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September / 2006
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GLAMOURPUSS |
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VARIOUS |
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Artist: Connie Lush & Blues Shouter Title: Live at The Cavern Club Label: Blues Shouter BS040859 For more information go to: www.connielush.com 
This new live album was recorded by Connie and the boys on the 10th, of March, 2006 at the Cavern club in Liverpool England, though sadly not the original Cavern Club; that was demolished many years ago as part of a city wide urban re-development project; fortunately the new Cavern Club is situated only a few hundred yards away from the site of the original Cavern Club.Connie and the boys are in fine form, a varied and interesting, collection of numbers that are crisply played with a relaxed confidence and charm. Evidently, a band that are; at ease with themselves, their music and of course, the audience. Connie’s delightfully corrosive rasping voice is very much in the Tina Turner, Maggie Bell tradition here. Inhabiting the arrangements with a lurking meandering, malicious intent, very much to the audiences’ obvious delight. The album kicks’ off with a sharp ‘cutting to the bone’ rendition of “Blues is my Business,” an eight minute slow burning barroom version of “Love me Like a Man,” is only bettered by a ten minute prowling, atmospheric “Feeling Good,” which; by the way, the late Alex Harvey would be proud of!, on its sure footed journey it incorporates; “summertime,” and “Hit the Road Jack.” A drum and vocal version of “Nobody’s fault but mine,” is seriously toe tappingly good. Assisting Connie in this musical feast are; Terry Harris; bass, John Lewis; guitar and slide, Carl Woodward; drums, and Paul Need; keyboards. A very, very fine album indeed! Well worth a listen or two! Brian Harman. ! We hope we can see you soon in Vienna, or at a "blues place" in Austria ! Yor new record is really worth to listen, again and again and again, thanks for your great music, Sissy and Fritz (BluesArtStudio) |
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JOHAN ELIASSON a.k.a. BOTTLENECK JOHN Blues Singer Own label www.johaneliasson.com This CD is really Bottleneck John’s calling card. All the tracks are acoustic-based, many with just John’s National Steel guitar, but others range from guitar and harmonica to full-blown blues band, and even one number with a (rough and ready) gospel choir; some particularly fine piano playing also crops up from time to time. The material is similarly varied, mostly in the Delta style of the twenties and thirties but including hokum material and several spiritual numbers – including the evocative and desolate instrumental ‘Blind Willie’s Tune’, based loosely on ‘Dark Was The Night, Cold Was The Ground’. Many tunes are originals, but with fairly discernible antecedents. Surprisingly, Johan really stands out from the crowd due to his voice – deep and rich and totally in keeping with his material. I was certainly impressed with this set. Some enterprising label should certainly pick him up and put his music on general release. Norman Darwen |
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THE BARCODES With Friends Like These Note Records NCD 1012 www.note-music.co.uk/ The Barcodes are a London, England based three piece consisting of Bob Haddrell on Hammond and Wurlitzer organs, piano, vocals and bass pedals, Alan Glen on vocals, guitar, harmonica and percussion, and Dino Coccia on drums. These three guys have plenty of experience between them, but in this incarnation they opt for the jazzier side of the blues that was popular in the early to mid-sixties – think Jimmy Smith, Georgie Fame or Jimmy Witherspoon maybe. It is a sound that has perhaps declined in popularity a little over the last few years and for that reason alone this CD is worthy of attention. Another reason is that these guys and their associates – the friends of the title include veteran British jazz guitarist Jim Mullen, sixties UK blues boom legend Zoot Money, and several others - do it so well. Oh, and Little Walter’s ‘Can’t Hold Out Much Longer’ brings to my mind – every time - the image of a mohair suited mop-topped teenager with guitar on ‘Top Of The Pops’ circa 1964. Intriguing at the very least… Norman Darwen |
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JIMMIE BRATCHER Red www.jimmiebratcher.com Jimmie is a blues-rocking reverend biker, and this is no ordinary blues set! You might occasionally find elements of country and soul in this Kansas City recorded, Jim Gaines produced CD. You will certainly find subtly religious lyrics, and there’s plenty of snarling guitar but most of all what you’ll find is uplifting, positive messages (both sacred and secular) set to inventive, individual, sometimes brassy, and always bluesy arrangements and delivered in a totally convincing voice. In short, a fine set… Norman Darwen |
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Artist: Mac Arnold & Plate Full O’Blues Title: Nothin’ To Prove Label: Plantation 1 Productions MA31605 For more information go to: www.macarnold.com This is the debut album for sixty three year old Mac Arnold; pretty late in life for a man to make a musical statement you might think! But you would be somewhat wrong; for the former Muddy Waters bass player is merely starting yet another chapter in his musical story. Macs’ first chapter began when at the age of ten he and his brother made a guitar between them in their Greenville, South Carolina home when their Deacon father wasn’t at home. Later, when in high school he joined a band named J.T. Floyd & The Shamrocks in whose line-up had one James Brown (the eventual godfather of soul) on piano; Mac went on to work with Charley Miller until he teamed up with A.C. Reed and moved to Chicago in1965 a year later he was playing bass for Muddy Waters, during that time Mac also recorded with other artists such as; Otis span and John Lee Hooker. Whilst touring with Muddy Mac fell in love with the Californian weather and decided to make his home on the west coast; so Mac left Muddy and the band on the most amicable terms and took his family west to the sun. He formed his own band entitled the Soul Invaders and backed groups such as; The Temptations. During the early seventies, while living in Los Angeles Mac worked with Red Foxx at the Laff record company and also was on A.B.C. Televisions’ Soul Train for a number of years. During the eighties Mac moved back to South Carolina after backing Bill Withers for a time. Now, Mac has felt the urge to make music again and we should be ever so grateful for this decision. The skill, knowledge and craftsmanship that Mac has at his fingertips is displayed in so many ways from his excellent choice of musicians; to the mellow roaring of his vocals throughout the proceedings. The whole album reeks of fifties’ passion and style, classic Chicago in its’ approach, feel and most importantly of all the playing! How many bands today can create a delicately moving, nine minute, slow burning blues number that makes time stand still? The ten numbers here range from foot tapping shuffles, to down home piano and slide, a couple of slow autobiographical numbers, mixed with some hints of modern blues; are all band penned originals and are played with such fervour and belief by; Mac Arnold; lead vocals and bass, Max Hightower; harmonica, slide guitar and piano, Austin Brashier; guitars, Mark McMakin; bass and Mike Whitt; drums. Guest players are; Rudy “blue shoes” Wyatt; piano and Jim Peterman; Hammond b3 organ. This is not a blast from the past cashing in on old glories, but a living breathing, entity, a bluesman who can reach back to a time when it was all big, brash wonderful and exciting and the blues was played by real bluesmen! It still can be! FAB! Brian Harman |
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Artist: Alvin Jett & the Phat Noiz Blues Band Title: Milk and Cookies Label: Phat Noiz Entertainment For more information go to: www.phatnoiz.com This is the second self produced album by the band, who are; Alvin; vocals and guitar, Frank Bauer; saxophone, Matt Davis; bass and Jeremy West; drums. Guests on the album are Rich McDonough; slide guitar and Arthur “Mississippi “Williams who provides blasting harmonica. Alvin and the boys originate from East St. Louis and have been playing together for some time now, honing and sharpening their unique free flowing approach to playing. which consists of a multitude of styles ranging from soft mellow skin brushing lilting blues, through to a no nonsense full steam ahead boogie mode. A change of direction and feel, takes you completely by surprise as the band confidently play some seriously heavy, yet pleasantly entertaining Jazz Funk interludes which do not at any time seem out of place or overstay their welcome. Alvin’s confident warmly (but at times hoarsely) chocolate vocals and solid guitar work, serenely lead the proceedings. All ten numbers here are band originals and highly interesting they are too! Alvin and the band are fast becoming a recognised force on the scene with their debut cd (Wet My Beak) gaining a place in the top five ‘self produced cd’ section as stated by the Blues Foundation. From the moment the first number pours from the speakers the quality of the performances displayed on this album are clearly evident. Well worth a listen or two! Brian Harman |
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Artist: Mitch Kashmar Title: Wake Up & Worry Label: Delta Groove DGPCD109 For more information go to: www.deltagrooveproductions.com and www.mitchkashmar.com This is the second album from the Santa Barbara native Mitch Kashmar, who; in-between recording this and his debut album, Mitch found time during 2006 to join the Mannish Boys for a number of high profile concerts His highly acclaimed debut entitled “Nickels and Dimes,” was nominated by the blues foundation “best new artist debut” for 2005. On this album, he has taken the theme of excesses; how in today’s credit card driven ‘live now, pay later’ society we have put off paying our dues until the tomorrow of never, never land. Illustrating to us just how the blues affects us all in ways you may not imagine. Combining no nonsense sharply blown harp and guitar, the numbers have a mellow flowing feel yet; at times a hard edged guitar interjects the proceedings to drive along swinging shuffles. When, not enjoying a Caribbean / calypso number entitled “Green Bananas.” A very interesting and highly entertaining harp instrumental “Funky Dee” is brought into the mix. Mitch’s strong confident vocals move the numbers along with ease, always pushing on to the next vocal challenge. Assisting Mitch, who takes lead vocals and harp, is; Jr.Watson; Rusty Zinn; John Marx; guitars, Alistair Greene; steel guitar, Bobby Watley; vocals &B3, Fred Kaplan; piano, Jim Calire; piano & baritone bass, Randy Chortkoff; vocals & harmonica, Rick Reed; bass, Richard Innes; drums. This album is undoubtedly going to nail Mitch’s colours to the mast as a highly respected blues artist of the future and will, quite possibly, take him into some highly interesting; if not profitable waters. Well worth a listen or two. Brian Harman |
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Artist: Claudio Scolari Title: The My Fourteen Songs Label: Principal Records PRCS-62 For more information go to www.claudioscolari.com Claudio divides his career into two distinct halves, on the one hand, as a graduate of the A. Bolto music college in Parma, Italy; he spends a good deal of time as a classical percussionist and drummer; performing at one time or another with the symphonic and philharmonic orchestras of Parma, Italian-Swiss Radio, Turin, Venice and Verona. On the other, he composes and plays works that are firmly established in the avant-garde / jazz fusion arena. On this album Claudio plays drums, percussion and synthesiser, with the collaboration of the extremely talented guitarist Donnie Romano who also, lends his vocal statements to the proceedings. They together, bring these ideas and musical musings to fruition. Claudio has gained experience of the many musical differences that inhabit the contemporary music world, when he has, in the past worked with such artists as; Bono, Joe Cocker, B.B. King, Eric Clapton, Tracy Chapman, Pavarotti, Deep Purple and Queen. Whilst individually composed by Claudio to stand alone, the numbers seem to merge together and form a single musical entity which creates a background tapestry of percussive and synthesised mellow undulating aural movements. One is reminded of the image of passing clouds on a slightly breezy day. These continually evolving sound formations are interspersed with snatches of familiar guitar riffs ranging from cool mellow jazz intricacies right the way through to heavy metal and hard rock interjections which have the effect of unexpected lightning strikes on a sunny day. Unless you enjoy mellow possibly ambient mood music containing sharp musical points from different ends of the musical spectrum this album is very difficult to recommend ( I would strongly urge you to listen online first if you can) but if you do, then this album is well worth a listen. Brian Harman |
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Artist: Matt Angus Title: Matt Angus Label: Black Potatoe Records BP000045 For more information go to: www.mattangus.com or www.blackpotatoe.com Following on from Matt’s sojourn in the political arena, this, his solo debut album has been released. A self produced, extremely professional, faultlessly polished offering. Matching the level of care and attention to detail that he provides for artists such as; Warren Haynes, Levon Helms, Rodney Miller and Buddy Miles to name but a few.. Here, Matt delivers his thoughts and opinions; by means of wholly original numbers on topics such as; literally the state of the nation; that is; what exactly does concern the working class of the underbelly of The U.S of A. Does anybody really care anymore? Especially on matters concerning; Love, God, Peace, Charity, Equality, Poverty and War.? The disenfranchised; who lose all at the hands of indifferent multinationals. Individuals who no longer count in the scheme of things? These are the questions that Matt is really asking all of us. Do we know? Do we care? Helping Matt, who takes lead vocals and acoustic guitar to create this comforting piece of roots, down-home Americana are musicians that are quite possibly the cream of the crop; Larry Campbell; guitar, pedal steel guitar, violin and mandolin, Pat O’Shea; guitar, Tony Garnier and Jeff Sarli; bass, John Ginty; piano, Tom Nelson; drums. The soft deep honeyed voice of Matt gels so smoothly and quickly with the satisfyingly liquid ringing tones of the pedal steel guitar, whilst the mournfully happy violin is all encompassing, adding depth and feeling to these poignant tales. A very well made. Thought provoking, piece of Americana. Well worth a listen! Brian Harman |
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Artist: Jeff Jones Band Title: Biscuits& Gravy Label: Foursome Records For more information go to: www.jeffjonesband.com or www.foursomerecords.com Jeff Jones has been in the past somewhat of a wanderer; before leaving his home town of Lake Tahoe in1990 at the age of nineteen serve in the army and see the world he had previously moved up to seventeen times in and around nine different states before leaving high school. Despite his early travels Jeff taught himself guitar and was helped along the way with a few tips from his music playing father and uncles. After leaving Arizona state university in the mid nineties Jeff was spurred on to become a full time musician by a live performance of Ben Harper. In 2005 he was judged to be, by the local Lake Tahoe newspaper the best live band / musician in the area. On this debut album, Jeff’s approach has been that of a high energy mixture of acoustic, dobro and slide backed with solid support from organ and piano. To help give an indication of what’s on offer I would suggest that you think of an amalgamation between the swampy rock of Creedence Clearwater Revival and the swirling piano forays from Bruce Hornsby and the Range. All of the original compositions here do have a tendency to lean towards a more contemporary sound; Jeff’s vocals also do seem to have a similarity to John Fogerty which further enhances the opinion of a more swampy rock influenced album. Jeff takes lead vocals and plays guitar. Slide and dobro, Eric Matlock; piano, organ and keys. While Ray Erst prvides drums and percussion A bright and breezy, fun filled promising debut! Well worth a listen or two! Brian Harman |
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Artist: The Hellhounds Title: Halfway Between Somewhere and Nowhere Label: Deltabilly Records DELT7240 For more information go to: www.hellhoundslive.com Based in Fort Lauderdale, Florida, the hellhounds are beginning their campaign to establish themselves on the blues map; and it starts here with this almost angry assault on the senses. Musically first impressions are of a supercharged hybrid between Creedence Clearwater Revival and Lynyrd Skynyrd; the band fuse a mixture of Mississippi hill country music with fast and furious dobro, harp & slide, which is underpinned with a sort of full tilt, swampy guitar sound; within which they manage to capture the enthusiastic rawness of their own self named ‘Deltabilly’ style. Whilst over the top of it all, leading the way, there is one of the most raspingly powerful, but unintentional John Fogerty sound-alike vocalists, in the form of; Vince Flora, who also plays harp and guitar, backed by; Johnny Beemiller, guitar, and Ron Rummage; bass. Making a guest appearance on the album is ex Booker T. & the MG’s drummer Steve Potts. (Bill Meredith is now the full time drummer with the band) The album was recorded at the Leeway studios in Memphis and produced by Jeff Dunn, the son of the legendary bass player Donald ‘duck’ Dunn who, became involved as the executive producer. Donald ensured that the whole enterprise was more than just musically sound, by wheedling out any flaws in the album. All ten original numbers are co-written by Johnny Beemiller and Vince Flora. “Smoke that Stuff” is foray into what you might call rap and as it appears halfway into the album is tends to startle you somewhat, after this musical/spoken excursion we return to normal service which was greatly appreciated. This debut is a fine start to what could well be a long glittering career. If you want your blistering boogie with a difference this is the one for you! Well worth a listen or two, highly commendable! Brian Harman |
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Artist: The Fremonts Title: Mighty Crazy Label: Wooden Monkey For more information go to: www.thefremonts.com The Fremonts are following in the tradition of the artists, who were produced by the legendary late, (but very) great producer of the fifties; Jay Miller. The band that comes to mind of most recent times that also successfully trod this path were The Fabulous Thunderbirds. The Fremonts achieve the warmth, depth and cosiness that few others managed to attain, but without the trademark Fab Thunderbirds Texas drawl and twangin’ inflections. From their hometown of San Diego, they have nurtured and refined their own particular feel and style within the music. The featured vocalist, who also plays washboard and shakers, is Mighty Joe Milsap who easily manages to capture the spirit and feeling of the music, which more than just echoes some vague idea or style from the past. The rock steady musicians behind Joe are; Kurt Kalker; drums and maracas, Troy Sandow; harmonica, Patrick Skog; guitar, bass, tambourine and maracas, Tony Tomlinson; guitar, bass and tambourine. Guesting on the album are; Rip Carson; acoustic bass, and Carl Sonny Leyland; piano. Six of the ten numbers are covers, the rest are band originals; Which, by no stretch of the imagination does that number indicate a lack of ideas or skill, it merely reinforces the fact that the longevity of good songs is always continued, when played by appreciative, loving, caring musicians. This, is a very fine foot-tapping swingin’, relaxin’ album in the mould that’ll never be broken; long live the great Sounds of Jay Miller! Well worth a listen or two. FAB! Brian Harman |
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CEPHAS & WIGGINS Shoulder To Shoulder Alligator ALCD 4910 www.alligator.com Singer and guitarist John Cephas and harmonica man Phil Wiggins have been together now for nearly thirty years and have carved out a very successful niche for themselves by playing the real Piedmont blues style – regardless of where the songs originate. This is their fourth set for Alligator and it contains tracks written or co-written by John alongside material from Skip James, Charley Patton, Sonny Boy Williamson No. 1, Sleepy John Estes and Blind Boy Fuller. John’s approach is very much akin to that of Fuller – whose ‘Three Ball Blues’ gets a wonderful solo makeover here from John – whilst Phil’s harmonica playing is in the style of Sonny Terry or John Lee Williamson. Ann Rabson of Saffire- The Uppity Blues Women fame adds some highly appropriate piano playing in places, resulting in a sound akin to the early small combo recordings made by Brownie McGhee or Champion Jack Dupree in New York in the early fifties. Pianist Daryl Davis guests on the last track, a live recording. All in all, an admirable release, well worthy of your support – and money! Norman Darwen |
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M. SCOTT HORN Fake As The Blue (own label) www.mscotthorn.com It isn’t just due to the presence of the intriguingly different cover of Bob Dylan’s mid-sixties classic ‘She Belongs To Me’, but this largely solo album by Akron, Ohio singer/ guitarist M. Scott Horn recalls the heady days and strong conviction of the American folk and blues revival – though ‘Fake As The Blue’ is not a retro set as such. Scott is a strong vocalist, a little reminiscent of the aforementioned Mr. Zimmerman, and his guitar work is an impressive finger style, nowhere more so than on the cover of Blind Blake’s ‘West Coast Blues’ though Scott reveals himself to be an inventive musician throughout. His fellow home-towner Jim Ballard adds a few deft touches of support on keyboards and bass, and with three of his own originals holding their own against some illustrious cover versions (not mentioned are those from Guy Clark, Jackson C. Frank, Robert Johnson and Robert Pete Williams), the talented M. Scott Horn is certainly a name to watch. Norman Darwen |
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LIL’ ED & THE BLUES IMPERIALS Rattleshake Alligator ALCD 4909 www.alligator.com It can be difficult to find that right balance when trying to meld the smooth sounds of seventies jazz-funk with the harder edged approach of today’s hip-hop … oh, OK, only joking! What do you expect from a Lil’ Ed album?
This is Ed and crew’s sixth album for Bruce Iglauer’s label. If you have the other five, you will want this. If you don’t you want this anyway - check! |
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VARIOUS ARTIST |
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Doghouse Daddies "Doghouse Daddies" Greenback Hill Records "DOGHOUSE DADDIES", is the name of this self titled disc by a bunch of Kansas City area bluesmen with about 140 years of experience between them. No, no, no, that doesn't mean they're all as old as Pinetop Perkins and Robert Lockwood Jr. They just happen to be four baby boomers who have all been playing the blues for about 35 years each. The DOG HOUSE DADDIES are: BILL MORLAN, Upright Bass and Vocals; MARK ROLLINGS, Guitar and Vocals; A. W. HOWDY STEVENS, Harmonica; VAN DAVISON, Percussion. "SOUNDS LIKE KC", one of the originals, is an impressive opening track. It's one of those tracks where no one particularly blows you away yet the tight little groove the bands in, combined with all of their timely solos, makes it a pleasure to listen to. On any Rod Piazza track, done by any band, the harp player better be up to the task. HOWDY handles the duties very nicely on the Piazza penned "SOMEBODY" while MARK adds lots of guitar highlights. The seven minute version of "EARLY IN THE MORNING" finds the band mellowed down easy. It's a soft, slow blues burner which features HOWDY and MARK taking turns at tearing it up. With the rhythm section locked in on a very subtle groove in the background, this track may very well feature the discs best harp and guitar playing. Another original track just happens to be the name of the band, the name of the disc and the name of the song - "DOGHOUSE DADDY". This one totally rips. It's a fast paced number with BILL and VAN never letting up on rhythm while HOWDY and MARK lay down some blazing solos. BILL also does a great job on a song that was written for his voice. I could have easily handled this one, which may be the best track on the disc, being seven minutes long. I get the feeling that "DOGHOUSE DADDY" may very well be their ultimate crowd pleaser at the bands live shows. "I'VE GOT NEWS FOR YOU" is another real good, slow, blues burner. It opens with BILL belting out some of his signature gritty and growling vocals before giving way to an absolutely phenomenal three minute guitar showcase. JUNE will know a lot better than I on this, but I'm thinking that the reason the DADDIES may actually be in the DOGHOUSE is because they all went out and got "SLOPPY DRUNK". This Jimmy Rogers cover is another one of the best tracks on the disc and it takes the DHD'S home in real rockin' fashion. With BILL and VAN sounding like their having a race on bass and drums and HOWDY blowing his brains out on harp, this one is a real winner. Be sure to stop by the dog house and visit the DOG HOUSE DADDIES at www.doghousedaddies.com, but a word of caution...........be careful where you step. Peter "Blewzzman" Lauro-USA, Blues Editor @ www.Mary4Music.com |
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Al Jones “Bittersweet” Acoustic Music 2006 For more than twenty five years Al Jones has been one of the real German school blues guitar representatives. In this last cd recorded for Acoustic Music label, Jones shows again a huge quality with an undoubted elegance. This bright excellent “Bitterswet” cd shots him among the best brightest promising new blues musicians outside the United States. The high quality varied musical phrasing together with a fine powerful inspiration is present along covers of his most admired idols such as Jimmy Reed, Ray Charles or Sonny Rollings. His music is filled with jazz, funk, blues and groove. A good reference record for those of you who are not familiar with Al Jones’ work. VERY GOOD. Vicente Zúmel |
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Napoleon Washington “Homegrown”. Sepia 2005 Swiss singer and guitar player Napoleon Washington explores the deepest down-home blues field in this new cd, with very clear expressive ideas cleverly expressed with an intelligent effective musical language. Napoleon is one of these enterprising musicians, always ready to take on any new sound that comes from blues music. Washington gives a tasteful exposure of his personal own blues language with his dobro and his National Resophonic, performed with a great strenght but at the same time giving a wide crossed music with African psychodelic lisergical influences. A good album with a risky daring musical vision, perfect for those of you who are not against new acoustic blues trends. VERY GOOD. Vicente Zúmel |
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Sugar Pie Desanto |
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Voodoo Blues “Hoodoo & Magical Practices”. SagaBlues / Karonte 2005. It comes with this cd to the end this album series we have been gradually discovering end enjoying. This is a high quality lovely collection, not only for their own significance but also for the careful detailed well done songs and musicians selection, together with the excellent recording digitalization and remastering work. As title says, the accent of this last album lies in the lyrics that reflect the power and magic of the misterious sources of ancient afroamerican religion passed on for more than four centuries from generation to generation, which has been one of the deep blues sources. Some of the artists included on this cd are Sonny Boy Williamson, Lightnin’ Hopkins, Blind Lemon Jefferson, Louis Jordan, Ma Rainey, Memphis Minnie, Doctor Clayton, or Big Boy Crudup. Congratulations to Karonte for distributing in Spain all this saga,,,. of BLUES with capital letters. ESSENTIAL. Vicente Zúmel |
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A Compilation From Baltimore's Best Blues Bands "Baltimore On Tap" Back when we first started doing reviews here at www.Mary4Music.com, most of the reviews were from relatively obscure bands. Over the years, although some quite famous people have also discovered us and have sought our help, we still pride ourselves in being a source for the Indie and local bands to get a little press. The bands think this is the greatest thing since amplifiers, but on the other hand, we also enjoy it. The best part of the whole thing is we get to hear music that a lot of the people may never get to hear, and lots of it is good stuff. Such is the case with "BALTIMORE ON TAP", a twelve track CD featuring twelve of Baltimore's best blues bands. The opening track is an original by AUTOMATIC SLIM & HIS SENSATIONAL BAND.....now there's a catchy name. "DON'T COME KNOCKIN" is a little funky, very bluesy, hot way to open the CD. The vocals are top notch blues and the harp and guitar are great. About midway through the cut there is a harp solo that turns into a guitar solo and the switch was absolutely amazing. I backed this up several times. It was clearly easy to see how this band got it's name. This truly sensational band consists of AUTOMATIC SLIM on vocal and guitar, JACK DIPIETRO on bass, SCOTT STUMP on drums and LAZY LENNY on harp. "LOVE IN VAIN", by KEENAN WELLS, opens up with one of those sultry sax solos that you swear came out of an old TV show or mystery movie. I immediately pictured "Mr Lucky", or some character being played by Bogart, standing on a dark steamy street corner, wearing a top hat and trench coat, with a cigarette dangling from his lips as the blues is played in the background. This is a classic that sounds like it came from one of the classics. The song is sung just at it should be, with lots of feeling as it tells it's story. This may very well be the best track on the CD - everyone excels simultaneously. I'd love to hear more from this band, which consists of KEENAN WELLS on vocals and guitars, BILL WATSON on sax, WHITE LIGHTNING HOPKINS on bass and JOHN THOMAKOS on drums. If anyone in this band ever reads this, please send me more of your material. "WHO'S BEEN TALKING", by RUDE DOG'S RHYTHM REVUE is another goodie. This track was very hard to sit still to, but a lot of fun to type along with. Everyone's heard of "letting your fingers do the walking", but to this track, mine were doing the rumba. At just over three minutes long, this track was way too short. In the old days of albums, when the records had sides, this one could be a whole side and I'd love it. This talented bunch include: RUDE DOG, vocals and acoustic guitar; BARRY "B-FUNK" TURNER, drums; CHARLES "REDS" ATKINS, bass; BOB OURLIAN, Fender Rhodes piano; NAMES THOMPSON, congas and percussion. "CAN'T KILL MY HEART", an original by P J ELLIS and the B-MORE MEN, features some really good, sultry vocals by P. J. Her gospel roots show strong on this track. There's a lot that can be said for the B-MEN also. The band features P. J. ELLIS on vocals, JIMMY SEXTON on guitar, BOB OURLIAN on organ, DAVE EVANS on bass and MIKE KUHL on drums. "YOU BEEN WARNED", by DETROIT SLIM AND THE CITY SLICKERS, is a slick song about some of my favorite things......Blackjack, Craps, Let It Ride and Caribbean Stud. The singing is very well done and the sax is just right. This was a great little number. The players include: DETROIT SLIM, vocals; PATRICK WELSH, guitar; BOB OURLIAN, organ; GENE MEROS, tenor sax; TOM KOLLARS, trombone; MIKE MARTINEX, alto sax; VINNY HUNTER, bass; JACK DUCHESNE, drums. "TOO TALL TO MAMBO", is somewhat of an original. It's performed by LARRY DENNIS AND WILD RICE featuring MARK WENNER. The song was written by MARK and the NIGHTHAWKS. It's a no brainer to say that there is some smoking harp on this one, but the guitar work is hot also. This was a mover. WILD RICE consists of LARRY DENNIS on vocals and guitar, MARK WENNER on harp, DON BELLOW on bass and STEVE ONHEISER on drums. Other tracks not mentioned, simply for the lack of room and time, are: "GOT MY MOJO WORKIN", by JIMMI SEXTON; "FORTY-FOUR", by W.C. SPENCER; "CHARM CITY SWING", by RED JONES; "CAN'T BE JUDGED", by DAVE GOFREED; "MESSIN' WITH ME", by DAVE EVANS; "BORN UNDER A BAD SIGN", by URSALA RICKS featuring TODD MILLER & LUCKY LEE. Truthfully, picking out just a few songs off of "BALTIMORE ON TAP" was like looking for the heaviest crab on the table, although you know you'll like them all. Peter "Blewzzman" Lauro-USA, Blues Editor @ www.Mary4Music.com |
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Please, send your blues CD's/DVD's with promo-bio to:
BluesArtStudio, c/o F. SVACINA, A-1223 Vienna, P.O.Box 54 |
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