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.