Keepin' it alive for the future.

	Albert Cummings From The Heart Under The Radar Records - UTR2709
Review by Brian Augustine

.....This CD is from the new guitar phenom out of Massachusetts, backed and produced by Stevie Ray Vaughan's back-up band Double Trouble, Chris Layton and Tommy Shannon. Who share production credits as well. Albert's Guitar playing is certainly grounded in basic Blues-Rock, rather than just the blues and his vocals are more remenicient of Paul Rogers than Stevie Ray.

     'The Long Way', 'Together As One' and 'Ready As I'll Ever Be' has a distinct CSY feel to both the lyrics and vocal phrasing. 'Regular Man' is a typical Texas shuffle, while 'I've Got Feeling Too' can't be mistaken as having Texas as its origin. 'Barrel House Blues' relies on the tension between Albert's guitar and his vocals, while the rhythm section underpins it all. 'Tell It Like It Is' is one of a couple of Rock'n'Roll numbers that demonstrates a definite country feel. Another is the Johnny Winter style is 'Living On The Highway Now'. 'Ready As I'll Ever Be' sounds most like Stevie Ray; it has the guitar work that conjures up the former guitar hero. The closer is a ballad 'Beautiful Bride' that wouldn't feel out of place on an early Steve Miller Band album.

     As usual, the band Double Trouble provides impeccable back up, Chris Layton on drums and Tommy Shannon on bass and Reese Wynans on keyboards. In addition, they bring in Johnny Moeller for Rhythm guitar and Riley Osbourn to add keys to the closing number; it adds majesty to the proceedings. In all, the players and material benefit from the intimacy of the albums ensemble approach.

     Considering Double Troubles recent major ventures, I scaled back my expectations, but they certainly proved me wrong on this one. The story goes that they told Albert to play from the heart, hence the title. He apparently and thankfully, took what they said to heart and delivered a credible musical effort.

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	Nora Jean Bruso Sings The Blues Red Hurricane - 5601
Review by Brian Augustine

.....Admittedly Nora Jean Bruso is not a household name, even among blues affectionatos. That is not to say she shouldn't be. This former singer for the Jimmy Dawkins blues band, is arguably the best female blues newcomer to lay down vocals on a blues recording in the last few years. Her obvious influence is the great Koko Taylor another Chicago resident and legend in her own right.

     Nora's, Koko Taylor styled, gutsy growl is only this singers take-off point. Her voice is strong enough that the growl isn't forced, nor does she sound as if she is faking emotions. For evidence of this naturalness, check out her ability to maintain the same gruffness, while simultaneously projecting tenderness. This can be heard on the Freda Payne style arrangement on 'Members Only' . She doesn't shy away from reinterpreting tunes synonymous with such blues icons as, John Lee Hooker, Howlin Wolf and Etta James. Unlike most singers who take on such classic and oft recorded material, she succeeds in pumping new life into these old warhorses.

      She is able to gather around her a thoroughly professional and proficient group of Chicago blues musicians. These include the redoubtable Jimmy Dawkins, Willie Kent and Rob Waters. This guarantees a tight ensemble sound. Add to this, the fact that the recording was done in their own backyard allowing them to feel comfortable and loose. This leads the recording to have a homey ambience without losing any of their edge.

      For me the only major drawback is that lack of original material. Each and every song is one that I have covered in my collection more than once. The positive is the expectations that arise from her ability to handle so well and effectively, this familiar material. 

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	Beautiful Bobby Blackmon I'm Dialin' 911 http://www.cdbaby.com/cd/bbb
Review by Brian Augustine

.....This album is in the best tradition of Texas Rock 'n' Soul, and it is from a veteran of the Dallas blues scene. In his illustrious career, he's been a sideman, contributing guitar for such prominent acts as Freddy King, Jimmy Reed, Johnny Taylor, Barbara Lynn, Bobby and James Purify as well as Esther Phillips. Although, as this resume would suggest he's been around for a long time, this is his solo debut. It is a collection of nine self-penned tunes that do not transcend his chosen genre. Lyrically, he stays with the stable topics of cheating and losing lovers; melodically he does not venture far beyond his Texas roots. The one exception to this rule is the Reggae inflected 'Trying To Forget About Yesterday', although even this number evokes Texas at its core.

     Truth be known, with Bobby's guitar playing, his singing and the tight players backing him, he doesn't need to venture far in order to deliver a satisfying album. As with many acts just beginning, this is an ensemble affair, it sinks or swims based on the limitation of its parts, keyboards, horns, drum programming and back-up vocals. I must assume that the prominent bassline must be computerized since no credits are given. The additional credits all fall to a bevy of background singers who are important for coloration.

     On this, his debut CD, the rich baritone voice he possesses, his style, reflective of all his influences at to the appeal. He sings powerfully without ever imitating his sources. Then you add his tasty guitar and the total marks him as a recording artist to watch. He may, with the appropriate promotion, make a big splash. He's along the lines of Magic Sam and Mighty Sam McClain as an artists and may well continue to bring out consistently dynamite material, and develop a strong, if small, dedicated following.

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	Tab Benoit The Sea Saint Sessions Telarc Records - CD83573
Review by Brian Augustine

.....The 'Sea Saint' of the title is Allen Toussaint's famous New Orleans studio. That was the place where so many of that city's classic sides were recorded. This is Tab's third release in just a bit over a year, if you count his album where he shared billing with guitarist Jimmy Thackery. He has been very prolific of late.

     As it turns out, this is yet another stripped down affair. As usual, he is accompanied mainly by his primary bandmates in the trio, Carl Dufrene, bass and Darryl White on drums. This time out he does allow a few guests that represent the cream of Crescent city musicians to join him. These are guitarist Brian Stoltz, Cyril Neville on percussions and vocals, and finally, 'Big Chief' Monk Boudreaux providing vocals and Tambourine. 

     On this disc, his vocal phrasing seems to have matured a bit, resulting in him sounding a bit like an earthier Dilbert McClinton. These skis work extremely well on the slower ballads such as 'Sufferin' Mind', 'What I Have To Do', 'Monk's Blues' and "Darkness'. Tab even plays the second fiddle on two tunes. First on the gospelish, call and response number "Monk's Blues" to Monk Boudreaux, and then on syncopated Latin tinged closer 'Plareen Man' to Cyril Neville.

     Although Tab cannot be ranked with best guitarist working in the blues, he is definitely no slouch and unique. This is mostly seen through his creative arrangements. The music is deceptively simple, but with repeated and close listening, its complexity emerges. On 'Boat Launch Baby' the Cajun, Zydeco feel of the song normally carried by accordion is insinuated through Tab's guitar. On the other hand, the Dixieland brass lines of 'Hustlin' Down In New Orleans' are again carried by his guitar. He even recreates Fats Domino's piano triplets on 'Solid Simple Thing' with that guitar.

     Eight of the tunes on the CD were written or co-written by Tab. The co-written numbers are collaborations with his guests and Cyril Neville contributing the closer 'Plareen Man'. Only two songs appear here that came from outside this small circle, they are the Burnett, Dixon composition 'Howlin' For My Darling' and Jones' 'Sufferin' Mind' and seem to be a natural fit. The songwriting is a bit uneven, while on the other hand, none of the songs are glaringly bad. 

     Veteran Randy Labbe shares production credits with Tab. Their job seems to focus on the crispness and seperation between each instrument. This lends to the primitive edgy feel of the whole project and is an apt bookend companion to last years Wetlands release.

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	Fruteland Jackson Blues 2.0 Electrofi-3380
Review by Brian Augustine

.....Here's blues singer, who successfully merges the old-time, ragtime blues feel of the 20's and 30's, with the sensibilities and concerns of the 21st Century. I would even go so far as to say that the title cut 'Blues 2.0' ranks up there with my favorite blues singles of 2003. It's a sparse number featuring a field holler and percussive stomp. It brings up images of a southern chain-gang and merges it with lyrics about being a slave to the electronic world of computer and cell phones as he rails that he's a 'Modern Day Slave'. The remainder of the album pales in comparison. It not that the rest is bad as much as it doesn't stand up to the power of the opener. In fact, he wrote or co-wrote twelve of the thirteen cuts presented here and these songs can be characterized by intelligent socially conscious lyrics. It is simply the power of the opener that makes the remainder pale.

     This is an album of sparse acoustic arrangements with Fruteland on vocals and giutar, Alec Frasier on bass and drums as well as providing some vocal back-up, Chris Whiteley on trumpet, harmonica and on one cut, 'The Lonely Traveler', some additional guitar. Finally, Ken Whiteley provides, mandolin, banjo, washboard and some back-up vocals. The Whiteley's prove themselves to be invaluable and virtuoso accompanists To Fruteland. The only other player employed on this effort, is Electro-Fi label-mate Mel Brown contributing his guitar on two cuts. Fruteland's voice is smooth, but it still maintains a sharp emotional quality, along the lines of Sam Cooke. The songs are all remenicient of days gone by, weither it's the, Peidmont country, as in the sexually charged, "My Pencil Don't Write No More",or the backporch knee slap country blues of 'Long Distance Love Affair'. Then there is the banjo driven, Ragtime of 'Moon Man Rag' and the muddy Delta blues sound of the 'Lonely Traveler'. A wide variety, but all within the acoustic blues realm.

    Like Taj Mahal, this CD demonstrates he is a musicologist with an experts grasp of the acoustic blues while at the same time making something fresh out of this timeless music. Anyway, you'll also be getting the magical, "Blues 2.0" which is more than worth more than anything they might charge for the disc.

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	John Lee Hooker Live At Sugar Hill Fantasy Records - FCD-7714-2
Review by Brian Augustine

.....What's amazing, even confounding is why Fantasy kept this gem in their vaults for 40 years? This 76 minute intimate performance in a small San Francisco club dates back to 1962 and is maybe the best single exposition of Hooker's greatness, why he is considered by most to transcend his competition. The whole disc is just he, his guitar and foot to keep rhythm. The crowd seems sparse, only sporadic clapping at the end of a song, or an occasional comment. Therefore, the audience is never a distraction and not an intrusive element, which adds to the recording's sense of intimacy and innovation. It's almost as if he performing at home for a small group of friends.

     The material ranges from John Lee classics, such as, "Crawling King Snake" to covers as unlikely as Ray Charles' 'What I Say'. For years now I've felt his 'I Cover The Waterfront' epitomized John Lee's ability to project tender vulnerability, after all sentimentality is not something for which he was especially known. This album has not only one cut that equals that classic, but two, the haunting 'I Love No One But My Baby' and the confessional 'Sinners Prayer'. 

    On the more upbeat numbers, his patented boogie rhythm is insinuated with guitar playing sometimes supplemented by a thumb thumping on his guitar body or a foot stomping the floor. At this younger age, his familiar growl is smoother, less hesitant and full of vigor. The intimacy of the recording is enhanced by what seems to be its real time presentation. There are no artificial pauses and the in between dialogue seems a natural outgrowth of the song that just ended and introduction of the next number. In addition, at one point you hear an engine being gunned outside by a passing car. Occasionally, if you listen closely you hear vague snippets of audience conversation and statements of encouragement from audience members caught up in his music.

     This is a master bluesman in his prime and this disc deserves to be added to the collection of any true John Lee Hooker fans collection. It's a pity that John Lee wasn't alive to hear the accolades that are greeting this release.

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	Tommy Castro Gratitude Heart &Soul Records
Review by Brian Augustine

.....Those familiar with Tommy Castro will have no surprises in listening to this album, it is a tribute to his influences. These are references that he wears on his sleeve and hasn't tried to hide. There certainly is the Stax/Volt nods to Sam & Dave's 'I Take What I Want' and Otis Redding 'Lovey Dovey', as well as Falcon's era, Wilson Pickett 'I Found A Love'. Then the Chicago sound is represented with Howlin' Wolf '44', as well as two Willie Dixon tunes 'I Wants To Be Loved', 'When My Left Eye Jumps'. Good ole' rock'n'roll is represented by Chuck Berry's 'Tulane' and James Brown's version of 'I Feel That Old Feelin' Coming On'. Blues-Rock is also acknowledged by Albert King's 'Bad Case of Love' and John Lee Hooker's 'It Serves You Right to Suffe'".

     In other words, he does stay true to those who were crucial to the evolution of his sound. At the same time, he dosen't compromise the sound that is the synthesis of all these diverse influences. In other words he doesn't try and sound like Otis Redding or Sam & Dave or Chuck Berry, he sounds like Tommy Castro filtering their music. Examples, might be 'I Take What I Want' may have a bit of Chicago added while 'I Wants To Be Loved' has a bit of Memphis and Rock'n'Roll added. 

     Sometimes this works, other times it leaves something to be desired. The weakest cut is the straight-ahead Chicago number 'I Wants To Be Loved', that only has it's guitar solo to recommend it. What works well, is the duet with Curtis Salgado on 'I Take What I Want' and also his harmonica work on 'Tulane'. Another highlight is Sista Monica's vocal support, doing the Carla Thomas part on 'Lovey, Dovey'.

    This is a tribute album but Tommy never stoops to copying his sources, instead, opting to show his audience how he synthesized all these influenced.

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	Guitar Shorty I Go Wild Evidence Records ECD-26119-2
Review by Brian Augustine

.....This is a dynamite collection that demonstrates why he got the nickname "Guitar" (don't know about the Shorty bit) it was given him as a teen in Florida. His real name David Kearney is rarely if ever been mentioned. He squeezes out sounds and tones and bends the strings in ways that sound at once familiar but also different. Catch that Billy Gibbons fat sound on, 'Maybe she'll miss me' and 'One & only man'. Then the slashing riffs on, 'Loosen up' or the title cut, 'I go wild'. You hear his quieter jazzy side on 'In the morning'. The guitar styles he has mastered and demonstrates this recording seem endless. They vary from song to song and often change stylistically even within a given tune.

     This much diversity could be jarring, but in Shorty's hands it all sounds natural and flows. It's like he has absorbed all the influences he's heard in six decades of playing the blues. They are now his own and he recombines and plays them in totally new ways. These compadres have been important to him are many and prominent. They include, B.B. King, Little Milton (listen to 'If you can't lie no better'), Johnny Copeland, Lowell Fulson (catch the vocals on 'In the morning) Earl Hooker and T-Bone Walker. He even married Jimi Hendrix's stepsister. What he's learned from them all, he's made his own and when it comes back, it is not imitation.

     As far as the material goes he only wrote the closing instrumental, it's a vibrato-laden guitar tour-de-force, 'The Netherlands'. For the rest of the album, he's chosen material from heroes like Willie Dixon and current bandmates on this disc, Jimmy Pugh, Scott Matthews and Chris Hayes. He also chose a song written by pop stalwarts Steve Winwood and Jim Capaldi. These songs are arranged to provide maximum passion and rambunction to the proceedings and generally succeed. Even when he chooses well-known songwriters, they aren't the most commonly covered. 

     One of the reasons this album works so well is the excellance of his sidekicks. Jimmy Pugh (Robert Cray, Charlie Musselwhite, and John Lee Hooker) adds his peerless B-3 accents tending to be just the right seasoning to Shorty's guitar. A couple of times he even lets Jimmy loose to stretch-out on tunes like, 'Lessons in love' and the tune he co-wrote with Scott Matthews, 'In the morning'. Then there's Scott Matthews (John Hiatt, LaBelle and Roky Erickson) the iconoclastic multi-instrumentalist and record producer in the San Francisco music scene. On most recordings, he's the drummer and here that's his primary function too, he also adds some Saxophone, keyboards and some guitar. Never does he lose his ear as a producer or allows his role of musician overtake that executive role. He only adds economic flourishes that enhance the song. Then there is Chris Hayes (Huey Lewis & the News, Nick Lowe & Van Morrison) playing the consummate second banana as rhythm guitarist. Glenn Letsch (Jonathan Cain, Ronnie Montrose & Gamma) holds down the bottom again with admirable economy. In all a very impressive cast who should be lauded for putting their own egos aside and playing so well as an ensemble.

      This disc proves that when you have a roomful of extraordinarily talented musicians together, it doesn't need to be a free-for-all as so often happens. This makes this album a must for any serious blues fan and destined (if it gets the exposure it's due) to take its place among the pantheon of great blues recordings.

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	David Bennett Cohen In The Pocket Paradigm Records PR-8442-01
Review by Brian Augustine

.....David is a piano player with an illustrious history, playing with some storied acts, many in the San Francisco Bay Area. His piano graces recordings from Country Joe and The Fish, Huey Lewis, Michael Bloomfield and the Dead's Bob Weir. In between these gigs he's played piano in Broadway plays and backed up some pretty heavy people on tour including Johnny Copeland, Bonnie Raitt and Richard Thompson, but he never joined a band.

     Another activity that helped sustain him over the years and while away his time in the 90's was authoring "how to", books and instructional CD for aspiring Blues and Ragtime pianists. These efforts were obviously influences that directed him toward this project. For in many ways this sounds like one of those demonstration recordings.

    By that, I mean every note is almost mechanically perfect and distinct on this, his first solo outing. On the plus side of the ledger, this all instrumental CD demonstrates exactly how the blues as a musical form is put together on the piano. All that, is well and good, but it does have a down side. On the negative, it minimizes the music's warmth and individuality. 

     For sure, there are some highlights. There's the jazzy 'Blue Silk', or the lazy Louisiana piano triplets on 'Louisiana Nocturne' the New Orleans shuffle of 'The Queen Of Hearts' and reminiscence of 'Georgia (On My Mind)'. The one thing these tunes all have in common is a certain sense of wistful nostalgia that lends itself to David's more detached musical approach.

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	Burton Gaar Home Of The Blues SVR Records -10012
Review by Brian Augustine

.....Here I am, reviewing yet another CD from this underrated, underappreciated Louisiana soul and blues player. I don't know what it takes, to wake people up so they take notice of this prolific southern soulster. This particular recorded effort, is a much more cohesive set that focuses on his Louisiana roots. This is in comparison to his more eclectic southern rockin' soul of his earlier recordings. Add to the mix, Johnny Neel with his incomparable keyboard (My opinion the best current keyboardist in the south) and then Tim Gonzales contributing his distinct harmonica to a couple of cuts and you have a mighty tasty gumbo. 

     The core of the group besides, Burton and Johnny, are Floyd Saizon, drums, Shane Theriot and Danny Hamblin on guitar and Randy Coleman bass. Also employed tastefully, is a horn section that adds to the Louisiana ambience. This feel is apparent from the opening strains of the title cut 'Home Of The Blues' with it's vocal full of yearning and the tension, it's obvious in the interplay between Shane's guitar and Johnny's B-3 in the Neville-like, horn punctuated closer 'Still Singing The Blues'. In between there are ten numbers that range in style between, languid soul ballads, to gospel tinged rousers, to Radiator-like rockers. Also, as in every self respecting Louisiana musical effort, it has plenty of second-line rhythms and piano triplets. 

     All the songs on this CD except one, were written by Burton and a writing partner, Georgie Hollingshead. The lone exception is the syncopated rocker 'My Little Feel Good'. This tune was written by J.Neil, Doug Jones and R. Cullison. This is also the only cut that does not include core band members, save Burton and Johnny. This consistency in participants, all obvious friends, is what gives this recording its homegrown yet cohesive feel.

     Here is another effort that should garner Burton national attention, whether does or not.

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	Big Bones So Low Bone-A-Fide Blues
Review by Brian Augustine

.....Here we have a blues harmonica/singer coming out of the avant blues tradition. He was spawned in San Francisco blues scene, playing for such acts as Paul Pena and Preacher Boy, certainly far from mainstream. His solo debut is certainly more towards the traditional side than his mentors, there remains that strange edge that gives this recording a different appeal. His harmonica is good and straightforward, but it's his vocals that make the difference. His baritone seems centered somewhere around John Lee Hooker, filtered through Tom Waits with a taste of Barry White. It's a strange mix, but also appealing.

     This album also boasts one of my favorite blues songs of the year, 'The Ghetto' a self-penned funk meets reggae number with rhythm and blues horns punctuating his growling vocals. The song is non-preachy social commentary that has universal implications. The disc is full of highlights, the Chicago cum swampy 'Put You Down Baby', his soulful and brassy 'I Love Her So', or the smoking 'I Want To Walk With You'. The albums pacing and song cycle is seamlessly integrated, so there are no jarring transitions.

     Big Bones is credited with authoring eight of the eleven tunes presented here presented on this disc. On a ninth cut, he is credited with re-writing job. The tune is essentially an old Willie Dixon number, Bones re-titled, 'Comfort And Joy'. The only songs credited to other writers are 'Date With The Blues' (Steve Gannon) and the traditional number 'The Place'.
This is an ensemble affair with the same players on station throughout. On the bottom are Olli Gee on bass, Frank Bostfleisch and Florian Schaube on drums. Toscho Todorovic, Richie Arndt, and Jimmy Reider on guitar and Mister Moe Fuhrhop on B-3. Bones employs a horn section extensively that includes Silke Nagel, trumpet, Dieter Kuhlmann, trombone and Big J. Wieching and Tommy Schneller on sax. Bones himself adds not only vocals but harmonica and tambourine. This large number of musicians leads to a full robust sound that he adds to further by bringing in Marcus Praed on steel guitar on the title cut 'So Low' and Angela Brown on duet vocals the syncopated 'For What'. The prevalence of German names is a result of this CD being recorded in Osnabuck, Germany. The fact that Bones, oversees all aspects of this recording from production to arrangements, results in this CD having a looseness missing from most blues recordings done in Europe.

     In all Bones has put together an impressive debut solo, an outing worthy of greater circulation, it deserves release by a major imprint. It's music that has a traditional blues feel, but at the same time, it has a unique presentation that sets it apart from the pack. Certainly, music worth hunting down.

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	Marcia Ball So Many Rivers Alligator Records - ACD4891
Review by Brian Augustine

.....This is a Louisiana album spiced with some Texas peppers. It is a disc filled with New Orleans second line rhythms, piano triplets a little Zydeco accordion and occasionally spiced with some Tex-Mex rhythms. The zenith of this synthesis is represented on the Danny Timms tune 'Honeypie'. On this number, Red Young's B-3 plays a Tex-Mex calliope rhythm, underpinned by Zydeco accordion and vocals provided by Wayne Toups. Marcia's voice was a big and brassy shout conjuring up the best New Orleans chanteuses.

     Marcia's voice over the last few years has become stronger, while being simultaneously more nuanced. This seem to have occurred since her recording experience with Irma Thomas and Tracy Nelson on a triple billed 1996 album 'Sing It'. Since that effort, she's brought out a series of releases that have been consistently strong. Material selected has been well suited for her and the albums have all been cohesive in concept. Each effort seemed to succeed on some very fundamental level. Here she continues that trend and if anything comes across stronger than before, creating a work that tops the list of post, "Sing It" efforts.

     On several cuts, 'Foreclose On The House Of Love' and 'Baby, Why Not", her vocals are so out there, that she can be compared and viewed as a female version of Delbert McClinton. This latter song also contains a superb Dixieland trumpet solo by Lee Thornburg that it gives goosebumps. Then listen to the nuanced vocals that come through on the gospelish, yearning and plaintive soul ballad 'Give Me A Chance'. The tender ballad 'The Storm' couldn't have been handled better by anyone. This performance has obvious Irma Thomas influences. She also moves to a cloying vocal style on the Blues-Rock number 'Didn't You Know'. All these transitions are handled effortlessly and smoothly with aplomb. In all this is the clearest example that substantiate and validates her claim to being among the top tier of female vocalist recording today in the blues or rock idiom.

     She has also been known over the years as a strong songwriter. This CD does nothing to diminish her reputation. She either wrote or co-wrote six of the fourteen songs on the new disc. In fact, her own material is some of the strongest in the collection and include 'Baby, Why Not", 'Give Me A Chance' 'Give It Up' and 'The Storm'. As far as the covers are concerned, she chooses strong material but mostly obscure and certainly not, routine songs. Several tunes are from a little known writer by the name of Danny Timms and include, "Dance With Me', 'Honeypie" and 'Hurricane On China Lake'. The title cut, 'So Many Rivers To Cross', was written by Joe Siegel and Daniel Moore, and is done up in a funked up style. 

     This disc uses a revolving door for musical support; the only constants are her own, front and center voice and piano work or the guitar and mandolin of musical cohort and producer Stephen Bruton. The only other musician that plays on most of the tracks is organist Red Young. She even used two distinctly different horn sections; the L.A. horns handled the Dixieland and New Orleans strut material, while the Texas Horns played on the more soulful cuts. Other players were then mixed and matched with the aim of what would lead to the best presentation of any given song.

     In summary, this CD is the most forceful statement yet in support of the claim that Marcia is now one of the most influential female blues-rock artists recording today.

	Mick Martin & The Blues Rockers Tip of The Hat Dig Music
Review by Brian Augustine

..... A funny thing happened on the way to paying tribute to the Brits; it works as something more. This is a concept album, as the title suggests a tipping the hat to the 60's British rock invasion bands, such as the Rolling Stones, Procol Harum and Pretty Things. What Mick and the boys acknowledge here is that these bands steeped in American Blues, either covered classic blues songs or wrote songs that were in the traditional Blues style. They therefore, introduced a new generation of Americans to their own heritage.

      What happens though is quite different the band instead reclaims the standards and Americanizes the British written numbers. The band seems to have found a stride and a comfortable sound that exudes Americana. Tim Barnes guitar seems to flow easily in angular, sinewy lines that wraps around Mick Martin's warm voice. On three cuts, Tim takes over lead vocal chores and his thinner voice strikes the right emotive tone and adds vulnerability. Steve Schofer's thick pulsing bass notes underpin the melody and new drummer Steve Price's provides a fat and booming accent that propels the band relentlessly forward. Guest musicians are sparingly used with Paul Boutiette tastefully adding saxophone or flute and Jackie Greene spicing things with his piano work. 

      From the initial intro to the opening track Procol Harum's 'Whiskey Train', you can tell the boys are enjoying themselves and own this material. Mick's voice and Tim guitar provide tension and the rhythm sections verve propels the song. This sets the expectation for the remaining thirteen tunes. This same dynamic appears in Peter Greens 'Gotta' See Her Tonight' and the senuous Crum, Jerome written standard 'Broken Wings'. Then there is the vocal tension demonstrated in the call and response treatment given the Jagger, Richards number 'Empty Heart' and the duet between Mick and Tim on the Bo Diddley tune 'Mama, Keep Your Big Mouth Shut'. They lighten up the mood jump styled 'She's Got A Ring In his Nose' and the playful John Mayall style vehicle 'Got To Get the First Plane Home". All these offerings share the earthy warm approach so familiar in good American roots music.

    The liner notes say they used Brit versions as templates for their own offerings, if they did I certainly couldn't tell. What they do is make the material their very own in the best sense of the term. It always seemed to me those British interpretations especially the down and dirty rock and Blues always had a stiffness to them. I think it has something about their culture. With some material, that approach works and is the presentation the material needs, for others stuff it dosen't.

     No matter here Mick and the boys make each of these covers their own weither it's the chugging 'I'm Your Kingpin', the driving 'No Questions' or the rollicking shuffle of 'Ridin' On The L&N". Even though this is a disc comprised of covers, it has the sound of a band that has found its stride and a comfortable style.

	Mick Martin & The Blues Rockers Blues Rock U.S.A. Blues Rock Records - BR-009
Review by Brian Augustine

     This two-disc retrospective is not some outsiders' impression of a bands best work over the last decade, but a 31-song set chosen by the band members themselves. Most all the selections here are Mick Martin and Tim Barnes collaborations that overwhelmingly contain good-time feel that represents the grit and gravy for a successful bar band. And why shouldn't they select tunes that get you out and shakin' your booty, after all they are the band that won a SAMMIES award three years running as the Sacramento areas "Best Blues Band".

     Their credentials as a band are that they sport a guitarist from one of the legendary bands from the San Francisco scenes golden era, Stoneground. Then the acknowledged bandleader Mick Martin is somewhat of a musicologist who specializes in the Blues/Rock musical form. Both of these men mainstays of the band show themselves worthy of the task presented with the diverse material. Mick's vocals range from the straight ahead rock of songs like 'Voodoo Queen', ethereal on 'What's Goin' On', belting it out ala Joe Cocker and John Fogerty on 'Back 
Talkin' Baby' and 'Clean And Mean'. 

    Tim's guitar is also a critical component to the bands sound. For the most part, it's more a matter of insinuating itself into the proceedings never overpowering them. The opener to disc one, 'Voodoo Queen' is a perfect example where he weaves is guitar into the open spaces between Mike Caselli's B-3 and Mick's harmonica. This is not to say he doesn't have his opportunity to shine, like the echoy guitar work on 'Whiskey', the panicked urgency he lends to the Johnny Otis inspired 'I Brought It For You'. Then there's the aching solo on 'Forever Ended Today' that drive the song message of loneliness home. His tour de force though comes on the closing number 'Losin' You'. This cut has the classic feel of 'Loan Me A Dime' and is just as well executed, quite a feat. 

    Weither the band knew it or not, a number of the tunes they selected showcase their late drummer Joe Murazzo's talent. On 'What's Goin' On' his ability to do more than just support shines through, then check out the high hat work on 'Heartbreaker'. Here he is as pivotal to the songs drive and tension as the intertwining guitar and B-3. Joe's kit also keeps the shuffle moving on 'Got To Play The Blues' or the way he lays the foundation on 'High-Heel Baby' Mike Caselli's bright B-3 work. Mike's work on the collected cuts presented here, the way he readily adapted to the variety...

     One thing that doesn't make a whole lot of sense is why they just don't credit saxophonist Rick Metz and keyboardist Mike Caselli as band members. A full half the tracks would have been significantly impaired without their contribution. Songs such as 'Heartbreaker', 'Don't Panic', 'Hold on baby' or 'Your Lies' without the contribution of Rick Metz and his sax? Mike Caselli played honky-tonk piano 'Playing With Fire', barrelhouse 'Down The Rail', then smooth 'Ivory' Joe Hunter keyboard tinkling on 'Shining Star'. He also provides fundamental B-3 that insinuates itself into quite a few tunes, notable are 'Voodoo Queen', 'Heartbreaker', 'Takin' My Time', 'High-Heel Baby' and the haunting 'Losin' you'.

     The arrangements are also complex and show Mick and Tim's knowledge of the form it takes guts and knowledge to set a Jimmy Reed like groove and then in the middle drop a Duane Eddy style guitar solo. This is exactly what they do on 'Louise' and it works. Additionally, the way they other have multiple instruments weave in and out of the lead role is an appealing characteristic of this bands approach to the music.

     At this point the reader might ask didn't I find any fault with this double disc retrospective and unfortunately I'd have to answer yes I did. The proviso though would be, this criticism is if the listener insisted that an essential party band also have intellectually stimulating and challenging lyrics. This is two hours of party music that is defined by the merging of the blues and rock idiom of music. Its design is to get you out on the dance floor shakin' your booty. On that score, they do as good a job as some of the paragons of the music, Rolling Stones, Eric Clapton and J. Geils Band. That's some pretty high-falutin' company, but this collection deserves that kind of praise whether they get the acknowledgement or not.

	Sugar Ray & The Bluetones Featuring Monster Mike Welch Severn Records - CD0019
Review by Brian Augustine

     Sugar Ray Norcio, the harmonica player for such renowned blues bands as Roomful of Blues, Ronnie Earl & The Broadcasters and the Fabulous Thunderbirds, has also fronted his own band the Bluetones since 1980. Between his work with others, this aggregation has recorded five discs, this being the latest. This recording features, as the title suggests, guitar phenom 'Monster' Mike Welch.

     Regardless of whom Sugar Ray plays with, and they are good players, there is no mistaking who's the center of attention. It of course is Sugar Ray; here it is his warm, polished vocals and deceivingly complex harmonica playing around which, all else revolves. The predominant style presented is Chicago shuffles (five of the thirteen cuts) but the remaining eight numbers range through acoustic Delta, smoky swamp boogie and rousing Cajun styles. The package also contains two dreamy numbers featuring Ray's harmonica. 

     As far as players are concerned, this is an ensemble project with guest 'Monster' Mike Welch integrating in as the Bluetones as lead guitarist. The remainder of the band are the usual suspects Michael 'Mudcat' Ward bass and Neil Gouvin on drums. Then they invite Anthony Geraci to spice things up with piano and Hammond B-3.

     Under Sugar Ray's steady direction 'Monster' Mike Welch achieves a level playing he rarely attained in his solo efforts. Gone are the frivolous tangents that were characteristic and marred his solo efforts. He shows how good he can be when he is harnessed for the greater good of a group.

     All in all, I think this could easily be said to be Sugar Ray's best effort to date. He is controlled, yet throughout the CD you feel he might just go over the top, but he never does. This gives the entire recording a distinct edgy feel that so many recording artists try to achieve, but so few attain. 

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