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.