Pinetop Perkins – Born In The Honey. The Pinetop Perkins Story (Vizztone).

93 year old Pinetop Perkins is one of the last remaining golden generation bluesmen. This 60 minute documentary, narrated by Chuck Dodson, tells his story and shows what a great showman he is. He was born Joe Willie Perkins in Belzoni, Mississippi on the Honey Island Plantation, hence the DVD’s title. His parents split up when he was young and he left home at the age of 16 after a particularly bad beating from his grandmother. After a very short Gospel career he met guitarist Robert Nighthawk and started playing with him, in between making moonshine and working on cotton farms. Around this time he started calling himself Pinetop, after Clarence Pinetop Smith. He continued to work in the cotton fields, playing guitar and piano at night before he met another who would be a long time colleague, guitarist Earl Hooker. Pinetop’s next adventure came in 1941 when Robert Nighthawk invited him to play with him on the King Biscuit radio show. This was the first show to feature live blues and led to Sonny Boy Williamson asking him to join his band, The King Biscuit Entertainers, in 1943.

Other notable achievements include teaching Ike Turner how to play piano. The DVD also features some live footage that shows the he, even in his advanced years, can still belt out a tune. His career has not been without its lows, one of which was when a chorus girl attacked him with a knife, severing a tendon in his left arm and nearly ended his career. There were no black hospitals and he had to depend on the radio station owner and sponsor to take him to be treated. Perkins says that his left arm don’t work too well ever since.

At the end of the 40s he was back with Nighthawk and Earl Hooker. He moved up to Memphis and then Cairo, Illinois in 1949. Cairo was midway between the Delta and Chicago and became an important staging post for blues musicians. Pinetop worked as a car mechanic during the day and played piano at night. By 1950, Nighthawk had moved on to Chicago and invited Pinetop to record with him. Again, he was unlucky with injuries and ruptured his eardrum one night when sitting too close to Hooker’s amplifier – his hearing went down to 50%. He went on to play in Ike Turner’s band and even had to fill in on drums occasionally. Perkins moved back to Cairo in 1953 before going up to Memphis to record at the legendary Sun Studios. It was there that he recorded one of his most famous songs, Pinetop’s Boogie Woogie. He was off on his travels again in the late 50s and his latest destination was St Louis where he joined Johnny O’Neill and The Houndogs. He finally made it to Chicago during the 1960s blues boom and it was here that he had his most fortuitous meeting. In 1969, Otis Spann left the Muddy Waters Band to go solo and Waters asked Pinetop to replace him. Despite a lasting friendship with Waters, Pinetop left with the rest of the band to form The Legendary Blues Band. Unfortunately, Waters died 3 years later and Perkins says that the reason was that the band had left him.

Perkins finally went solo and released his first album in 1988. he tells of his raucous whisky drinking days and how he gave it up at the ripe old age of 82 when he could not be bothered being arrested every time he stepped out his front door anymore. It all worked because he became a Grammy nominee and won a Lifetime Achievement award in 2005. By then, he had made his final, so far, move to Austin and was given the keys to the city on his 92nd birthday.

Apart from the great concert footage, one of the enduring memories is that of Pinetop being driven up to McDonalds in his Rolls Royce and ordering 2 double cheeseburgers and 4 apple pies. Seemingly, that is all he regularly eats. There are many interviews where some of the best blues musicians give their memories of Pinetop. Those interviewed were Sam Carr (Robert Nighthawk’s son), Willie ‘Big Eyes’ Smith, Bubba Sullivan, Ike Turner, Bobby Rush, Dr John, Lonnie Brooks, Mitch Woods, Paul Oscher, Hubert Sumlin, Taj Mahal, Ann Rabson, Marcia Ball, Kim Wilson, Koko Taylor, Bernard Allison and Eddie Clearwater.

Pinetop Perkins is one of the greatest bluesmen ever and a man of great humility. His answer to the final question of ‘if you weren’t a musician, what would you be doing’ was that he did not know what he would be doing, probably in the poor house. Also included is a bonus 10 track CD with some of his greatest songs. This DVD package is a must for those interested in blues history.

http://www.vizztone.com/
http://www.pinetopperkins.com/

David Blue.

National Debt – From The Horse’s Mouth (No Tom Records).

National Debt was formed by Ronnie Smith and Michael Messer in 2002 to play for fun when Messer was not out on tour. That is still the situation but last year they decided to record an album and From The Horse’s Mouth is the result of that decision. Oozlin’ Daddy Blues sets the tone for this Rootsy album however, don’t ask me what the title means as I have not got a clue. Slide guitar from Michael Messer is fantastic. Charlie’s Tale is the first of a trio written by vocalist Ron Smith. This is top class folk with added value in the form of Messer’s guitar. The second of Smith’s trio is Love To Burn and this one is old style Country/Mountain music. Backing vocal from Cheyne Pride is very good and her voice compliments Smith’s extremely well. By now it should be taken for granted that Michael Messer’s guitar work is nothing short of superb and the short solo on this is sublime with backing from long time musical partner Ed Genis. Dead Men’s Wages makes it three in a row of Smith penned songs. This is the weakest of the three and his vocal is not really on form here. He would be best leaving this type of song to the guy that I was reminded of when I heard it and that is Nick Lowe. Leaving Home is a Charlie Poole song and is firmly in the Roots/Americana genre. This earthy offering would go down great in an intimate live venue.

Preach The Gospel has the band going electric for the first time. Written by Washington Phillips, this is an easy going, laid back stroll. Lonely Road is another of Smith’s songs and this is brilliantly raw Alt. Country. No matter how good a song is, and believe me, this is a highlight, Michael Messer always manages to lift it with his guitar fills. Salvation Blues is Smith’s last solo song writing credit and is Americana of a high standard. Turning Blue sees Messer co-writing with Smith for the first time on a stripped bare rootsy offering. They turn to the mountains again for Ridin’ That Midnight Train. Messer and Genis are standouts here again on this up-tempo classy Americana. I would have swapped the final two tracks around for the last song, The Memory Of Your Smile is a bit too laid back for my liking, good though it is. Backing vocals from Pride and bassist Chris Clarke are top drawer and there is a powerful chorus to its credit but the pace lets it down for a closing track as it does not really implant itself in the memory. However, the track is of such a high standard that it is only me being picky. This is a very good album by very good musicians.

http://www.michaelmesser.co.uk/

David Blue.

Savoy Brown – Bring It Home (Viceroy Music).

Bring It Home opens with Mr Brown Boogie, a fast paced instrumental with excellent slide guitar from Kim Simmonds and Pete McMahon on harmonica manages to keep up the pace too. Sweet Loving Thing is a grinding blues rock, the kind that John Mayall excels at. There is a gritty vocal from former Kingsnakes front man McMahon and punchy guitar from Simmonds. Too Much Of A Good Thing has another excellent vocal from McMahon – swing/jump blues this time but Simmonds guitar is consistent and former Robert Cray Band drummer, Dave Olson keeps the whole thing together. Misery is blues based rock and more than competent standard fare. Your head will be nodding to the staccato beat of Willie Dixon’s Shake For Me as Simmonds and Hubert Sumlin trade riffs. Pack It Up, with pounding bass from Jim Heyl is a Freddie King song turned into blues rock, British style. Savoy Brown and their ilk cornered this market in the 60s and 70s and the genre went on to spawn Free and many others.

‘Lonesome Dave’ Peverett is the guest vocalist on High On Your Love, which could be classed as an old shuffling Texas style blues. The harmonica gets another outing here and is used to great effect. The grinding Worried Man has more of Simmonds’ excellent slide guitar and the vocals are better than its predecessor. John Lee Hooker’s Little Wheel is given a sympathetic treatment and the guitar and harp get it on at the beginning. This is more rhythmic than the original but not quite as hypnotic. Percy Mayfield’s You’re In For A Big Surprise (the title, not a statement) is a big, powerful, sophisticated blues and there are strong vocal and harmonica performances on the New Orleans flavoured Real Fine Woman. The contemporary blues of That’s What Love Will Do are still fresh, even 12 years after the original release. They finish with Baby Please, a slow moody Chicago blues that has Simmonds’ guitar and the vocal melding very well.

http://www.savoybrown.com/

David Blue.

Snowy White & The White Flames – Melting (Mystic Music).

Written by drummer, Juan Van Emmerloot, the instrumental Discoveri is an atmospheric start to Melting, White’s 1998 album. It builds to Snowy’s guitar which pierces the sub-conscious. I can’t help thinking of Dire Straits when I hear Long Distance Loving. Of course, this is not the first time that this has been said. That aside, there is a good riff, the guitar playing is excellent and bassist Walter Latupeirissa is on top form. I’ll Be Moving On is bluesy with a pronounced vocal. This is superb and is really all about the guitar. The More You Live highlights a rock guitarist in full flow with top backing from Van Emmerloot. The often covered Hendrix classic, Little Wing, comes up with one of Snowy’s better vocals. It is difficult to compare his guitar work with the other versions of this song so I shall just say that he excels in his own way. That’s When I’ll Stop Loving You is a grinder and Latupeirissa’s Terpisah is a moody, atmospheric and short instrumental of a high calibre. The First Move has gentle vocals over a standard rock riff but you can always rely on White to throw in the odd twist. Like The Sun is nothing special apart from the progressive rock middle. You will just rock on to That Ain’t Right before going into the title track’s bluesy, prog rock finish. This instrumental allows White to turn in a virtuoso performance and the synthesiser fading to the end makes for a great conclusion to the album. There is one bonus track, Love, Pain & Sorrow, which includes a guest appearance by Dave Gilmour. As you would expect, the pair turn in a festival of guitar but the one thing that I did not expect was the inclusion of harmonica – a good surprise.

http://www.mysticmusic.com/
http://www.lightyear.com/

David Blue.

Savoy Brown – The Blues Keep Me Holding On (Mystic Music).

Savoy Brown has been around as a band for what seems like an eternity. This incarnation, from 1999, has perennial member Kim Simmonds joined by Nathaniel Peterson on bass and Tom Compton on drums as well as a number of guests. They open with Going Down To Mobile, a standard blues but of very high quality. She’s Leaving is an electric blues that will bore its way into your very being. Just sit there and feel the blues. Willie Dixon’s That’s All I Want Baby is a bit more up-tempo and utilises the acoustic slide guitar of Duke Robillard – extremely easy to listen to. The eponymous title track is a funky blues and Bad Shape is a slow blues of the kind that Gary Moore excels – classy playing.

Mississippi Steamboat is a fast paced, good time blues. Simmonds’ vocal is not the best but his stinging guitar more than makes up for it. Ain’t No Need To Worry is an acoustic blues with an authentic Delta feel. Headline News is contemporary (even though the album is from 1999) and has soaring guitar. Little Red Rooster is Chicago blues, as expected. However, it is very much different from the better known versions of The Rolling Stones and Howlin’ Wolf. There is a long guitar intro for a start. This is an excellent version of Willie Dixon’s classic and one that will be my favourite for some time to come. When You’ve Got A Good Friend has them electrifying Robert Johnson. I’m not sure about Simmonds’ vocal again, though. More up-tempo than the original and the guitar is the star. Peterson and Compton keep the rhythm well and it gets good marks overall. Everybody Says They Want It is an upbeat finish and a good time is had by all as Simmonds and Robillard swap guitar licks with ease.

http://www.mysticmusic.com/
http://www.lightyear.com/
http://www.savoybrown.com/

David Blue.

The Mercy Brothers – Strange Adventure (CoraZong Records).

Strange Adventure is the latest, critically acclaimed album from Boston duo, The Mercy Brothers. Consisting of vocalist Barrence Whitfield and guitarist Michael Dinallo, The Mercy Brothers are a bit of a throwback to the days of when it didn’t matter what type of music you were playing, as long as you were playing. Another Man Done Gone has a strangely 60s feel to it but its rootsy and the reverb guitar is simply executed. Stay Away From My Door is hard to pigeonhole but if I had to, I’d call it Rootsy rock. Down That Road is acoustic blues in a Furry Lewis/Reverend Gary Davis style. It is energetic and Whitfield lets rip in a gospel style. I Believe I’ll Make A Change is classy roots that nods its head to Woody Guthrie and The New Year Blues is simply gentle. Blind Willie McTell’s Broke Down Engine is more of the blues, Mercy Brothers style. Very good and played with panache. Working On The Line is well played if a little on the light side. Night Train To Memphis is a Country tinged swinger and Misery Train continues the locomotive theme, moving like a high class train – very smooth with good guitar. Mr Johnson is rootsy again but Whitfield loses it a bit, although that is not a common complaint.

Long Black Train is the first of six live bonus tracks recorded in Oslo, Norway and is unashamed Country and a feel good song into the bargain. California Stars is some more Country flecked musings and is extremely good, as you would expect from a Woody Guthrie song. The live version of The New Year Blues is pleasant and Countrified but the studio version is better. Down That Road stands up to the studio edition and the demonic screams are certainly a change. Misery Train is another of the studio tracks to be given the live treatment and shows them to be a good live band indeed. Pallet On The Floor is more upbeat to the versions that I’m used to. They’ve electrified it and turned it into an R&B but it is different enough to get you thinking. They finish with a bonus studio track, Terraplane Blues, with voice and guitar only. This is the only way to play this slow, acoustic blues.

http://www.corazong.com/

David Blue.

Nina Simone – Empress Live! (Lightyear Entertainment).

Previously released under the title Live& Kickin’: In Europe & The Caribbean, Vol 1, Empress Live was recorded in the South of France and on un-named Caribbean islands at the height of Simone’s popularity. She is given a rapturous welcome for I Loves You Porgy, a slow sophisticated jazz, written by the Gershwins. She follows up with two of her own songs; Four Women is powerful lyrically and is the type of song that made her what she was and builds to a fitting climax whilst The Other Woman is a soulful night club song. The Burt Weill written Pirate Jenny is a strange one. It is very descriptive but will not everyone’s taste and, unfortunately, I am one of them. Bob Guidio’s For Awhile is slow again and she’s still not really out of first gear with this torch song. Three more self-penned songs follow and the first of these, You Took My Teeth, is up-tempo at last but it is very, very short.

Sugar In My Bowl is a Jazz/Blues and swings along very nicely. Her voice is beginning to get in gear and the level of applause tells the tale. Backlash Blues is a rhythmic Blues and she is really on song now. Jim Webb’s Do What You Gotta Do is standard fare and her own Mississippi Goddam is a fast paced political tune. Two more Simone originals follow in the shape of See Line Woman, complete with audience participation and I Sing Just To Know That I’m Alive. There is percussion backing only on the former and this makes for a powerful experience. I Sing Just To Know That I’m Alive is repetitive but has a carnival feeling. She closes with My Baby Just Cares For Me and this has her chiding the audience for their lack of energy but not for long. If you asked any number of people to name a Nina Simone song then this will be it, even if she did not actually write it. This is a good version and a fitting end to an introduction to Nina Simone as a live artist.

http://www.lightyear.com/

David Blue.

Jeff Lang – Whatever Makes You Happy (Furry Records).

Australian Lang lists some of his influences as Skip James, Blind Willie Johnson, Jimi Hendrix and Ry Cooder. He’s off to a good start, then. Whatever Makes You Happy is one of eleven albums by Lang and is the latest to be released in the UK. The opener, The Save, is Americana, Folk/Blues – describe it as you will. I will just say that it is fantastic. It also has a trowel listed as an instrument – certainly the first time that I have heard of this! Switchblade has some impressive National guitar work and he sets his standard here. Alive In There is plaintive and sedate and You Should Have Waited is Country Rock of a high standard – think Poco. Orange Roughie is a short electric riff and he adds Suzannah Espie, to great effect, as a vocal accompanist on By Face Not Name. The pair provides lovely harmonies and excellent Americana with the best guitar work so far. This is a top song. Next up is Rain On Troy, which has a calming effect and is one that I could listen to it all day.

The Day I Got Chewing Gum Stuck In My Hair is contemporary electric rock with the grateful addition of some brass and lap steel. Rejected Novelist Fails Again is another great title but the song is so short and probably pointless unless I’m completely missing the irony. You Tremble has gentle acoustic sounds and Sleeping is contemporary Indie acoustic. Slip Away has Lang back on lap steel and National guitar. This builds up into a very relaxed Alt. Country/Folk Rock with superb guitar work. The Road Is Not Your Only Friend is played at breakneck speed and is manic modern Folk but the eponymous title track calms things down completely and emphasises what a prodigious guitar player he is.

http://www.jefflang.com.au/

David Blue.

Roy Rogers & The Delta Rhythm Kings – Live At The Nevada Brewery Big Room (Chops Not Chaps Records).

Roy Rogers is regarded as one of the worlds top slide players and the evidence is here on this new live album. He opens with Ever Since I Lost You, a showstopper and it’s only the first track! The Delta Rhythm Kings (Steve Ehrmann on bass and Jim Sanchez on drums) are as tight a band as I’ve heard for some time and the audience just know that they are in for a special night. Lieber and Butler’s Down Home Girl is a charming upbeat blues and Rogers unleashes a scything guitar on Mellow Apples, which eventually gets going but is a little fragmented. Willie Dixon’s Built For Comfort is played with barrelhouse piano and this is a brilliant combination with Rogers’ superlative guitar – if you want authentic, you got it. There’s a funked up version of Robert Johnson’s Terraplane Blues to follow and Rogers uses his formidable prowess to change the song completely. You are in for a surprise, believe me. Sonny Terry & Brownie McGhee’s I’m A Stranger Here is turned into a slinky blues with added vocal from Shana Morrison. It’s just their voices and guitar only and sometimes the simple things are the best. Gertie Ruth is a rhythmic blues with Southern fiddle from Tom Rigney and good vocal harmonies. Down In Mississippi has lightning fast guitar and is quite simply a joy to listen to. Vida’s Place is a punchy, throbbing blues and Duck Walk is a short, up-tempo instrumental with more of Rogers’ superb guitar. Shake Your Moneymaker has me running out of superlatives for his guitar playing and the rest of the band match his performance on this Elmore James classic. Norton Buffalo on harmonica blows his lungs out and the pianist, Philip Aaberg, tries to outdo him. Both vocalists turn in a majestic piece and, did I mention that this is superb? The set finishes with For The Children and Rogers shows his virtuosity on this touching instrumental, showing that he has a soft side too.

Roy Rogers is a guitar player’s guitarist, listen to this and you’ll understand why.

http://www.roy-rogers.com/

David Blue.

Matt Schofield Trio – Ear To The Ground (Nugene Records).

Manchester’s finest Matt Schofield returns with his fourth album and makes it a set of two apiece for live and studio albums. He has recently been voted by Guitar & Bass magazine as one of the Top 10 British Bluesmen of all time and that is some accolade. Just as he was influenced by Albert Collins and Robben Ford he now is regularly quoted as being an influence on many a young British guitarist. Although a studio album, Ear To The Ground was recorded live with the band in a single room and the overdubs were kept to a minimum. They open with Freddie King’s Pack It Up and turn it into a funky blues, strong both musically and vocally. Nine Schofield and band written originals follow and start with Troublemaker. This gives Jonny Henderson on keyboards a chance to shine, and he takes it. Schofield joins in with Albert Collins influenced runs as he burns up the frets. The eponymous title track is a grittier, tougher blues altogether and the trio get into a groove. Heart Don’t Need A Compass is a slow brooder. Schofield’s guitar is a star – jazzy and much influenced by Albert King’s Stax period. Once In A While is even slower and has a Gospel feel surrounding it – classy guitar.

Room At The Back, a short instrumental that allows free flow guitar, allows Schofield to tip the nod to such bands as The Meters and Soulive. Someone has a full blown harmonica burst from ‘Big Pete’ Van Der Pluym and is heavier than most on offer. It builds well and the guitar and harp work well together. Searchin’ (Give Me A Sign) is jazzy blues with an edge – slinky guitar and reputed to be Matt’s favourite. Move Along is full blown jazz/blues with Schofield and Johnny Henderson in synchronization. A fast paced, energetic instrumental with drummer Evan Jenkins chipping in to complete a classic organ trio song. Cookie Jar is organ based but Schofield steals the show and turns it into a highlight. When It All Comes Down is a BB King cover and a great finish. It is different enough from the original but still keeps the ethos. Schofield manages to sound like the great man on guitar and it sounds as if everyone who was in the studio that day is involved in the sing-along finish.

The Matt Schofield trio have an album that keeps them in the highest echelons of British Blues.

http://www.mattschofield.com/
http://www.nugenerecords.com/

David Blue.

The Headers – Turn It Up (Bobby Lebel).

Rockabilly trio The Headers comprise of Bobby Lebel (guitar and lead vocals), Scott Freilich (bass and backing vocals) and Dan Stroll (drums and backing vocals). They are seasoned musicians as this new album confirms. The opener, Pretty Good Shape is old style Rock n Roll/Rockabilly with stinging guitar – think Stray Cats. Lovin’ Stuff is a good, harmonic soft rocker with Beatles overtones. 10 of the 11 tracks are originals and Eloise is not a cover of the famous Walker Brothers track but is a swinging Rock n Roller with a guitar that sings. Riptide is a classic 60s style instrumental but given a modern twist. The slightly twee High The Sky fits in well with their 50s/60s style and the Les Paul style guitar track is a good addition.

Hard Man To Love is classic Rockabilly and the rhythm section really get going on this. There is some more excellent guitar work and they all rip it up towards the end. The Headers funk it up on the beginning of Cajun Sugar and then it drifts off into Southern Rock. Lebel really is a good guitar player and this could easily be their signature tune – more please! They return to the classic Rockabilly arena with Hey Ruby and Blue Highway is old school Rock n Roll with lovely harmonies. Turn It Up evokes images of early Presley Rockabilly and Lebel has the perfect voice for this type of tune. Like the others, this is short and sweet. They finish with an audacious cover of Bodhisattva. Not many people take on a Steely Dan track and even fewer manage to pull it off. It could be classed as career suicide and, although they are not in the same league, they almost make it. However, the truth is that this is not a song to mess with and for once Lebel’s voice does not achieve pass marks.

http://www.theheaders.com/

David Blue.

Ben Reel Band – Waitin’ For U (B Reel Records).

Irish singer songwriter Ben Reel releases the first single from his forthcoming album, New Horizon. Although Waitin’ For U is gentle, acoustic based rock it won’t worry the chart compilers. Reel and his band have a number of major support slots to their name and the second track on the single has become a big number for them on these tours. The traditional side of the band is shown through On Raglan Road with its powerful Celtic tones. This is a great track for the traditionalists but may be just a bit too early era Chris De Burgh for others.

http://www.benreel.com/

David Blue.

Various Artists – Terrestrial Extra (Dream Ticket Records).

The Terrestrial Extra is Rainbow George (George Weiss), an eccentric and mystic who tried for election to the Northern Ireland Assembly earlier this year. This album features new and established artists, some of whom are, or were, George’s friends. Ian Dury opens proceedings with Rainbow Land, a recital of a poem with Utopian ideas and most certainly not the Ian Dury that we were all used to. John Otway, Sid Wishes & Friends provide Please Wish Us Well. Former anarchic front man Otway is less so on this but the sentiment is good – get rid of politicians. Chorus is ok. Ben Reel, a new voice on the Irish music scene, gives us Cosmic Shifting and it is the first piece of ‘real’ music. This hippy rock has a floating feel and the distorted guitar adds to the overall experience. Phil Saatchi contributes Another Revolution which is pretty standard fare and the ponderous Rise And Fall which misses the point to a certain degree. He does, however, strike it third time lucky with Dream In Colour, an acoustic folk/rock song that is very good indeed. Ben Reel returns with Lebab for the reggae beats of U People. He certainly gets into a groove on this one and the added saxophone helps make this the best song so far. Sid Wishes has a solo effort with Oh No America which is pleasant enough and builds well. This is one of the better tracks on offer although it is the general message of the complete album is what counts. He also goes solo on the sleepy When We Give Our Love. Although this is extremely easy to listen to it is not at all challenging but that may be what we need sometimes. Anna Jacyszyn gives us Captain Rainbow Fever – sedate, clean sounding and country tinged. Hiroki Okama chips in with No Gimmicks, which is folksy and rootsy. Instruments for all over the world used and these make it one of the best. The album finishes with world renowned jazz musician and former Blockhead, Gilad Atzmon with Lebab. They give us Beyond Belief, which is silky lounge room jazz with dual sax of a high standard.

I don’t know if George’s campaign sunk without trace but I hope that he can continue to provide his eccentric spin on the music scene and give new artists a chance to shine on his label.

www.pleasewishuswell.com

David Blue.

Gwyn Ashton – Prohibition (Riverside Records).

Australian guitarist Ashton has toured extensively throughout Europe, the USA and Australia with the likes of Johnny Winter, BB King, Jeff Healey and Pat Travers. With that in his locker I looked forward to a treat with his new album, Prohibition. The opener, Get Up, Get Over It is blues rock with AC/DC style phrasing -- not too flamboyant but great slide at the end. Good start. Ashton adds a bit of funk for Come On/Don’t Walk, Run! but he firmly remains on the rock side of the blues and confirms his standing as one of the worlds up and coming guitarists. There’s a Jimi Hendrix style fuzzed solo but the addition of Don’t Walk, Run seems a bit superfluous despite being fine in its own rite. Back To You is back to AC/DC again, albeit with more sedate vocals but with solid guitar throughout. Castaway is a venture into acoustic land so get your lighters out! There’s a big, electrified solo as you would expect so, few surprises but a top performance. Secret Agent shows that Rory Gallagher lives on – top tune, enough said? Ain’t My Style continues the Gallagher theme and is a rolling blues to drift away on. The title track is a shuffling guitar and harmonica blues with distorted vocal. The addition of Liz McLaughlin on backing vocals is a welcome distraction and the whole feel is that of a slowed down Bo Diddley (sorry to hear about his recent stroke).

The Road Is My Religion casts Ashton as the latest in a long line of musical storytellers. This is a highlight where he shows his class in archetypal AOR style. Former Alex Harvey rhythm section, Ted McKenna on drums and Chris Glen on bass herald the arrival of Ashton’s slicing guitar on Ball And Chain, a pounding blues to get the blood coursing through your veins. This is classic power trio fare with Glen and McKenna providing the perfect backdrop to Ashton on guitar, as they do throughout. Are You Lonely is a storming R&B with fuzzed solo. Guitar Town is not the Steve Earle song but is a funky blues where Ashton lets his guitar loose – superb. Rest In Paradise (For Stevie) is dedicated to Stevie Ray Vaughan and is a low key finish but is, as you would expect, a festival of guitar. There are two bonus tracks, Judgement Day which is a great blues of acoustic slide and basic backing and Shake It On Down where I knew he would not let me down and comes up with a rocking finish after all.

http://www.gwynashton.com/
http://www.riversiderecords.com/

David Blue.

Wide Mouth Mason – Shot Down Satellites (Curve Music).

A power pop/rock trio, Canadians Wide Mouth Mason are inevitably being dubbed the modern day Police or Nirvana. While they still have some way to go to emulate those two they have built up a solid following with their high impact live performances. They have toured North America with The Rolling Stones, AC/DC and ZZ Top so they are no small thing. Shot Down Satellites, their fifth album, opens with I Love Not Loving You, punky pop/rock and an energetic start. Unfolding keeps the pace up with a great riff thrown in. If they can reproduce anything like this live then they will be a force to be reckoned with. Everybody’s Right is top class modern rock and these boys are easily chart material. There’s some good guitar on this and the singer shows that he has a vocal talent also. Really Wrong is not as powerful as the opening trio although they introduce slide guitar and the high standard of chorus’ are becoming the norm. Phantom Limb shows that they can write a good song and the title track is another one off the conveyor belt.

They maintain their own high standards with guitar prowess and a grinding rhythm section. Worse Than Before is as good as anything put forward by the modern power pop bands. Rust is a concession to the ears and shows that they can produce more sedate songs too. It does build up though – they just can’t help themselves. Simply put, this is great. Moment That You Came is grungy power pop and Wide Eyed has a blues influenced, fuzzed vocal intro before going off into the same power pop as before. There’s some more good guitar work but they may have been better staying with the intro and building on it. Eleven is track 11, surprisingly, and is more pop than the rest. It does still confirm their talent of writing a good chorus though. Please Go Home confirms their Green Day styling and is yet another powerful, catchy song. They finish with the Beatle-esque It’s So Bad, a short, strange ending to a powerful album.

Van Morrison once said of them “the best band that I’ve seen in a long time”, not a lot to add to that, really.

http://www.widemouthmason.com/
http://www.curvemusic.com/

David Blue.

Roger Chapman & The Shortlist @ The Ferry, Glasgow 08/06/2007.

His first words were “it’s fuckin’ noisy in ‘ere” – welcome to Glasgow, Roger! The enthusiastic crowd, mainly in the old rocker group, were there to see their hero and made plenty of noise whilst doing so. Chappo and band were not to be outdone and served up a set that was just as boisterous. The band, including former Whitesnake guitarist Micky Moody, opened with a rousing rendition of Oh Brother, Take Me and continued to showcase the new album, One More Time For Peace. He threw in a few old favourites including a wonderful version of Burlesque and, oddly enough, These Boots Were Made For Walking. Chapman has a brilliant rapport with the audience and did his bit for album sales by telling everyone that “that’s on the new album, as well” for everything, even the old songs. I hope that no-one took him too seriously and is disappointed when they find that the album only has 11 tracks. The highlights of a thoroughly good night out were the aforementioned Oh Brother, Take Me! and Burlesque along with Heading Back To Storyville and Devil Got A Son.

Roger Chapman is one of the best rock voices that Britain has ever produced and The Shortlist are a band to be reckoned with, a real force in the live arena. I’m glad that I managed to see them.

David Blue.

Marc Ford – Weary & Wired (Provogue Records).

Former lead guitarist of The Black Crowes decided to record this second solo album after playing some gigs with three former bandmates from his previous band, blues rockers Burning Tree. The raucous opener, Featherweight Dreamland, is a great start to the album and is quickly followed by Don’t Come Around, a blues influenced rocker with Ford’s fuzzed guitar adding to the overall noise. Tom Petty influences, a theme that will resurface later, appear on It’ll Be Over Soon with aggressive guitars to match. Dirty Girl follows in the same mould, good old Southern Rock with an authentic drawl. The Other Side is more of the same and long may it continue. 1000 Ways is swaggering blues rock with excellent guitar as with those that have gone before. There are some Neil Young influences on Smoke Signals and this would rival most of the great mans epics.

Greazy Chicken has a funky, sleazy beat and Ford gets into the groove. The slide guitar on this instrumental is worth a mention as are the horns. Currents is the slowest track so far and takes you away into dreamland. His voice normally takes second place to his guitar but comes to the fore here. The guitar this time has to make do with being a laconic, anthemic co-star. Just Take The Money is storming, funky rock and is followed by Medicine Time which is more of the same with a strong guitar solo. He’s not just about high octane levels and Same Thing shows he can play slow songs too. This ponderous, Willie Dixon penned blues has Ford’s guitar playing reaching new levels on this 8-minute epic. Bye Bye Suzy has a New Orleans vibe with superb guitar and horns on this happy instrumental. He finishes with The Big Callback, a Chuck Berry throwback and a superb way to end proceedings. There is certainly life after The Black Crowes.

http://www.marcford.com/
http://www.provoguerecords.com/

David Blue.

Doug Cox & Salil Bhatt – Slide To Freedom (NorthernBlues Music).

From the moment that I received this CD for review I wondered how well the fusion of Eastern and Blues music would go. I need not have worried Cox, Bhatt and Ramkumar Mishra serve up a feast. They begin with the Mississippi John Hurt song Pay Day, which starts off as a standard slide blues until Bhatt adds his instrument, a satvik veena. Surprisingly enough, he really manages to make it sound like a second guitar. The addition of tabla from Mishra is also interesting on this folk blues. Bhoopali Dance is overtly Asian in its make up. All three wrote this and Cox answers Bhatt as they dance together on it. Their instruments work so well together and it’s like Appalachia meets Himalaya! At times Bhatt sounds like he is an angry bee. Arabian Night is very easy to listen to and Blind Willie Johnson’s Soul Of A Man allows Cox to get his slide guitar to the forefront as well as his vocal. An interesting addition on this is Bhatt’s father, Vishwa Mohan Bhatt, who plays the instrument that he invented, the mohan veena. Vishwa has already collaborated with such heavyweights as Ry Cooder and Taj Mahal.

The angry bee is back on Fish Pond as Bhatt gives his instrument a pounding. It is obviously the style of playing but it does sound so aggressive. Father Kirwani, written by Vishwa and again featuring him on mohan veena is a true fusion of East and West as all show their virtuosity. Beware Of The Man (Who Calls You Bro), written by Cox, is another of the more bluesy songs and both artists, I feel, have had a fair chance to show their individuality as well as how well they fuse together. The strangely titled final track, Meeting By The Liver, is a fitting finale for these four masters of their instruments.

If this finds its way into your collection, you will not be disappointed.

http://www.northernblues.com/
http://www.dougcox.org/
http://www.sallibhatt.com/

David Blue.

Watermelon Slim & The Workers – The Wheel Man (Northernblues Music).

Multi award winning Watermelon Slim a.k.a. Bill Homans’ latest album for Northernblues confirms his status as the hottest name in the current Blues world. He has managed to get Magic Slim to guest on a track although I am surprised he managed to get the album recorded at all, given his exhausting touring regime. He opens with the eponymous title track and this duet with Magic Slim has the main man on slide guitar and is on the edge of roots/blues. The other Slim, Magic that is, takes on the guitar solo with aplomb. It’s easy to see why he has risen through the ranks of bluesmen so quickly – the guy is pure quality! However, I hope that he doesn’t get rid of all of his rough edges. I’ve Got News is a driving blues akin to the Kansas City style. Top class rhythm section, Michael Newberry on drums and Cliff Belcher on bass. Slim adds his not inconsiderable harp as well. Black Water is a blues/rock chugger and Slim lets his voice go on this one. There is a slight reggae beat and this is a highlight. Jimmy Bell is a harmonica tune, as you would expect. This is just voice and harp and is just about as authentic a blues as you could get. Slim provides some powerful Chicago blues on Newspaper Reporter. His stock is still rising and who’s to say that he won’t become the overall number one blues artist in the near future? This track shows how good a harmonica player he is. Drinking & Driving is up-tempo class. Just get it on your car CD. Fast Eddie is another for the car and he’s just getting better and better.

Sawmill Holler takes us back to the early days of the blues shouter and Truck Driving Mama has echoes of classic R&B. Full of innuendo and blues references, this is good fun. I Know One is an up-tempo blues and this is the type of song that would go down so well over here. The Workers are a top class band and back Watermelon Slim to perfection with Ronnie ‘Mack’ McMullen and Ike Lamb solid on guitar and the aforementioned Newberry and Belcher providing a fantastic base to work from. Slim Harpo’s Got Love If You Want It is a slow, deliberate blues played in a John Lee Hooker style. He picks up the pace again on Rattlesnake before going off to blues on the low side with Peaches. This shows that he is a powerful artist indeed. He finishes off with the rootsy, bluesy Furry Lewis song, Judge Harsh Blues and I just love it.

I can’t wait for the next one!

http://www.northernblues.com/
http://www.watermelonslim.com/

David Blue.

Coco Rosie – The Adventures Of Ghosthorse And Stillborn (Touch And Go).

Coco Rosie, sisters Sierra and Bianca Casady, release their third album on Touch & Go and build on the critical acclaim of their previous two. Opening with Rainbowarriors, an ethereal folktronica with spirits in the background, they take the listener on a journey that is sometimes unsettling but never mediocre. The vocal is childlike and there is lots going on. Promise is unique and the childlike vocal continues but the content is certainly not juvenile. Bloody Twins opens with bells and chimes. Images of witches abound on this very short offering. The strange but charming Japan follows and leads us into the most mainstream song so far, Sunshine. This is gentle, sleepy and hypnotic and is already a mainstay of their live set. Black Poppies contains more of their gentle, sparse tones and confirms their status as officially strange. The childs voice on this is spooky.

Werewolf will take you to very dark places and Animals makes it difficult to categorise them and identify who their fan base will be. There is a slow barrelhouse piano background to the funereal Houses and they continue their fascination with one word titles on Raphael. A word of warning; don’t be taken in by their innocent vocals, these songs are razor sharp. I don’t see the point of the extremely short Girl And The Geese but they make up for it with the 11 minute epic that is the closing track, Miracle. This is hard going, as are some of the others, but they don’t profess to be for the mass market. There is a long, unnecessary patch of silence before the track ends with train and animal noises heralding in acoustic guitar and voice.

Coco Rosie can take you from folk to hip-hop and beyond – you never know what is around the corner. Strange, an acquired taste, yet most compelling.

http://www.cocorosie.com/
http://www.tgrec.com/

David Blue.

Time Bomb – Time Bomb (Ruf Records).

German blues label Ruf have a reputation of showcasing rising North American blues artists in Europe. The latest of these are three female singer/guitarists Sue Foley (Canada), Deborah Coleman (USA) and Roxanne Potvin (Canada), collectively known as Time Bomb. The Telecaster (I love Sue Foley’s Paisley pattern one) wielding trio strut their stuff on the eponymous title track, which is a festival of guitar playing as all three showcase their skills. Hitting On Nothing has Potvin on lead vocal and is classic R&B. This is a stylish song and shows that these girls can certainly play. Sue Foley takes on lead vocal for the Country flecked stormer, So Far, and shows herself to be a very good singer indeed; probably the best of the three. Talking Loud has the third of the trio, Deborah Coleman, on vocal. This is funky and has plenty of attitude. Strong Enough To Hold You has Roxanne on lead vocal but it is a nondescript ballad.

Sue Foley returns on Show Me, a great bar room blues with a sleazy vocal. Motor City is a driving blues with Coleman on vocal but is not too inspiring. Get Up has a Pretty Woman style drum beat from Billy Thommes and Potvin takes the vocal. The only thing that this funky R&B is missing is a more powerful bass line. Two Moons Gone is Foley’s final song and she signs off in fine form on this speedy blues. Don’t Start The Car has a good blues riff and has Coleman on vox -- great rock stuff. In The Basement closes the set and has all three on vocal. They all bring different facets to the table on this R&B mix and provide a good finish. Sue Foley is the most experienced of this trio, having already released ten albums but I am sure that she, and the other two, will go on from strength to strength on the back of this album.

http://www.rufrecords.de/
http://www.suefoley.com/
http://www.deborahcoleman.com/
http://www.roxannepotvin.com/

David Blue.

Hans Theessink – Slow Train (Blue Groove).

Hans Theessink has 20 albums to his name with Slow Train being the latest. He has been called an international blues treasure by the US press and Bo Diddley once described him as “One helluva guitar player”. The eponymous title track is slow, as the title suggests. It is moving and Gospel influenced with lovely relaxed slide guitar. Katrina is Americana of the highest order, delivered to perfection and hypnotic. He has based it on the New Orleans chant, Li’l Liza Jane and tells the story of Hurricane Katrina. God Created The World continues the theme of minimal instrumentation and is very easy going despite it being about the tragic events of 9/11. The gentle theme continues with Thula Mama/Oh God Don’t You Weep, which has African influences (in this instance, Zimbabwe) as do some of the others and was inspired by stories from the African singers in his band. Cry Cry Cry is more up tempo but there is still this underlying gentleness from this master of the understated guitar. Let’s Go is a Country influenced foot-tapper. Mark Knopfler is the milestone for this kind of song and Theessink measures up very well.

Love You Baby is a hotch potch of styles; there’s blues, R&B and Country in there somewhere but it all comes together very well. Old Man Trouble could easily be a track from Graceland. Theessink’s dulcet tones waft over African influenced Country to great effect. Leaving At Daybreak highlights his deep, velvet voice again and he drifts into Mark Knopfler territory again with this gentle roots offering. May The Road has some more Gospel and African influences and is just a lovely little song. The traditional Run On For A Long Time has top class harmony, as ever, and is roots of the highest class. He finishes with When Luther Played The Blues. This is a tribute to his old friend, Luther Allison and is a blues, but not in the conventional sense. Theessink says that he had a dream where he saw Allison in front of him and tried to touch his hand. When he woke up in the morning the song was in his head.

This is a measured album from a European master.

http://www.theessink.com/

David Blue.

Gary Moore – Close As You Get (Eagle Records).

Gary Moore is in the upper echelons of British Blues/Rock and has consistently produced top class albums for a number of years now. His latest, Close As You Get, shows no sign of him falling away. The opener, If The Devil Made Whisky, is a grungy blues (with the correct spelling of whisky, I’m glad to say) with exaggerated slide guitar and an aggressive vocal. Gary is back in form, writing and playing the type of song that his guitar power requires. The album sleeve has short quotes from each song and for this it is “If the devil made money, he must have made my girl as well, Cause they get a man in trouble, then they send you straight to hell”. You know what he’s talking about, don’t you boys. Trouble At Home is a slow, stylish blues that shows he has lost none of his passion and his guitar sings. Thirty Days is a bit of a surprise as Gary takes us into the realms of Country Rock. I’m not convinced about this one although his Chuck Berry, Maybelline style opening riff is sheer class. No surprise as it is a Chuck Berry song. Hard Times is a shuffling blues with added harmonica (another thing that I’m not used to hearing on a Gary Moore recording) from Mark Feltham and Moore rocks on this. The slower songs are where artists get to show their different levels of emotion and Gary certainly puts himself through the wringer on John Mayall’s Have You Heard. Guitar and organ (Vic Martin) are to the fore here with his guitar in particularly searing form.

The classic Sonny Boy Williamson song Eyesight To The Blind has a storming opening and he gives it his all on the unhurried Evenin’. Things stay in the slow lane for the appropriately named Nowhere Fast. This has sympathetic guitar although possibly not the best lyrically. Gary flicks the grunge button again for Checkin’ Up On My Baby. This has fuzzed harp from Feltham and growling guitar and is what he does best. His gritty vocal and ringing guitar compliment each other to perfection on this second Sonny Boy Williamson cover. Everything is held together, as it is on the rest of the album, by Thin Lizzy drummer Brian Downey. The penultimate track, I Had A Dream, is slow rock and is an example of a master passing on his skills to the next generation. Great vocal, top guitar, what else can I say? In an album with a couple of surprises Gary finishes off with another. This time it is Son House’s Sundown with acoustic slide guitar and he sounds as if he has recorded it live in the studio. Sundown is not his usual bag but very acceptable indeed!

People think that they know what they are going to get on a Gary Moore album but this one may hold a surprise or two.

http://www.eagle-rock.com/
http://www.gary-moore.com/

David Blue.

Eugene ‘Hideaway’ Bridges – Eugene ‘Hideaway’ Bridges (Armadillo Music).

Eugene ‘Hideaway’ Bridges has been playing the guitar for 40 years, since the age of 4, and is now basically on a perpetual touring regime. This new, eponymous album is a bit of a departure for Eugene insomuch that he has recorded it with musicians that he has met on the road rather than his normal full band. The 12 new songs begin with Piece Of The Mountain, which is Gospel with a silky vocal that will take you to heaven itself. This will cleanse your soul so you should listen to it at least once a day. Very clean sound (production). The gentle Life Has No Meaning is acoustic led and Country tinged with Lucky Oceans, co-founder of Asleep At The Wheel, on pedal steel. Special Friend is soulful and has good harmonies whereas Never Alone has a powerful vocal and could be described as modern Doo-Wop. Oceans returns on pedal steel for Baby Your Love, a Soul/Country crossover with Sam Cooke coming to mind. Bridges shows again that he has such a sweet voice on In Your Arms Tonight. This is another in the Sam Cooke, or even possibly Jackson Browne, arena. All this and he hasn’t really unleashed his guitar yet.

Look At Me Now is Soul but only average and a little disappointing. Even Eugene picking up the bass on this one doesn’t save it. Ain’t Got Time has Bridges on Resonator guitar and playing the blues at last. It’s simple in its application and invariably that’s the best way. He could also go electric on this one to great effect, I am sure. Love Got The Best Of Me is a slow, classy blues with a B.B. King style vocal and has the best guitar work so far. I thought that I was getting We Will Rock You at the beginning of Big Legged Woman but Bridges soon dispels that. This turns out to be an acoustic blues, just guitar and percussion. He’s coming on to a game now but the Country/Blues of I Can’t Wait is a bit too sweet and nothing spectacular. Man And His Guitar finishes things off. This is a jazzy blues with Clayton Doley on Hammond and finishes up as a great end to the album. When Bridges lets loose on guitar he really makes it sing. Add that to his heavenly voice and you have an artist in his prime.

http://www.bluearmadillo.com/

David Blue.

Roxanne Potvin – The Way It Feels (Ruf Records).

French-Canadian guitarist/singer/songwriter Potvin is making a bit of a name for herself in blues circles and the fact that she has attracted Grammy Award winner Colin Linden as producer for her new album speaks volumes. She opens with A Love That’s Simple, a horn-laden R&B with strong vocals. Potvin fits in well with guest vocalist, John Hiatt, and this is an easy song to listen to; a great start. I Want To (Do Everything For You) is a slow, rolling blues that allows Roxanne to show her not inconsiderable guitar skills, ably backed by Colin Linden on Dobro. There’s a contemporary Country feel to the plaintive Hurting Child and she goes back to a classic Country/R&B/Rock n Roll fusion. This is bouncy and Roxanne certainly attacks the vocal. The gentle and magical La Merveille is sung in French and she is backed by the wonderful Daniel Lanois.

While I Wait For You is contemporary Jazz/Blues and expertly executed. The guitar work remains understated and Colin Linden’s production is classy. Your Love Keeps Working On Me is gentle R&B and although she does show her class on guitar, the song is pretty standard stuff. She remains in the R&B field for Say It before delivering a heart wrenching piano ballad on Don’t Pay Attention. Sweet Thoughts Of You is barrelhouse flecked Country with some nice Dobro thrown in. Let It Feel The Way It Feels is another piano ballad but with slide guitar added this time. This could be the type of song that could make her a serious contender to the like of Bonnie Raitt. Roxanne closes off with Break Away, a high tempo version of Del Shannon’s oft covered song. However, I can’t see why she chose to include this given that she is such a good songwriter herself. This is possibly the weakest track on the album and an unfortunate way to end what is, in fact, a very good collection of songs.

http://www.roxannrpotvin.com/
http://www.rufrecords.com/

David Blue.

Otis Taylor – Definition Of A Circle (Telarc).

Reviewers have a great life, new album comes in and new favourite artist emerges. I’ve had at least ten new favourites this year alone! The latest of these is Chicago bluesman, Otis Taylor. He’s released seven albums, before Definition Of A Circle, since returning to the music business after an 18 year break and this is the first time that our paths have crossed. Definition Of A Circle opens with the sustained guitar of Little Betty, provide by Gary Moore. The Hammond organ, operatic vocals and Taylor’s smokey voice supplement a track that has it all. The only drawback is the addition of acoustic guitar late on – I don’t think it was really necessary. The track listing on the sleeve gives a potted summary of each song and Taylor describes this as “A banjo player is seeing a married woman. The situation gets too hot and he decides to leave town”. Black’s Mandolin Boogie is not a boogie as such but is a hypnotic classy roots offering. It is also about the plight of the European Gypsies and inspired by the book, Princes Amongst Men. Rich Sharples and Nick Amodeo provide the mandolin. Looking Over Your Fence is another rhythmic, mesmerising song and he certainly pays his dues to the old-timers here. Charlie Musselwhite adds his stunning harmonica to this tale of wife and land stealing. Hurricane Katrina influenced They Wore Blue is pared down blues rock and is without percussion. Taylor has a style of his own and I am amazed that he is not a bigger star than he is. The U2 style guitar and elegant organ build the song up to a wonderful finish. Taylor shares the vocal with daughter Cassie on Few Feet Away. This very soulful acoustic lullaby has a telling cornet contribution from Ron Miles.

Something In Your Back Pocket opens up a noise-fest and has a spoken vocal on top. Jimi Hendrix influences abound. The piano-led My Name Is General Jackson follows and the cornet and cello backing are sublime. This is rootsy and contemporary at the same time and that is no mean feat!! Taylor returns to blues rock for Love And Hesitation and it is no surprise that the snappy guitar belongs to Gary Moore. Moore’s guitar work is simply stunning and sometimes means that Taylor’s voice is glossed over but don’t fall into the trap of thinking that he is not an accomplished vocalist. Maharaja Daughter is a tale of travel and the fusion of banjo, cornet and cello quartet adds up to a very strong tune. Just sit back and take it all in. Taylor tries a little free form jazz on Long Long Life but it just does not do anything for me and is the weakest track on offer. He is back to form on Mexican Cowboy as he pulls all of his influences together, adds drums by John Kelly and organ from Brian Juan and loops it all together in a J.J. Cale style. This excellent album finishes with Lifetime Of Freedom. This is either repetitive or hypnotic, you choose, and he manages to stay contemporary whilst remaining true to his obvious roots. The sentiment of the song will ring loudly with my fellow Scots; you can take my land, you can burn my house but you will never take my freedom.

Otis Taylor is my artist of the week but that could easily stretch to months or years.

http://www.telarc.com/
http://www.otistaylor.com/

David Blue.

Paul Orta & Friends – Paul Orta & Friends (Great Blues Recordings).

Paul Orta has had one of the best schoolings in the blues that you could think of. His formative years were spent in the playing company of such luminaries as Matt “Guitar” Murphy, Pinetop Perkins, Eddie Taylor and Robert Lockwood Jnr. You would expect a top class musician to emerge from that history and on the evidence of this new CD you will not be disappointed. It is a compilation of songs from four of his previous albums plus some additional recordings with various groups. Orta has made Europe his home for the past six years and he has connected with a number of European artists as well as finding time to record with some of Texas’ best musicians. The opening track, You Don’t Have To Go, has dual harmonicas (Orta and Lazy Lester) and these set the scene for this blues chugger. Orta delivers it with a lazy vocal and gives us a top class blues with a live feel, ably backed by “Uncle” John Turner on drums. Tear Drops keeps the pace slow and the wailing harmonica is the real deal. Hoochie Coochie Girl has injected pace and top harmonica again. He gives us Swing Blues and Rock n Roll on Robbing Little Woman, complete with lung bursting fills and bouncy delivery. Little Girl is choppy and shows a little frailty in the vocal. It’s back to the slow ones for Hey Mr Devil and this is a highlight with scything harp in a Chicago style.

Eyesight To The Blind is a famous old song and Orta’s upbeat vocal comes into its own. That is followed by an acoustic blues with a barroom feel in the form of Your Looking So Good. Bala Pradal’s piano and Orta’s harmonica compliment each other and the slide guitar from Karim Albert Kook adds so much. It is simple in its execution but sometimes he gets a bit overpowered. Ma Cherie (Sugar Bee) has Cajun influences as the title alludes to and the fuzzed vocal adds great effect. Boogie Til You Drop has Orta unleashing his harp again but the song is only saved by his prowess on the instrument. The raw Everytime is upbeat but Orta’s deficiencies as a vocalist start to show up here although it may have been cut in one take. The closer, I Don’t Want No Woman has a better vocal, provided by U.P. Wilson and is a slow, acoustic-based blues. Not my way to end an album but pleasant enough anyway.

Paul Orta is in the higher echelons of blues harmonica players and this is a great introduction.

http://www.great-recordings.com/
http://www.paulorta.com/

David Blue

“Uncle” John Turner – Texas Blues (Great Blues Recordings).

“Uncle” John Turner is the legendary blues drummer and Woodstock survivor that has played with some of the best. This latest album features old friend and guitar genius, Johnny Winter and is a fine return to form. Roll Roll Roll is an upbeat opener with slightly fuzzed guitar from Winter and good vocal from Turner. The album is called Texas Blues and that’s exactly what you get on Just A Little Bit, where Turner gives the impression that he will still be a very good live performer. Divorce Court is dramatic and has Winter’s snappy guitar and Drivin’ Wheel is a lovely rolling Texas Blues. His voice goes a couple of times here and the guitar is no more than functional. You’re Humbuggin’ Me is upbeat and another that will be a great live track. The band is on form and Winter serves up his best guitar yet. I Got It Made is excellent and They Call Me lazy is more quality Blues from a quality artist. The slurred harp is a great addition.

With the title Allons Dancez you would expect a little Cajun and you won’t be disappointed. Unfortunately, it is not the best that I’ve heard though. Tales of guns and infidelity are Blues staples and Shoulder Holster fits in well. Great guitar from Johnny Winter and a fair recompense to the man who convinced Winter to start a blues band. Hey Senorita is not the best track on offer and is a bit disappointing considering that he once starred alongside Stevie Ray Vaughn in Krackerjack. Winter adds some T-Bone guitar style on T-Bone Intentions, which is complimented by Turner’s laid back drumming. I-10 Hurricane Blues is delivered in an Elmore James style apart from the vocal. It’s short and sweet. The daftly titled Oooh Poo Pa Doo finishes things off and he does put a bit of grit into his vocal but it is the humour that comes over most of all. This is an artist having a good time doing what he does best. You would expect no less from a man of whom B.B. King once said "Man, I can set my watch to your time!"

http://www.great-recordings.com/

David Blue.

Anouschka – My Kind Of Heartbreak (Anoushka Pearlman).

Swedish born Anouschka Pearlman had a globetrotting childhood that took her to England, Germany, Thailand and the United States and this has given her a broad outlook on her music. She has fronted one of Sweden’s first all-girl groups, graduated from Berklee College of Music and worked as a music teacher with children from the ghetto areas of Boston. After returning to Stockholm from Los Angeles she found it difficult to come to terms with the difference in attitudes and My Kind Of Heartbreak was the result. The album opens with the harmless pop of Rainy Night In Chelsea. Her voice is certainly unique and may take a little getting used to. Venice Beach has a virtually spoken vocal and is a scathing indictment on the fame and fortune lifestyle there -- this is a good song and well sung. Good Girl Gone Wild highlights her lack of vocal range although the song is jazzy, bluesy and has a little country feel in there as well. She is trying to show her experience of trying to fit into small town expectations on this one. Man Like You is another with a blues feel to it and is a story of rampant love. It’s energetic and drummer, James Bradley Jr, comes out with some credit. The vocal lets it down though. She shows that she has the skill to write a good song and this is perhaps where her future lies as House Of My Father shows. The chorus on this tale of distanced family relationships is excellent although some of the lyric content is a bit dodgy. She finds her voice at last on Beautiful But Damned and this earthy blues may well be another indication for future direction.

The eponymous title track is an average piano ballad which has a country tinged emotional vocal and there’s a slight reggae beat going on in Gonna Get Over You. However, she doesn’t really manage to pull the latter off. Buried Alive is night club fare and Is This What Love Feels Like drifts off into the Jazz field. Her voice goes again on the Country tinged My Loyal Heart. Let’s See This Through is poor and, although it does improve slightly at the chorus, it just does not work on so many levels. The closing track, When R U Coming Round? has a 70s sit-com theme tune feel to it and is a lusty tale. As debuts go, there is room for improvement and there is only so far that the low budget excuse will go. The fractured vocals do work sometimes, the songwriting craft is there as are the live performances and if Anouschka gets enough airtime then perhaps she might just carve out a small niche for herself.

http://www.anoushka.net/

David Blue.

Kemp Harris – Edenton (Miles High Productions).

Pianist and vocalist Harris is something of an enigma and has a style all of his own. Quite literally, he is as unique an artist as I have heard for some time. Although he has almost four decades of song writing and performing behind him he has only just recently turned into a recording artist in his own rite. His second album, Edenton, begins with Sometimes, a spiritual, short and a cappella opener. Incidentally, the album is a journey back to his hometown of Edenton, North Carolina. Sweet Weepin’ Jesus is a moody, contemporary blues and an indictment on modern politics with backing vocals from The Holmes Brothers. He, and The Holmes Brothers again, keeps it slow with another spiritual blues and Day After Day highlights his smokey voice. He has obviously learned from some of the artists that he has shared a stage with such as Taj Mahal and Koko Taylor. There’s still no paced injected yet for the rolling blues of Donny Hathaway’s Tryin’ Times and I’m finding it hard to categorise him as the minimalist Ruthie’s confirms. There’s a slight backing vocal on this one in addition to some percussion from Jim Lucchese and Tom Dube’s production just allows the song to be as it wants to be.

Didn’t It Rain is traditional Gospel and superb with Mabie Marshall and Eleanor Mapp adding excellent backing vocals. Slide guitar is introduced to the authentic feel of Memphis Slim’s Mother Earth and although the volume is raised, the pace still remains on the sedate side. Miles Between Us is a painfully slow blues and Kemp gives us another facet to his voice. The crystal clarity here is reminiscent of Robert Cray. Lucchese’s drums only come in half way through as the tension builds. Willie Nelson’s Nightlife is an old standard, slowed down even more than the original. This has voice and Brian Verrochi’s bass only and is very, very good. The eponymous title track starts out with voice and piano and builds up into the type of song that Elton John cranks out with great regularity. Harris certainly likes to strip things back at every opportunity but he lets himself go on this one. The piercing backing vocal from The Holmes Brothers is one standout here. He finishes as he started and gives us a reprise of Sometimes. This will definitely leave you with the message of how hard life is and how weary we have all become. An interesting and different album.

http://www.kempmusic.com/

David Blue.

Various Artists – Rockin’ At The Barn Volume 5 (Dusty Records).

Swedish roots label Dusty have a knack of unearthing new talent and this series of albums allows them to showcase some of those artists. This volume opens with new band, Blue Sky Forever who gives us the rootsy Last Man On Earth. The vocalist has a deep voiced Kenny Rogers kind of thing going on. US singer Lazy Ike provides I’ll Be Damned, a jaunty, old style country song. Next up is the Rock ‘N’ Roll Torpedoes with Get A Move On Baby. This is a bit of boogie with horns in full flow. The vocalist may not be up to scratch but the chorus is good – short and sweet. Gary Cooper, no not him, gives us Troubles, quite literally. He has a strange vocal delivery and not the best on offer. He doesn’t do himself any favours on his other contribution, King. The faraway voice just doesn’t sell the song. Why they gave him two songs I don’t know. Alt. Country gets a chance with Tattoo by American band, High Cotton. Although it is fine the vocalist is just a little too American, if that could be possible. Their other effort, Dollar Store, which finishes the album is slightly humorous but does little. Lee Marvelous contributes the wonderfully titled Right Now Is The Time To Fall Apart. This is in the Country field again and he has a good band backing him with the pedal steel guitar in particular. He also has Jack And Joanne on the album. He treats this as Country verging into Rockabilly and has such an exaggerated vocal that you will want to listen again and again. English group Sadler Dale provides some energetic punk Country on Fingers In A Pie and give us a surprise hit in the process. They also deliver I’m A Lover Now in a jug band, Country Rock style, much akin to early Dr. Hook and very reminiscent of the Pub Rock era. This cements them as one of the best bands on offer. The Howard Way gives us modern Americana on Chantal Lane and there are those that may hear the influence of Steve Earle in there. Swedes, The Stu are another Country band and another good one at that. They could easily slip into the USA and pass for one of their own and their forthcoming debut album should be well worth hearing. I’ve reviewed Svensson & Dafgard’s album, Rootation, and consider them to be the class act on offer. Their contribution, Take Me As I Am, is rootsy and very catchy. Linus Johnson & Stillhouse conjure up images of Appalachian life on Miner’s Blues and this Americana is a favourite of mine. Contemporary Country is also featured and erstwhile Blue Sky Forever member Tomas Larsson’s other band Larsson’s Fly is well sung and has some classy mandolin playing. Back to classic Country for Irishman Jim Cahill’s House For Sale but it also reminds me of a slowed down I Knew The Bride by Dave Edmunds. Moonlight Wranglers contribute 77, a good example of energetic Country Rock. Broken Records offering is The Silver Plate and it harks back to the classic Country Rock of the 70s. This is a harmony-laden highlight. Wasted Away by The Turnpikes is another is the same vein but with a world weary vocal. They lose it a bit at the chorus but that doesn’t detract too much from their performance.

All in all, a very good sample of what is going on in the roots capital of Sweden.

http://www.dustyrecords.se/

David Blue.

Eleanor McEvoy – Suffer So Well (Moscodisc).

Eleanor McEvoy’s latest single, Suffer So Well, is gentle Irish/Americana with a world weary vocal and lovely harmonies. It’s a good song to sing along to when you feel the urge and can be aimed at those who show that they are suffering as well as those who can hide their pain. It is backed with a slow, pared back acoustic version of Marvin Gaye’s Mercy Mercy Me. This allows you to concentrate on Gaye’s lyrics and is delivered in the same gentle fashion as Suffer So Well. With these, she has confirmed her status as one of Ireland’s greatest exports and her reputation as a great songwriter. Both tracks are taken from Eleanor’s current album, Out There.

http://www.eleanormcevoy.net/


David Blue.

Billy Jones – My Hometown (Black & Tan).

Arkansas born Billy Jones calls his music Bluez and he is a performer who is interested in extending ‘Great Black music from the Ancient to the Future’. Nine of the ten tracks on offer are self-penned and he does encompass more than one musical genre. For example, Here With You is a slow groover to open with. Jones has a velvet voice and this tends towards Soul and modern R&B with understated guitar. Pull My 44 is a funky blues with snappy drums. It’s the age old story – don’t mess with my woman or I’ll shoot you; fair enough! He returns to the slow soulful feel with Right Now and shows that his voice really suits more than one genre as it just oozes all over you. Crystal introduces another style and this time it’s rock. The anti-drug message is well intended but the song really doesn’t get going. Never Let You Go, the only song on the album not written by Jones, sees him continuing to swap genres. This is modern Soul but it’s just a little samey. He stays on the Soul side for a pleasant offering, The Clown, before unleashing some Latin influences on the eponymous title track. This has the same lines as Crystal but it's Blues, it's Soul, they’re all in there. You Upset My Soul is a stuttering Blues from the top drawer and The Rumour is acoustic based modern Soul. However, the latter is not one of the better tracks on the album. He closes with Bluez Comes Callin’, a good finish that reminds me of Taj Mahal to a small degree. This is a curate’s egg of an album, good in places, not so good in others.

http://www.billy-jones.com/
http://www.blackandtan.com/

Various Artists – Great Rockabilly. Just About As Good As It Gets (Smith & Co).

This is the first of a series of four double CDs from Dutch oldies label Smith & Co covering Rockabilly, Skiffle and Rock N Roll. George Jones opens the 64-track marathon from 1955-1956 with the energetic Rock It. You expect energy from Rockabilly and you can also hear blues influences on this. Johnny Carroll contributes the frenetic Wild Wild Women and Crazy Crazy Lovin’ from 1956 but the latter is so fresh and it could have been far younger. He also gives us some good fun on Hot Rock as does Eddie Bond on Flip Flop Mama. Bond also gives us Boppin’ Bonnie and, although the lyrics were never the best, the beat is as good as ever. The enthusiastic Joe Clay gives us Sixteen Chicks and Ducktail and he shows just how much the Rockabilly artists enjoyed what they were doing. Clay is one of many subsequent artists to follow a formula and he does it very well. Curtis Gordon also found the formula but the addition of steel guitar on Mobile Alabama keeps it on the Country side of Rockabilly. Others who veer to that side of the genre are Jack Earl with Slow Down and Sid King with When My Baby Left Me. The anarchic Marvin Rainwater chips in with Hot And Cold and the classic early Rockabilly of Mr Blues. Skeets McDonald sings Heartbreakin’ Mama and You Oughta See Grandma Rock in what became Lonnie Donegan’s style. There are some good and some not so good and the uninspired Rockin’ Rollin’ Stone from Andy Starr falls firmly into the latter category. Another one for the not so good group is Sanford Clark with Lonesome For A Letter. The vocal has no excitement and it feels like he was just going through the motions. Unfortunately, his second offering, The Fool also lacks the passion required. Tommy Spurlin’s Hang Loose is only marginally better.

The rockabilly artists would sing about virtually anything and Charlie Feathers’ Bottle To The Baby is a good example. This is basic and raw but that’s what is was all supposed to be about. Feathers also contributes One Hard Love, which keeps him in the zone. One of the genre’s giants, Johnny Burnette, provides a rip snorter in the form of Tear It Up and provides one of the albums highlights on Train Kept A Rollin’. Sleepy LaBeef is another heavyweight who delivers a powerful performance in a Presley style on All The Time. Warren Smith’s Rock N Roll Baby rolls along well and Curtis Gordon is so energetic on Draggin’. Smith also contributes Ubangi Stomp, which has novelty value that thankfully doesn’t hide the very good song underneath. Roy Orbison makes a few incursions into the album and although Rockhouse is obviously an early recording, you can hear the voice coming through – not a great song though. Another of Orbison’s is You’re My Baby and this only has slight hints of the star to come. It does, however, build up into a great Rockabilly song. The third of Orbison’s trio of songs is the inanely titled Ooby Dooby which is actually a good song but is spoiled by the stupid chorus. His quartet is finished off by the energetic Go Go Go. It is strange why the compilers of the CD decided to give Roy Orbison more tracks than any other artist.

George ‘Thumper’ Jones gives us a rendition of the now famous Heartbreak Hotel and I’m about to commit a sacrilege by saying that this is every bit as good as the Elvis version. I’ve only got three words to say about Jones’ other contribution, How Come It, -- this is Rockabilly! Another famous song is Bird Dog and Don Woody’s version has one foot firmly in the Country genre. Another one from Woody is Barking Up The Wrong Tree and this is what Rockabilly is all about – energy and fun. Ronnie Self contributes Pretty Bad Blues and it’s obvious that he modelled himself on Elvis Presley although the song itself is pretty standard stuff. The great man, Gene Vincent, throws in Woman Love and this is trademark Vincent, mean & moody, showing that class always shines through. The class also shines through on I Flipped although it is difficult to pick out Vincent. CD 1 is finished by Be-Bop-A-Lula, another of the generations defining tracks. Roy Hall’s All By Myself only skirts around the edges of Rockabilly but Malcolm Yelvington really bops on the classy Rockin’ With My Baby. Yelvington also has Yakety Yak on the album but this is a country song and not a cover of the more famous song of the dame name. Jimmy & Johnny give us Sweet Love On My Mind, a country based tune with good harmonies.

The biggest Rockabilly star, in the opinion of many, is Carl Perkins and his contributions are Dixiefried, Boppin’ The Blues and the ubiquitous Blue Suede Shoes. He is a giant of the genre, performs to the highest standard and has the voice of an angel. Ray Harris gives us the energetic Come On Little Mama and it sounds like his guitarist’s hand is near to falling off. Where’d You Stay Last Nite is another good performance from Harris. The man who is widely credited as the person who started off the whole genre, Elvis Presley, has two tracks. He is unmistakeable on Baby Let’s Play House and throws in the bluesy, classy Mystery Train to finish of the second CD for good measure. He was what the others could only aspire to. Janis Martin is the only female to make it on to this compilation and although Let’s Elope Baby is pleasant enough, is it good enough for Rockabilly? I don’t think so. Maybelline with acoustic guitar is different but Marty Robbins version is not a patch on the Chuck Berry original or the scorching version by Pat Travers. Roy Duke’s Behave Be Quiet Or Be Gone has a country style title and is a country style song, complete with yodelling. There is a formula to this style of music and these early pioneers soon set the standard and Webb Pierce’s Teenage Boogie is an example of the formula. Mac Curtis chips in with the pretty standard Grandaddy’s Rockin’ and Billy Lee Riley gives us the equally standard Rock With Me Baby. However, Curtis shows that he is one of the better vocalists on That Ain’t Nothing But Right. Sonny West’s Rock-Ola Ruby is one of the better tracks but I don’t find it menacing enough -- there should be that edge. Buddy Holly is totally unrecognisable on Midnight Shift. Buck Griffiths’ Stutterin’ Papa is very rough but is nothing out of the ordinary. Country giant Johnny Cash also makes an appearance with Get Rhythm and this is sheer class. It shows Johnny making the bridge between country and rock n roll. Also included is So Doggone Lonesome which is instantly recognisable as Cash but hardly Rockabilly. Slim Rhodes is just not up to the task on Do What I Do but that is countered by Sonny Fisher’s Rockin’ Daddy, a fine example of how the genre came into being.

This is an important introduction to the birth of a musical genre but remember, you have to take the rough with the smooth.

http://www.smithco.nl/

David Blue.