Sugar Ray And The Bluetones – Hands Across The Table (Severn Records).

The eponymous opening track is a stormer and would be a great way to start a gig. This brand of R&B venturing into soft rock is loved worldwide and the warbling harmonica of Sugar Ray Norcia sets it off to a tee. They throw in a Kansas City style blues on I Done Got Wine and Sugar Ray’s voice is particularly suited to this style as he slips into his harmonica breaks seamlessly. This isn’t flash music, it’s just good music. A further style change takes us to Chicago and Dark Roads Calling. Paul Size shows a deft hand on guitar during this smouldering blues. Livin’ A Lie is a jaunty, upbeat blues that has Ray blowing his harp like a good ’un and Cloud Cover is an instrumental that allows him to really strut his stuff. In another change of style the band switch to Rock n Roll, Dave Edmunds style, with high octane performances from all. However, special mention is merited for Michael Mudcat Ward on acoustic bass who certainly makes himself heard.

The Rock n Roll theme continues with the slower That’s My Desire which sounds much the same as One Night. This is brightened up by Size’s twangy guitar. (I’m Gonna Break Into) Folsom Prison is slightly disjointed but the base is there for a great song. The band returns to high paced R&B for I Want To Marry You Girl and they go through their paces with ease. The real highlight of the album is I Won’t Leave Home No More, a classic Chicago blues with Size excelling. Ray shows his versatility on River Stay ‘Way From My Door which is a harmonica led smooth, jazzy night club song. I hope that The Last Blues Song is not prophetic as I need something to write about in the coming years! Seriously, this bar-room blues would grace many an album, even those produced by better known artists. Ray and the band finish with the peaceful, slow and short harmonica blues of End Time. Time for bed, nighty-night.

www.severnrecords.com

Copyright David Blue 2006.

Lou Pride – Keep On Believing (Severn Records).

Lou Pride hails from The Windy City and his voice can, quite literally, blow you away at times. His latest album for Severn Records highlights one of the best soul/blues voices around at the moment. He opens with Midnight Call which is funky R&B with horns aplenty. Lou’s dusky voice sets the standard for the album and for others who may wish to follow. I don’t know what Bob Marley would make of Lou’s cover of Waiting In Vain and, voice apart, it’s not a winner. It is, however, the only cover on the album. I Can’t Hold Back is a return to the funky R&B of the opener and this is his forte. He shows a good vocal range and there’s really a groove on this one. Lou ups the pace, musically, for I’m Com’un Home In The Morn’un (a remake of his 1972 Northern Soul hit) but he remains steadfastly laid back. This has a certain Robert Cray style to the lyric. Love Will Make It Alright is lightweight soul but the sentiments are laudable and the backing vocals and the horns are the highlights. I Want To Hold Your Hand is slow and soulful and Another Broken Heart is more funky R&B that shows off Lou’s timeless voice.

Real Deal is one of the highlights along with Midnight Call. My only criticism is that it could have been played slightly faster. We get the blues at last on the strong and powerful Sunrise before drifting off into slow R&B on Without Your Love. However, this can only be described as standard fare. There’s some more of Lou’s funky R&B on I Wanna Be The Man You Want but there’s nothing too much here to get excited about. He gets back on form with Layin’ Eggs, a strong blues-based soul song. He maintains this strong finish to the album with Hold On To Your Dream and the constants are there, the dusky voice and the horns. This is certainly not the worst album that I’ve heard this year.

http://www.severnrecords.com/

Copyright David Blue 2006.

Chicken Legs Weaver – Nowhere (Riverside Records).

Chicken Legs Weaver (a band, not a person) have had their debut album produced by the legendary Johnny Dowd and he has allowed them to stamp their personality all over it. They have come up with 12 original tracks of brooding blues that make them sound like recording veterans. Frontman Andy Weaver growls out his vocal on the opener, Paper Houses, which is full of grungy slide guitar and snappy drums. In The Ground is dark, moody and wonderful and the Country influenced Love Locked continues the grungy feel to the start of the album. The very powerful Desert Rose is packed with old style blues shouting and sleek guitar. Billboard Queen with its upright bass from Norton Lees is easy going by Chicken Legs standards but it still has that air of menace just bubbling under the surface. Gritty blues return in the shape of Your Enemy Cannot Harm You and the now obligatory punk elements and excellent slide guitar are to the fore. Weaver gives his all on vocals, as he does on all of the songs.

Howling Road is, compared to the others, quite sedate but normal service is resumed with Spring Isn’t Coming This Year, not a blues as such but a good rock song anyway. Some people may feel Weaver’s voice a bit overpowering though and may prefer to listen to the album in short bursts. Stump John & The Owl sets off at a pedestrian pace and although it tells a fine story it has little impact. They are back to form on A Mile Out Of Town with Weavers snarling vocal a particular highlight. Zombiefied is about a hangover in parts and if this is what a hangover feels like them I’m glad I don’t have them very often. This song takes you to a very dark place. The album closes with the classy, acoustic alt country of Sheol Station. This track with vocal, guitar and backing vocal only has as much impact as any of the more powerful punk blues tracks.

Chicken Legs Weaver is the dark side of the blues. In fact, if the blues were Star Wars then Chicken Legs Weaver would be Darth Vader himself.

http://www.chickenlegsweaver.net/

Copyright David Blue 2006.

Mem Shannon – I’m From Phunkville (NorthernBlues Music).

Mem Shannon gives an idea of what’s to come in the title although there is more than one style on offer. He opens with the funky blues of The Reason and his voice is like syrup, making for a good start. Swing Tiger Swing is in the same vein and has horns in abundance with piano to the fore also. Incidentally, this jaunty tune is dedicated to none other than Tiger Woods. Perfect World is slow and soulful with deep velvet tones before Mem straps on his guitar for the slow burner, Phunkville. Josh ‘The Little Kid’ Milligan pounds out the beat on drums ably backed by Mem’s funky guitar and Robert ‘Rock’ Dabon’s organ. The horns then build the song up to the conclusion of this 10 minute epic. I’ll Kiss A Pitbull is a strange title for a love song but after the spoken introduction a la Barry White/Floaters he explains that he’d kiss a pitbull just for some of his baby’s love.

Battle Ground is almost Gospel in its execution and there’s an excellent trumpet solo from Barney Floyd in the middle. There’s the expected Spanish guitar at the beginning of The Lights Of Caracas (I Didn’t Know) before it drifts off into bluesy piano. This is quite sedate but Mem’s guitar lifts it when required. Three different but slightly similar styles follow. There’s the fast paced jazz of Sweet Potato with its excellent guitar, blues on the rocky side of No Religion and the out and out soul of Forget About Me. All work better than Mem’s attempt to phunk up The Beatles’ Eleanor Rigby – some things should just be left alone. He returns to form for the last two tracks, Ignant Stick and We Going, both of which are funky in the extreme with Dabon excelling again.

Mem Shannon can phunk with the best of them.

http://www.northernblues.com/
http://www.memshannon.com/

Copyright David Blue 2006.

Tim Hain & Sunnysideup – One Man Went To Mojo (Note Records).

Tim Hain unleashes his blend of Reggae and Blues on the nation via One Man Went To Mojo. He opens strongly with Fine Time Child, which is blues rock with reggae style middle eight. This features Errol Linton on harmonica and is a good introduction to the world of Tim Hain. There seems to be a number of Jimi Hendrix covers about today and Tim Has joined in with The Wind Cries Mary. As with many of his other tracks he gives it a reggae flavour and he has turned in a very good version. It’s well produced and there’s some excellent guitar work. There’s another cover with Little Willie John’s Need Your Love So Bad. This, of course, was made famous by Peter Green and Fleetwood Mac and, played in Hain’s style, has turned into quite a happy song. Somebody Turn On The Light is great white boy reggae with Hain’s voice sounding like velvet and Pauline Henry adding her not inconsiderable vocal talents. Paul Cox guests on If I Ever Get Home and his voice adds poignancy to this very strong anti-war roots song. Steven Stills is the next to be given the Tim Hain treatment in the guise of For What It’s Worth. Another excellent song – you can’t not like this guy. The good times continue with a rousing version of the well-known Madness Is Gladness and on Everybody’s Talking To Themselves he shows that, although he’s not Jamaican, he is the real deal.

Welcome To Iraq is, not surprisingly, another anti-war song and Tim manages to blend slide guitar and reggae very well. Clever slant on this one. The eponymous title track is just One Man Went To Mow by another name and, despite being well played and sung, is probably the weakest track on offer. Tim is back to the blues on Feels So Fine which swings along well enough with some good guitar and the spoken lyric is ok. An Old Bluesman Never Dies is performed in a John Lee Hooker style, appropriately enough as it was Zakiya Hooker who wrote it. Tim can’t help himself however and flits off into his reggae rhythms. There’s another classic in the shape of Misty Blue and this fits into Tim’s style very well. Clea Llewellen provides the vocal and there’s no doubting that Sunnysideup are a reggae band. Twenty Years Younger is a good, fun song and Albert King’s Down Don’t Bother Me is given a fine reggae/rock treatment. Tim’s high standing shows when Tony Joe White appears as a co-writer of That’s What The Blues Is All About and the result is a funky blues to rival the best. The penultimate track, I’m Just Getting Started, is a slight disappointment (compared to the rest of the set) and its blend of R&B/Soul just doesn’t reach the standard. The final song is a live bonus in the shape of Put A Smile On Your Face and it gives a flavour of their potential. I can’t wait to see this powerful performer.

www.note-music.co.uk

Copyright David Blue 2006.

Alex Shultz – Think About It (Severn Records).

Guitarist Alex Shultz has brought together a plethora of top performers for this album which was, in his own words, “a labor of love”. Guest vocalist Finis Tasby is first up on the opener, Done Got Over It, which is a smooth blues that drifts off into jazz with Shultz’s guitar, Alberto Marsico’s Hammond and Mando Dorame’s sax to the fore. Lynwood Slim takes over vocal duties for Be Good, Be Gone, a jive song that harks back to 50s America and it’s already becoming obvious that Alex sets himself on the jazz side of the blues. Let’s Start Again features yet another singer. This time it’s Tad Robinson and he, like those who have gone before, gives a rounded performance. This has a big band feel (without the big band!) as Alex continues to work on the fringes of the blues. Shultz comes up with some slow, sweet moves on Big Time which is an instrumental to close your eyes and drift away to. Acoustic guitar makes an appearance for the first time on I Don’t Want Your Money Honey. This is jazz club fare and even Lynwood Slim fails to ignite it. Think is 12 bar blues of the highest standard and Shultz shows that he can do it on this, the best song so far. It’s no coincidence that Finis Tasby returns on vocal.

Act Right is another example of Alex’s jazzy blues but I sense a lack of edge to his music. That edge does surface a little on the fast paced, guitar led instrumental Lexington Express. I Love The Woman is a slow Chicago blues and is the real deal. There’s a strong vocal from Finis Tasby and an excellent guitar performance from Alex – a highlight. No Use Knocking is good time music that will have your feet tapping whereas Who Will The Next Fool Be is deathly slow with Tad Robinson’s voice wracked with emotion. This should push your buttons. The instrumental, Rhumba & Orange, as the name suggests is a rhumba but it leaps off into a big bad blues with excellent exchanges between guitar and horns. Alex closes with Walkin’ And Talkin’ which re-introduces Finis Tasby’s fine voice but it may be a strange one to end with although it does build throughout the song.

http://www.severnrecords.com/

Copyright David Blue 2006.

Bill Rhoades & The Party Kings – Voodoo Lovin’ (White Owl Records).

Produced by Terry Robb – Four words that get my attention straight away. Terry’s reputation for good quality blues and roots ensure that what follows is bound to be top grade. Bill Rhoades opens up with Waiting And Worrying with wailing harmonica and a Howlin’ Wolf feel overall. This is followed up with She Walks Right In, a high-paced jump boogie with a rather contrived chorus but it does give the guitar of Michael Osborn, do you recognise the name, the chance to shine. The reason I ask is because Michael was John Lee Hookers guitarist for 13 years. I’m trying is a chugging blues with a clear vocal and Bill’s voice is strangely familiar. It’s a comfortable voice and he supplements it with excellent harp playing. JB Hutto’s Now She’s Gone is classic Chicago blues played in the classic style and you just can’t beat it. Distorted harp and growling guitar, give me more! I got my wish on Temperature 110 as Bill lifts the pace again and shows that he’s one of the best harmonica players plying his trade today. This is another highlight. Hurt Again is a slow, shuffling 50s style rock and roller and Voodoo Lovin’ slightly disappoints. Voodoo gets used a lot in song titles and tends to conjure up an image. For me, that image is Jimi Hendrix, Howlin’ Wolf and magic. Unfortunately, this song fails to take on any of these although guitarist Michael Osborn does give a good account of himself.

Cindy Ann is a classy instrumental where harmonica and guitar trade licks before going off on their own showcase. Rhoades again shows again just how good a harp player he is. Grungy slide guitar introduces She Moves Me, which moves off into a slow, thudding electric blues. I haven’t yet commented on Rhoades’ vocals and, although he has been good throughout there isn’t really any evidence of a good range. The harp is, as ever, excellent. Kidney Stew has another harmonica and guitar introduction and during the song he refers to his girlfriend as ‘not the caviar kind, just plain old kidney stew’ – she must be pleased!! Meanwhile, the song is a good, medium paced boogie. Early In The Morning is another ponderous blues with all the classic elements and refers back to Cindy Ann as his girl. It’s fine by 12 bar standards but Osborn does add that stinging guitar and that makes the difference. The penultimate track, the fast paced Don’t You Lie To Me would have been an ideal closing song but Clarence Lofton’s songs need a stronger singer. However, the track is strong and the harp and guitar are the stars again. Bill chooses to close with the two minute harmonica instrumental, Sixes And Sevens. On this, he manages to get the impression of bagpipes – no kidding, just listen. Whether you like this or not you will just be in awe on the amount of effort that the man puts in.

http://www.billrhoadesandthepartykings.com/

Copyright David Blue 2006.

Howard Glazer & The El 34s – Brown Paper Bag (Random Chance).

The sleeve of Brown Paper Bag professes that Howard Glazer was influenced by Johnny Winter, Muddy Waters and Kim Simmonds and this 13 track album of original blues rock includes elements from all three. The El 34s are a classic power trio consisting of Glazer on electric guitar, acoustic resonator guitar and vocals, Bob Godwin on bass and Charles Stuart on drums. They open with the eponymous title track which has a great introduction with strong guitar from Glazer. His vocal delivery is interesting to say the least. It does get a bit laboured at points but gets better with repeated listening, can’t fault the guitar though. Cold, Sad And Lonely is a slow blues burner and his vocal is almost snarled at the listener. I don’t know who he has styled himself on but it is vaguely familiar. Steamrollin’ Baby is played on acoustic resonator and is very proficient, if unspectacular but the deft, Chicago style guitar work on Going To Chicago makes it a highlight although the female backing vocal only highlights Glazer’s limitations. Having said that, Sad Situation, a slow, classy blues actually has Howard’s best vocal so far. The acoustic Radioactive Woman tells of Glazer’s past employment in a power plant and that’s why he wrote the song. However, this is hardly a radioactive performance.

Backing vocals help out the Louisiana swamp inspired stomper, Don’t You Love Me No More and they’re off into Delta blues on Full Moon Blues where the painfully slow style suits his voice better. This steel guitar song is one of the best on the album. Another different style is the jazz blues of Mean Hearted Woman. Again, he turns in an excellent introduction and the vocal is passable but like most of the songs it is carried by his guitar playing. You could quite easily have been listening to Jimi Hendrix on the introduction to The Dogs They Bark At Midnight and it just gets better – a highlight. One criticism I have is that sometimes Howard tries to get too many words in and Smokin’ And Drinkin’ is a case in point. Still can’t fault the guitar though. There’s another slow, moody blues on Start Again and I’m getting more used to his voice. This is definitely his type of song and there’s more than a passing nod to John Lee Hooker here. The final track, Freedom, is a strange guitar instrumental and it’s not really necessary.

A bit of a mixed bag but the trio are very tight, Glazer is an excellent guitarist and there are some good songs in there.

www.randomchancerecords.com
www.howardglazer.com

Copyright David Blue 2006.

Chicago Blues Harmonica Project – Diamonds In The Rough (Severn Records).

This album, showcasing six of Chicago’s finest harp players also features The Chicago Bluesmasters who provide some excellent backing. The six players are Dusty Brown, Omar Coleman, Russ Green, Larry Cox, Harmonica Khan #1 and Little Addison and each are given two songs to impress. Dusty Brown serves up I Got To Go and He Don’t Love You. The former is a good tempo Little Walter song that epitomises Chicago blues and played by an elder statesman of the city. Brown is, in fact, at age 77 the oldest performer here. He has lost none of his vigour and although He Don’t Love You is of a slower pace it does project his tortured soul and experience. Omar Coleman’s two offerings are Jody’s Got Your Girl And Gone and You Don’t Love Me. From the oldest performer to the youngest and Coleman’s youth bursts out of his funky, modern blues. He often plays with John Primer’s band but is not a full time musician. Having said that, his singing and playing are very strong and it is clear that he is heavily influenced by Billy Branch. You Don’t Love Me is a great finish to the album. It has to be one of the highlights and why this guy is not in the upper echelons of blues is anybody’s business. Russ Green is the strongest player so far and, although he wrote How Many More Years, you can hear the Howlin’ Wolf influences. A Chicago native, he’s another youngster at 39 and has modelled himself on Sugar Blue. His second song is Everything’s Gonna Be Alright and I still reckon that he is the most powerful player from a selection of powerful players. This song sets up his power playing to perfection.

Next up is Larry Cox and he gives us the old classic, Mean Old World. Cox’s world weary voice is as you’d expect from the Tennessee veteran – Chicago blues at its best. He was given his first harmonica at the age of four by Sonny Boy Williamson #2 and you can’t get a much better start than that. Cox’s other offering is Goin’ To New York, a standard blues played to a slightly better than average standard by The Chicago Bluesmasters. They back all of the artists on the album apart from Harmonica Khan #1. Cox provides some great trills. The aforementioned Harmonica Khan #1 (real name George Meares-EL) is up next and his performance harks back to the players in old time Maxwell Street with his howling, foot stomping and bone rattling. Baby What You Want Me To Do is primitive stuff – I love it!! Khan’s other contribution is Next Time You See Me and he manages to keep up the primitive sound whilst modern technology keeps the sound clean. I would love to hear just one song in person. The last artist is Little Addison and he is completely different from Harmonica Khan #1. This is electric blues with all the trimmings. Addison’s history is as good as anyone’s having played with Elmore James in the 1950s, had Luther Johnson in his band in the 1960s and counted Muddy Waters as one of his friends. His other track, the slow blues of Respect Me, loses a little on the vocal by trying to be too emotional. It’s a powerful song though and the piano player sounds as if he’s playing his fingers off. These are, very surprisingly, his first recordings at the age of 70.

If you like Chicago blues or harmonica blues in any way then this album has to be in your collection.

www.severnrecords.com

Copyright David Blue 2006.

Brooks Williams – Blues & Ballads (Red Guitar Blue Music).

Brooks Williams was born in Statesboro (made famous by Blind Willie McTell’s Statesboro Blues) and was influenced by, amongst others, Taj Mahal, Duane Allman and Ry Cooder. He then discovered the original artists who influenced his heroes and his love of blues and roots was confirmed. This album of covers and traditional songs is the result of a series of single take recordings. Weepin’ Willow Blues is a traditional song attributed to Blind Boy Fuller in 1937 and is controlled acoustic blues with up-tempo slide – good beginning. Brooks slows it down for In The Evening, written by Leroy Carr. He brings us a plaintive but clear voice and well played delta guitar blues. Shady Grove is another traditional American folk song and his arrangement has it bouncing along in a very effective, easy going way. I don’t know if Miles Davis’ All Blues is meant to encompass every blues style because if it does, it fails. What it is, is an instrumental that showcases Williams’ guitar dexterity. Don’t Get Around Any More is a Duke Ellington song and Brooks’ jazz side comes out. I think that the album could do without this track even though the guitar is still good. Robert Johnson’s Love In Vain is often covered and although it lacks the emotion of the original this is still a very good version due to the different guitar style that includes slide.

Tenpenny Bit is a traditional fiddle tune but has been re-jigged for guitar and again shows Williams’ mastery of his instrument. Lightning Hopkins Honey Babe is up next and this simple, fast paced blues is a highlight. Another of the traditional songs is Watch The Stars which is hard to categorise so I would probably plump for Americana. Brooks’ technique of overlaying guitars is well used here. Peacemakers Hornpipe is another fiddle tune revamped for guitar and mandolin. Wonderful folk music and his technique is there for all to hear. There’s another powerful guitar performance on Bruce Cockburn’s country/gospel One Day I Walk but the Tommy Dorsey instrumental Take My Hand, Precious Lord is hard to take any message from. Brooks closes well with country blues in the shape of Trouble In Mind. Overall I feel that listeners will get more from the guitar rather than Brooks’ voice but as far as the musical content is concerned, this is an album worth having in an acoustic blues collection.

http://www.brookswilliams.com/

Copyright David Blue 2006.

Colin Linden – Easin’ Back To Tennessee (Crosscut Records).

Another one from the top German blues label, Crosscut. This time it’s much respected Canadian Colin Linden. Linden has been an in-demand session musician and has produced albums for The Band and Leon Redbone amongst others. He met Howlin’ Wolf at the age of seven and became friends with him until the Wolf’s death in 1976. Not surprisingly, Linden cites Howlin’ Wolf as his most significant inspiration. He opens this album with the eponymous title track, which is a Delta blues, written by Sleepy John Estes, with steel guitar and all of the classic stylings. This is a true blues with a strong vocal and lovely rolling guitar. This is followed by a well trodden blues theme on Go Back Old Devil. This is again in the classic Delta style and harks back to Robert Johnson. Blind Willie McTells’s Broke Down Engine is painfully slow and, in his wailing vocal, Linden upholds the Delta traditions more than most I’ve heard recently – Robert Johnson must be an influence too. The self-penned Nowhere To Go is another up-tempo song; just voice and guitar, this is a nimble fingered contemporary blues. The spiritual A True Friend Won’t Let You Down is just a lovely, well-executed song and T-Bone Burnett’s There Would Be Hell To Pay takes you to the other end of the spectrum with its speakeasy evoking images and tales of love and death.

Colin’s slide guitar gets another airing on You Can’t Get The Stuff No More and the happy aura surrounding this song gives it a jug band feel – very good. The happy, bouncy feeling continues with the instrumental, Paramount before we are treated to the highlight of the album. I don’t know if Keep It Clean is meant to be innuendo laden but I suppose that’s the songwriters’ (Tampa Red) talent. This is just a delight with lightning fast finger picking and a machine gun vocal delivery. Things are slowed right down to funereal pace for Champ. Electric guitar is introduced for the first time and it’s modern but with a classic feel. The downbeat lyric fits in so well. Son House’s Dry Spell Blues sees a welcome return to Delta blues and Linden plays this style so well. I love his acoustic slide style and a great example of this is on the spiritual, intense Trouble Soon Be Over – another highlight. He finishes with Tears Come Rolling Down and I knew there were some Robert Johnson influences in his playing somewhere. This is a downbeat finish but as the album has mainly been about classic blues themes I can think of no better way to wrap things up.

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

Copyright David Blue 2006.

Deadstring Brothers – Starving Winter Report (Bloodshot Records).


This is Deadstring Brothers debut release for Bloodshot and the two names that have been most banded about in connection with it are The Rolling Stones and Gram Parsons. The Stones influences hit you straight away on the strong alt. country opener, Sacred Heart and it is apparent how well frontman Kurt Marschke and his vocal sidekick Masha Marijieh’s voices blend together. Toe The Line, like all the songs on the album, is written by Marschke and his drawled vocal adds to its effectiveness. There’s a good sing-along chorus as well. The Stones influences continue on Lights Go Out but make no mistake, Marschke is a good frontman in his own rite. The vocal harmonies continue to their high standards on Get Up Jake and not since Free has Jake been in the limelight – a strong song. Talkin’ Born Blues has a machine gun delivery and is much in the Bob Dylan style of blues.

They slow the pace down for Blindfolded but the quality is not affected. This is another good alt. country song and shows just how good a band they are. A flavour of mountain music is added to Moonlight Only Knows and the guitar, mandolin, fiddle and gentle harmonies are what you would expect from this style of song. The Brothers go electric for Til’ The Bleeding Stops, a bit rare for them, but it’s a bit weaker than the rest although the chorus does lift it somewhat. The Rolling Stones have pervaded a few songs on this album and All Over Now is no different. Marschke’s vocal inflections owe much to Jagger and this song will grow and grow on you. The album finishes all too soon with Lonely Days. It’s upbeat and has a catchy chorus again – this will be one of their trademarks.

Deadstring Brothers (+ sister!) may well just be the next big thing and I’m sorry that I missed them on their recent visits to Glasgow. I won’t make the same mistake again.

http://www.bloodshotrecords.com/
http://www.deadstringbrothers.com/

Copyright David Blue 2006.

Frank O’Hagan – A Long Way From Home (Hapax Music).

I have to confess that, although both Frank and I are both from Scotland we do not know each other. I’m sure that will come as a surprise to those of you who think that everyone in Scotland knows everyone else. Seriously, I’ve not heard of Frank O’Hagan but this 13 track, self written album is a good introduction. The eponymous title track is a gentle way to start with heartfelt lyrics and Celtic overtones – partly reminds me of Downtown Train by Tom Waits. Leave This City Behind is a blues base rocker with a good guitar base and great organ fills. The vocal slightly lets it down due to lack of power. When The Boat Comes In (for those old enough, no it’s not that one) is slow, Celtic influenced folk that builds up very well after a bit of an uninspired start. Good saxophone break in this one. I know that I said that the album was completely self written but I’m sure that I’ve heard Judgement Hall somewhere before. Maybe I’ve just been listening to too much recently. Anyway, this is a good paced sing-along rocker. Free Yourself continues Frank’s Celtic style. This time it’s piano based and is crying out for a filmmaker to use it. It’s probably the best crafted song on offer and Frank’s voice suits it perfectly. Montgomery Alabama is classic R&B with a good racial message but I’m afraid that the voice isn’t up to it this time.

What does suit Frank’s voice is the jazzy Include Me Out. Unfortunately, this is just a filler and nothing else. Another style is introduced with big band jump blues in the form of Wasting Time. This is more like it but a bit more of the horns would have gone down well. More Or Less is Celtic style Country and another well written song although his voice does sound a little strained at times. Will O’ The Wisp sounds as if it should be a Scottish country dance song but what it is, is a sultry, brooding, smouldering contemporary blues in the style of Peter Green or Gary Moore. Only complaint is that there aren’t enough guitar breaks. There’s more country, this time with elements of jazz and blues, on Still In Love With You. This is a bit nightclubby and not strong enough. On The Road Too Long is better and flits on the edge of country/blues/gospel and is another of the better songs on the album. He finishes with the unashamedly Celtic Rain In The Rosses. He’s obviously showing us that he can tackle the traditional style songs as well as those that are contemporary. It’s not my cup of tea but there is a huge market for this kind of song. I’d advise him to stick to the other genres and find a strong singer to highlight his very good songwriting skills.

www.hapaxmusic.com

Copyright David Blue 2006.

JW Jones Blues Band – Kissing In 29 Days (Crosscut Records).

JW returns with his latest set for Crosscut and things have not gone too bad since 2004s My Kind Of Evil. He opens with the high paced eponymous title track. This is more in the Rock n Roll era than blues but JW flits between the two quite often and to great effect. His guitar was one of the driving forces on the last album and there’s no sign of him letting up on this. Hey Girl keeps up the fast start to the album and again is on the Rock n Roll side of the fence, but only just. Clean guitar and saxophone are the highlights here. On All My Money, JW harks back to the golden era of the 50s and gives the song a 21st century feel. This swing blues has the classic themes of infidelity and money at its centre. I Don’t Want To Hear is classy, brassy and full of soul. In addition, there’s a lovely bass line from Nathan Morris and a sweet sax solo. Games has echoes of Robert Cray and has the horn section on top form whilst Parasomnia is a high octane big band blues instrumental that allows JW to be let loose on guitar.

The big band feel continues on Fly To You, which is smoothness personified. Got Me Chasin’ is an electric Kansas City style blues that shows JW can turn his hand to a number of techniques. There’s also some good harmonica work from Frank Seanga who also contributes sax to a number of tracks. There are some slower tracks on offer and Way Too Late is one example. This has full backing from the horns and the piano segment leading into the guitar solo is seamless. Hallelujah I Love Her So is an example of the swing blues that JW is so good at. He has to be one of the best exponents around. Pretty Little Sweet Thing heralds the return of a faster pace and this funky blues showcases a band that is on top of its form and Standing In Line is hard hitting electric blues that contains references to Elmore James’ The Sky Is Falling. The blues theme of love and death helps contribute to one of the highlights of the album. The staccato guitar and drums of JW and Artie Makris gives No Love a jumpy feel and this is a blues with a twist – just listen. The set is rounded off with Here She Comes, another that harks back to the 50s. It’s a medium pace finish to a high class album. Very professionally produced and played by a band that knows where it wants to be and ably backed up by the excellent Wind-Chill Factor Horns.

http://www.crosscut.de/
www.jw-jones.com
Copyright David Blue 2006.

Tom Rigney & Flambeau – Off The Hook (Parhelion Records).

Tom Rigney and the members of Flambeau are well known blues/Cajun/zydeco artists in the USA and this, their ninth album and first since 2004’s A Blue Thing, is one of the reasons why. They open up with the promising My Baby, a smooth swinging blues that highlights vocal harmony amongst many other attributes. Rigney unleashes his fiddle on the eponymous title track which is a fast paced Southern country style instrumental that has him and guitarist Danny Caron trading licks a plenty. Never Let You Take It Away is classic country and is competent enough if not my kettle of fish. Forbidden Fruit is another fiddle led instrumental, well played but lacks excitement. He’s back into old fashioned country again on Let Me Be Your Fool Tonight but this one is saved by the good interplay between fiddle and guitar. Having Caron on guitar is a bit of a coup as he was bandleader for the great bluesman Charles Brown for twelve years. La Porte En Arriere (The Back Door) is unashamedly Cajun – class. Rigney’s roots start to show on Farewell Waltz but where he says he has Irish roots I feel that this is straight out of Scottish country dance music. Nevertheless, a great tune for a celeidh. It’s Cajun again for Cocodril Stomp and its infectious feel just makes you want to dance. I could do without the country tacks such as I Won’t Be Sad Tonight but each to their own, I suppose. Back to business on Pont De Vue and although this isn’t as good as the other Cajun tracks it’s still a better class than Tom’s country offerings. The band slips back into the blues with the atmospheric instrumental Insomnia. This is a moody fiddle led song that keeps up the high standard of the back end of the album. Thankfully, Tom chooses a Cajun finish with Tes Parents Veulent Plus Me Voir, which my schoolboy translation comes up as Your Parents Want To See Me More (I’m sure that someone will correct me). Excellent way to finish and I’ve only got two complaints – more Cajun and more vocals!

http://www.tomrigney.com/
Copyright David Blue 2006.

Mac Arnold & Plate Full O’ Blues – Nothin’ To Prove (Plantation #1 Productions).

Mac Arnold was the bass player for Muddy Waters and recorded with Otis Spann and John Lee Hooker. He’s right, he has nothing to prove but has time lessened his talent? Blues For You is a solid opener that gives a good indication of what’s to come both vocally and on guitar. The very strong eponymous title track is a slow Chicago blues that has snarling harmonica and howling guitar. Austin Brashier’s guitar has a fine tone and is excellent on Call Mac Arnold, in particular. In addition, Arnold’s voice has that earthy quality to it. I Don’t Know has another strong vocal performance although the song is not as strong as those that have gone before. Having said that, it does stand up to scrutiny and Rudy ‘Blue Shoes’ Wyatt on the piano takes all the plaudits. It’s back to the bare bones of voice, piano and harp for the very slow (Get On) Back To The Country. The slow pace is the perfect foil for Hightower’s wailing harmonica.

Ghetto Blue sees a welcome return to Brashier’s stinging guitar and has a familiar theme of a deprived childhood. Arnold sings of AC Reed, Muddy Waters, Tyrone Davies and Buddy Guy in Chicago – life can’t have that bad, after all. Going Back Home swings ok but it’s not the best on the album although the guitar and harmonica interlude lifts it. Arnold shows that he can grind it out with the best of them on The Truth and Brashier’s axe is on top form as ever. He provides some more classic Chicago blues on She’s So Mean To Me. This is 9 minutes of sheer class and everything shines on this track. Arnold finishes up with a live version of (Get On) Back To The Country. This has slide guitar from Hightower added this time and suggests that Mac Arnold is a very large live performer and is the real deal.

As the title says, he really has got nothing to prove.

http://www.macarnold.com/
Copyright David Blue 2006.

Svensson & Dafgard – Rootation (Dusty Records).

The Scandinavians love their blues and this pair has obviously been influenced by many of the greats. They play delta blues from the 20s and 30s and mix it up with a contemporary feel every now and then. Rootation begins with the Jimi Hendrix classic Voodoo Chile and I’m not complaining about yet another band covering Jimi. This duo on acoustic guitar and harp make it sound like an authentic blues/roots song and produce a powerful opener. Heaven Only Knows is the first of half a dozen self written songs. In fact, the album is split 50/50 with covers and original tracks. This one is by guitarist Svensson and it’s a great country blues; foot stompin’, clapping excellence. Stay Away From Love is Dafgard’s first track (he contributes two) and is a swinging blues performed in the guitar and harmonica bare bones style that they have already shown is theirs. Svensson’s next effort is Men Of Steel. This is an atmospheric, epic tale, performed on guitar and voice which only adds to the overall feel. At My Front Door is a classy blues that allows Dafgard to show his style on harmonica and Bad Luck Blues by Blind Lemon Jefferson is just so easy to listen to – the boys have come up with a stomping roots version.

My Love Is has a contemporary, moody feel to it and has the best vocal on offer before they run off into Dafgard’s second, and final, song, Change My Ways. This is a highlight with its Cajun infused country moves. The rootsy Albert & Agnes is Svensson’s penultimate song and, although he tends to overdo it a bit, it does tell a good story. No harmonica player can go a whole album without a Little Walter song and Dafgard comes up with It Ain’t Right. Again, he shows his undoubted class and passes the test with flying colours. There’s some more top harp playing on M&O as Dafgard shows he can really grind it out. Having said that, Svensson does deserve some praise for his consistently excellent guitar work too. They close with Pilgrim, Svensson’s final song, which is a slow roots/Americana track. Unfortunately, this is a bit insipid and proves to be a slightly disappointing end to what is a fabulous album.

http://www.svenssondafgard.com/
http://www.dustyrecords.se/
Copyright David Blue 2006.