicholas’ first recording for Dallas based Topcat Records. He opens with an original, the eponymous title track which is a rocking blues on the rock n roll side of the fence. It’s very reminiscent of Dave Edmunds’ style but when you add Nicholas’ silky voice it makes it a more rounded sound. The addition of horns is usually a good thing and Mark ‘Kaz’ Kazanoff (tenor sax), Rocky Morales (tenor sax), John Mills (baritone sax) and Al Gomez (trumpet) make up a mean horn section. Rain Down Tears is a sleek blues but sometimes a little too pronounced. The sax and guitar breaks are excellent, though. There’s a familiar theme to The Last Meal. This prison tale of a last, unobtainable meal for a prisoner is played in the big band style of blues and is not without humour. I’m A Fool To Care is a rock and roll shuffler and although it has a good sax solo it’s nothing out of the ordinary. The pace and standard lifts significantly on Lloyd Price’s Where You At? This is out and out rock and roll and Nicholas is certainly very good at that -- very enjoyable with top guitar work this time. So far, Nicholas’ voice has been very precise but on the strong blues of Reap What You So the veneer finally cracks as he injects a bit of passion to his vocal.

Woke Up Screamin’ sees the introduction of Marcia Ball on lead vocals and makes for a second very strong blues on the trot. The guitar player is given another chance and shows that he is technically superb. J.B. Lenoir’s Mama Talk To Your Daughter is good old time rock and roll and shows again the tightness of this band. They can do slow ones as well and In The Doorway Cryin’ is a case in point. Having said that, Nicholas does like to stay in the zone of rock and roll, R&B and blues. There’s more big band style blues boogie on The Hustle Is On. Just think Jools Holland but with a singing voice. There are some hot horns on this one. The well-known Things I Used To Do is given a rolling Texas treatment and is a good version despite it not being as vocally powerful as some of the previous incarnations. There’s more of that Texas All Stars sound on Fats Domino’s Before I Grow Too Old, the sound being full, round horns and a rolling, swinging rock and roll. They finish, as they started, with an original and Boogie Back To Texas does what it says on the tin. A great finish that shows a top band on top form.

www.topcatrecords.com

David Blue.

Robin Sylar – Tricked Out (Topcat Records).

This is a 2004 release from Topcat but deserves current look. Vocalist and multi-instrumentalist Sylar opens with You’re Gonna Miss Me, a frenetic blues-based alternative rocker. This highlights his excellent guitar playing and his great experience shines through as the song comes to a cacophonic finish. He has played with some of the best in the business including Stevie Ray Vaughan, Doyle Bramhall, Big Joe Turner and Eddie ‘Cleanhead’ Vincent and was also a member of Canned Heat in the late 70s. Shaking All Over is the old Johnny Kidd classic and Robin rocks this up big time. This is music with attitude and a real echo-fest. Another classic song follows, this time in the form of Iko Iko. Apart from the phased vocal and a strange film dialogue at the end this is just a standard version of an oft recorded track. Hollywood Millionaire leans towards Country with some blues influences but allows Sylar to show his expertise on guitar. If anything, this is just a little too fluid, deconstructed, in parts. The Jagger/Richards song Heart Of Stone is classic 60s R&B with machine gun guitar and Little Walter’s Pretty Girls is given a rocking treatment with standout stinging guitar. Sylar throws in some Texas blues on Short Time but the spoken lyric, whilst ok, doesn’t really do the song any favours.

Back To Iuka is a storming blues with superb guitar again from Sylar and the vocal is the best on offer. This is the big standout of the album with a top performance from all of the musicians. Sylar doesn’t write too many songs on this album, in fact, Surf Puppy is the only original. This sounds like the theme tune to some dodgy 60s TV show but it is an interesting experiment in different sounds and colours – good fun. Willie Dixon’s Can’t Judge A Book is turned into a funky blues and is very organic, as much of Robin’s work is. One thing can’t be hidden is that Robin Sylar certainly enjoys his music and his enthusiasm is infectious. Pulp Fiction sounds abound on Misirlou and this is a great version with Sylar’s guitar the star. The great tracks keep on coming with Sugar Bee and when he sticks to the normal routes he is as good as anyone. His prowess on the harmonica shines through on this and you’ll feel like getting up to dance. The well known and oft covered Hand Jive is given a fair play and is no better or worse than many of the other versions that I’ve heard. I recently reviewed Tom Principato’s version of Wine Spo-Dee-Odee and Sylars great rocking version is another good attempt. A fast version of a good time song. Sylar finishes with a classic 60s guitar instrumental, Pipeline. This is an excellent version with various tones and speeds building up the song throughout.

Robin Sylar is on the unconventional side of the fence but it’s always good to have a trip over there every now and then.

http://www.topcatrecords.com/

David Blue.

Boris Boogaloo – Looking Back (Floppy Records).

The first of two 2006 releases, Looking Back is a showcase for Boris’ songs rather than his voice which is rather throaty for the opener, Crazy World Without You. Boris adds drums and electric guitars (not a common occurrence as those who have listened to a Boris album before will testify) for this love cheat themed blues which doesn’t have any fireworks but is a good song nevertheless. North City Blues is given some backing vocals which add to the atmosphere on a slow song that is not really a blues as such. There’s some added production on Losers Always Get It Wrong but some beefier bass would lift this into an excellent country rock tune. We have to wait until the middle of the album for the best track and the eerie Island Lady suits Boris’ nasal voice to a tee. They’re coming thick and fast now and Loving Days is another that suits Boris’ voice but this time he has got rid of the throaty voice – a slow, understated folksy offering. He keeps the huskier side of his voice for Merry-Go-Round and adds wailing harmonica. This reeks of sadness and is one to be built on for the future. The short album finishes with Cheating Girl which is country flecked and has a Bryan Ferry style vocal. There are a few styles in here and a number of songs that could go on to be picked up by other artists.

www.floppyrecords.co.uk

David Blue.

Pete Alderton – Living On Love (Songways).

Pete Alderton is the son of an American G.I., born in the UK and living in Germany so it is not so surprising that he has a diverse musical outlook. Living On Love begins with It Seems Strange, a short explanation of the blues, before Alderton launches into Evil Was Her Name which is a classy, jazzy blues. Song For David is a strange one. No, it’s not about me, it’s for David Blaine. It’s hard to categorise but anyone who gets Blaine into a song deserves a listen. Have The Roses Gone Dry and I’m Sad are sentimental ballads and little more and the title track is acoustic, like most of the others, but not very inspiring. Jesus In A Bottle is one of the best tracks on the album and could easily be a big end rock song or, as it is here, an acoustic burner. A Fool For Her Body (skit) is a short spoken interlude that leads into Witching Hour but it’s of no real purpose and the aforesaid Witching Hour has the welcoming introduction of harmonica but is standard fare nonetheless.

Pete turns the Whitesnake song, Give Me All Your Love into an acoustic effort but doesn’t really do the song any favours. He then launches off into another of his skits, this time I Still Remember. This is his ramblings on his love of the blues beat and gives us an insight into the man. A Taste Of The Blues is a tenuous link to the blues and, although it is well executed, is nothing to get too excited about. The album is taking a bit of a downturn by this time and the acoustic AOR of Baby I Love You and the tedious The Loved do little to halt the slide. Evil Was Her Name (Full Edit) shows itself to be one of the albums highlights and could have been further enhanced by a screaming guitar solo – it was just crying out for one but Pete played it safe and remained too laid back. It’s hard to get the balance between sentiment and over-sentiment and Passing Ships confirms that Pete Alderton hasn’t really managed to nail it on this album. He finishes with some more musings on The End Of The Day – we’re all living on love, apparently!

http://www.songways.de/
http://www.pete-anthony-alderton.com/

David Blue.

Boo Boo Davis – Drew Mississippi (Black & Tan Records).

Boo Boo Davis is a Delta man through and through and for this recording he has brought that experience into the 21st century. He has teamed up with Ramon Goose from Nublues to produce a fusion of raw blues and modern beats. The opening track, Tell Me What You Do, is modern slide guitar led blues that is an interesting mix of old and new. Boo Boo’s voice certainly sounds like the real deal. Let Me Love You has acoustic licks but still has that same modern groove and the scratching and mixing is exciting. Boo Boo returns to electric slide for Who Stole The Booty. I believe that artists such as Little Axe pioneered this style of music and Davis pulls it off perfectly. The alternating between electric and acoustic continues with the eponymous title track. This is acoustic but with added strings this time and this adds up to a great effect over the traditional Delta blues. The funky and energetic guitar is the making of Got To Make It Right Now – Howlin’ Wolf for the 21st century.

Tryin’ To Survive is the weakest track on the album. The vocal is fine, as is the music, but the content is a bit suspect. I’m more at home with the grungy blues of Got The Blues In My Heart with its modern drum beat and the uplifting Made Me Cry. This acoustic Delta blues is one of the highlights. Walking Down A One Way Street continues in the acoustic vein and although it is not a blues as such, it has the same sentiments. Unfortunately it doesn’t really offer anything original. Boo Boo saves the best for last. The dramatic Standing In The Cotton Fields is stripped to the bare bones and as far as acoustic blues goes, this is the business.

http://www.black-and-tan.com/
http://www.booboodavis.com/

David Blue.

Turnip Greens – Carry Me Down The Aisle (Black & Tan Records).

Blues and roots music is very popular in Scandinavia and this is being reflected in the number of bands coming from the area. Turnip Greens are four seasoned musicians from Denmark, influenced by the likes of Dr. John, Daniel Lanois, Ry Cooder and Muddy Waters amongst others. They open with Carry Me Down The Aisle, like the rest of the songs on the album, an original composition, and it’s a painfully & achingly slow opener. This is very appropriate as it is about death and a funeral (a common theme for blues music) and is surprisingly powerful despite being a strange one to start with. The pace doesn’t really pick up much on the quirky blues The Reverend In Town. This is a hypnotic tale about a disaffected Reverend who has a brush with the devil who considers him too weird to take into hell. My Baby Loves Me sees the pace pick up slightly and there’s some evidence of lead guitar from the capable Henrik Bruhn who also takes on the vocal duties. This is a driving blues where drummer Sune Nielsen does ballistic at times. The acoustic Gather My Bones is haunting and returns to the slower pace. I absolutely love this and it is so laid back, it’s horizontal. Electric guitars return on Top Of The Hill but with the drums sounding like they’re in an echo chamber perhaps the boys have gone a little too quirky this time. The basic song is there but it’s just on the peripheral.

SixSixtySix has more references to the devil but it does mark a return to form with slide guitar and a driving rhythm. There’s a slight change in direction on the almost Country offering Kissed Her On The Cheek before they go back to the quirky side for Two Sets Of Rules but maybe this one doesn’t work so well. A Man Said Goodbye is another of the albums standout tracks with fuzzed vocals and idiosyncratic beat that reminds me very much of Canadian Joe Fournier. Quite Often confirms the fact that Turnip Greens have a style all of their own and they finish much in the manner in which they have conducted most of the album – slowly. A slightly disappointing uninspired finish to what is, overall, a clever, original album.

http://www.turnipgreens.dk/
http://www.black-and-tan.com/

David Blue.

Gigs In Scotland – November 2006

2nd – John Lilly. The Polish Club, Bennochy House, Kirkcaldy.
5th – John Lilly. Jazz Bar, Edinburgh.
5th – John Lilly. Campsey Folk Club, Glasgow.
6th – John Lilly. Hootananny, Inverness.
6th – Lucinda Williams. Barrowland, Glasgow.
7th - Two Gallants. King Tut’s Wah Wah Hut, Glasgow.
7th – John Lilly. The Tin Hut Folk Club, Huntly.
9th – John Lilly. Burra, Shetland.
9th - John Williams & Richard Harvey. Royal Concert Hall, Glasgow.
10th – John Lilly. Burra, Shetland.
10th – Martin Taylor & Martin Simpson. The Iron Works, Inverness.
11th – John Lilly. Burra, Shetland.
11th – Grim Northern Social. The Iron Works, Inverness.
13th – Ron Sexsmith. Liquid Room, Edinburgh.
14th – Ron Sexsmith. Oran Mor, Glasgow.
14th – Cosmic Rough Riders. King Tut’s Wah Wah Hut, Glasgow.
15th – Gomez. The Iron Works, Inverness.
15th – Ben Kweller. Queen Margaret Union, Glasgow.
16th – Blazin’ Fiddles. The Iron Works, Inverness. 16th – Rodrigo y Gabriella/James Yorkston/The Veils. ABC, Glasgow.
17th – Primal Scream/Little Barrie. SECC, Glasgow.
17th – Kubichek! King Tut’s Wah Wah Hut, Glasgow.
20th – Espers/Edith Frost/St Judes Infirmary. Cabaret Voltaire, Edinburgh.
20th – Shiny Toy Guns. ABC, Glasgow.
20th – Bullet For My Valentine. Corn Exchange, Edinburgh. 21st - Nina Nastasia. Mono, Glasgow.
21st – The Charlatans. The Iron Works, Inverness.
23rd – Shawn Colvin. The Old Fruitmarket, Glasgow.
25th – The Alarm. Liquid Room, Edinburgh.
25th – Electric Eel Shock. King Tut’s Wah Wah Hut, Glasgow.
27th – The Bees. Oran Mor, Glasgow.
27th – Good Shoes. King Tut’s Wah Wah Hut, Glasgow.
28th – Thunder. Carling Academy, Glasgow.
28th – The Blood Arm. King Tut’s Wah Wah Hut, Glasgow.
29th – Thunder. The Iron Works, Inverness.
29th – Richard Ashcroft. SECC, Glasgow.
30th – Crash My Model Car/Jyrojets. The Iron Works, Inverness.

Johnny Nicholas & The Texas All Stars – Big Band Bash (Topcat Records).

Johnny Nicholas is a big advocate of the cultural diversity in Texas and has gathered a bunch of musicians to showcase Blues, Swing, Ballads, Rock n Roll, Country and Tejano on the live album, Big Band Bash. All of the musicians on the album live within a 90 mile radius of Austin or San Antonio and have decided to get together once a year to pass the music on to the next generation. The opener, Broke Again, aptly features Johnny and is big band style rock n roll – Chuck Berry with horns and fiddles, what a combination!! Baby I’m Gone features Greg Piccolo, his tenor sax and laconic vocal and he delivers a great swing feeling. The great Jimmie Vaughan joins the band for the first blues, the gritty instrumental The Ironic Twist before Johnny Nicholas returns for Down In The Alley. This is a song for Doug Sahm and is a slow, bluesy ballad that is well delivered by Nicholas. The well known Don’t Mean A Thing If It Ain’t Got That Swing features John Mills and The Texas Horns and all I can say is, scorching! Mescal Road is Tex-Mex and introduces Joe King Carrasco to the audience. Unfortunately, the music is let down by the vocal which is not as strong as those that have gone before. However, it is a good fun-time song all the same. Respected guitarist Stephen Bruton lends his big reputation to This Old World Needs Love but I feel that the lyric is a little forced in places. Floyd Domino gives us the piano led instrumental All Blues and turns in an excellent performance on the keys. Johnny Nicholas is back for Good Morning Judge, no not the 10cc song, and I can’t help singing I Want To Be Like You from The Jungle Book along to it. It’s just got that beat as Baloo would say. Seriously, this song confirms what a strong stage presence Nicholas has.

Greg Piccolo gives us a sultry sax instrumental version of Somewhere Over The Rainbow before Joel Guzman and Sarah Fox re-introduce the Tex-Mex feel with Maybe Maybe. This has a few ropey moments but it all goes to prove that it’s completely live. Augie Meyers, who played organ on Mescal Road, gets his chance to shine on I’m In Love Again. He delivers this classic song in a sleepy style, supported by strong saxophone, and pulls it off completely. Trumpeter Al Gomez features on the instrumental Can’t Stop The Crying and his performance on this ballad is faultless. Johnny Nicholas makes another return for Before I Grow Old and this is slow R&B of the highest class with The All Stars showing that they are a top calibre band. Another man making a return is Greg Piccolo (great name for a sax player!) and The Hammer allows him to show all the levels to his playing – a great rock n roll instrumental. The closing track needs no introduction and it is right that Jimmie Vaughan joins Johnny Nicholas for Texas Flood. It’s not Stevie Ray but if this is the first time that you’ve heard the song (unlikely) then you’re still in for a treat. Jimmie is a good guitarist in his own rite but my favourite version will always be Stevie’s.

http://www.topcatrecords.com/

David Blue.

Memo Gonzalez & The Bluescasters – Live In The UK (Crosscut Records).

This live recording made in Oxford, Swindon and Leicester during November 2004 is an excellent introduction to the world of Memo Gonzalez and his Bluescasters. First up is the standard, yet powerful, R&B of You Got Me Rollin’. Kai Strauss’ staccato guitar is the star of the show here. I’ve Been Thinking is a rolling blues much in the Kansas City style and this is top class fare with Memo throwing in a bit of Love Me Do during his harmonica piece. The band move it up a notch for the fast-paced R&B of What You’re Doing To Me before going off into the blues with Greyhound. This features Kai Strauss on guitar and he excels on this powerful crowd pleaser. Angel In High Heels could be nothing other than rock & roll and its fast paced, lively delivery keeps the crowd in good fettle and really gets them going. With the crowd now firmly on their side the Bluescasters trot out an Elvis cover in the shape of His Latest Flame. The shuffling beat is fine but, not surprisingly, not as good as the original. The guitar break does, however, add something that the original did not have.

Howlin’ Wolf meets Bo Diddley on I Wanna Ramble/Feelin’ Good and despite talking his way through some of the lyrics, Memo makes this a highlight with Strauss really stealing the show. Louisiana Lover Man is a lonesome sundown song, a Southern style boogie that gets the crowd on its feet again but You Got What You Wanted is standard fare and nothing else. Tell Me What’s The Reason is a swing blues that has Gonzalez urging the band for more and Strauss holding it all together as ever. The band keeps up the festivity with I Wanna Ask You Pretty Baby -- Texas party music – that sums it up pretty well. This is definitely music to have a good time to and the good time continues right to the end with Big Time Operator, one of the best songs on offer.

If you want a good night out you could do worse than popping in to see Memo Gonzalez & The Bluescasters.

http://www.memogonzalez.com/
http://www.crosscut.de/

David Blue.

Eric Bibb – Diamond Days (Telarc Blues).

The word legend is used far too often these days but Eric Bibb is a well on his way to becoming one. His blend of tender blues, folk and roots music has won him fans all over the planet and I am delighted at getting a chance to review his latest offering, Diamond Days. He starts, complete with authentic crackles, with Tall Cotton and immediately his velvet voice just cradles your senses and by the time that you get to the end of Still Livin’ On you will wonder where the last 44 minutes or so have gone. Tall Cotton has a strong African folk influence with Kahanga ‘Master Vumbi’ Dekula on Hi-life guitar a standout. Destiny Blues is self-penned, as are 11 of the 12 tracks on the album, and is a quirky acoustic blues. Jenny Bohman is quite a surprise on this as it builds up very well. Eric gets a groove on for Shine On and sets up an all round, classy song. This is personified by Bibb’s silky vocal and Bohman’s short harp bursts – a highlight. So Glad is spiritual in its composition and its delivery and the plain and simple technique used is so effective. This is followed by the bluesy, bouncy Storybook Hero before Eric tells it how it is on the eponymous title track. This tale of life’s highs and lows is again delivered in Eric’s gentle style and sends out a strong message.

There’s some more mild country style blues on Dr. Shine and this is another fine example of Eric’s storytelling ability. The addition of Jim Shearer on tuba gives it a New Orleans feel. Heading Home has a contemporary feel but still gives you that comforting glow with Mats Oberg turning in some Larry Adler style harmonica. You get a feel of what an Eric Bibb concert would be like via the live recording of In My Fathers House. This is a raunchy, urban blues and shows him to be a superb live performer – I’m sorry that I missed him on his recent trip to Scotland – with the band giving it some real acoustic stick. Things are slowed down again for Forgiveness Is Gold with its anti-war message delivered by a velvet glove. If there is to be a definitive Eric Bibb song on this album then, ironically, it is the Bob Dylan written Buckets Of Rain. This is a country blues with just Eric on vocal and the superb Martin Simpson on acoustic guitar – probably the highlight of the album. The album closes with Still Livin’ On and he finishes in the same vein that he has produced throughout the album. Gentle country blues is the order of the day as he pays tribute to many of his heroes including John Lee Hooker, Reverend Gary Davis and Pop Staples, amongst others. He finishes with the authentic crackles too! There’s two added surprises in the form of a lovely version of the traditional Worried Man Blues and a video of Eric in his favourite Parisian guitar shop where he treats us to three impromptu songs on a 1930s Gibson acoustic. I have to give a mention to the fact that Eric gives us the guitar chords to some of the songs on the album sleeve just to give us mortals the chance of emulating the great man. I’m off to dust down the old guitar for one last shot at stardom!

http://www.ericbibb.com/

David Blue.

BB & The Blues Shacks – Live At Vier Linden (Crosscut Records).

BB & The Blues Shacks is fronted by brothers Andreas and Michael Arlt and derive their unique style from the blues and R&B of the 40s and the 50s. They open with the high energy boogie of Hot Shot Bop and Andreas Arlt is given the spotlight for this instrumental – he does not disappoint. Michael Arlt adds his vocal for the rock & roll swinger, You Can Always Depend On Me and he responds to the enthusiastic crowd by showing that he is a more than capable live singer. The band stay in the rock & roll/boogie vein for Let’s Get Crazy and it’s becoming more obvious that Andreas’ guitar is the focal point for the group. Having said that, the rhythm section also plays their part with barrelhouse piano from Dennis Koeckstadt and driving bass & drums from Henning Hauerken and Andreas Rock respectively. Michael’s harmonica also gets an airing on this one and it’s all very passable. Next up is She’s Got Her Eyes On Me with reverb on full and harp on a high. This is a blues based swinger and they play so well that it’s very hard not to like this lot.

Andreas Alst is such a distinctive guitarist and the bouncy, fun blues of Can’t Hide Love is the perfect showcase – there’s even a bit of the Harry Lime theme thrown in for good measure. Lose My Mind is a high octave rocker with storming harmonica and Stompin’ And Rollin’ continues the fast pace as Koeckstadt rocks the joint. They can play the blues as well and Good Night’s Sleep is a Chicago blues that sounds as if it’s straight from Chicago, not Germany. Andreas Alst on guitar is nothing short of excellent as usual and he takes the audience in the palm of his hand during the quiet section of the song. There’s more of Andreas’ guitar excellence on Hear My Baby Naggin’ and Letters From My Baby shows how well the band can flit between blues and rock & roll. The closing track, Ain’t A Home No More is a bit of a blues chugger. It plods along very well but the Alst brothers cook it up towards the end of this eight minute, ground-out boogie. The band gives it their all throughout and this is exemplified by Michael Alst who blows his lungs out to the finish.

Also available is a twelve track DVD that has six different tracks from the CD. The DVD also has background information on the band and gives you an idea of what to expect at a Blues Shacks gig. The live arena is certainly their field and they have obviously honed their stagecraft on their many tours throughout Europe and the USA.

http://www.crosscut.de/
http://www.bluesshacks.com/

David Blue.

Jimmie Bratcher -- Red (Ransom Music).

Jimmie Bratcher, or rather, the Reverend Jimmie Bratcher, is a guitar toting Christian Blues rocker that is likely to pull up to his gigs on a motor bike. Have you got a picture of him yet? Red is his third album but it's the first that I've heard so it's a new set of ears for the Reverend. Red opens with Bad Religion, a Southers style boogie with drawled vocals and slide guitar. As openers go it's not too flamboyant and is a good, solid start. Bratcher gives a plaintive vocal performance on Mercy but he funks up the melody with the excellent addition of horns. This is very different from the opener and his voice gets stronger throughout the song. He shows that he's not just a one trick pony and there's some good interaction between guitar and brass. I See Red is an excellent blues rocker -- all pomp and circumstance and Drive is R&B that drifts into soul. T.J. Herrick gets his chance to shine on saxophone and the horns give it an all round fuller sound. Jimmie throws in some New Country on Dance With Me and it's a bit out of touch with what has gone before. Having said that, this is a very, very good song but I wonder what style Bratcher feels more comfortable with. Restless For The Son is smooth, sultry and sophisticated jazz club fare.

Another style is shown on Beautiful People. This Country Rock has Jimmie in strong vocal mood and although I expected more guitar fills, the short guitar solo is fine. We are given a genuine blues on Three Chords and it's an interesting idea to play the words around the three chords that everyone thinks that all blues consist of. This has a very strong guitar performance and the horns will just blow you away -- a standout. The Blues continue with I Love My Baby but Jimmie keeps us on our toes by varying the style. He then goes on to mix Blues, Rock and Country to come up with a winner. It's slightly reminiscent of Sammy Hagar, Marching To Mars era and Jimmie judges it well by keeping it short and dynamic. Right Side Of The Tracks is a modern, urban blues and it's such a pleasant change to be on the other side of the tracks for a while. There's some straightforward blues rock on No Pretense but it probably has some of the best guitar work on the album. Things are wound up with Happy, which is an upbeat, fast paced instrumental that shows exactly what he can do on guitar as he flits between jazz and rock.
I said that Jimmie Bratcher is a guitar toting Christian Bluesman but I didn't get the feeling that the messgae was being rammed down my throat and you can take whatever you wish from the album.

www.jimmiebratcher.com

David Blue.

South Side Slim – Raising Hell/Trouble On The South Side (Manifest).

South Side glares at you from the cover of the album like he means business and the opening track, Blues For Sure, confirms this. Vibrant and vigorous, it covers the youth in his voice and highlights the talent in one of the currently least known of the current crop of young guitar whiz kids. Roadblock is a funky blues that has a real attitude with shades of Prince and James Brown. This is followed up with more funky blues in the shape of 8 O’clock In The Morning. This has an eerie guitar feeling and will leave you asking the question, can South Side only play at top speed? Young Man is a more traditional, jazzy blues and the introduction of saxophone is welcome. South Side shows two sides of himself on the sophisticated blues of Comin’ To Your House and the strong and moody blues of Almost Daylight.

Raisin’ Hell is, as the title suggests, a rocking blues that allows Slim to let loose on guitar and boy, does he do just that. There’s a return to the funky blues style for Another Lonely Night and this just serves to confirm how strong a guitar player he is. He can do the traditional as well and You Never Can Tell is about as traditional as he gets. No matter what style he is playing there is no doubting his credentials as a top class guitarist. He sticks with the traditional style for Kitchen Floor and serves up what is probably the track of the album. He could be a big name if he produced more of this quality. There’s a big finish to the album with two more strong tracks, the fast paced jazzy blues of Big Money and I Wish I Was Blind, a Chicago blues. The latter is the better and suits his voice very well – a classy finish to a very good album.

Slim is still mean and moody on the cover of Trouble On The South Side but the cover belies the funky and soulful opener, Blue Rain. It's based on the blues theme of having little or no money and there's some gritty sax but not too much of Slim's guitar. The blues arrive in the shape of V8 Ford and Slim's guitar is unleashed. He goes a little over the top perhaps but that's just him and this is his one nod to traditional electric blues on the album. Funky Chicken is, as the title suggests, a funky blues and it has a very cool organ break. The powerful Last Man Standing is played in an Elmore James style and Slim takes it to the extreme. This is followed by another fast paced blues in the shape of Sunset And Vine and Victor G. Purvis turns in a strong performance on bass. Hell Hounds On My Trail is a strong Chicago blues and Slim really hammers his guitar, showing what an aggressive player he is. We stay in Chicago for Guilty Mind but he slows things right down. This is another strong song and Slim has certainly upped his game, both vocally and lyrically. There's a lovely rolling guitar solo that shows he can be gentle too.

Feelin' Pain sees a return to funky blues and marks another strong one off the conveyor belt. They just keep on coming and The Jam gives us guitar overload, not that that's a bad thing! I thought that Fire And Ice (The Smoking Gun)was going to be political but it turns into an accelerated guitar instrumental that's the musical equivalent of a nuclear bomb. Interview With Slim is a novel idea, putting the song in the form of an interview and explains his versions of the blues. Reminisin' is good, old style shuffling soul and there's some Spanish guitar on Ride With Me. This is a bit out of place on this album but it's pleasant enough. The same goes for the instrumental version before Slim finishes with the title track. This gives a chilled out R&B/soul finish and is fine but I do have to admit that I prefer Slim's in-your-face style.

www.southsideslim.com

David Blue.

Eddie Turner – The Turner Diaries (NorthernBlues Music).

It’s been a while since I reviewed Eddie’s last album, Rise, and it has been a wait with baited breath for this latest offering. Eddie shows that he has lost none of his power with the opener, Dangerous. Turner likes to push the boundaries and this chugging blues rock with its undercurrent of menace is what I imagine Jimi Hendrix would have been playing nowadays. This is followed by So Many Roads, a sleepy blues with echoed vocals, offset drums and a funky solo. Eddie returns to blues rock for Cost Of Freedom, a busy song in the classic style before turning to acoustic guitar for I’m A Man I’m A Man. Eddie Turner is not your classic bluesman but does like to be an innovator. However, the traditional style is still in his mind and he builds this song up so well. He turns all mean and moody again for Save My Life, a blues based rocker with wailing guitar. Confessions is a slide guitar laden instrumental packed with fuzz and distortion that cements Eddie Turners reputation as one of the finest blues guitarists around.

The mood of euphoria with what has gone before is slightly changed with the somewhat disappointing New Day. It is weak and wishy-washy and not like Turner at all. He’s back on form with the hypnotic Shake 4 Me and it’s full of blues innuendos – how does he keep it up! Pomade is a slowish blues instrumental with Eddie’s trademark guitar and Jody, a medium paced R&B with insipid female backing does not set the heather on fire. The eponymous title track starts off as a samba then goes into a blues rock but the samba drums remain in the background throughout. He closes with a swinging version of the classic I’m Tore Down and this is the highlight of the set and goes to show that it’s the simple ones that often go down best. Eddie Turner is certainly in the premier league of modern blues guitarists.

http://www.northerbluesmusic.com/
http://www.eddieturnermusic.com/

David Blue.

William Lee Ellis – God’s Tattoo (Yellow Dog Records).

Just when I thought that Yellow Dog had just about exhausted their roster of quality artists, up they pop with another. William Lee Ellis is steeped in the tradition of blues and Americana guitar playing and if I told you that his father, Tony Ellis, was one of Bill Monroe’s Blue Grass Boys then you’ll understand why. God’s Tattoos opens with the slide guitar extravaganza that is Snakes In My Garden and I can’t think of a better way to open a set. The title track has a rumba beat and its smouldering feel makes me think of French cafés. The fantastically titled When Leadbelly Walked The River Like Christ is not a blues but the instrumental is one to make you think and the sustain that he achieves with the E-Bow that he uses on his acoustic guitar is phenomenal. Ellis manages to vocally sound like Eric Clapton on Search My Heart, a lovely version of a revamped Gospel song and chooses Perfect Ones Who Break, a bluesy ballad, to continue with the Clapton comparison. This is the type of song that Clapton does so well these days. Sandwiched between these is Four Horses (of the Apocalypse I presume). This is a return to his acoustic slide style and is one of the top tracks on the album.

The Call demands to be listened to and is a stunning response to 9/11. This is followed by roots music of the highest order in the form of Cold And Weary and the Mississippi John Hurt song, Here I Am, Lord Send Me. You don’t have to do much to songs like this, just play them and there’s some nice backing vocals from William’s wife, Julie. If you were to try and play Jesus Stole My Heart then I think you’d need 12 fingers. This is spectacular! The Missing Moon And Stars is a lovely instrumental and the final track, Dust Will Write My Name, is a low key finish but for once I agree that this is the way to end what has been a lesson in roots music.

http://www.yellowdogrecords.com/
http://www.williamleeellis.com/

David Blue.

Various Artists – Harmonica Blues Orgy (Random Chance Records).

A plethora of harmonica players are on offer here, beginning with Willie ‘Big Eyes’ Smith. He opens with the Little Walter song, Blues With A Feelin’. This is very powerful opener, both vocally and musically, and it’s interesting to know that he was part of Muddy Waters’ band for two decades – as a drummer!! However, harmonica is his first instrument and it’s not hard to understand why on this performance. Smith goes back to his former boss for Read Way Back and turns in another strong performance. He has five tracks on this album and he chooses a different composer for each. Junior Wells’ classic Hoodoo Man Blues is given a good treatment as songs from his list of heroes continues. Jimmy Rogers’ You’re The One is well executed and his final song, Sugar Mama, by John Lee Williamson is slower than the rest but just as good and his backing band show up very well. The second artist, Martin Lang, has four tracks and although he is the youngest of the quartet on show he offers up classic Chicago blues in the form of Martin Jumps In. Sad Sad Day follows and this is, like its predecessor, self-penned. This is slower but has a harp that wails. Lang’s third track is Pulaski Stomp and is another fine example of good plain old harp music. The genre is in good hands, as shown by his final track, Ten Hole Blues. This is slowed down to the extreme and, like the others, is an instrumental that shows a high level of technique.

Little Arthur Duncan only gets three tracks but that doesn’t detract from his overall input. Leavin’ In The Morning is a fast paced Little Walter song that is matched by lightning harmonica and piercing vocal. Pretty Thing is a Jimmy Reed song but this is just a standard performance by a man who is a top level performer. Duncan’s last offering is the Willie Dixon/Muddy Waters song, Young Fashioned Ways. I recently reviewed a version of this by Wallace Coleman and although Duncan’s version is more earthy, I don’t think that it’s any better. Easy Baby (Alec Randle) is the last of the artists to be given their chance. The first of his four songs is Room 39, a self-penned song on which he serves up some silky harmonica. The vocal is virtually spoken and Eddie Guitar Jnr is excellent on guitar, as he is on a number of other tracks. Crazy Mixed Up World is a Little Walter song and if you are familiar with the work of that particular genius then there will be no surprises here. Easy Baby comes up with another original in Willie Mae. This is very strong and compares very well with anything else produced here. Randle ties up the album with the traditional This Little Light Of Mine. This is, as you would expect, a piano led Gospel tune – simple and extremely heart warming. For those of you who like harmonica blues this is as good a place to start as anywhere.

http://www.randomchancerecords.com/

David Blue 2006.

Roy Book Binder – Live At The Fur Peace Station/Singer-Songwriter Bluesman (Peg Leg Records).

Roy won’t mind me saying but he’s been around for a while now but during that time he’s mingled with some of the best in the business. On this live album, he gives us a flavour of people he’s known, including the Reverend Gary David, from whom he learned very much. Book Binder’s guitar style is very gentle, acoustic finger-picking and his vocals are as equally gentle. This album has 17 tracks interspersed with an introduction for each and he opens with one of his self-written songs, What You Gonna Do, that introduces us to his tender country blues. Baby Let Me Lay It On You is the first of a trio of Reverend Gary Davis songs and Roy makes it sound so easy even though he hasn’t played it on stage for 25 years. As Roy regales us with stories of Davis he also shows us his wry humour. He then goes on to give us a great version of Delia before reminding himself that he can’t sing one of the nightclub verses from Jelly Roll (too lewd). This is a highlight of the album and provides finger-picking of the highest class. Three Times Seven, written by Merle Travis. is more of the gentle, easy going material and his second self-written song, Full Go Around makes it obvious that he soaked up everything from the blues greats that he has known and gives it his own stamp. Ragtime Millionaire is a William Moore song and gives Roy the chance to flit between country blues and ragtime which he does seamlessly. Innuendo abounds on Dave Van Ronk’s Yas Yas Yas and Roy turns in an outstanding performance.

Cocaine Blues is another Reverend Gary Davis song and it’s the same gentle style again but that is what these songs call for. He turns to Pink Anderson for CC & O Blues which turns out to be a bit faster than most but the quality is not lost. Roy stays with Pink Anderson for Travellin’ Man and shows his top quality fingering skills again. It’s Mississippi John Hurt next and Mermaids Flirt With Me. The first time that I heard this song was when I picked it up on a David Johansen album and I love this song. Needless to say, I love this version too and Roy gives it a very sympathetic treatment. Charlie Stone, written by Larry Johnson, is another example of Roy’s well played country blues and Luke Jordan’s Won’t You Be Kind has Roy flirting on the edge, as many blues songs do. The sign of a great musician is that he makes it sound so easy and that is exactly what Roy does on Billy Joe Shaver’s Chunk Of Cool. He finishes with songs from another two greats, Jimmy Murphy and Jessie Thomas. Murphy’s song is Electricity and Roy’s playing is simply electric. Jessie Thomas’ Another Friend Of Mine is chosen for the closing song and the upbeat finish rounds off what is an excellent introduction into the world of Roy Book Binder.

Singer-Songwriter Bluesman opens with Roy’s gentle blues on It’s Gonna Be Alright Someday. I think it’s his clear lines, both vocally and musically, that wins over his audiences. This is further confirmed with The Preacher Picked The Guitar – simply wonderful. St. Pete Blues sees him in reflective mood as he remembers his mentors Pink Anderson and Rev. Gary Davis. Anywhere You Go is a little more up-tempo but it still has that book Binder quintessence and the following Travelin’ Man Blues is a classic country blues. The country blues theme continues with the moral tale, Can’t Do That No More and Roy turns to slide guitar for She Did You A Favour, which he delivers in his own inimitable style. Gentle country blues are back on Goin’ Back To Tampa but Roy turns all contemporary for New Age Woman Blues – still creates the same high quality though. He stays in the modern idiom for Trouble In The Streets and tackles a dark subject with some gusto. Another string to his bow is the gospel influenced blues of While He Served His Time. This shows that he can stretch across the blues genre. Blind Lemon is obviously for Blind Lemon Jefferson and Roy’s lovely finger picking is as fine a tribute as any. The closing tracks confirm Roy’s status as one of the best exponents of acoustic blues about today. I’m Goin’ Home Today is a bouncy country blues and Palm Trees Shakin’ In The Night is a slide blues par excellence. Both songs and, in fact, both albums, are great examples of his song writing and show Roy Book Binder to be a master of his craft.


http://www.roybookbinder.com/

Copyright David Blue 2006.

R.J. Mischo – He Came To Play (Crosscut Records).

When I see the name R.J. Mischo I expect harmonica blues and this album doesn’t fail to deliver. The Train is classic swing blues and a great foot-tapping entry into the world of Mischo. He has not lost any of the power from the Downhome Trio album that I reviewed for Netrhythms last year. This Lewis Collins song is noisy and in your face – suits his voce very well. Joe Hutto’s 20% Alcohol is up next and Mischo gives it a good treatment. An electric blues, it was recorded live in the studio as is the rest of the album and has Frank Goldwasser bending his guitar strings to good effect. Mojo Lounge is the first of the original songs. There’s some excellent harmonica, as expected and it is a true example of Mischo’s song writing skills. The Switch is another original and is an instrumental, very 60s in its style, attitude and execution. The originals continue with Telephone Driver (Hang Up & Dance). This has echoed vocals and is delivered at walking pace. The pounding drums from June Core are the focal point. There is a second instrumental in the form of The Pull. Self-penned again with Mischo, Barry Shulman on sax and Goldwasser & Chris ‘Kid’ Anderson on guitar all starring.

John Lee Williamson’s famous Bluebird Blues always has been a classy song and Mischo’s version does not change that. What he does do is stamp his authority all over it. Please Help is an up-tempo Joe Hutto song played to great effect by this tight band whereas James Dawkins’ Hippie’s Playground is a straightforward bustling blues with a beat akin to Howlin’ Wolf’s Spoonful. The Waddle is the third of Mischo’s instrumentals and is probably the best. The slightly fuzzed harp and fast pace show that he is a real harp players player. There’s more evidence of his song writing talent on RJ Come And Get It. This is just harp, sax and drums – short and very sweet. The eponymous self-penned title track is probably the weakest track on the album. It’s not very inspiring and is a bit disjointed at times. He recovers for the end of the album with Jokerhead, complete with drunken vocal, and Uh Huh which is my way for an album to finish – full of energy.

http://www.crosscut.de/
http://www.rjblues.com/

Copyright David Blue 2006.

GIG NEWS:

3rd October -- Public Enemy. Barrowlands, Glasgow, Scotland
6th October -- Shooglenifty. The Lemon Tree, Aberdeen, Scotland
9th October -- The Long Blondes. The Lemon Tree, Aberdeen, Scotland
16th October -- Devil Sold His Soul. King Tut's Wah Wah Hut, Glasgow, Scotland
24th October -- Guillemots. ABC, Glasgow, Scotland

21st December -- Frightened Rabbit. King Tut's Wah Wah Hut, Glasgow, Scotland

Various Artists – Network Pacific Records Blues Sampler Vol.1 (Network Pacific Records).

I’ve always found that sampler albums can be hit and miss but it’s a good way to hear a labels roster in one fell swoop. Fortunately, Network Pacific’s blues sampler falls on the hit side as Dmitri Resnick’s opener Fast Track exemplifies. This is a fast paced, as the title suggests, R&B instrumental from Resnick’s first album. He has a big sound and stinging guitar. Resnick’s other offering is Got No Time For Taking Numbers and he turns to acoustic slide this time. This is an authentic blues from the internationally acclaimed Resnick and allows him to show his diversity and his clear, world weary voice. The Clint Warner Band is allowed two tracks as well and Don’t You Raise No Fuss is a swing blues released for the first time although it’s already a live favourite. Warner and harp player Ron Perry exchange licks whilst Rick Nelson gives his all on keyboards. The band is cut to a duo for Pain In My Heart as Chris Matheos on upright bass joins Warner on guitar/vocals. This is a slow blues but has so much power, especially from Warners voice. Two from The Kane Daily Band follow in the form of Too Hot Mama and Dangerous Thing. The former features electric slide guitar from erstwhile Michael Falzarano (Hot Tuna) sidekick Daily and his drawled vocal on this R&B rocker compliments his excellent slide. Kane goes solo for Dangerous Thing and this is the better of the tracks. He goes back to mean and moody basics with great success. The songs keep coming in pairs and Smokin’ Todd Sorensen &The Real Deal are up next with Dirty Martini and If This Was The Last Time. They are reckoned to be one of the up and coming bands on the Pacific Northwest and it’s hard to disagree on these performances. Dirty Martini is a slick jazz club blues with a sleazy vocal and If This Was The Last Time confirms that Sorenson can make the grade on guitar. His voice suits this song to a tee and cements his reputation as a star of the future.

Bobby Radcliff is a regular visitor to Europe and recently starred with Bob Margolin’s All Stars. His contributions are Lovers Death Zone and Downstroke. The former highlights his distinctive staccato guitar style and the latter, a guitar-led instrumental, harks back to the heyday of guitar instrumentals. The last of the paired songs are from up and coming Italians Robi Zonca & His Band. Nothing is a slick electric blues that showcases Robi’s guitar but his voice is a bit strained at times. Just A Little Bit is a shuffling blues and it rocks. Zonca shows us how good a guitarist he is and this style of song suits his voice so much better. Sister Blue Band gets one song to impress and Get Over It achieves its objective. This jaunty, down to earth blues is from her latest album Lust Pain And Other Temptations and her backing band provide a tight accompaniment. Losin’ You from Fingers Farrell with Andy Just serves up some classy harp from the aforementioned Mr Just who normally performs with Robben Ford and Etta James. I’ve listened to a number of harmonica men recently and Just is up there with the best of them. John Wedemayer of the Charlie Musselwhite Band adds a storming guitar solo and Farrell tops it all with thumping bass and great vocal harmonies. One of the stars of the album is The Sarah Ayres Band and Body Says Yes will blow you away. Guitarist Greg Lipsky is a star on this blues/rock of the highest standard. The album finishes with the UK’s Storm Warning. They give us Whisky Blues (spelled correctly, good boys) and they get my vote straight away. The song is slow and ponderous but that’s not a bad thing. I’ve not heard of the boys before but on the evidence of this I’m off to find out more. There’s some sultry harp, the vocals are rough in the right places and guitar work to make the hairs stand up on the back of your neck.

http://www.networkpacificrecords.com/

Copyright David Blue 2006.

Lisa Karp – Fucsia Blues (Adore Records).

From the opening bars of the sultry jazz club style Why Do I Wait to the lounge version of Good News Rumors Lisa Karp’s unique style will have you captivated. She has enlisted the help of none other than the legendary Dr. John for this sophisticated album. Karp is hot and laid back all in one package. Everything’s Broken, a duet with Dr. John, is probably the highlight of the album and it is the good Doctor that steals the show – I can’t get enough of this. Call Home is another in the jazz club style with prominent double bass and Dose Of You exemplifies her laid back style with the double vocal giving an excellent echo effect.

Good News Rumors has echoes of old time barroom blues, just voice and piano. There’s some electric guitar introduced on Curve Of The Truth and it’s obvious that Karp goes in for the minimalist approach. This has very sparse backing for her unique voice. It’s back to the acoustic sound for Try which has the now obligatory sultry vocals but has little substance. The strange time signatures of My Life Hotel only adds to the quirkiness of this album and the whole feel is of 60s blues/jazz.

South Pacific certainly proves Lisa’s originality but she may take a few listens to get into and this jazz/blues rarely gets out of first gear. She finishes on a lounge version of Good News Rumors and changes her vocal but little else. What does stand out here is the quality of piano playing from Dr. John.

The last word belongs to Dr. John who says “What I like about her is that she doesn’t think the way most singer/songwriters think. She often approaches stuff from left field”. That is quite possibly the understatement of the year.

http://www.lisakarp.com/
http://www.luckmedia.com/


Copyright David Blue 2006.

Wrinkle Neck Mules – Liza (Roundhill Records).

The Wrinkle Neck Mules have put out this mini album to sooth the withdrawal symptoms of those who loved Minor Enough and to whet the appetite for their upcoming full album, Pull The Brake, which is due out in March. The six tracks on offer will satisfy everyone and cement the Mules growing reputation as one of Americana’s finest exponents.

The title track is a joy. They have not lost any of their impact since the excellent Minor Enough and they are Americana personified. Liza is bluegrass in parts, electric country rock in others and there’s a story in there as well. Like most of the tracks it is Andy Stepanian written and it oozes class. The other studio track is Stolen Horses; this is very much in the vein of Neil Young and shows the rockier side of the Mules. The remainder of the songs are, in the main, gleaned from Minor Enough with an excellent cover of Mickey Newbury’s Why You Been Gone So Long thrown in for good measure. These are all live tracks and give a flavour of the Wrinkle Neck Mules experience. 17 Miles Of Bourbon is a case in point. From my review of Minor Enough, I said that this was sheer class and they can crank it out on stage as well. No Consolation is the opening track from Minor Enough and it still retains its new country rock feel. The Mules certainly are a live act to be reckoned with. Why You Been Gone So Long is a harmony-laden song to have a few drinks to – something that I imagine would sum up an evening with The Mules. The set ends with Discarded, a high paced country rock/bluegrass crossover that will have you begging for more – fantastic!

If you’ve not heard this band before then this will provide an excellent introduction. Go on, get Wrinkled.

http://www.wrinkleneckmules.com/

Copyright David Blue 2006.

Wallace Coleman – Stretch My Money/Live At Joe’s/The Bad Weather Blues (Pinto Blue).

You may, or may not, have heard of Wallace Coleman and if you haven’t then please allow me to give you a little piece of background. Respected bluesman Robert Jr Lockwood always said that he would never have a harmonica player in his band – that was until he heard Wallace Coleman play. Coleman was, at the time, playing with Guitar Slim whilst working on his day job and two years later, in 1987, once he had worked enough to earn his pension he joined Lockwood for a ten year stint.

Since starting his solo career, somewhat late in life, in 1997, Coleman has won many awards for his harp playing and these three albums give a good account of him as both a studio and live artist.

Stretch My Money (2000) was his debut and opens with the Lightnin’ Hopkins song Mojo Hand. This introduces us to Coleman’s deep silky voice and slightly understated harmonica considering this was his first solo track. Spare Woman is self-written but played in a Muddy Waters style. His voice is not as powerful but, not many are. Highlight of the song is the excellent slide guitar provided by Frank ‘Silk’ Smith. Dead Presidents is a Willie Dixon song and it’s not about what you may think – it’s all about those Presidents who are depicted on dollar bills. Coleman is starting to get into gear now and his harmonica playing is really warming up. The title track is another of the self penned numbers and is pretty much standard fare. His harmonica is starting to be used more than just a filler and the song gives Mark Augustine the chance to show his prowess. Bring It On Home is another Willie Dixon song and, although Coleman is not in the same class as Howlin’ Wolf, his style of not over exaggerating his harp playing has a certain panache. Shake Me is probably the weakest track on the album despite the good harmonica – it’s all just a bit too light. The opposite could be said of Strong Love. This has a much heavier sound and is a real grower. Earl Hooker’s Off The Hook is a laid back jazz blues where Mark Augustine excels on Hammond B3. Dangerous Man is the top track on the album and Augustine continues his good form on this Roosevelt Sykes song. Vernondo Parker keeps it all together on drums. Sugar To Shame is a jaunty, happy blues that has Coleman coming out of his shell and the shuffling blues of the Howlin’ Wolf song Who’s Been Talking is a highlight where everything just clicks. Painesville Slim on guitar deserves to be singled out for particular praise here. The closing track, Homeless People, shows a social conscience and although the overall sound is a bit thin, Coleman’s harmonica has continued to get better and better.

Coleman’s second album, Live At Joe’s, gives a flavour of Wallace and the band on stage. Opening with a classy performance of the Little Walter classic, Juke, he shows that he a top live performer and certainly in the top 10 harmonica players in the world. This is followed by the first of his self-written songs, Hard Life. Coleman produces a true downtrodden blues here and his harmonica compliments Tim Matson and Mike Modin’s guitars perfectly. You’re The One is best known as a Jimmy Rogers song and Coleman manages to evoke the true image of Chicago blues. Another of Wallace’s own songs is the low key Love Spell. This is played in an intimate fashion and the sparse use of harmonica is very effective. Robert Johnson’s songs have been covered by Wallace Coleman since his days with Lockwood and it is a brave man that adds a harmonica part to a Johnson song. Coleman is certainly brave as there are normally only two ways to play a Robert Johnson song, play it exactly like the original or completely make it your own. He doesn’t really do either but this song carries itself. He goes back to Little Walter for One More Chance With You. This swings along very well and Coleman produces another top class performance on harp. Big Dog Blues is an everyday tale of buying a small dog that turns into a big one, been there have you? Coleman’s wailing harmonica saves this one. Young Fashioned Ways is a Willie Dixon written, Muddy Waters song that is perfectly played – enough said. There’s more Muddy Waters on Lonesome Room Blues and although he is not as strong as Muddy vocally, this is still a highlight of the album and it is Chicago blues personified. Coleman returns to Little Walter for Tell Me Mama and Fred Goodnight excels on drums as he does on Juke. My Last Meal is a prison song, a rich seam for blues singers, and is another made famous by Jimmy Rogers. Coleman’s sweet vocal sets this off well. The session finishes with Way Back Home, written by Wilton Felder. This is a laid back finish to the show but shows Coleman’s expertise and he is ably backed by Tim Marston and Mike Modlin on guitar.

The most recent of the trio, 2003’s Bad Weather Blues, sees Wallace return to the studio, this time with guests Bob Stroger and Billy Flynn. The eponymous title track is a shuffling blues with a singalong chorus. Mark Hoffman’s introduction on guitar is a bonus and the complete package shows how much a storyteller Coleman is. Pretty All Over is a chugging Chicago blues and marks the improvement in Coleman’s playing and songwriting since the first album – he has become more professional in his songs and his playing has become more classy. He is so comfortable with his harmonica that you could easily be fooled into thinking that he’s not playing anything that difficult. Southern Comfort is a case in point. This laid back instrumental is deceptively simple and shows a master of his craft at work. Better Way To Live is the second of two songs from Jody Getz, Coleman’s sidekick, and this one draws out Wallace’s voice to produce one of the best vocals on the album. He makes his usual visit to the catalogue of Little Walter, this time for Everybody Needs Somebody. Again, his voice is not as powerful as Jacobs’ but he still manages to turn in an accomplished performance and there’s always that understated harmonica. Standing Still is a jaunty country blues and is a piece of good fun. The self-penned Blue Mist is a virtuoso harmonica performance. This slow blues will have you desperate for more. I wondered when we were going to get a Robert Lockwood song and Mean Red Spider ends that wait. The acoustic guitar and harmonica fit in so well together and this is a very, very good version of a classic song. Coleman’s songwriting has certainly improved since his debut album and Cloudy is a straightforward, medium paced blues. The professionalism of his harp playing should not distract you too much from his words. I’m always impressed by harmonica players lung capacity and Coleman shows his on the lung bursting Billy Bob Jam – the man has lungs of steel! From that, he slows down into Seems Like, which is a wistful, soulful blues and is so proficient. Old Fashioned Guy is standard fare but the wailing harmonica makes it more than listenable. High Tech Blues is a self explanatory tale of those who are neglected by computer lovers. It’s a contemporary theme and shows the blues is moving with the times even if it does go back to the loving topic. Bad Weather Blues closes with Going Down Slow and he’s saved one of the best for last. This has it all – rhythm, harmonica and vocal are all top drawer.

If you are a fan of harmonica players then Wallace Coleman has to be on your list.

http://www.wallacecoleman.com/

Copyright David Blue 2006.

Kevin Brown – Tin Church (Doo Dah Records).

I’ve been waiting in anticipation for the new Kevin Brown album since hearing Mojave Dust and Tin Church does not disappoint. He opens with Lancashire Blood On A Texas Floor, a tale of the Alamo that will send a shiver up your spine. The complete album was recorded live and on Watch Your Step he has that certain tone to his voice that will pierce your inner thoughts. Love Hurts is faster paced than most and shows that he has fantastic control of his guitar and the traditional Jack Of Diamonds is given the Kevin Brown treatment to great effect. He keeps up his superb level of guitar playing on You Never Can Tell before going off to the Delta for All Around The World. All I can say about this is that it is a stunning live performance and vies for the top track of the set.

Brown will take your emotions to the limit and does so with the subdued, rhythmic classic song Take Your Troubles And Let Them Rest to great effect. Take The High Road follows and no, it’s not about the Scottish soap opera. I’m running out of superlatives now and each song is getting better and better. Athletics is not a subject normally associated with the blues but the subject of The Ballad Of Jesse Owens is, I feel, exactly the kind of man that people should be singing about, no matter whether it’s the blues or not. Well done Kevin. What Kevin Brown does so well is his ability to fill out the sound and Stone By Stone is a good example of this. Sometimes a guitar on its own can sound a bit thin but not Brown’s. Shellshocked Johnny is more Americana than blues but it does show an artist that is so comfortable with his talent. The final track is Lead Me On and it is a wonderful way to finish. It’s almost spiritual feel with give you that feel good factor for hours afterwards.

The only problem that I have now is that I’ll have to wait for the next album.

http://www.thekevinbrown.com/

Copyright David Blue 2006.

Boris Boogaloo – Long Way Home (Floppy Records).

Boris Boogaloo makes a welcome return to the blues after the experimentations of his last album, Crazy Shadows. He opens with Brownie’s Blues, strangely enough a Brownie McGhee song, and he also takes on Sonny Terry’s role for good measure. His wispy vocals give the song an air of it being homemade and this feeling continues throughout the album. Muddy Waters classic Hootchie Cootchie Man (sic) is a well known and powerful blues but Boris turns in a less that powerful performance. Some people may think that this is weak but what we have here is the blues stripped bare. The title track is the first of five self-penned songs and is an acoustic blues with a world weary vocal. This shows an increased maturity in his songwriting and bodes well for the future. From there he goes on to turn in a very passable cover of Canned Heat’s World In A Jug.

Smilin’ Blues has that rare Boogaloo thing, a drum beat! This is electric, contemporary and urban although, on this occasion, Boris’s voice is a little weak for this style of song. This is the type of track that should be belted out. The chugging I Got A Feelin’ continues the vein of electric guitar and drums but it still needs that powerful voice and maybe a bit of distortion too. No Pain is the penultimate self-written song and it’s a return to the laconic acoustic style that is more suited to his vocal technique. The drums return on Driftin’ Blues, the last of his covers, and are joined by slide and grungy electric guitars. I hate to harp on about the voice but it just doesn’t suit these types of arrangement. It may have been better to tackle this acoustically but it is a fine song no matter what. There’s a full band set up again for the finale. She Knocks Me Out has Mr. Apple on drums, as he has on the others where drums have appeared, and signs that Boris’s vocal has managed to adjust to the electric style. All it needs is a little bit of grit.

Boris Boogaloo’s songwriting has come on in leaps and bounds and the improvement between this and his first album is quite marked.

www.floppyrecords.co.uk

Copyright David Blue 2006.