Chris Duarte Group – Blue Velocity (Provogue).

The Chris Duarte Group comes from Austin, Texas and Duarte follows in the steps of Stevie Ray Vaughan, whom he has been compared to on many an occasion. He finished fourth behind Eric Clapton, Buddy Guy and B.B. King is 1995s Guitar Reader’s poll so you can imagine what a talent we have here. His previous four albums were all critically acclaimed and I’m sure that this will join the list. Amy Lee is stomping blues rock on which Duarte uses sustain to great effect and grinds it out to the end. Things go a bit more up-tempo on Do It Again and this has more of a vintage feel. Dextrous guitar playing and a classic rock voice make this a favourite. Damien Lewis’ rolling drums guide us through Hard Mind but when Duarte unleashes his guitar, the whole tone changes. This is good time music, played by a top practitioner and although it is over 7 minutes long, it certainly does not feel it. The opening to Something Wicked blew me away and this has power all the way. Don’t fall for the sedate opening bars and turn up the volume – you are liable to go deaf very quickly. When the vocal comes in, things slow down to an epic blues and blues with such feeling. At over 13 minutes long it sits with the classic tracks of the seventies – get your air guitar out! The pace picks up again for I’ll Never Know, another rocker on which Duarte funks it up. The vocal is a little detached at times but there is no doubting his guitar credentials. The rhythm section deserves special mention for Dustin Sargent’s pulsating bass and pounding drums from Lewis.

Sun Prairie Blues is a laconic blues with a not so PC lyric but many blues songs fall into that category. Guitar and voice are in complete synchronicity and he keeps things simple, apart from his solo where he rips it up. Never Gonna Change is a total wall of sound with the full band on a rocking tip but R U 4 Real? (I hate text language) is probably the weakest track on the album. Even Duarte’s guitar pyrotechnics fail to save this strange one and it is far too long at just under 9 minutes. He is back on form with the straightforward rocker, Out In The Rain and follows it up with a standard electric 12 bar blues, Leave Her Be. This Chicago style blues has a ringing guitar and heavily accented vocals and hits the spot. It’s a heavy finish as the band takes it to the limit with Met My Match. It’s short, it’s sweet and it’s a great way to finish.

Provogue keeps coming up with more and more top class guitarists and long may it continue.

http://www.provoguerecords.com/

David Blue.

The Rounders – Wish I Had You (Blind Pig).

Oklahoma City based five-piece outfit, The Rounders are a young band that are beginning to make a splash in the swimming pool of the blues. This, their debut for Blind Pig opens with God Knows I’m Tryin’, an uncomplicated, energetic opener with pulsating bass from Dave Spindle. The eponymous title track is another hypnotic one that fits firmly into the blues/rock category. My Getaway is a blues chugger with dual guitars (Ryan Taylor and Michael Stone), one on slide, playing in tandem. There is a Cajun feel to the simply executed You Know Better Than That and Through No fault of my own is a brash, brooding rocker with fuzzed vocal from Brian Whitten and harp. They show us another string to their bow on Oh My Dear Mind, which is fast paced, easy going Country.

When It’s Bad is a stomper and so different from the previous track. Ryan and Stone really get down on this blues rocker, ably backed by Stu Williamson on drums. It’s back to Country, with a little Cajun beat, for Oh Why. This is happy music – turn it on if you feel down. Let Me Talk At You continues the interchange between Country and rock. This is another with a fuzzed vocal and confirms their comfort in different genres. Their ease with each other is here for all to hear. Wait For Me is more of a straightforward blues, played in a Muddy Waters style. There is that fuzzed vocal again – is it my headphones? Guitar and harp meld well here. Leave My Trunk Behind is an R&B crossover with a 60s feel and It Wasn’t My Baby is an old style Chicago blues. They close with the fast-paced Goodbye George and its excellent slide guitar.

The Rounders is a good, down to earth band and there will always be a place for them in my collection.

http://www.blindpigrecords.com/
http://www.the-rounders.com/

David Blue.

Chris Whitley & Jeff Lang – Dislocation Blues (ABC Records).

This album was recorded seven months before Chris Whitley’s untimely death due to cancer and it is a fitting piece of work to remember him by. Vocal flits between wispy and pronounced power on the opener, Stagger Lee. This is a slow, brooding version of the famous song with acoustic backing, electric slide and a throbbing drum beat from Ashley Davies. Twelve Thousand Miles is a gutsy blues with excellent, equally gutsy guitar. Bob Dylan’s When I Paint My Masterpiece is a wall of sound with Whitley and Lang both on form with this grinder. Rocket House is country blues at the start but runs into a contemporary urban blues. There is some excellent slide guitar from both of them and what a loss Whitley is – hypnotic. The Road Leads Down has, quite simply, superb. They manage to get the ethos of the pre-war Delta and bring it slap bang up to date on the eponymous title track.

Forever In My Life has, as with the rest, a broody undercurrent. The use of Dobro on the album has been a masterstroke, none more so than on Velocity Girl. Unfortunately, the vocal on this is not as good is has been on others but the jagged guitar makes up for that. Ravenswood is airy but the voice goes a couple of times. Underground is completely different from those that have gone before. Electric, grungy guitar with a fuzzed vocal, it is almost demonic. Their voices differ but compliment each other and this is highlighted on the second Dylan cover, Changing Of The Guard. The breathless quality of the vocal is counterbalanced by the snappy guitar. Motion Bride is the last noted track and starts off in a sea shanty style with banjo to the fore. However, there is a short silence and then the guitars take over for a very ethereal rendition of Robert Johnson’s Hellhound On My Trail. This is followed by another, Kick The Stones I believe it to be, and the whole thing lasts over 11 minutes with a live track at the end. Not altogether unnecessary but it would have been good if they could have listed these tracks.

http://www.warnermusic.com.au/

David Blue.

Hallam Foe Original Soundtrack (Domino).

Orange Juice starts off this more than slightly Scottish tinged soundtrack of the recently released, critically acclaimed film, Hallam Foe. Their contribution is Blue Boy, an upbeat pleasure with Edwyn Collins on top form (good to hear that he is fighting his way back to fitness). The guitar is all over the place, as it normally is, and there are punk influences and a great chorus. UNPOC, from The Fence Collective whose highest profile member is currently King Creosote, gives us Here On My Own. This acoustic offering with its shouted chorus is deceptively catchy. King Creosote makes a short appearance as well and he confirms his status as a newly found major label act on The Somewhere Else. He has grown as a performer and this will enhance his standing with the harmonium giving a seafaring feel. Sons And Daughters are another band that are making a name for themselves and their brand of Indie rock on Broken Bones will fit in well with the target audience for the film. Junior Boys contribute the uninspiring electronica of Double Shadow and Clinic lift the album again with their rousing rocker If I Could Read Your Mind. Future Pilot AKA send in the heavy dub on Battle At The Gates Of Dub – highly addictive but very short.

Hood gives us the relaxing Lines Low To Frozen Ground and the headline band, Franz Ferdinand contributes Hallam Foe Dandelion Blow. This has a flighty and acoustic introduction and is a bit of a surprise – I’ll say no more. Psapp gives us Tricycle, which takes us back to the gentler side but it sounds like someone pulling a zip up and down at one point though – don’t ask!! Surf Song from James Yorkston & The Athletes remains on the gentle side. It’s just guitar and voice with a little accordion in the background. Great alt. folk from the Fence Collective stalwarts. The Bill Wells Trio chips in with Also In White, the great slogan from the back of many a transit van. This has electric piano and harmonica for most of the piece and harks back to the days of Larry Adler. Salvese Quien Pueda from Juana Molina is tender, almost child like and is a surprising favourite and Cinema’s They Nicknamed Me Evil is very ethereal, very Tubular Bells. The sedate feel continues with I Hope That You Get What You Want from Woodbine but it’s difficult without seeing the film to see how well the songs fit in. The album closes with Movietone’s Ocean Song, another slow one although it does build up towards the end.

As I say, it would probably be best to see the film first but there are a number of tracks here that stand up in their own rite.

http://www.dominorecordco.com/

David Blue.

John Dee Holeman & The Waifs Band – John Dee Holeman & The Waifs Band (Music Maker).

Born in 1929, John Dee Holeman is an original bluesman and here he teams up with the young Australian folk/rock band The Waifs for a surreal session that resulted in this gem of an album. They open with a straightforward version of the country blues classic, John Henry and follow it up with the electric blues of Country Gal. This is delivered at a pedestrian pace but the delta/Chicago hybrid is the real deal. Mojo Hand is another, no messing electric blues and the band gives it to us, warts and all. This is a rough diamond with a live feel to it. The strangely titled Give Me Back My Wig gives the harmonica player, Vikki Thorn, a chance to step out of the shadows and she does excel on this rustic offering. I’m A Pilgrim is acoustic, traditional and fantastic.

The tracks keep on coming and Coming Home To You is a classic blues. The first slight disappointment is Elmore James’ Dust My Broom. I’ve been brought up on powerful versions of this song and Holman’s just doesn’t do it for me. Next up is Little Queenie but I could swear that I was listening to Reelin’ and Rockin’ – someone has got his Chuck Berry tunes mixed up! This shows how wide reaching Chuck Berry’s influence is. They return to electric delta style blues for I Miss You Huggin’ and they turn in an unpolished performance that demonstrates how sweet music can be. Looking Yonder Comin’ is country acoustic blues and harks back to days gone by. If there is a style to pin to Holeman then this is it. They finish with the classic Baby, Please Don’t Go – often covered, few better.

http://www.musicmaker.org/

David Blue.

The Carvin Jones Band – I’m What You Need (Own Label).

Carvin Jones has been voted in the world’s Top 50 guitarists in Guitarist Magazine and this album confirms that status. Jones and the band open with the eponymous title track, a rousing blues with gunslinger guitar and vocal duet with Roscoe Taylor. You Drive Me Crazy has fuzzed guitar to introduce this slow burner. Strawberry Shortcake is R&B with Steven Von Wald’s saxophone introduced to good effect. Carvin shreds up the fretboard on this instrumental which also has a clever piano break from Tim Furkes. Drownin’ On Dry Land is a strong Chicago blues but with an unnecessary trumpet in the background. It is too much of a conflict with Jones’ guitar, which overpowers everything. Born To Win is a fast paced R&B with stinging guitar. The excellent Patrick Riley on drums keeps the whole thing together.

They stay with R&B for Havin’ A Bad Day and this confirms that Jones’ guitar is the star. Excellent horns on this as well. The slightly familiar instrumental, Lightning & Ice is a fast paced, shuffling blues on which Furkes gets his share of the limelight. The electrifying guitar of Jones heralds Stuck In The Mud; a familiar tale of a lost job, no money and a woman leaving. This down on my luck blues at its best. There is a little more power to Roscoe Taylor’s voice on One Night Stand, an R&B/Soul crossover with Jones’ guitar piercing the sky. Miss You Baby is a rolling blues with a return to his smokey voice and prominent piano from Furkes. Wanna Walk Witcha Baby is another rolling blues and they finish off with I Need Your Sweet Lovin’, a slow, delta blues with a primeval feel. Simple guitar and voice is a fine way to finish.

Eric Clapton thinks that Carvin Jones is the next up-and-coming blues player and I am not about to argue with him.

www.carvinjones.com

David Blue.

Omar Kent Dykes & Jimmie Vaughan – On The Jimmy Reed Highway (Ruf Records).

Mississippian Dykes and Texan Vaughan take a road trip in honour of one of the blues greats. Opening with the eponymous title track, we have Dykes’ growling vocal over a mid-paced boogie although Vaughan’s guitar is a little shaky at times. Reed’s own Baby What You Do To Me/Bright Lights, Big City is a strolling blues on which the use of Kim Wilson’s harmonica is to good effect. There is a seamless change between the two songs, the second of which is a classic, of course. Here, their voices go well together. Willie Dixon’s Big Boss Man has Wilson’s harmonica out again whilst Vaughan keeps up the rhythm and snappy drums from Wes Starr underpins the whole thing. The First of four Reed songs, Good Lover, is a swinging blues with Lou Ann Barton on vocal, answered by Dykes. There is a good interaction between them on this, one of the best tracks on offer. They slow things down for Caress Me Baby and Dykes continues to exchange vocal with Barton. Wailing harp from James Cotton, an emotion-laden vocal and some of Jimmie Vaughan’s best guitar work makes for a top song.

Aw Shucks, Hush Your Mouth is played in a Jimmy Reed style and Vaughan gets to take over. There is more lead guitar than on the others and he carries it off well – no fireworks, just steady playing. You Upset My Mind continues in the Reed style – a slow shuffle with plenty of harp from Kim Wilson. Dykes as the authentic voice for this. I’ll Change My Style is a Country blues with staccato guitar from Vaughan that fills in very well. Eddie Taylor’s Bad Boy is a mid-paced 12-bar that turns into a bit of a jam in the middle and allows Vaughan to shine. Baby What’s Wrong is another Reed song and is faster than most. This has Dykes grinding his way through. Gary Primich on harmonica, however, takes centre stage. The final Reed song, Hush Hush, is a grinder with Dykes continuing his gruff vocal with some vocal and harmonica from Delbert McClinton. You Make Me Laugh is standard fare to finish with and Primich almost makes his harmonica talk.

http://www.rufrecords.de/

David Blue.

Matt Andersen – Solo At Sessions (Own Label).

Canadian Andersen is a five year veteran in the music business and this comes across in his latest album, Solo At Sessions. He has an acoustic start with Leavin’ Blues and it highlights his silky voice and 12 string guitar. It’s a straightforward swinging blues. The Bill Withers classic, Ain’t No Sunshine is given a good treatment. Andersen’s voice is well suited to the song and he is an excellent live performer. He produces some frenetic guitar on this superb version. When My Angel Gets The Blues is a return to the 12 string guitar is more nu-country than blues. He is a particularly good singer, much like his Australian contemporary, Derrin Nauendorf. He introduces dobro for I Play The Fool For You nod produces a rousing blues despite the lack of urgency. The reaction of the crowd tells its own story.

He turns in an acceptable country blues on One Size Never Fits before returning to his 12 string for the shuffling blues of Rollin’ Home, complete with fingers of steel. Have You Got The Blues underlines his love of the 12 string and he produces some lovely Gordon Giltrap-esque fills. If I Can’t Have You is folksy but very good, nonetheless. He shows that he can crank up the speed on the breakneck blues of Tell Me. He must have worn out his slide on this and his picking technique is outstanding. He throws in a bit of Deliverance and Smoke On The Water for good measure. He finishes with one of my favourite songs, The Proclaimers’ My Old Friend The Blues. Steve Earle does a great version of this and although Andersens’ version is not as grungy, it is excellent in its own rite.

http://www.stubbyfingers.com/

David Blue.

Joe Bonamassa – Sloe Gin (Provogue).

It was with great excitement that I received this album having reviewed You & Me (his last album) and having seen him live. His seventh solo album opens with Chris Whitley’s Ball Peen Hammer and this shows a maturity in his voice. It starts on acoustic guitar but it is not too long before he unleashes his renowned power and excellent picking. Ten Years After’s One Of These Days follows on quickly and is a mighty powerful blues chugger. This builds to a crescendo and then takes the listener back down again. There is a little bit of slide guitar and a top solo on this, which is destined to go down in the annals of blues rock history. Joe shows his versatility on the acoustic Seagull. Joe gives this Paul Rodgers song a folk rock, 70s concept album feel. Dirt In My Pocket is the power blues rock that Joe is most associated with but this is a little Bon Jovi, although that is not too bad a thing. The eponymous title track, a little known song from Tim Curry’s 1978 solo album, is ethereal and has guitar that slashes through your senses – sheer class. Bonamassa reckons this will soon be his biggest live track.

Another Kind Of Love – another kind of blues rock, more like. This is straightforward, but at the top end of the genre. Around The Bend is a return to acoustic guitar but with the addition of some innovative slide. This will be a great song in a hushed auditorium. Black Night (not the Deep Purple classic but the one written by Charles Brown) is a classic blues with a big solo and a grown-up voice. He gets the dobro out for John Martin’s Jelly Roll, beautifully played and showing that he is one of the best around. Richmond is played on acoustic guitar and is quite simply a very good song. He stays in acoustic mode for the closing track, India. This has sitar overtures and is a slight departure for the blues rock genius. I suppose he is still spreading his wings and is eager to try new sounds and I won’t blame him for that. This is a more than satisfactory follow up to You & Me.

http://www.joebonamassa.com/
http://www.provoguerecords.com/

David Blue.

Dave Gross – Take The Gamble (Swingnation Records).

22 year old Gross is already a master of the guitar and his talent was noticed by the legendary Duke Robillard who has produced Take The Gamble and guests on three of the tracks. Clarence ‘Gatemouth’ Brown’s She Walks Right In is played in a Big Band style and is an upbeat swing blues to open with. He follows that with Mess On My Plate, a slow swinger and I’m Leavin’ Baby, which is a slinky blues with equally slinky guitar. I’m So Hungry Blues is slow and deliberate and full of innuendo. Swinging On All Six is jazz/blues and there is a good interaction between Gross’ guitar and Doug ‘Mr Low’ James’ saxophone. Dona Oxford on piano also gets in on the act on this fast paced swinger. Walkin’ In A Daze, written by ‘Hot Lips’ Page, is on the jazz side of the blues again but not too inspired.

That’s All You Get has a snappy Albert Collins style guitar and he must certainly be an influence – smooth. You Ain’t Playin’ Me No More is a barroom blues with slinky guitar and assertive vocal but I Know Your Wig Is Gone (strange title) is another unremarkable jazzy blues, despite having been written by T-Bone Walker. After Your Gone is another jazz offering and although very professional, it is not inspiring. Great guitar though. Movin’ On Down The Line is a contemporary blues and there is no disputing his prowess on guitar. Once I Had A Girl is old style Country played quickly with adventurous guitar. He closes with Make Things Right, a slow sultry blues. This makes for a very good ending and carries his now trademark vibrato and exceptionally strong guitar.

http://www.davegrossband.com/
http://www.swingnationrecords.com/

David Blue.

Gina Sicilia – Allow Me To Confess (Swingnation Records).

Philadelphian Gina Sicilia is a new voice on the blues scene and she is making waves already. That’s A Pretty Good Love is a swinging opening with Sicilia unleashing her big voice on the song many will associate with Big Maybelle. I Ain’t Crazy is a big band blues with a great horn section. The guitarist, Dave Gross, plies his trade well and Gina is powerful again. Try Me is a slinky blues, originally sung by Esther Phillips with Karel Ruzicka Jr and Rob Chaseman on sax are on form. One Of Many sees the introduction of Dennis Gruenling on harmonica for this upbeat song. It’s blues but it does flirt with the jazz side. Pushover has a 60s feel and Gina does a great job of covering this Etta James song.

The self-penned Rest Of My Days is soulful and you can sense influences such as Otis Redding. The second half of the album is written solely by Sicilia and the eponymous title track is a grinding soulful blues with jagged guitar from Gross. You Set My Heart On Fire is a sultry nightclub blues with Matt Stewart’s muted trumpet under a raunchy vocal. Bass (Scott Hornick), drums (Mike Bram) and guitar (Dave Gross) are all understated – gorgeous. There Lies A Better Day is a harmonica blues and Gina vamps it up again as Dennis Gruenling beefs it up on harp. This swings along very well indeed and her voice belies her years. That Much Further is Country and the poorest track on offer. The Gospel inspired When My Ship Comes In finishes things off and is played acoustically to let the listener hear the lyric. The last two tracks are obviously in there to show her versatility but it almost backfires. However, I have to say that this is an above average debut.

http://www.swingnationrecords.com/
http://www.ginasicilia.com/

David Blue.

Seasick Steve – Dog House Music (Bronzerat).

Seasick Steve is one of the flavours of the moment on the blues scene and it’s not hard to understand why when you hear this album. The opener, Yellow Dog brings the Delta to the 21st century but is way too short. Things Go Up is an acoustic blues and back to basics. He’s had the knocks and his life experience comes out here and elsewhere in the album. Cut My Wings has a live feeling to it. It’s played on electric guitar and will, repeat will, excite you. Fallen Off A Rock confirms that Seasick Steve could be John Lee Hooker’s successor. This is more of a country song though, but it has a big, loud blues finish. Dog House Boogie tells the tale of how he is still trying to get your spare change – old habits never die. Save Me has a strange effect on the guitar but otherwise, is a straightforward blues.

Hobo Low is another mid-paced boogie. He speeds it up in places toward the end with an almost Native American wail. This is John Lee Hooker influenced and no mistake. Shirley Lou is acoustic Delta blues and My Donny is a mesmerising stomping blues from the same area. Time Dead Song is a painfully slow but confirms his status as a real bluesman. Last Po’ Man is slightly more upbeat but the dark undertones continue. Salem Blues is back to the snails pace acoustic but he does manage to produce a smouldering blues. I’m Gone is played at his own pace again. Clean sounds with a big speech at the end. The song is a story about jail and a dog. Five minutes later he goes off into another track and adds drums, which for him is a big departure. He has been quoted as saying that he won’t be around for long, let’s hope he is wrong.

http://www.bronzerat.co.uk/

David Blue.

Simon Mayer & The Mandolinquents – Dance Of The Comedians. In Concert (Acoustics Records).

In the 1930s, mandolin orchestras were very popular and one listen to Simon Mayer & The Mandolinquents it is very easy to understand why the instrument is undergoing a bit of a revival. Fans of the band have been asking for more ballet music since Dance Of The Sugar Plum Fairy was included on their first album. They have capitulated and offer Delibes’ Pizzicato as the opening track. This is a smorgasbord of mandolins and the tune suits the instrument well. Between most pieces there are spoken introductions which, on the whole inject some of the bands off-beat humour. Apanhei Te Cavaquinho is a tune played at breakneck speed. Written by Ernesto Nazareth, the King of Choro, which is a Brazilian street music, the speed is produced by the Cavaquinho, a type of small guitar that is designed to play at a rate of knots. Their energetic playing is so precise and they get even quicker towards the end. Hilary James is introduced on vocal for the first time on Song Of India, taken from the opera Sadko, but her voice is a little too shrill for me. The spoken introduction to The Typewriter emphasises the good rapport that they have with their audience and their dexterity on the instrumental astonishes me. They show that they are not a one trick pony with George Shearing’s Lullaby Of Birdland. This is jazz, as you would expect, with vocal and violin thrown in. Richard Collins keeps the audience going by telling them that he is not bald, he is eggshell blonde. After this revelation they launch into the well known and superbly played Czardas. The female introduces Loch Lomond and gives an explanation of what the song means. Unfortunately, as a Scot, I feel that they have Anglicised the song a little too much but the mandolin interlude is well placed.

Rigaudon is a Greig piece and they show great depth and feeling, highlighted by the fact that there is not a pin dropped in the whole place. The Sailor sees Hilary James back on vocal and it turns out to be a lovely song, well sung. The introduction to Caravan highlights the differences between the USA and Britain. The song is by Duke Ellington and has a cowboy feel to it before it goes off into a French Jazz Club. The sarcasm drips off the tongue on the introduction to Will You Come To The Bower. This is old English folk which is expertly played. Not for me though. Summer is light and airy, as you would expect and The Dance Of The Comedians, taken from Smetana’s The Bartered Bride, is back to the rapid playing. They surely are masters of their trade. There is comedy to the end but they do give a reason as to why they started The Spider In The Shed. This is a spoof of Home On The Range with audience participation. A nice, fun ending.

http://www.acousticsrecords.co.uk/
http://www.mandolinquents.com/

David Blue.

Inneke23 & The Lipstick Painters – Elephant Crossing (CoraZong Records).

This is the debut album from Belgian singer/songwriter Inneke23 and her Alt. country band The Lipstick Painters. Inspired by the likes of Lucinda Williams, Gillian Welch, Steve Earle, Johnny Cash and The Jayhawks she has embraced the Alt. country ethos with great verve. They open with Guitar Jesus, a rootsy, solid, happy start and follow it up with the quirky title track on which and banjo (Jimmy Stelling) & fiddle (Buni Lenski) combine to produce a bouncy offering. Fairy Girl is slow and still has that Americana feel despite the use of cornet, played by the wonderfully named Jon Birdsong. It’s Still Raining is more up-tempo in parts and is another quirky one with good harmonies. Neil Young (Harvest period) comes to mind on Oh Sister, although it is a Bob Dylan song – I’m off to get my guitar and play along. The punk influenced Hatesong is angst ridden but with a lot of humour as well.

Purple And Blue is mountain music and a short barn dance to boot. Trojan Horse is slow and moribund but it does creep up on you. Lucinda Williams’ I Envy The Wind is a simple piano ballad but the gap in the middle makes it feel as if you are off into another track. The second phase is more up-tempo with a guitar solo thrown in. O.V.E.R. is old style country/mountain music with top class harmonies and just a little underlying aggression. The Fairy Man has a banjo and drum beginning and is as roots are you are likely to get, hee-ha! Closes with Waiter Of Your Sleep is slow and eerie. Just float off until the end.

http://www.inneke23.be/
http://www.corazong.com/

David Blue.

Sharrie Williams & The Wiseguys – Live At The Bay-Car Blues Festival (Crosscut Records).

This performance is from the 2006 Bay-Car Festival which is held in the North West of France, near Dunkirk. Saginaw resident Williams blows away the audience with her explosive opener, Tell Mama. Lars Kutschke’s guitar rings on this funky version of Clarence Carter’s song that Big Mama Thornton made her own. Big Fall is medium paced soul but Kutschke does pick up the speed a little on his solo. How Much Can A Woman Take is a slow blues and Pietro Taucher steals the show on organ even though Kutschke does try to upstage him. The more I listen, the more he does. Power is all about the voice and builds into a pounding blues with lightning fast guitar breaks.

I’ll Take You There is funky soul and a long one at that. Hard Drivin Woman is a mid paced boogie and I’ll Give You Mine is a slow jazz burner. Just You And Me has Robin Rogers guesting on harmonica and vocals and is a good time blues on which harp and piano feature highly. The final track, Travellin’has a little bit of Bo Diddley in there before it becomes a singalong and then goes off into Gospel shouting before coming full circle back to the beat. Also available is an eight track DVD covering all of the songs on the album apart from Just You And Me. This shows you how much of a stage presence Sharrie Williams has.

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

David Blue.

Jeff Talmadge – At Least That Much Was True (CoraZong Records).

For his latest release, Jeff Talmadge has gathered some of Nashville and Austin’s top musicians and produced an album that is as gentle as it is deep. Texan Talmadge has a rich experience to draw on for his poetic songs and has worked as a janitor, a Capitol Hill Congressional press secretary, an associate scout for a major league baseball team and a board-certified lawyer. He opens this, his second album for CoraZong, with Never Saw It Go. This is Alt. Country and very easy going. Let Her Go showcases Talmadge’s velvet voice and is some more easy going Country. Wrong Train sets me to thinking that it is going to be gentle sounds all the way through the album. This guy is so laid back and the idea for the song came from a time that he caught the wrong train in Groningen in the North of Holland. He says that he enjoyed the journey even though he was going in the wrong direction and sometimes in life we have to go in a different direction to reach our destination. Austin When It Rains has an obvious drumbeat! However, it picks up only slightly from those that have gone before but does have a sense of melancholy. Bob Dylan’s Girl Of The North Country is played as a lonesome cowboy song with obligatory wailing harmonica. Talmadge says that this is one of his favourite Dylan songs and that he’d always wanted to record it. He should be pleased with the result as the band plays as one.

Because Of You gets him out of first gear – almost. Like the others, this skirts the area between folk, Americana and Country. Train From Amsterdam slows things back down again and is just so easy to listen to. This song came from his thoughts about how much his life had changed whilst on another train in The Netherlands. White Cross remains firmly in the slow lane and mixes Americana with Country. In the US it is common practice for people to place small white crosses at the scene of road accidents and it was spooky that both Talmadge and his friend, Claudia Russell, were both working on a song on this topic at the same time. They thought it would be best if they collaborated and the result is here. So The Blues Would Stay is Americana and very slick. Scrapbook is an almost seamless transition from its predecessor and keeps up the gentle theme. This idea came from Talmadge thinking that every place he visits is like turning the page of a scrapbook. The slightly jazzy Chet Baker Street closes the album and Talmadge doesn’t crank it up, even for the last song. This album is perfect for when you have a few friends around and don’t want the music to completely drown out the conversation but still want to raise a few talking points.

http://www.jefftalmadge.com/
http://www.corazong.com/

David Blue.

Alastair Moock – Fortune Street (CoraZong Records).

Fortune Street is Bostonian Alistair Moock’s fifth album and he presents nine original songs and one cover. The album was recorded in just five days and Moock says that “it was the most fun I’ve had making an album”. The eponymous title track opens this album and highlights Moock’s slight gruff quality to his voice. It’s a sedate opener, played in the open key of E that is firmly in the Americana fold. Yin Yang Blues is a quirky blues and Woody’s Lament is Americana again. These gentle acoustic sounds blend into Moock’s understated guitar and Sean Staples’ vocal. This is a Woody Guthrie tribute with some harmony that confirms Moock’s citation that “Woody Guthrie is the reason I’m a songwriter”. Swing That Axe is old style folk blended with jazz and is a well executed good time song. God Saw Fit To Make Tears is a lovely title and is gentle Americana with a weary vocal from Moock and guitar from The Mercy Brothers’ Michael Dinallo.

Cloudsplitter is played, and sung, in a mountain style. Moock is an excellent storyteller and this song, based on Russell Banks’ novel of the same name, is one of the albums highlights. Roll On (Song For Anne Marie) brings up one of my ‘hates’. Well, I say hates but really it’s just a dislike. I’m not always a fan of ‘Song For’ songs as they tend to be a little too sentimental for me. Not this one though. It’s as gentle as its predecessors but there is little sweetness in there. Kris Delmhorst adds his own vocal talent to this. Own Way To Heaven is old style folk/barroom with a Gospel feel, but just listen to the lyric. Delia is a tale of a gambling girl and highlights a storytelling talent again but Blind Willie McTell’s this time – an epic, with leanings towards the blues. Fishing Tales is a low key finish but that was to be expected given the pace of the rest of the album. This is Country/Folk with his slightly gruff vocal showing up well. The overall feel of the album is one of intimacy and leaves you feeling that you have visited a small, private party.

http://www.moock.com/
http://www.corazong.com/

David Blue.

Paw Paw – Wired OK (Albino Recordings).

This is the debut single from Paw Paw -- one guy, two girls & plenty of synths – oh it’s The Human League. Seriously, Wired OK opens with a Devo Whip It style beat and thumps its way through on a rollercoaster of pop. The other tracks on the single are two versions of Strange Reaction, which is Pet Shop Boys with a bit of Erasure. The second version, the Sam Dread Mix, is just more buttons and knobs. There is room for Paw Paw in today’s pop arena.

www.myspace.com/albinorecordings
www.myspace.com/pawpawmusic

David Blue.

Cliff Eberhardt – The High Above & The Down Below (Red House Records).

This is Cliff Eberhardt’s first album in 5 years and features 12 original songs. The eponymous title track is up first and is roots with a blues/rock punch. It is acoustic led and highlights the gritty quality to his voice. Missing You is slow and brings to mind many other American singer/songwriter offerings of the past – it’s of that high standard. It’s Home Everywhere I Go keeps the pace on the slow side and his voice is easy on the ear. The Next Big Thing is bluesy Americana and The Right Words is a piano ballad that conjures up images of the piano player in the corner of a bar with an upright bass player beside him. After The Rain Falls is an easy paced acoustic song that is short and to the point.

Assembly Line is another excellent understated song which is well constructed. Dug Your Own Grave confirms a Tom Waits feel to his music and shows him as another great American songwriter. Let This Whole Thing Burn has a slight Latin tinge and a strong performance. New Is What’s Come Over You is relaxing and I’m All Right is contemporary Country. The final song is Goodbye Again and it is no surprise that he closes with another quiet song. Most of the album is on the gentle side but having said that, he still manages to show many different facets to his voice.

http://www.redhouserecords.com/
http://www.cliffeberhardt.net/

David Blue.

Mem Shannon – Live. A Night At Tipitina’s (Northernblues Music).

A gushing introduction brings Mem and the band to the stage at Tipitina’s in New Orleans and they open their first live album with Payin’ My Dues. This is funk personified and is a strong & vibrant pounding opener. It’s a surprise that it has taken him so long to bring out this live album considering he does almost 200 gigs a year. Smell Something has bass & drums producing a sound base as the funk continues. No Religion is a throbbing blues that allows Shannon to display his full range on guitar and the band conjure up a storm. The follow up, Who Are They gets us back to the funk and is very strong technically. All I Have is slow and soulful but gives the sax soloists, Tim Green, Joe Cabral and Jason Mingledorff, a chance to shine. Perhaps it is a little too slushy for this hard hearted reviewer.

I Won’t Back Down is the Tom Petty song and I’m disappointed in this as I love the song. Mem’s treatment is not a success despite his strong guitar work. No Such Thing has him back to what he does best – funking up the blues. Keyboard player glides across the keys. Forget About Me is slow soul and heartfelt. His deep voice booms this out. Voodoo is the first of two epic tracks to finish off with, this being just under 12 minutes long. This is a funk-fest with an outstanding rhythm section in Josh Milligan on drums and Angelo Nocentelli on bass. It’s a great version of the Neville Brothers song and the full band is on top form. Phunkville is from his last album and he goes out with a bang on this grinding blues-based funk.

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

David Blue.

Paul Reddick – Revue (Northernblues Music).

Recently acclaimed as one of the most original singer-songwriters in the blues today, Paul Reddick has had a two pronged attack to his career. He is part of the group The Sidemen and has also launched a successful parallel solo venture. Revue presents us with songs from all stages of his career so far, including some songs that are currently unavailable elsewhere. I’m A Criminal is a throbbing blues, a grinder with grungy harmonica from Reddick. Colin Linden also throws in his not inconsiderable guitar. 2nd Street is played on acoustic slide and harmonica but in a contemporary blues style and boy, do they rip it up at the end. Template Blues is nothing of the sort. It has strong horns and a very clever New Orleans and Delta feel to it -- ultra cool. Villanelle has rootsy mandolin and its simple and fantastic style will make you think that anyone can do it!! Big Not Small has a fuzzed vocal; a rhythmic blues with harp and mandolin to the fore. Colin Linden contributes a heavy bass. Smokehouse is lightning quick and Am I Right Or Wrong has a rootsy homemade feel – a rustic jug band. Rattlebag takes us back to the sophisticated side. We have a fuzzed vocal again but it does come over a little Stevie Ray Vaughan in style with the sliding, smooth guitar. The fuzzed harp from Reddick and jagged guitar solo from Kyle Ferguson are particular highlights.

Train Of Love has a strange introduction and feels as if it belongs to another song. Anyhow, the song gets going into a Country/Americana harp led classic. This will get you going although it has a strange finish too. Queens Hotel has Latin rhythms with horns layer upon layer but still has a bluesy feel to it. ‘Round This Time Of Year is slow and weary Country and Trouble Again is rootsy, gutsy and neat & tidy. Winter Birds is another rootsy offering but difficult to categorise. Waitin’, with its shuffling harmonica, is a blues of high order. Colin Linden’s Hook’s In The Water stays firmly in the Americana field and although quite sparse it is superb. The slide guitar from Linden is haunting at times. Rosemary is jazzy and You Know It Ain’t Right is a breakneck blues where Reddick shows his undoubted class on harmonica as he almost blows himself out. The album closes with The Sidemen Boogie and you can hear the effort put into his harp playing as he delivers a master class. Reddick’s music has been used for films, TV shows and for a Coca Cola Classic commercial. Long may he continue.

http://www.northernblues.com/
http://www.thesidemen.com/

David Blue.

The Eisenhowers – Almost Half Undressed (Serali).

Useless Love is the opening track on this album from another new Scottish band. It is an airy and haunting well crafted song although a little on the long side. Novelty Act has a catchy chorus but the vocalist, Raymond Weir, is a bit light on it although he more than redeems himself on the rest of the album. 25 O’Clock opens with alarm clocks and pinging bass & synths from Paul Gray and Ronan Breslin respectively -- think The La’s or The Coral. and Consequently also has a strange Liverpudlian feel to it and builds the belief that we have another good band on our hands. I can hear Teenage Fanclub, BMX Bandits and Cosmic Rough Riders in this one. Let’s Not Talk About Me is Indie rock of a high calibre and The Abracadabra Man (no, not Steve Miller) is acoustic Indie rock that borders on folk/progressive rock.

The melodic Jigsaw confirms their professional attitude. If Satellites Should Fall is back to the acoustic side but is one of the weaker tracks. I’m sure that the good idea and eerie feeling behind this song could be re-worked. Mr & Mrs Frankenstein is an eccentric little tune and, remarkably, it works. The quirky vocal is a la Elvis – Costello, that is. If I Had To Make A List confirms their dedication to the melody. Constantinople (or is it Istanbul – ok, my jokes are getting worse) is acoustic with shades of the soft rock of 70s band, America. Plastic Jesus keeps its base on the acoustic side but does creep up on you (no pun intended) and makes for a strong finish to the album. Eisenhowers are superb in parts, due mainly to the song writing skills of Weir; I hope that they haven’t missed the boat.

http://www.serali.co.uk/

David Blue.

Gum – Seven Feeble Alibis (Serali).

I don’t know much about Gum other than the scant information on the CD sleeve and they’ve tried to fox me from the outset by only listing six tracks instead of the seven alluded to in the title. Time Going By is the first and I’ll always champion Scottish bands and the job is made easy when you have good raw materials to work with. This is a strong opener and acoustic based rock seems to suit them to a tee. I think that Leigh Myles’ vocals could fit in anywhere as she is such a good vocalist. Beyond The Horizon is a good slow paced rocker with a stadium style chorus. Cross Your Heart, Hope To Die is another power ballad and they tend to concentrate on the song – no big guitar solos to draw your attention away. Asleep At The Wheel reminds me of Garbage (the band, that is). It’s listed as a remix but the song is not represented anywhere else. What was the original like then? Not the best on offer. Falling Through The Cracks is a slow rocker and is more than passable. Untitled is short and pointless (makes up the seventh alibi and is, as the title says, feeble). They close with Low Flying Kites which makes for a low key finish although pleasant enough. All in all, this is a promising debut for Gum.

http://www.serali.co.uk/

David Blue.

Devon Allman’s Honeytribe – Torch (Provogue).

Son of Gregg Allman, Devon & Honeytribe, hopes to carry the family name on to new heights with this, his debut album for the excellent blues/rock label, Provogue. Torch has eleven originals from Allman and they open with the eponymous title track which is blistering funky rock. Allman’s deep vocal tones are intoxicating and he follows in the family tradition for classy guitar playing. This is a classic rock album opening track. The instrumental Mahalo has shades of 70s style San Francisco rock. If you like your guitar rock then you are going to fall for this so get your wah wah out! You wouldn’t normally expect to find a Bob Marley track on an out and out rock album but Allman’s treatment of No Woman, No Cry is sheer class! It’s hard to take such an iconic song and not do damage but you will love this. When I Call Home is an altogether slower pace and this easy rocker is so slick. Perfect World is a big blasting grungy blues that announces a new star to the firmament. Mercy Mercy has Joe Bonamassa on lead guitar and he burns up the frets. This is stunning as Bonamassa brings a different flavour to the Honeytribe of George Potsos on bass, Mark Oyarzabal on drums and Jack Kirkner on keyboards. Something I Know is slow, stadium rock and Heaven Has No Mercy is a Southern style rocker with acoustic slide from Pedro Arevalo. The up-tempo Why You Wanna Bring Me Down is a rocking blues and the second instrumental, 511 Texas Avenue, shows Allman’s fantastic technique on acoustic guitar. They close with Nothing To Be Sad About, an uplifting, good time blues where the title says far more than I can. This is one of the albums of the year.

http://www.provoguerecords.com/
http://www.honeytribe.com/

David Blue.

Kevin Coyne with Jon Langford & The Pine Valley Cosmonauts – One Day In Chicago (Buried Treasure Records).

This is Kevin Coyne’s last, and ironically a comeback, album; he died on 02/12/2004 after having a long and eccentric career in the music business. All 15 of the albums tracks were recorded within a few hours and it is reputed that he made up at least 10 of them on the spot. The opener, Monkeyheart is a fractured blues with Coyne’s distinctive moaning vocal. This shows that he is no respecter of musical genre. Britischer Cowboy is a waltz, in parts, Americana in others and comic in the lyric. He was certainly his own man, often acclaimed as the British Captain Beefheart. Over Land And Sea is Asian influenced with the wailing vocal now the norm. Songs like this show why he was regarded as the antithesis of pop. Money Like Water is in a country style but also has echoes of Blur’s Parklife and Ian Dury. Way Of The World is dreamy and blues influenced. The acoustic Happy Island Girl has a childlike lyric, “zoom zoom goes the plane and I’m on my way” being a good example of this happy song. By the time I reach Scene Of The Crime I’m scouring my memory to find who his voice is reminiscent of. Cracked it – Alex Harvey. This is another bluesy song but one of his more conformist.

She’s Not There is pub rock with a country bent, English style of course – a rollicking good ride. You You You! keeps up the standard and Harvey, Blur and Dury come to mind again. I’m sorry that I never got into Kevin Coyne in earlier years and I am sure that he is sadly missed by many. However, he is musically survived by his son, Robert, who released his first solo album in April this year. I’ve not tracked it down yet but I’m intrigued to hear if he has taken on any of his fathers attributes. There’s a bit of Van Morrison in Angel, another great song sung with so much feeling. Saviour, the standout amongst standouts, is a rhythmic, pulsating rock track; why he was never a big star I do not know. It is said that he was offered the chance to be Jim Morrison’s replacement in The Doors but turned it down as he didn’t fancy having to wear leather trousers. There is also the tale that he refused the offer to write lyrics for Tubular Bells, now I wish that I could have heard the result of that collaboration if it had ever come off. There are four live bonus tracks, the first of which is Blame It On The Night. This is just guitar and voice and Coyne gives a passionate performance. Fat Girl is blues influenced with Coyne’s twist and black lyrics. Money Like Water (version) is better than the studio version and is altogether impassioned and surrealistic. The last of the live tracks is Karate King and it is here that you can hear how ill he was at the time. His breathlessness comes over very strongly. There is a short précis about how the song is dedicated to a bully called Denis and his acerbic lyric is a fine testament to his writing talent.

Kevin Coyne is the type of artist that probably only Britain can produce but I fear we may never see his like again.

http://www.kevincoyne.de/
http://www.buriedtreasurerecords.com/

David Blue.

Various Artists – Rattlesnake Guitar The Music Of Peter Green (Viceroy Music/Lightyear Entertainment).

This 2CD set is a celebration of the music written by and covered by the genius that is Peter Green. Some of the planets best guitarists gather here to pay homage and offer their versions of some of the best known Green tracks. Black Magic Woman is performed by Larry McCray with scorching guitar and smooth voice and much different from both the original and Santana’s most famous version. Dave Peverett & Rod Price produce a soulful rendition of Love That Burns with free-flowing guitar and a big horn compliment. They also contribute If You Be My Baby, which stays relatively faithful to the original and has stinging guitar from Price. Savoy Brown gives Stop Messin’ Around a jazzy, acoustic feel and Snowy White changes Looking For Somebody completely. Luther Grosvenor, Ariel Bender in his Mott The Hoople days, chips in with Cryin’ Won’t Bring You Back and turns in a slinky blues with grungy lead guitar. The only downside is the extended, repetitive ending. He also plays Merry Go Round in a sultry, ragged manner. Peter Green’s writing allied to Rory Gallagher’s class conjures up a classic in Leaving Town Blues – the addition of mandolin is more than justified. Gallagher is also included with his archetypal style on Showbiz Blues. Harvey Mandell & Wilbur Boscomb play Ramblin’ Pony at breakneck speed and create a great version of one of Green’s best songs. They also contribute Long Grey Mare and funk it up big time – top performance from Bascomb on bass. The task of re-creating The Green Manalishi falls to Arthur Brown and he provides an anarchic performance, as you would expect, that oozes with energy. It’s not all Peter Green originals here as it is meant to be a representation of the music played by him. So, the inclusion of Ken Hensley on Hellhounds On My Trail is not too much of a surprise. This Robert Johnson song is essentially turned into a piano blues with a little acoustic slide guitar thrown in for good measure. A cranked up I Loved Another Woman is from Larry Mitchell & Jay Aston and keeps up the high standard. This is turning out to be a fine collection. Mick Abrahams keeps faithful to the original on The Same Way and Top Topham & Jim McCarty turn in a relaxed version of Drifting. Clas Yngstrom churns out a storming version of The Supernatural and Ian Anderson gives us his obligatory flute on Man Of The World, which is almost Oriental in its execution.

The second CD begins in barnstorming style with Billy Sheehan’s version of Oh Well. This is a fantastic 7 minutes of guitar playing, both electric and acoustic. Vince Converse’s Rattlesnake Shake is competent enough and the guitar pyrotechnics at the end are well worth waiting for. There’s a whirlwind performance of Fleetwood Mac from Stu Harman and his blazing fingers produce a heavy rock blues that Green would be proud of. Zoot Money & Bobby Trench give us a soulful rendition of Watcha Gonna Do. Perhaps Green’s most famous song is Albatross and it is a little strange that it is Paul Jones’ harmonica that is chosen to take the place of the guitar. It is pretty unique although I can’t say that I’m impressed too much and I feel that it loses too much of its impact. I’ve never heard of Naked Blue, who gives us Closing My Eyes. The female vocal is different but I think that overall it is another strange inclusion. Ray Gomez contributes a raunchy Evil Woman Blues and Troy Turner revs up the pace with neat guitar work and a solid vocal on Lazy Poker Blues. Harvey Mandel features again, this time with Jon Paris on Watch Out, a shuffling blues that drifts into cabaret at times. Kim Lembo plays A Fool No More and his smokey voice makes this sultry blues. Although a slow song, this is a powerful performance and Mark Doyle’s guitar playing is as good as anywhere else on this double set. Southside Johnny closes out the album with Baby When The Sun Goes Down, an appropriate track to finish with. This has a big brass backing from The Uptown Horns and the overall feel is one of a Springsteen song – great finish. The excellent sleeve notes from Jim Kozlowski (Viceroy Music) and Pete Brown are a good addition and gives us an insight into how the album was put together.

http://www.lightyear.com/

David Blue.

Various Artists – Knights Of The Blues Table (Viceroy Music).

This is a tribute to the memory of Cyril Davies, widely recognised as one of the fathers of British blues, and the opening track, Send For Me, is fittingly one of his compositions. This version is from Jack Bruce and is a classic British Blues sung by one of the best in the business. Bruce’s vocal is more than complimented by his lung bursting harmonica breaks (bet there’s a few out there that didn’t know he played harmonica as well). Clem Clempson also has a high profile on guitar. Georgie Fame is up next with If You Live, the Mose Allison song. This is a silky, jazzy blues given Fame’s renowned panache. Go Down, Sunshine is a traditional acoustic blues with the smokey voice of Duffy Power. Lonnie Johnson’s Rocketeer Blues is sung by Chris Jagger, with able backing from his brother, Mick. This acoustic stroller is great stuff. Pete Brown, Phil Ryan and Dick Heckstall-Smith join forces for Rocks In My Bed. This Leroy Carr tune is given the British treatment and builds up very well. I must have a special mention for Les Davidson here on guitar. The much recorded Don’t Let Me Be Misunderstood is hardly a blues song but it is very welcome on this selection. Performed, solo, by Miller Anderson who provides an emotion laden vocal. Big Jim Sullivan and Maggie Bell give us Blind Man. They are two of the UK’s best blues exponents and Sullivan’s guitar work is masterful. To compliment this, Bell’s voice has that gritty quality that makes for a great blues singer.

Travelling Riverside Blues is one of the classics of the genre and Peter Green is one of the few who can carry it off, even though this was not recorded in his heyday. Backed by Nigel Watson they both simply play guitar and sing, giving it a natural feel. TS McPhee plays Drop Down Mama, the Sleepy John Estes song, in a gritty, punchy manner before Clem Clempson and Jack Bruce join forces for I’ve Got News For You. This is a slow, powerful Chicago blues to match the best from the USA with Clempson in particularly good form. Nine Below Zero play the Sonny Boy Williamson song from which they took their name. They were always a popular band, if commercially unsuccessful to a degree, and their powerful harp player, Billy, nails this dirty, gritty blues. 60s favourites The Pretty Things contribute Judgement Day and they capture the essence of the blues with novel use of John Povey’s harmonica. Paul Jones & Otis Grand throw in Play On Little Girl/T Bone Shuffle and this gives Jones the opportunity to show how good he is on the harmonica. It plods along very nicely until the T Bone Shuffle where Grand takes over and the blues come alive. James Cotton’s One More Mile is a bit uninspired given the calibre of the artists, Mick Clarke & Lou Martin. The set closes with Mick Taylor and Max Middleton with the Willie Dixon & JB Lenoir song, You Shook Me. I was expecting big things of this but its ponderous treatment only leaves the slide guitar as the main point of interest. It’s a shame that it’s a little disappointing at the end but overall, this is a good representation of British blues and a fine dedication to Cyril Davies.

http://www.lightyear.com/

David Blue.

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.