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VARIOUS
ARTISTS – Alligator Records 30th Anniversary Collection
(Alligator) You
want the blues? Start by
realizing that the record label that probably got you into the blues as
a young adult is Scott C. Davis
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MICHAEL BURKS – Make It Rain (Alligator)
Remember the name "Michael Burks". Although this is only his second CD, it serves grand notice that this incendiary guitarist/vocalist will be around for a long, long time. While comparisons to Albert King are inevitable due to influence and Burks’ choice of the Gibson Flying V guitar, his style is all his own. Burks literally Hits the Ground Running on the opening cut, and continues the magic through Got a Way With Women, with his strong vocals and screaming solos setting the tone for things to come. Beggin’ Business offers a chilling guitar intro and more of Burks’ powerful singing. Burks began playing at age two, and four years later made his stage debut. His church and gospel roots are evident on What Can a Man Do, featuring beautifully woven organ backing by Ernest Williamson. Burks can play it both ways, too, alternating between fiery pyrotechnics and stepping it down for a slow burn on the title cut. He was a 2000 Handy Award nominee for Best New Artist, but that belies the fact that Burks has been playing the blues for over 35 years. Interestingly enough, Burks penned only two tunes for this disc. Don’t Let It Be a Dream is an absolute knockout that leaves you crying for more of Burks’ spellbinding playing and singing. His debut disc, From the Inside Out, was stunning enough, but Make It Rain is an absolute masterpiece from start to finish. His is truly a modern blues sound and doesn’t leave you asking "this is blues?" as is the case with so many pretenders today. Michael Burks is the real deal – an astonishing player, vocalist, and showman who prompted Blues Revue magazine to dare to ask whether Burks may be the next Luther Allison. With two terrific CDs on the shelf, Burks may be well posed to answer that question on Sunday, August 5, when he opens at the 10th Annual Pocono Blues Festival.
Scott C. Davis
www.blueshound.net
ROBERT CRAY – Shoulda Been Home (Rykodisk)
This is easy. You like Robert Cray – you go buy this CD. Robert Cray is the Tiger Woods of the blues. He has perfected that sweet stroke and just goes out and pounds out one winner after another. Beautifully crafted and expertly played and sung, this disc immediately gets you comfortable as if you’re kicking back and having a cold one with a dear old friend. Cray’s signature guitar and vocals have never sounded better. As he showed locally at last year’s Musikfest, Cray is a trouper and a perfectionist who always seems to get it right. Baby’s Arms opens the CD as if in mid-conversation, and things just flow right along. Cray wrote or co-wrote eight of the 12 tunes here. Anytime, penned by keyboard man Jim Pugh, is a notable exception carried by Cray’s melodic voice and stinging guitar riffs. Love Sickness is a rollicking good-time tune that helps keep Cray on his toes and avoids the "routine" sound that have marked some previous efforts. No One Special is one more marvelously sung original. Elmore James’ Cry For Me Baby is another welcome turn off the main road and evokes comparisons to John Mayall. One more James cover, The 12 Year Old Boy, finds Cray at his bluest in a traditional vein. Shoulda Been Home is another Robert Cray masterpiece that makes it seem like he never went away.
Scott C. Davis
www.blueshound.net
MEM SHANNON – Memphis in the Morning (Shanachie)
Mem Shannon is one great blues man that virtually no one has ever heard of. From his initial recording, A Cab Driver’s Blues – created in part in his own taxicab, the gifted New Orleans musician keeps plugging away at his career and rolling out incrementally better CDs. His last, Spend Some Time With Me, was a masterpiece of wit and social commentary; spiced as always with his rich vocals, impeccable guitar and funky horns. It was a tough act to follow, but Mem has done it. Memphis In The Morning continues his rise in the blues world, melding his blue-collar ethic with polished sophistication. Drowning On My Feet and Why I Sing The Blues kick-start the CD with Mem’s sonic vocals and a heavenly horn sound that personifies Memphis Soul. While he’s at it, Mem throws in the radio hit S.U.V., a bazooka shot at sports utility vehicles that should be our national energy policy anthem! All songs except one are originals, as Shannon remains one of the most prolific blues writers on the scene today. The musicianship is hot, with the famous Memphis Horns duo of Andrew Love and Wayne Jackson keeping things rolling along. Mem Shannon may not yet have the respect he deserves, but the way he’s going he will soon steamroll all doubters – S.U.V.s be damned! For most blues artists, it’s a tough climb to respectability and acceptance. As Mem notes on the title cut, "With a little more play on the radio, I wouldn’t have such a long, hard way to go." Let’s hope the powers that be give this brilliant and deserving artist his due.
Scott C. Davis
www.blueshound.net
DEBORAH COLEMAN – Livin’ On Love (Blind Pig)
Like a freight train, Deborah Coleman keeps chugging along and putting out great music. Her fourth CD on Blind Pig continues the trend that led USA Today to call Coleman "one of blues music’s most exciting young talents." The four-time W.C. Handy Award nominee is a legitimate triple threat as a singer, guitarist and songwriter. Memory Lane is a tune that shows her focus on all three fronts – an original with haunting guitar and vocals. She can rock it up as on Todd Wolfe’s Light of Day and light it up on Lowell Fulson’s Bending Like a Willow Tree. Coleman also does a fine take on the cerebral Might Mo Rodgers’ Heaven’s Got the Blues. Coleman’s blues influence was a modern-day paradox. A black woman, she grooved to the sounds of The Yardbirds, Cream, Led Zeppelin and Jeff Beck on the radio before tracing those bands’ roots back to the original black blues artists who inspired them. At 21, she saw a triple bill of Howlin’ Wolf, Muddy Waters and John Lee Hooker that sealed her destiny. Coleman’s at her best writing love songs and expressing her feelings, and her Deserted Highway is another example of how far her singing and playing have come. Hers is an introspective style that draws you in and makes you empathize with the intricacies of personal relationships. She may think she’s Livin’ on Love, but Deborah Coleman’s ascent is due to the fact that she’s livin’ on talent.
Scott C. Davis
www.blueshound.net
BUDDY GUY – Sweet Tea (Silvertone)
When blues icon Buddy Guy releases a CD, it is a major event. The man who Eric Clapton once called "the greatest living guitarist" is back with a vengeance on the raw-edged Sweet Tea. Buddy opens the CD with the acoustic "Done Got Old," a song that immediately reminds that this man is a fabulous vocalist as well as a guitar virtuoso. While he may lament the passing of the years, Buddy certainly doesn’t show his age on the power rockers that populate this recording. Baby Please Don’t Leave Me quickly strikes a Hendrix-like tone, and this guitar god lays the notes down in heavy fashion throughout. Buddy’s version of the standard Tramp is one of the highpoints of this effort - an energetic take on the classic that is generally recorded in a funkier vein by the likes of Bobby Radcliff. She Got the Devil in Her is another showcase for Guy’s guitar genius to shine, as is I Gotta Try You Girl. The disc closes out with It’s a Jungle Out There, which features a beautifully rendered intro by the master, who again struts his accomplished vocal style. Buddy’s latest is currently one of the very hottest selling blues CDs. It is a hard take on the genre, but fans of high energy electric guitar need to look no further than this cup of Sweet Tea.
Scott C. Davis
www.blueshound.net
DEBBIE DAVIES – Love The Game (Shanachie)
Talk about a tough act to follow. Debbie Davies had one of the finest blues CDs of 2000 with her Tales From the Austin Hotel featuring the late Stevie Ray Vaughn’s rhythm section, Double Trouble. Davies has brought original band mates Don Castagno (drums) and Alan Hager (bass) back and the production values never miss a beat. Of course it doesn’t hurt to have axe wizard Duke Robillard on board – or soul mate Coco Montoya. And former Ronnie Earl keyboard man (will he ever stop being called that?) Bruce Katz also is along for the ride, as is famed rocker Jay Geils, who always was a blues man at heart. Add the saxophones of Doug James and "Sax" Gordon Beadle, and you have a truly formidable musical mix. Not that Debbie needs help! She’s been kicking butt on guitar since she was Albert Collins right hand gal in The Icebreakers. Davies more than holds her own with Montoya and Robillard in the guitar duel Fired Up. She’s a gifted singer too, taking total control of your emotions on Down In the Trenches. From start to finish, this is a top-notch effort that proves Davies is one of the finest singer/writer/musician talents around. From the time Love The Game opens until Grow Up, Grow Old closes, this is a stellar blues ride.
Scott C. Davis
www.blueshound.net
LUCKY
PETERSON – Double Dealin
(Blue Thumb)
Lucky Peterson has fired off the finest CD
of his amazing career. A child
prodigy who appeared on The Tonight Show and The Ed Sullivan Show, he has
matured into a bonafide triple threat who has performed with Etta James, Otis
Rush, B.B. King and Albert Collins. The
singer/guitarist/organist was certainly well-groomed. Lucky’s father is bluesman James Peterson, and his first
record (at age 5!) was produced by Willie Dixon.
The title track fires up the boilers and the Jimmy McCracklin classic is
a perfect showcase for Peterson’s searing guitar and smooth vocals.
When My Blood Runs Cold, co-written with his father, sports a textbook
blues guitar intro, and John Cleary’s crisp, haunting piano backing polishes
the trim. Cleary, who sparkles on
Smooth Sailin,’ and tickles the ivories on Ain’t Doin’ Too Bad, also wrote
the funky Doin’ Bad, Feelin’ Good, fine vehicles for the Texicali Horns.
Peterson’s hymn-like Hammond B3 sets the tone for a near-religious
experience on Keb Mo’s Don’t Try to Explain, illustrating how far he has
come as a vocalist and also featuring wife Tamara on background vocals.
Peterson’s gospel influence is no surprise, having led him to a
1966 collaboration with Mavis Staples. His
forays into R&B and soul were honed by Little Milton and Bobby Blue Bland.
Mercenary Baby is a jumpy, upbeat comeback tune, and Andre Williams’
classic Three Handed Woman chronicles a woman who is “right handed, left
handed, underhanded too!” Another
touching effort is 4 Little Boys, the true story of his grandmother’s deathbed
plea to his grandfather to persevere in raising their four sons.
There are 12 tracks here, all of them gems. Lucky Peterson is recognized as one of the most talented young
bluesmen around today, and for good reason.
Listening to this stellar CD--an inspiring blend of Petersons’s guitar,
vocals and organ—will leave blues fans triple dealin’.
Scott C. Davis
www.blueshound.net
BELL,
LESTER, NEAL, PRYOR – Superharps II (Telarc)
Superharps II, Telarc’s sequel to its highly successful harmonica extravaganza, serves up another Who’s Who of harp legends. While the 1999 original boasted James Cotton, Billy Branch, Sugar Ray and Charlie Mussellwhite, it doesn’t get much better than Carey Bell, Snooky Pryor, Lazy Lester and Raful Neal. These refined gentlemen of the blues offer solo efforts and collaborations, and the result is a very satisfying 60 minutes of music. Kid Bangham, the guitar wizard who succeeded Jimmy Vaughan in The Fabulous Thunderbirds, injects the guitar glue that holds the project together. Bell kicks off with Muddy Waters’ Walking Through the Park, which features classic harmonica and tasty axework by Bangham. Raful Neal offers his own I Miss You Baby, while Pryor’s Let Your Hair Down and Lester’s I Hear You Knockin’ are also polished originals. Snooky’s in fine form throughout, and Lester lends special moments vocally to Strange Things Happen and I Made My Mind Up. Muddy’s She’s 19 Years Old gets reverential treatment with the one-two punch from Bell’s measured singing and Pryor’s harp solo. Neal is also at the top of his game throughout, and his original Starlight Diamond is well delivered. The finale, Harp to Harp, was co-written by Bangham and is a virtual shootout featuring inspired instrumental solos by all. If you love the harmonica, you can’t go wrong with this heaping helping of hot harps.
Scott C. Davis
www.blueshound.net
GRADY CHAMPION – Two Days Short
of a Week (Shanachie)
One-time rapper Grady Champion created quite a stir with
his 1999 Shanachie release,Payin’ For My Sins, and his follow-up CD
does nothing to dispel the buzz that he’s an up-and-coming star.
Champion is a great songwriter whose raspy vocals and accomplished
harmonica playing serve his material well.
Two Days Short of a Week is a nice collection of R&B, blues and soul that offers commentary on a wide
range of societal issues. Policeman
Blues is the sad true story of Champion’s encounter with racial profiling
that resulted in he and his 5-year-old son being ordered from his car at
gunpoint in a case of mistaken identity. The
song explores the emotional trauma that profiling causes—and puts Champion’s
rap skills to good use. Children
of the Corn is a chilling psychological turn on the modern horror of children killing children.
The song is also a showcase for Champion’s sweet harp, as is the
stomper Honeybee. Another
gem is Lady Luck, featuring more of Champion’s gravelly vocals and
top-notch piano by keyboard man Arlen Schierbaun.
Duke Robillard drops in and shines on the truly bluesy Nothing I Can
Do, while the Haberno Horns sparkle on Love is My Middle Name.
The only non-original song on the disc is R. Kelley’s When a
Woman’s Fed Up, and Champion drives that tune straight to Soulville.
This is a fine effort by Grady Champion, who most certainly draws
comparisons to Chris Thomas King—and that ain’t a bad thing!
Scott C. Davis
www.blueshound.net
ROY
GAINES – New Frontier Lover
In a blues world that has seen its share of pretenders, imposters and wannabes, it’s a breath of fresh air to listen to a CD by a real blues man. Roy Gaines is a true soldier of the genre, and this CD contains no country, jazz or rock n’ roll masquerading as the blues. Gaines wrote eight of the originals and co-wrote the other four, and this is as pleasing a set as he’s ever done. Gaines has spiced his splendid guitar wizardry with a stellar collection of musicians that soundly backs his vocals. The World’s Biggest Fool is a classic blues turn, as Gaines’ weary voice tells a familiar tale of romantic woe. The song highlights Gaines’ stinging guitar and gets comfortable fast with the sterling horn section of trumpeters Bill Moore and Chris Walker; saxists Scott Young, Scott Silbert and Steve Williams; and trombonist John Jenson. You Can’t Make Nobody Love You boasts stylish blues riffs and more of the strong singing that permeates this CD. Catch That Midnight Train is an energetic blues shuffle, while W.C. Handy Sang the Blues is a tribute to the late, great bluesman for whom the blues’ most prestigious awards are named. It’s a terrific blues tune, an uptempo toe-tapper that’s as fine as any on this recording. Another highlight is Roy’s Theme, a rollicking guitar feast that is supercharged with the kind of energy Gaines showed area fans at the Pocono Blues Festival, Mayfair and the Easton Blues Jam. Pianist David Maxwell and harmonica man Steve Guyger join the fun on My Woman, My Blacksnake and Me, a bawdy tune that needs no further explanation! The CD closes with Roll Your Own Buscuit, a boogie woogie number driven by Maxwell’s barrelhouse piano as Guyger lends his harp mastery to the mix. This effort demonstrates that Gaines is equally adept in the studio and on stage. New Frontier Lover is Gaines’ finest CD, a terrific accomplishment that proves that Roy Gaines is indeed, as his last CD proclaimed, a bluesman for life.
Scott C. Davis
www.blueshound.net
KID RAMOS – West Coast House Party (Evidence)
The title of this CD says it all: this is a party, man! And the "invite" list is top-notch, with a dozen special guests that include Gatemouth Brown, Little Charlie Baty, Rick Holmstrom, Duke Robillard, James Harmon and Kim Wilson. At center stage is Ramos, he of the carefully coiffed pompadour who currently holds down the lead guitar hot seat for The Fabulous Thunderbirds. It’s really hard to imagine any diehard blues fan disliking this collection. The disk is a smokin’ tribute to West Coast jump blues, which had a greater effect on the genre than many realize, and throughout the joint is jumpin.’ The sound has been carefully crafted to capture the late-40s to mid-50s ambience, and all the performers absolutely get it right. There are 16 cuts on this swinging CD from Evidence music, which has latched on to another star in the triple-Handy nominated Ramos.
Scott C. Davis
www.blueshound.net
BERNARD ALLISON – Across the Water
(Tone-Cool)Many a son has found it difficult to follow in his father’s footsteps. When your father was the late, great Luther Allison, the mantel is heavy to bear indeed. This is Bernard Allison’s third CD, and the evolutionary cycle seems to be taking the son away from the road his father traveled. This is not a blues CD. What it is, is a carefully crafted collection of rock-edged tunes that is well-played and well-sung. Bernard wrote three originals and co-wrote three others on this 11-track effort, including the funky Meet Me Half Way with Bobby Rush. The heavy beat rockers include Feels Kind of Funny, Coming Back and There’s No Higher Love, the latter with a funked up beat. Bernard seems at his best on two original love songs: Love is Free, a touching, tenderly played tune that demonstrates his song writing range, and Work it Out, a tastefully picked and beautifully sung anthem of love. The finest blues number on the disk is Change Your Way of Living, and why not, coming from Luther’s pen? The finale, Aron Burton’s I’ve Been Down, features extended blues guitar work by Bernard, and is another gem. Produced by Jim Gaines, Across the Water is a fine CD that showcases Allison as a growing artist. Just don’t go knockin’ for a heavy blues fix.
Scott C. Davis
www.blueshound.net
CARL WEATHERSBY – Come to Papa (Evidence)
Guitarist/vocalist Carl Weathersby is one of the shining lights in a bright field of contemporary blues musicians. He’s supremely talented and he’s real. He understands what the blues is all about, and why not. No less an authority than Willie Dixon clued him in. "Your blues ain’t gonna be the same as mine," Dixon said. "You got things bugging you that didn’t exist when I was coming up. "Remember," he said, "the blues ain’t nothin’ but the facts of life." The facts of life as Weathersby sees them consist of a society consumed by violence, a lack of respect and a lack of love. And what he does is try to overcome those deficiencies with genuine warmth and a talent that is incendiary. Few performers could blend Weathersby’s offstage gentleness with his onstage ferocity. He treats his fans with the same patience that his father’s friend, Albert King, showed to him. This is Weathersby’s fourth CD for Evidence, and it’s clearly his best. He brought aboard talent like Lucky Peterson, Ann Peebles and the Memphis Horns and has forged a classic blues collection. Weathersby wrote just two songs for this disk. My Baby is a beautiful love song of devotion featuring moving background vocals by John Carlyle and Harold Chandler. Danger All About abounds in stinging guitar solos as it laments the specter of urban violence, a recurring theme in Weathersby’s work. He chose his other material well. You Better Think About It is a great tune with soulful singing and silky guitar solos. Breakin’ Up Somebody’s Home is a soul-inspired song ably supported by Wayne Jackson and Andrew Love on the brass. Walkin’ the Back Streets Cryin’ is a touching ballad that has Peterson on the Hammond B-3 with an almost hymnal backing. Other well-considered covers include Albert King’s Floodin’ in California and Peterson’s A Good Man is Hard to Find. The CD closes with Drifting Blues, on which Weathersby’s voice and guitar intertwine with Peterson’s organ to create a true mood piece. Carl Weathersby is absolutely walking the high wire here, both vocally and instrumentally. Every song is a winner, and any true devotee of the blues should invite Come to Papa to come on home.
Scott C. Davis
www.blueshound.net
LARRY
GARNER – Once Upon The Blues – (Ruf)
Larry
Garner has a new CD out, and that’s all any true blues fan needs to know.
www.blueshound.net
BRYAN
LEE – Crawfish Lady
(Justin Time)
Scott
C. Davis
www.blueshound.net
TODD WOLFE BLUES PROJECT – Live From Manny’s
Car Wash (self produced)
East
Coast guitar wizard Todd Wolfe’s first CD is a tantalizing mix of performance
and potential that leaves you anxiously awaiting its follow-up. Wolfe, former
lead guitarist for Sheryl Crow, has turned his focus to the blues and he and his
band mates have much to offer. This is a raw and powerful exploration of the
genre, and Wolfe spices his originals with a heavy dose of the masters: Willie
Dixon, Otis Rush and B.B. King. Wolfe, who hosts the Sunday night jams at
NYC’s legendary Manny’s Car Wash, picked up the guitar at age 13 was
inspired by the likes of Clapton, Beck, Freddie King, B.B. King, Otis Rush and
Buddy Guy. He’s fronted a number of bands and has shared the bill with
Albert Collins, Johnny Winter, Son Seals, Robin Trower and Blues Traveler.
With over a dozen TV appearances under his belt, Wolfe has channeled his
energies into his blues band. He gets the ball rolling with Dixon’s
classic I Can’t Quit You Baby and Wolfe’s solid vocals and soaring,
searing guitar solos are but an appetizer for what’s to come. Stop
Messin’ Around is an energetic song with a rollicking opening solo and
Claptonesque vocals. On the Run is an original with a thunderous
intro punctuated by Eric Massimino’s bass line and powerful drumming by Yves
Gerard. Dixon’s Same Thing is a perfect rendition, tastefully
done with a reverential opening and inspired vocals. The original Four
Walls is a heavy guitar tune demonstrating Wolfe’s vocal versatility and
accomplished slide work. It’s also a perfect forum for Mike Lattrell’s
keyboard wizardry. Homework, an Otis Rush
cover is a polished version with blistering axe work and displays another side
of Wolfe’s vocalizations. The CD closes with B.B. King’s Eyesight
to the Blind, well done and thoughtfully played. The Todd Wolfe Blues
Project has fired its opening salvo, and the next round is eagerly
awaited. (Click on the CD cover to visit
Todd's website.)
Scott C. Davis
www.blueshound.net
CHICAGO RHYTHM & BLUES KINGS – (Self-Titled) (Blind Pig)
Horns, horns and more horns is what you get when you cue up the Chicago Rhythm & Blues Kings. The band formerly know as Big Twist and the Mellow Fellows long ago established its brassy pedigree among R&B and blues fans. Following the untimely death of Big Twist in 1990, the band regrouped and continued on its charted path. A new name followed in 1995, but the band remains largely intact with tenor saxman Terry Ogolini, trumpeter Don Tenuto, bassist Bob Halaj and guitarist David Mick. Willie Hays anchors the drums. The Kings found an able replacement for vocalist Big Twist in Ernie Peniston, no slouch himself at 6-5 and 370. Peniston packs the pipes to go head to head with the group’s powerful sound. The Kings seasoned their sound for this CD with the addition of sax legend Gene "Daddy G" Barge, who played on hits for the likes of Gary "U.S." Bonds, Little Milton and Koko Taylor. Barge, who wrote or co-wrote half the tunes, sings a little, plays a lot and produced the project. This is a satisfying collection of horn-driven swing, R&B and soul sure to satisfy the sweet tooth of any brassaholic.
Scott C. Davis
www.blueshound.net
COCO MONTOYA – Suspicion
(Alligator)
For
a guy who started out as a rock and roll drummer, Coco Montoya wields a mean
blues guitar. Suspicion,
Montoya’s fourth solo album, is a satisfying collection of rockers, blues
tunes and romantic mood makers.
Montoya learned how to play the guitar under the legendary Albert
Collins, who was a tremendous influence on Coco’s career.
Montoya went on to play with John Mayall’s Bluesbreakers, filling a
seat once held by the likes of Eric Clapton and Peter Green.
He graduated into his solo career at the behest of a dieing Collins, who
told Montoya it was time to move on.
Enough is Enough opens
Scott
C. Davis
www.blueshound.net
PINETOP PERKINS – Live at 85 (Shanachie)
‘Live at 85 and still cookin,’ Pinetop Perkins is a national treasure. He’s a blues superstar: a "one-namer" who needs none other than "Pinetop" to gain instant recognition. The one-time Muddy Waters keyboard man is in fine form on this CD, both in voice and on the ivories. Live at 85 is a satisfying collection of blues covers that includes songs by Ike Turner, Elmore James, Roosevelt Sykes and Willie Dixon. Pinetop rolls out his trademark boogie woogie on "Chicken Shack," "Down in Mississippi" and "Kidney Stew," among others. He shows he’s still got his pipes with fine vocals on "Just a Little Bit" and "Look on Yonder’s Wall," and his performance on "How Long" is both plaintive and playful. Pinetop is backed by guitarist George Kilboy Jr. and his New Orleans influenced Coolerators, and the sax tandem of Donnie Castellow and Tim Clark adds flavor throughout. Pinetop originally started out as a guitar player, but an arm injury forced him to the piano bench destiny had saved for him. After leaving Muddy’s band, Pinetop formed the Legendary Blues Band, and he’s quick to point out today that "I was the legend!" Indeed he was, because this man has influenced three generations and is considered the greatest living blues pianist. Pinetop appeared locally last year at Lafayette College with the Muddy Waters Tribute Band and at the Pocono Blues Festival with Snookie Pryor. He proved in each case he’s a crowd-pleasing man who’s still got the goods.
Scott C. Davis
www.blueshound.net
JIMMY JOHNSON – Every Road Ends Somewhere (Ruf)
Chicago bluesman and bandleader Jimmy Johnson is at the top of his craft on Every Road Ends Somewhere. From the moment he kicks off the opening track with his sweet, smooth guitar, you know you’re going to enjoy the ride. The Mississippi-born Johnson didn’t realize his first big commercial release until he was 50, but has made up for lost time and picked up a couple of W.C. Handy Awards along the way. "Roots of All Evil" gets cracking with Johnson’s silky vocals and Claude Egee’s flugelhorn adds a fresh sound. "My Baby by My Side" is a beautifully played song powered by a tight horn section featuring Frank Lacy and Paul Cerra. "Rock and a Hard Place" struts along to the rhythm guitar of John Randolph, with Kenny Lee chiming in on keys. The eight original songs on this CD run the gamut of emotion. "The Street You Live On" is an anthem of hope, while Johnson’s steely intro on "Black Night" galvanizes a song of loneliness and isolation. "End of the Road" is a rocking tune with a bittersweet touch since it features the late Luther Allison. "Every Day of Your Life" advocates a "seize the day" philosophy, a fitting tribute to the vitality of Johnson and a poignant reflection on the premature death of Allison. The brother of Syl Johnson, Jimmie is a consummate blues professional. He proved that at last year’s Pocono Blues Festival when he played a protracted show to fill in for the late-arriving Otis Clay, with whom he has played along with the likes of Jimmy Dawkins, Denise LaSalle and Otis Rush. Every road does lead somewhere, and in this case it leads straight to the heart of Chicago blues.
Scott C. Davis
www.blueshound.net
DANNY ANGEL & BO GALIGHER – Mind Reader (Vent)
Mind Reader is getting a lot of radio airplay lately, and for good reason. This debut is a colossal collaborative effort, and if Angel and Galigher are smart, they won’t stray far from each other. The CD is a beauty—melding tough guitar, rough vocals and seamless arrangements. Bo Galigher is a towering vocalist who can whisper or growl his way through any song, and Angel’s guitar work is consistently top-shelf. This is a perfect blend of blues and R&B with eight tunes by Angel and four by Galigher. "Born to Sing the Blues" is a jumping tune and showcases Gallagher as a ferocious singer who notes: I didn’t choose the blues, the blues chose me. "Everywhere There is a Tree" is a gem—a bumping, rhythmic outing that backs Galigher with Angel’s spicy fretwork, pounding percussion by Chuck Tilly and sweet sax work by Haze Hopper. "Someone Who Will" has Galigher shadowing B.B. King, who was a jukebox influence along with Bobby "Blue" Bland and Sam Cooke. A true highlight of the CD is "When the Blues Man Gets the Blues," featuring stirring guitar leads and heart-rending vocals: it sure is bad news when the blues man gets the blues! Angel’s guitar and Galigher’s vocals feed forcefully off each other on Mind Reader, and the blues world has itself another dynamic duo.
Scott C. Davis
www.blueshound.net
SCOTT HOLT – Dark of the Night (Mystic Music)
For guitarist/vocalist Scott Holt, the road to the top of the music world started . . .well, pretty much at the top. Holt has spent the initial decade of his professional career as the legendary Buddy Guy’s right hand man. In addition, he has played along with Albert Collins, John Mayall, Eric Clapton, Jack Bruce, Richie Sambora and Carlos Santana. With talent like that fortifying his musical pedigree, it comes as no surprise that Holt’s coming-out CD is a slick and polished effort. Though he penned only one original tune, Holt is smart enough to cull material from John Lee Hooker, Otis Rush, Ray Charles, Jimi Hendrix and Bob Dylan. "Dark of the Night" debuts with a stirring guitar intro and strong vocals which permeate this CD. It’s an accomplished tune that indicates Holt might be able to rely more on his own material on future efforts. That said, the many cover versions are well done and quite enjoyable. "Dimples," the Hooker classic, is expertly handled and played tight and easy. Charles’ "I Believe in My Soul" laments a cheatin’ woman and is fueled by searing guitar and powerful vocals. "Right Place, Wrong Time," an Otis Rush staple, is a right-on rendition of deep blues and blistering guitar. Buddy Guy joins his protege on "Breakin’ Up Somebody’s Home," and the godfather of the blues lays down the funk. The CD is well-produced and strikes a good chemistry between the Scott Holt Band, Hendrix Experience/Band of Gypsies members, and the Double Trouble band. Holt definitely takes a couple of strong turns off the blues highway, most notably on Hendrix’s "Crosstown Traffic," but this is a promising blues effort from an artist who knows what it takes to succeed.
Scott C. Davis
ROY ROBERTS—Deeper Shade of Blue (King Snake)
Every year the blues industry likes to give an award to the blues artist most deserving of wider recognition. Here’s a vote for calling that award the Roy Roberts Trophy. It’s stunning how great this performer is—and how few people have ever heard of him. Roberts is the consummate blues pro. His CDs are a treat to listen to because the man can absolutely do it all. He writes, he sings, he plays the guitar—and all at a consistently high level. His latest CD of 12 songs includes nine original tunes and one co-effort, and as always, Roberts delivers the goods. "Let Me Help You Tonight" is a typical blend of Roberts’ seductive sound: thoughtful lyrics, velvet vocals and high-octane guitar. "Blues Get Off My Shoulder" is a song of lost love featuring searing guitar which is augmented by the Hip Hop Horns of Rusty Smith and Wally West. The brass is polished for sure on "Tonight Your Love Belongs to Me," setting the tone for a soul ballad that hits all the romantic high notes. "Mr. DJ" is a rollicking tune that begs for air time between "B.B., Buddy and Robert." It’s a worthy plea, because as Roy notes, "it’s been a long time coming, but I paid my dues." He certainly has. "I Tried" opens with another beauty of a guitar solo that is sustained throughout. "I’ll Chase Your Blues Away" is a tribute to friendship that serves up a haunting blend of guitar and horns with solo work by Mark Von Mourick that peppers up the mix. Roberts’ CDs always feature some humor, and it comes in here on "I’ve Been Making Love" as Little Royal joins Roy for a spirited, funky duet of romantic betrayal amongst the best of friends. Deeper Shade of Blue is a takeoff from another Roberts CD, Every Shade of Blue. This is appropriate, because once again Roy Roberts has covered the blues from all angles—for sure.
Scott C. Davis
JOHNNY RAWLS—My Time to Win (JSP)
Johnny Rawls is one of the solid performers local blues fans can look forward to seeing at the Pocono Blues Festival this summer. The man is a pro who can write, sing and play the strings. This CD leans more toward the soulful side, but it is an excellent blend of deft guitar, tight horns and masterful vocals. It’s a finely crafted series of songs about love—all of which were written by Rawls. Right from the get-go, on "Bad Reputation," the Nutmeg Horns are in full gear while Rawls plays some sweet solo lines. "Back in Your Arms" is a foot-tappin,’ head bobbin’ blues ditty that fully showcases Rawl’s talents. "I Been Lookin’" is another love song with effortless vocals and guitar that celebrates a successful search for love. "Can’t Stop Thinkin’ ‘Bout You" has Rawls’ plaintive vocals conjuring up feelings of emptiness and loneliness, expertly rounded by the soft organ accompaniment by Roosevelt Purifoy. The fine organ play continues in "Nobody’s Gonna Take Your Place," a tribute to love in which Rawls notes, "I like to look, but I don’t touch. I stay by your side because I love you so much." Another highlight is "I Been Broken Hearted," a collective of smooth vocals and top-shelf production values. This is not a pure blues CD. As Rawls himself notes, "my style is between gospel, blues and good, hard soul music." This effort is all of that in the hands of a pro.
Scott C. Davis
HOWARD AND THE WHITE BOYS—The Big Score (Evidence)
In this age of political correctness, the name alone is enough to bring attention to Howard and the White Boys. But don’t even mention it to bandleader Howard McCullum. "People are thinking to much," he says. "My name is Howard and the rest of the guys are white. End of discussion." This band is the stuff of legend. What can you say when a bunch of college buddies who start playing the blues for fun and free beer end up six months later opening for B.B. King? Though that was a fluke, the band’s talent was not. By 1990 they had become Chicago’s busiest club band, opening for Junior Wells, Otis Rush, Albert King, Lonnie Brooks, Magic Slim, Otis Clay and Buddy Guy. In fact, Buddy thinks so highly of this band that he joins the action on "I Thank You," the Issac Hayes classic that was turned into hits by Sam & Dave and Sly Stone. Howard, who plays bass and handles lead vocals, is joined in this version of the band by guitarists Dan Bellini and Rocco Calipari and drummer Jim Christopulos—all of who penned songs for this CD. "Leave the Lights On" kicks things off with a combination of funk and Hendrixesque guitar celebrating the joy of sex with the lights left on. This ribald theme is continued on "It’s All You," a tribute to natural women and a knock on breast implants. "Judge" is actually a song promoting political correctness that preaches tolerance. "You’ll Come Back" ventures closer to traditional blues and is spiced by Bellini’s energetic guitar. "All Work and No Play" is the most classic blues tune on the CD and offers lots of harmonica and party-style music—with some fine piano work by guest Dave Friebolin. This CD is a powerful blend of rock, soul, funk and blues. It’s not for the blues traditionalist, but if you like your blues on the wild side, go for "The Big Score."
Scott C. Davis
JOE LOUIS WALKER – Preacher and The President (Verve)
Joe Louis Walkers’s latest CD seems to have been produced with the aid of a crystal ball. The title cut is a satire focusing on the dubious goals of religious and political figures of questionable character. It is a prescient commentary on official misconduct that mirrors the front pages and media airwaves of today.
That said, Preacher and The President is also a fabulous CD that will be embraced by longtime JLW fans and should win him many new listeners. The new CD is a return to the traditional Joe Louis Walker sound, a more soulful and bluesy feeling than was exhibited on his last outing, Great Guitars. While that was a veritable Who’s Who of musical guests ranging from Gatemouth Brown to Buddy Guy to Otis Rush, it seemed to stray somewhat from the path JLW had established in his career. On his new release, Walker has admitttedly focused on the songwriting and achieved his goal in high fashion.
Fresh off a fine guest appearance on Jimmy Thackery’s last CD, Walker achieves a fine musical texture throughout punctuated by the presence of the Muscle Shoals Rhythm Section. It is a testimony to Walker’s high status in the blues world that the finest musical talent will jump at his invitation. "Yveline," the second track, sounds notice that this is a musical work to be reckoned with. Walker’s distinctive, soaring vocals are quickly complemented by his familiar stirring guitar work.
Powerful solo work propels "Repay My Love," a song of love gone sour—a prevailing theme on the CD continued through the rhythm-powered "I’m Not Messin’ Around." Another fine song, "Pride of a Fool," is fueled by touching vocals and deftly muted guitar strings. "Uhh!" is a funny, playful tune poking fun at–are you listening Mr. President?--phone sex. The CD concludes with "My Real Fantasy," a beautiful, touching testimony to the joy of true love. This offering contains all the elements expected from Joe Louis Walker: expert musicianship, flawless production values and inspired songwriting. Preacher and The President is top-shelf stuff.
Scott C. Davis
PAUL deLAY – deLay Does Chicago – (Evidence)
If anyone ever wondered whether harmonica giant Paul deLay could belt out traditional blues, the evidence is conclusive on deLay Does Chicago. This CD is a self-proclaimed "dream project" on which deLay takes a one-time (I wonder) hiatus from his regular band. deLay happened upon the Rockin’ Johnny Band at Buddy Guy’s Legends club, and the Chicago-style blues groove was firmly etched in his brain. Straight from the start, on "Beautiful Bones," deLay conjures up a harmonica gale force befitting the Windy City.
And when Johnny Burgin fires up his tasty guitar, the stage is set for a kinship that’s quickly established. Always a prolific and terrific songwriter, deLay wrote or co-wrote all 12 tunes in a frenzy preparing for and all through the recording sessions. To say he was inspired by Chicago is an understatement to which anyone who’s ever been there can testify.
"Brave Woman" is a got-no-money blues song that starts out sorrowfully: "Boom boxes shakin’ the windows/Pistols poppin’ outside our door/I got no love for the ‘hood, but Oh Lord/It’s all I can afford." But the song turns the corner into a celebration of a woman who loves her man for who he is. "Leave Me Alone" triggers a blues-infused intro by pianist Donny Nicholo that leaves no doubt as to the tradition rooted in this CD—and in deLay’s new material. The song serves up another heapin’ helpin’ on this smorgasbord of blues harp.
"Great Big Kid" is a funny up-temp song that reaffirms the premise that men are just boys with credit cards. "Come On Home" features vocalist Zora Young, while "El Train" welcomes Jimmy Dawkins aboard—and the Chicago guitar legend helps drive the train home. This CD is far more bluesy than the average Paul deLay (something which may attract a legion of new fans), and The Rocking’ Johnny Band’s Sho Komiya on bass and Kenny Smith on drums keep the blues rocking along. This CD is the blues-plate special if you want your deLay Chicago-style!
Scott C. Davis
BERNARD ALLISON – Times Are Changing (Ruf)
Bernard Allison faces a formidable task trying to fill his late father’s shoes, but on his newest CD he has certainly moved up a few sizes. The son of the legendary Luther Allison, Bernard is proving he is a bluesforce in his own right. Times Are Changing shows continued advancement and secures for Bernard a rightful place among the young blues lions of today. And why not? He certainly has the musical pedigree.
He first appeared on his father’s records at age 13. He was a member of Koko Taylor’s Blues Machine and of Willie Dixon’s Blues All-Stars. Along the way Bernard picked up whatever he could, including tips from the likes of Johnny Winter and Stevie Ray Vaughn. The 34-year-old Allison also honed his craft as bandleader for his father in Europe. His first domestic release, Keeping the Blues Alive, was a fine effort.
The new CD, though, sounds more natural and comfortable—as Bernard breaks in his own personal sound."I Can’t Get You Out of My Mind" gets the CD off to a rollicking start with superb vocals and hot guitar licks that aim to rekindle a burned out love. "Bad Love," which Luther co-wrote with James Solberg, is a classic that opens with a searing solo by Bernard, and the powerful vocals combine with a heavy beat to propel this song of deceit.
Not all is bitter in the love column, however, as "The Way Love Was Meant to Be" is a tender tune of affirmed devotion that features more hot guitar. Highlighting the CD is "Don’t Be Confused," a heartfelt tribute to his father, who, Bernard notes was always "playing his music, making everybody feel alright." Allison stirs in covers of Bobby Rush (who stops by), Sly Stone and Johnny Guitar Watson, and the mix leaves a very satisfying taste of modern blues. Times Are Changing also features a supreme horn section. It’s a fine CD that offers both the nostalgic and the new--not surprising from the son of Luther Allison. "I have a large part of him in me," says Bernard, "but at the same time we’re different. I’m trying to take the music somewhere else." He’s certainly on the right road.
Scott C. Davis
W.C. CLARK – Lover’s Plea – Black Top
Texas-based W.C. Clark is renowned as the "Godfather of Austin Blues," and the master of blues, rhythm & blues and soul delivers it all on his latest CD.The 69-year-old Clark’s gig list is a hall of famer. He has played with everyone from Joe Tex to Stevie Ray Vaughn, and co-wrote "Cold Shot," one of Vaughn’s greatest hits which recently went platinum. He has also opened for B.B. King, James Brown, Bobby Bland and Albert King.
"Changing My Life With Your Love" launches the CD with a soulful blast of horns that fuels this love ballad. It’s a feel-good song in which Clark has "got that kind of love that’s got me toein’ the line." His grooving guitar solo is just a hint of what’s to come.
The title track moves closer to the blues with a funky guitar into and continues the soul sound supported by The Kamikaze Horns, featuring Mark "Kaz" Kazanoff on tenor sax and Ernest Youngblood Jr. on baritone. "Lonely No More" is a more traditional blues rocker with an earthy sax solo that spices Clark’s expert guitar. The song celebrates a lovers’ reunion with stinging solos by Clark and Derek O’Brien.
"Someday" is a slow blues number featuring Riley Osborne on piano. It is a beautifully performed song of retribution, dreaming of the day when she gets hers. "Pretty Little Mama" is an original showcasing Clark’s vocal range, as "Are You Here, Are You There?," a haunting, heartbreaking song about dreams of a lost love. Written for his late fiancée, the song is one more example of Clark’s guitar virtuosity.
"Everywhere I Go" is a horn explosion mixed with rollicking piano and a punchy guitar line. "Sunshine Lady" is a testimonial to a beautiful woman who brightens the world. A highlight of the CD is the familiar sounding "I’m Hooked on You." Sure enough, it was written by Al Green himself, and Clark serves up a huge portion of lovin’ soul that does the Reverend supreme justice.
Lover’s Plea is a blues-soul CD that makes you feel good and gets your toes tapping. The album is dedicated to his late fiancée and drummer, who were killed in an auto crash in 1997. That proved to be a bittersweet year for Clark, one in which he won a W.C Handy award for his Texas Soul CD and also turned in a powerful performance at the Pocono Blues Festival.
Scott C. Davis
DARRELL NULISCH – The Whole Truth (Severn)
Darrell Nulisch’s place at the top of white R&B singers has been reaffirmed with the release of his first solo CD. From the opening notes, The Whole Truth is a vocal-propelled powerhouse that will have more blues fans taking notice and wondering "Darrell who?" If this CD is any indication, the former lead singer for Ronnie Earl & The Broadcasters and his own band, Texas Heat, will be raising the stakes in his claim to fame.
Nulisch, who was a founding member of Anson Funderburgh & The Rockets, wastes no time proving he can easily stand on his own. "Leaving On the Morning Train" starts things right, with Nulisch’s soul sound and spoken vocals setting a bluesy tone. The DC Horns are in great form and Benjie Porecki’s organ riffs fill the total package throughout.
"Stop Thinking Take (Start Thinking Give)" has Nulisch continuing the good feeling as he picks up the harmonica, and "There It Is" is another of six top-notch originals Nulisch co-wrote with bassist Steve Gomes. "Telephone Blues" follows the theme of tough love as Jon Moeller’s guitar soon roars to the front. "There’s a Sad Story Here," while not an original, is a clasic blues study that features Nulisch and his mates in terrific form. "Wait For Me Baby," another original, takes us rocking toward the conclusion of this laudable effort, which is topped off by a fine jazz instrumental penned by keyboard man Porecki.
All in all, this is a highly enjoyable CD that can quickly become a favorite. The Whole Truth is simply that—and nothing but the truth.
Scott C. Davis.
TED HAWKINS - The Final Tour TED HAWKINS - The Final Tour (Evidence Records) TED HAWKINS - The Final Tour (Evidence Records) TED HAWKINS - The Final Tour (Evidence Records)
By now, every blues aficionado has heard and read much about Ted Hawkins. His newly released CDs are the darlings of the blues media everywhere. And they should be! Ted Hawkins is the prodigal son of the blues and, although he's dead(1995), he's finally come home!
It's early 1998, and it's hard to conceive that there could be a bigger or better blues song this year than Hawkins' rendition of "There Stands the Glass." Critics review it, and all use the same word: haunting. It is a screaming, haunting, soul-diving view of the world of alcoholism. Though not an original, it certainly is his song. It's a tear-flowing look into the life of a tortured soul. "There Stands the Glass" is already the blues song of the year.
Hawkins is an unparalleled vocalist and accoustic guitarist. His talents in both areas have always allowed him to resurface after destructive falls. His cyclical bouts with success and failure make this CD all the more astonishing and compelling.
Hawkins was born the unwanted son of a prostitute, and lived an unhappy childhood. He was in and out of reformatories and experienced a brutal existence growing up. He became a drifter who sang on streets and beaches, yet rose to perform in such venues as The Bottom Line, CBGB'S and the Fillmore West. His talent endeared him to crowds in Europe as well. After many peaks and valleys, his career was at it's high-point when he tragically died of a stroke. He isn't kidding on the CD when he says: "You'll have to excuse the guitar. We've been through hell together, so it's quite natural it would be a little scorched."
"Strange Conversation" opens with a beautifully strummed solo and is a great vehicle for Hawkins' powerful voice. It ends with a patented move--his leaning back from the mike to initiate a fadeout. "Sorry You're Sick" is a jaunty love song of tenderness and devotion, highlighted by fine guitar accompaniment and Ted's ever-present foot tapping.
"Big Things" is eerily prophetic. Hawkins notes he's got "big things to do. Too soon my life will be through." He laments the wasted time and lack of dedication, and how the pace of life seldom forgives these transgressions. "Bad Dog" is a comical song about cheatin' love. His woman's dog barks at everything that moves except "that man that comes around."
"The Lost Ones" is a very touching story about a boy whose father is dead and mother is dying. It's a child-hood alone, without school or play. There's no one to help, and this wouldn't happen "if my daddy were home." It is a plaintively sung ballad of loneliness, fear and wrenching sadness, and Hawkins' far-ranging voice is in top form here.
As beautiful as this CD is, be prepared for a pain infusion. If the soulful listener isn't moved to a tear, it will certainly be a struggle. But The Final Tour isn't as much a tear-jerker as a heart-grabber. Ted Hawkins, while often sounding like a folk-singer, delivers the blues big time!
Scott C. Davis
LARRY GARNER – Standing Room Only – Ruf Hearing there’s a new Larry Garner CD out is like hearing a good friend is coming to visit. You can’t wait because you know it’s going to be a good time when you get together.
Larry Garner is one of the blues’ great unknown treasures. His songs and vocals are witty, intelligent and sophisticated. He has a great sense of humor and always features a dynamite band to back up his searing guitar. You could call him the Rodney Dangerfield of the blues, but the only people who give him no respect are his record companies. His last CD wasn’t released in the U.S. despite its fine content, and his latest is getting a so-so push. His new label, Ruf, has done a fine job of packaging the CD and featuring a cut on a Blues Revue magazine sampler CD, but getting a copy to review was like pulling teeth.
People who hear Larry Garner, however, shower praise upon him. Critics and fans alike love his top-shelf material. His performance two years ago at the Pocono Blues Festival brought the house down and had throngs of people laughing and smiling and joyfully chanting the same question: "whoIS this guy?" He rewarded their devotion by cheerfully greeting every fan who stopped by.
"A Driving Woman" jumpstarts the CD with Garner’s hot electric guitar at the fore. He’s got a high-maintenance woman driving him crazy. "Do Your Personal Thing" is a typical song, bopping along and spiced with Garner’s personal observations on daily life. The Angels of Background Vocals add a great touch.
"The Strangers Blues" is a thoughtful piece about reminiscing, with Garner’s warm vocals and touching lyrics blending well. "Don’t Start Crying" is a slow blues tune illustrating the artist’s versatility. His sense of humor shines through on "Keep the Money" and "PMS," the latter song offering a tongue-in-cheek condolence to his baby when she gets those "once a month blues."
"Out in the Country" and "I’ll Run Cross You" are two more fine originals, both examples of Garner’s strong writing. Standing Room Only rocks along with a top –notch band to keep things smoking, and "Last Encore" ends things on a high note with an energetic farewell.
All that said, this review could be condensed to three words: Buy this CD! It is another masterfully crafted collection of sophisticated modern blues songs. Past experience has taught Larry Garner a lesson and on this outing he takes no prisoners.
Scott C. Davis
Chico Banks - Candy Lickin’ Man (Evidence Records)
Blues-slingers look out - there’s a new sheriff in town! His name is Chico Banks, and this man is hot, hot, hot.
Banks is redefining the Blues as we know it. He has rocked it up and funked it up. He is creating a new style of blues because, as he notes "it’s a new generation now."
"Candy Lickin’ Man", the title track and one of five original songs, sets the tone of this album. It’s a ribald tribute to the sweetness of women, and shows Banks’ willingness to get down and dirty. If you don’t get it here, he reiterates the theme on "Angel of Mercy", an equally risque anthem of lust. Banks’ stinging guitar punctuates the passion and tears through this CD.
There are a lot of musical influences here. The obvious love of Albert King, Buddy Guy, and Magic Sam is fused with the funk background of the Isley Brothers, Ohio Players, Earth, Wind & Fire and Parliament/Funkadelic. You’ll think of Jimi Hendrix, too, more than once. Otis Clay and George Benson also helped contribute to Banks’ musical bag. "I’m just trying to come up with something different," he says. "I’ve listened to a lot of people who all sound the same. People get more involved with the blues when it’s funky."
"Got To Be Some Changes Made," an Albert King cover, quickly establishes Banks as another master of the stratocaster. His high-pitched voice interplays with "kick-ass guitar" solos that really drive this song. His Chicago Blues pedigree is obvious.
"It Must Be Love," another original, brings Mavis Staples on board for a guest shot. The two became fast friends while touring Europe last year. Their chemistry is evident through her tough, soulful vocals and Chico’s singing guitar lines.
"Careless Things We Do," also by Banks, gets a good workout by the Chicago Playboy Horns. It’s a song lamenting marital affairs, and it showcases the range of his voice and emotions. Ronnie Hicks continues his outstanding work on the Hammond B-3 organ, which is immediately noticed on the opening track "Red Dress", which rocks.
On "You’re Fine", the funk flies with Chico’s falsetto voice. The sexual theme remains in force. Funk continues rolling through"Groove Me", the King Floyd tune, done in tribute to the original version.
The blues remain strong throughout Albert King’s "Down the Road I Go" and Elmore James’ "The Sky is Crying". Strong guitar work and liberal use of the wah-wah sound help this album flow strongly along. This CD is getting plenty of air play nation-wide, and deservedly so. Evidence Record is rightfully excited about this debut by a new generation of blues player. Mavis Staples may have summed it up when she noted, "The first time I heard Chico play the blues, I said ‘Thank you, Jesus.’"
Chico Banks’ purple suits, high voice and screamin’ guitar make a fashion statement as well as a musical statement. Throw in a lot of originality, sexuality and a new mentality, and you come up with one of the new stars of the blues.
Scott C. Davis
CRAIG THATCHER BAND - Because of You (self-produced) If you can judge the flower by the seed, Craig Thatcher's musical career is headed for a full and long-lasting bloom. This germinal effort--his first CD--offers much to marvel at now and leaves a lot of expectations for the future.
"Because of You" consists of a wide range of styles from rock to ballads to blues. The songs run the love gamut through devotion to deception and are backed by top-notch musicians including the Road Band of Wayde Leonard on bass, Keith Necessary on drums and Karl Frick on keyboards.
The title track is a terrific opener in Clapton-esque style. Well-witten and beautifully sung, it has a haunting guitar intro and great organ work on the B-3 by Craig Kastelnik. This is a classic tale of love gone bad which is tastefully done.
"Christine" goes the other way. It is a soulful testimonial to a wonderful woman who happens to have the same name as Thatcher's wife! This is a true-love ballad where the feeling is mutual: "every time you smile at me, I can tell it's meant to be."
"Make Up Your Mind" is an ultimatum to a cheatin' woman from a wounded husband who notes, "I'm the one who puts the bread on the plate/ I pay all the bills and I never pay them late." The blues rocker continues the steady harmonica of Nick Stephano. "Got My Eye on You" is another song of betrayal and is powered by rollicking guitar licks and foot-tappin' bass. "Missin' You Blues" continues the lament of love gane bad and is another strong original with stirring
guitar fills. "Do What You Like, Like What You Do" is a thoughtful song about life's choices--"and it's all up to you, life is too short to go around feeling blue." Dave Fry lends his mandolin to the fun. "Talk to Me Baby" features driving drums by Necessary and rocks along to a sudden stop before a revival by an Allman-like guitar solo and a gem of a piano piece.The CD closes out with a heart-wrenching tribute called "Daddy I Remember," a memorial to Thatcher's father, Glennmore. It recounts touching memories which many of us can vividly share, including "the day I got that fateful call."
The eight original songs are supported by four covers, including John Melaney's "The Way You Are." This feel-good ballad of real love is highlighted by Leonard's vocals and Frick's Hammond organ. Also present are Booker T's "Born Under a Bad Sign" and Hendrix's "The Wind Cries Mary."
This impressive first effort has gotten some national and international airplay and generated a nice mention in Blues Access magazine. Thatcher, who has been playing professionally since the mid-70s, is working on a second CD to be released this summer which will feature the vocals of Mary Hawkins-Bean. If it's up to this high standard, we can't wait!
Scott C. Davis
JOHNNY CHARLES - Roadmaster (Blues Leaf Records)
"Roadmaster," the second release by Somerville, NJ, native Johnny Charles, is a smorgasbord of blues and blues styles. The 12 original tunes are strong and cover all the bases. Charles is like a gourmet chef at an all-night blues diner--serving up every imaginable blues treat. And like any master chef, Charles has used only the finest ingredients. He has imported the rhythm section of the late guitar great Danny Gatton and seasoned it with the spicy harmonica of Garden State sensation Rob Paparozzi.
The title track launches the CD with a rockabilly tempo, offering quick exposure to Charles' great playing and Bill Holoman's mastery of the Hammond B-3 organ. "Memphis Blues" is moving and very bluesy, featuring clean picking by Charles and a nice bass line by Wilbur Bascomb. The song also introduces silky vocals by Pete McMahon of Savoy Brown fame.
"Upside Down," dedicated to Freddie King, is a lilting, feel-good tune that brings the work of harp whiz Paparozzi to the fore. Charles guitar work is faultless, as usual. "Running Hot" is a cool instrumental with more pristine guitar solos. This song, along with the jazz/blues instrumental "Park Avenue Swing," invokes the style of Ronnie Earl. But then Charles claims many influences, including the three Kings, the Vaughn brothers, Clapton, Jeff Beck, T-Bone Walker, Les Paul, Charlie Christian, Kenny Burrell and others. He has spent many years honing his craft and developing along side many of these artists, and this CD is a wonderful culmination.
"Blue Heat" is another highlight. Dedicated to the late guitar legends Gatton and Roy Buchanon, it is a moody piece in which the guitar seems to speak as narrator. The song is rife with sultry guitar riffs and tasty organ work and is a truly beautiful compostion.
"When the Sun Goes Down" is a traditional blues lament of love and betrayal, layered with smoothe vocals and punctuated by Charles' pinpoint guitar work. "Streamliner" is a swing-style number with all the pieces in the right places, while "Low Gear" is a prancing instrumental showcasing Charles' mastery of his craft. "Low Gear" closes out the CD, which itself is in high gear from the get-go!
This follow-up to "Hot Wired," his first CD, has gained Charles national release status with airplay in eight states and counting. His exposure is growing, and his perserverence paying off. "Roadmaster" aptly demonstrates why Johnny Charles is heading up the ladder!
Scott C. Davis
PAUL deLAY BAND--- Nice & Strong (Evidence) Let's cut to the chase: Paul deLay is a genius! He is a brilliant songwriter, harmonica player and vocalist. He fronts a band that crackles with energy and is becoming one of the mainstays of the contemporary blues scene. He has paid his dues, and on Nice & Strong is once again delivering the dividends!
deLay was once an engineer of drink and drugs, his life a runaway freight train heading hell-bent for the end of the line. But fate, in the form of a much-publicized cocaine bust, threw the switch and detoured him back into life. His 41-month prison stay, while perhaps unjust, put the brake on his self-destructive lifestyle and forced him to rediscover his love of music and to re-invent his career.
His stay at "Club Fed" also brought to the front a loving wife and supremely dedicated bandmates who stuck by him in the worst of times. This dual theme of loyalty and devotion is celebrated throughout deLay's three Evidence releases. Paul deLay knows how to steer through the blues triumphantly!
While the band presides in the Pacific Northwest--a hotbed of the blues--it's appearance last summer at the Pocono Blues Festival served notice that this is a nation-wide force to be reckoned with. deLay and his cronies brought the house down. They were so well-received that deLay kept looking back at the band and laughing in disbelief and with much pride at the crowd's fantastic response.
The Paul deLay Band storms through "Nice & Strong" with the enthusiasm and mastery that have made this one of the finest contemporary blues bands around. Strong writing, great ideas, humor and kick-ass musicianship abound on this CD. deLay's status is only enhanced here, and his band, led by guitarist Peter Dammann, organist Louis Pain and saxist Dan Fincher, is in typically supreme form.
"Fourteen Dollars in the Bank" is a modern blues classic that anyone ever short of cash can identify with. The song features a fine-tuned, stinging guitar solo by the always excellent Dammann, who plays some of the finest guitar around and always has just the right licks to keep things thumping.
"Too Old to Scold" is a highlight, featuring the proverbial problem child who won't heed advice. Instead, deLay notes, "you're making all the same damn mistakes I made." Generous helpings of his warm harmonica solos propel this ditty along.
"Love On a Roll" features a nice dance tempo celebrating the strong relationship. The song is heightened by the moving tenor sax-work of Fincher, who constantly orchestrates the mood and blends seamlessly with deLay's harmonica riffs. Pain is also in terrific form here on the Hammond B-3 organ.
"She Doesn't Work That Way" is another testimony to a good wife. It kicks off with a nice staccato guitar intro and moves into a heavy bass line. "I'm Gonna Miss Talking to You" is a slow-dance ballad stressing the important things in a relationship. "I Know You Got Another Man" is a funny descent into paranoia because "she" really doesn't.
The CD closes out with "Punchy," an instrumental that that merely reaffirms a simple point: when this band jams, the stove is hot and the kettle is cookin'! They are tight and can really turn up the steam. Check out deLay's other Evidence releases, "Take It From the Turnaround" and "Ocean of Tears," for more good time, high-energy music that never disappoints.
Scott C. Davis