Hadden Sayers – Hard Dollar (Blue Corn Music).

Once described as Houston’s best all-around rock guitarist, Hadden Sayers has had more than the average number of troubles to overcome throughout his musical career. In 2004, he was feted by record labels but bad deals followed, along with other mishaps, and he found himself out on his own. It took a final turning of his back on music and a subsequent meeting with a retired stonemason who turned up to help on a project to rebuild an old fishing shack to get him back on track. He’s now signed with Blue Corn Music and his debut opens with the good old Texas Country Rock of Take Me Back To Texas. The sleeve notes say he was thinking of Freddie King, Joe Ely and Asleep At The Wheel but mainly about home. He keeps the Texas Country Blues but slows it down for All I Want Is You. His drawl fits in perfectly although it does make it a little derivative of the style. Stabbing guitar compliments well. Back To The Blues highlights that Sayers does not have a classic Blues voice; that lies firmly in the Country genre. However, Ruthie Foster guests and turns it into a sophisticated, glitzy Blues and there is some fine guitar playing in there too. The intriguingly named InsideOutBoogie is a straightforward Country Boogie, nothing new but has the band on good form. The offbeat Lap Of Luxury follows and has an overall Blues feel to it, much like T-Bone Walker. It lumbers along effortlessly and the seamless guitar adds a touch of fluidity. I knew that we’d get a song about a car, now all we need is one about trains or prison and we’re set. Seriously, this laconic Country tune is not out of place on the album.
Sweet Texas Girls is a slick modern Country song that will challenge those who say that they don’t like Country music and make them sit up and listen. Sayers’ drawl is evident on Crush On You, an old time Country offering with a Willie Dixon Blues bass line, which is delivered in a contemporary way. If Country and Blues could get funky then it would sound like Ain’t Comin’ ‘Round No More and some of the best guitar work, with thoughts of Hubert Sumlin, on offer makes for a bit of a highlight. Hippie Getaway brings us back to Sayers’ forte, Country Blues, and this slick one is replete with punchy guitar and a fitting tribute to Lightnin’ Hopkins. He remains in the genre for the mid-paced Burnin’ Up. He strolls his way through this one with occasional fills from guitar and harmonica along with a few Howlin’ Wolf ‘hey, hey’s’ thrown in for good measure. The penultimate track, Room 155, is a slow Blues and shows that there may well be a Blues voice in there after all. This gritty epic, written to honour Sean Costello, is over 7 minutes long but time goes by very easily with scything guitar and everything going deliberately discordant at times. He closes with MoneyShot, which almost ventures into the Jazz Blues arena and he may leave himself open to accusations of trying to put too many genres on one album. Having said that, the classic Hammond organ/guitar combo, played exquisitely, makes for an excellent instrumental finish. See if you can pick out three keyboards players here.
Is there a place in the highly competitive world of modern Country/Americana music for Hadden Sayers? I think there might just be.

http://www.haddensayers.com/
David Blue.

P-A-U-L – Tales From The Gravel (E&E Entertainment).

Think of Kiss mixed with Oasis and you might just about get the sound of The Time Of My Life. It’s all a bit frenetic but it’s a good opener. Forever Young And Free is a crisp funky rocker with a big bass line and a searing solo. Has he made a progression from his first two albums? Possibly, and he has managed to keep that raw edge. Pistol Whipped Again is a grungy Blues Rock with a sleazy vocal from PAUL. This one will grind you into the dirt and the free flowing solo is a highlight. Ghost Of Gun And Fist is a strange title but it turns out to be a simple Blues Rock with a strong solo. Piano ballads such as We Believe invariably turn up on this type of album but this isn’t PAUL’s finest vocal. However, things pick up when he isn’t singing alone but it’s all too long at just under 7 minutes. This could do with a reworking and keeping the best parts which all come towards the end.

Preachin’ Fire promises a straightforward rock approach and that’s what we get. It’s unashamedly of the fire and brimstone kind – if the Wee Frees liked rock then this would be their theme tune! The One is a rocking highlight where a number of styles come together perfectly. PAUL hits the spot and lets loose his guitar. The rhythm section (Joey Spina on bass and Layla Hall on drums) sets up Bite You with a deep bass and rolling drums. It’s like Fred Flintstone rocking out – Yabba Dabba Doo. I’m not too sure about the song but it has some of his best guitar work. The New Machine is another on the funky side. Hall throws everything at it and the verse reminds me a little of ZZ Top’s Cheap Sunglasses but don’t ask me why. Drinks Are On Me is a fast paced Rock N Roll and I’m sure I heard Glasgow mentioned in there somewhere. He tips his hat to Dr Feelgood and the slide guitar suits it very well. If Glasgow is mentioned then the title is not a good thing to broadcast – it’ll cost you a fortune!!

http://www.p-a-u-lmusic.com/
David Blue.

Eden Brent – Ain’t Got No Troubles (Yellow Dog Records).

Ain’t Got No Troubles is Eden Brent’s third album and contains eight self-penned songs. She opens with Someone To Love, which is a soulful R&B with a New Orleans feel to it. It has a good vibe and a stringent vocal. The eponymous title track, with New Orleans jazz stylings stamped all over it is the perfect vehicle for Brent’s sultry vocal. Her smokey voice takes us all the way to the end on Blues All Over and her slow, rolling piano is a highlight. Later Than You Think veers towards Jazz and has a lovely acoustic interlude whereas Right To Be Wrong is a guitar based Blues boogie and an extremely strong one at that. Leave Me Alone is another ballad and why not, as she is so good at them. Subtle horns (Tracy Griffin, Emile Hall and Jeff Albert) and organ (Jon Cleary) supplement the piano and guitar. The title says it all on Let’s Boogie Woogie. Colin Linden’s guitar and Eden’s piano join together to make for a very strong track. Her piano is to the fore again on My Man, a jaunty alehouse kind of song. The piano ballad, Beyond My Broken Dreams has a slightly contemporary Country touch. Eden’s vocal has shades of Maggie Bell and there is a lovely slide guitar break from the aforementioned Linden. The jazzy acoustic feel of If I Can’t sits beside I’m In Love With Your Wallet, which is a mid-paced piano boogie, Southern style, that is much reminiscent of Professor Longhair. I could be ungracious and say, typical woman but I’m not that kind of guy! Goodnight Moon is another piano ballad and another good song. It’s a different kind of song to the likes of Beyond My Broken Dreams and although she is a powerful singer she has the ability to soothe the soul.

http://www.edenbrent.com/
http://www.yellowdogrecords.com/

David Blue.

Gov’t Mule – Mulennium (Provogue).

This release is a live recording made at the Roxy Theatre, Atlanta, Georgia on 31/12/2009 with Bad Little Doggie opening up the 3 CD set and they give it a big build up, just like a preacher. This is a chunky blues rock and the singer has a classic rock voice – a great opener. Lay Your Burden Down has the band in a groove. It’ a grinder with excellent guitar work. Blind Man In The Dark has them raiding their back catalogue with a fuzzed vocal on this standard blues rocker. Life Before Insanity is a great title and the band slows things right down for this classy rock ballad. Larger Than Life has hypnotic drums and the vocals are holding up well. This track shows just how good a band Govt Mule is. Towering Fool is classic slow rock – moody, brooding and peppered with stinging guitar. Countdown Jam is essentially a 90 second warm up and lead into a cover of King Crimson’s 21st Century Schizoid Man. Although King Crimson covers are rare, Govt Mule stays true to the original complete with heavy vibes and fuzzed vocal. The Who’s We’re Not Gonna Take It follows and this is a great version of another song that is not often covered. A trio of covers finishes with Led Zeppelin’s Dazed And Confused, which is delivered with panache by the all Mules line up and closes the first set after 1 hour and 10 minutes.
Set 2, 1 hour and 43 minutes, is a selection of songs with blues legend Little Milton and opens with When The Blues Comes Knockin’. This classic rhythmic blues has Little Milton on vocal and his smokey tones add a little piece of class. My Dog And Me is a Chicago blues about when your woman leaves and all that’s left is the dog! The guitar will touch your soul and, when added to the heartfelt vocal, makes for a top class blues song. Lump On Your Stump continues the Little Milton collaboration and what a title that is! This bounces along very well and the message to come out of it is – don’t mess with Milton. I Can’t Quit You Baby is another classic blues song and they play it to perfection whilst their version of It Hurts Me Too is not quite as raw as those of say, Elmore James and Eric Clapton. However, it is just as good and the dual vocals works well. Milton is the man as they take on Blues Is Alright, perhaps best known to some by the Gary Moore cover, and deliver it in an authentic and vibrant style. Former member Audley Freed (also ex-Black Crowes) joins them for Is It My Body and the addition of his guitar is noticeable. They go for that fuzzed vocal again but I feel that it is not necessary this time and it slightly spoils a good track. Disc 2 ends with Power Of Soul and Freed stays on for this funky offering. It turns into a bit of a jam but when there are two excellent guitarists on show then it doesn’t really matter too much.
The final disc, which has them finishing at 03:43 am, starts with a version of The Beatles’ Helter Skelter and although it loses to the original on vocal prowess, it is as frantic and is still a class apart. Sometimes Salvation has Freed still with the band and he makes his mark on this classy, slow rocker. Robert? Adds his vocals for 30 Days In The Hole whilst Freed continues on guitar. This is vibrant and even mentions Newcastle Brown! The drummer gives it plenty on this and the guitarists swap licks effortlessly. With Freed now filling in full time as they move on to the classic rock themes of End Of The Line. The addition of slide guitar to the mix makes for a more rounded sound. Out Of The Rain takes quite a while to get going but the powerful, soulful vocal is worth waiting for. The singer turns in a great performance and the addition of steel guitar gives it a country feel. The Americana standard, I Shall Be Released, is delivered with great melody and there’s a new bassist and guitarist added. Freed is back for a brilliant take on the Lynyrd Skynyrd classic, Simple Man. This is one of my favourite songs and Govt Mule’s version is worth every one of the 15 minutes that they give us. They certainly don’t do too many short songs and you certainly get your money’s worth on this album and this is what music is all about. Having said that, they follow up with Crowd and, at less than 2 minutes long, I feel short changed!! Seriously though, this is just the sound of the crowd at the end of the gig.
This is a great introduction to the music of Govt Mule so go get it.
http://www.mule.net/
http://www.provoguerecords.com/
David Blue.