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| Dedicated to preserving &
promoting the Blues 
Keepin'
it alive for the future.
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Reviews 3
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Randy McDonald
On The Wildside
Heart & Soul Records - CD33182
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| Review by
Brian Augustine |
This album covers an array of styles from the late Fifties and early Sixties. There's
Doo-Wop, Rock-a-Billy and Novelty R&B to name but a few. The musical content in fact is
pretty much summed up in the cover photo. This picture shows Randy bending over backward, aggressively
chording his bass, dressed in a tiger stripe, sports coat, pompadour hairdo and cuffs rolled
up on his jeans.
The riotous album content will
make it a mainstay on your CD player for parties. It's the whole point of this disc. Randy
is obviously a student of the party sounds that evolved over the last fifty years and writes
and picks covers with that in mind. There is also a biting, sarcastic wit he uses to promote
his worldview. In fact, this is a very serious album, but done with a sense of humor, much
like Nick Lowe and Elvis Costello.
Randy wrote four of the eleven cuts
recorded here. All the songs presented are humorous, covers and originals alike; they all take
on contemporary middle-class society. Like 'Everywhere I Go' and 'Yardsale' a couple of originals
and then covers such as Bruce Springsteen's 'Out Of Work' and Willie Dixon's 'Can't Judge A
Book By the Cover'. The common denominator is the use of humor to make a socio-political point.
Randy is also credited with twisting the knobs on this, his solo debut. He's a very busy man.
It is not likely that any of this
music could be added to his regular bands repertoire. It simply does not fit the Tommy Castro
Band's image. Tommy Castro that bands leader and namesake must have thought it would be a fun
project. After all, he joins in the proceedings with his Bass player, adding guitar and back-up
vocals. Randy also secured a veritable who's who for backing musicians for this effort. Keith
Crossan another bandmate adds Sax and flute, Kid Ramos adds guitar on cuts nine of the eleven.
The remainder of the band may not be as famous, but they are tight and provide solid supporting
cast across this wide range of genre bending musical approaches. They are Red Young who play
keyboards and Billy Lee Lewis drums and percussions.
Red's piano drives and rocks on tunes
like the honky tonk tinkling of 'Texas Rose' and Jerry Lee Lewis rave-up 'Teenage Letter' his
swirling B-3 is essential on 'Everywhere I Go'. Billy Lee's drums and percussions keep the
pace frantic. In fact, the entire disc is a throbbing, enthusiastic dancefest.
He does try to change things up and
maintain interest; on 'House Rent Party' he has Keith Crossan add some off kilter jazzy flute.
He uses a vodacoder for his vocals on 'Everywhere I Go' and then uses a hammy 40's style vocals
on 'Crawfishin'.
All these touches make this a special
affair and like with the recent, Nick Curran, Jimmi Accardi or Lee Rocker recordings, among
the top party albums of recent memory. Back to Top
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Junior Murrow Best Of Junior Murrow
Indie
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| Review by
Brian Augustine |
Sometimes the best music comes in surprisingly small
packages. I was given this CD in what
seemed an afterthought. It was crudely packaged in an envelope
with minimal information, obviously
computer generated. The result, I wasn't expecting much when
I gave it the obligatory turn
in my player. What I discovered was an accomplished guitarist/singer
who had a unique approach
to the music, at once traditional, while simultaneously fresh.
All I can tell you about the artist
is that he is based in the San Francisco, East Bay Area. He's an Oakland cop who lives in Eastern
Contra Costa. Attempts to contact him and get further information have been futile. That said
let me move on and describe the disc.
The guitar lines are angular and
crisp and way out front, the vocals are straightforward, emotive and plaintive. Stylistically
he resembles Albert and Freddie King in playing and singing. The songs he has written or chooses
to record (again lack of credits) seem to suit him to a tee. A special favorite of mine is
the delicate ballad, 'Tupelo Gibson' about finding a guitar in a pawnshop. Another highlight
is his growling take on the Ben E. King vehicle 'Stand By Me' it incorporates a hip-hop cum
rap break. Most songs on this disc are likely self penned and show a unique perspective and
a sense of humor.
We have 'Watch Your Woman's Girlfriend,'
a paean to losing your woman to a lesbian, or 'Six Foot Woman' about going out with a woman
taller than yourself. These are not usually concerns of your traditional blues artist. He even
replicates an oldies style with 'Tweeny Weeny Bit Of Your Love' that could come straight out
of the Olympics catalogue.
All in all, this disc was a satisfying
listen. It's an artist that is obscure and it seems in some ways dedicated to staying that
way. Back
to Top
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Searching
for a voice and style for comparison sake, I came up with Tracy Nelson. Liz has the
same kind of power, clarity and tonal quality. The difference
is she comes across like Tracy
on Spanishfly. Nine out of her thirteen songs are about blatant
sexuality or substance use.
No cutesy beating around the bush for this mama. The four exceptions
to this rule are 'Walking
On Eggshells', a song about domestic abuse, the romantic ballad
'How Could I Love You', and
then the paean to 'Chi-Town', her beloved hometown. This latter
cut contains a lot of name-dropping
and braggadocio. The last of these quad-songs is 'Goin' Home',
a gospelish tribute to her mentor,
the late George Baze.
She is the author of all the cuts found
on this her second full-length album. An unusual circumstance, since few blues divas write
they're own material, let alone all of it. Her lyrics show she's quite adept at playful wordplay,
especially the double-entendre. Check out 'Great Big Man' (think 'My Big 10 Inch'), and 'He
Left It In His Other Pants'. The story goes that she even had more material than could be used
and had to pare her catalogue down. She did this by presenting it to a live crowd. She then
went by the audience reaction. Although that's the populist way to go, it makes me wonder what
kind of album would have emerged had she gone with her own intuitive, creative process.
She was a critical presence with her
back-up vocals on Johnny Drummer's last disc and here he returns the favor. He isn't as critical
though to the overall sound she achieves. That sound is eclectic batch of tunes covering a
range of styles. To accomplish this versatility only one player, bassist David Kaye is on every
cut, except of course for Liz herself. Instead, she goes about employing musicians she thinks
would work out with each particular song. This result's in only two cuts having a traditional
Chicago style sound, which is usually typified by ensemble playing. The cuts that have that
hometown flavor are 'Friendly Stranger' and 'Quit Doggin'.
Ironically, the brash song in praise
of her hometown 'Chi-Town' has more of a Memphis style to it. The number is complete with Stax/Volt
sounding horn charts. The horn section on this recording consists of Willie Henderson, Paul
Howard and Bill McFarland and they demonstrate their versatility. They accent Liz's quavering
vunerable vocals on the ballad 'How Could I Not Love You', then they turn to a more urban New
York feel. This can be heard in the bleating on 'He Left It In His Other Pants'.
Another
indispensable part of the mix in her arrangements is keyboards not mentioning the work of Phil
Baron and Allen Batts would be criminal. Their tinkling piano and fluid organ work fill out
the sound adding an emotional fullness to the proceedings.
The song that I find myself gravitating
towards over repeated listening is the naughty burning 'Reefer Woman'. Liz's sensuous vocal
is propelled by a slow steady drumbeat tied together by Honky Tonk piano and sinewy guitar
lines that seem to rise over the top. For me it's the CD's most compelling cut.
All together, I'd have to say this disc
is an impressive sophomore outing for a singer who shows a lot of promise. Back
to Top
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.....
The latest release reaffirms this band's grip
on their title kings of West Coast Jump blues with cuts like 'Weekend Off", 'Money Must
Think I'm Dead' and 'Bayview Jump'. The arrangement of these numbers would not be out place
on a Louis Jordan recording. Then they expand their repertoire to incorporate boogie, Rock'n'Roll,
and jazz inflected blues. All of these styles reflect the band's fascination with the music
of the late forties and the fifties. Little Charlie Baty's guitar has the jazzy tuning of Charlie
Christian, while Rick Estrin's harmonica sounds like his inspiration Sony Boy Williamson, and
his vocals approximate the baritone of Billy Guy from the Coasters or Johnny Otis. Since these
two guys are this bands heart and soul, they pretty much define the sound.
As if to emphasize the fact of these two members
importance, Rick Estrin wrote ten of the fourteen numbers on the disc and Little Charlie Baty
wrote the two instrumental numbers. Estrin's songwriting, while not profound with deep meaning,
is fun and clever. These two are also credited with the work behind the soundboard as well.
Of the two remaining songs, there's 'Steady Rollin'
Man', that's an older tune, and the CD's opener 'Real Lov', are written by the bands drummer
Joey Ventitelli. This latter song is one of the albums standout offerings with its Coasters
like feel, strongly reminding me of that groups hit 'Shopping for Clothes'. In fact, if this
is any indication of this guys songcraft then lets hear more.
Ventitelli and his partner in the rhythm section
bassist Frankie Randall (both electric and standup bass) are far from disposable members. They
provide a solid rhythmic core sensitive to Estrin and Baty's stylistic proclivities. The band
also employ six guest musicians John Firman and Rob Sudduth on saxes and James Harman on second
lead vocal on the title cut 'That's Big!' The real indispensable additions though, are the
guitar of Rusty Zinn that duels with Little Charlie on 'It Better Get Better' and 'Blutos Back',
and the keyboard work of Steve Lucky and Chris Siebert.
In the final analysis, this album sees this venerable
West Coast Blues retain its position as one of the better acts promoting traditional blues
and early Rock'n'Roll styles. Back to Top
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JusVon I'm JusVon
Parliament Records - PRCD03097
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| Review by
Brian Augustine |
.....JusVon, as it turns ou,t is a long time L.A. session drummer with an
impressive list of credits to his name. With this recording,
he has finally decided to step
out from the shadows. This debut is used as a platform to demonstrate
his vocal, songwriting,
arranging and production abilities. After all, his reputation
as a drummer is relatively well
established, starting with his work with Taj Mahal in the studio
at 15 years of age.
Let's
start with the unqualified successes of this disc. JusVon does demonstrate that he is
a singer of considerable prowess. He has a rich, powerful,
mid-baritone that covers several
octaves. On this disc, he surely uses it to full advantage.
At times, he even explores the
use of falsetto for shading. His obvious singing influences
are Barry White, Johnny Taylor
with a tad of Sam Cooke, Otis Redding, Little Milton and Wilson
Pickett thrown in for good
measure. He's able to handle the same deep sing/speak as the
master of sensual soul, Barry
White. You hear this in 'I Don't Understand Me'. Then show
his grasp for rousing uptempo blues
with a Memphis feel, in Jimmy McCracklin's, 'Think'. All in
all, it is a bravura performance,
a powerful tour-de-force.
So now, lets now turn to his songwriting and song selection. He wrote or co-wrote only two
of the sixteen numbers presented on this CD. One, 'My Lil' Lady', is a clich ridden song
in the style of Jimmy McCracklin. The other is a tune he co-wrote with one, Billy Ray Bricest
'I Don't Understand Me'. It is characterized by clumsy lyrics and a repetitive melody. This
number also has a feel, as if it would have fit nicely on a Barry White album.
On to covers, there is some original material written by JusVon's, imprint in-house staff,
from Parliament Records. These four cuts seem to be characterized by their clumsy lyrics and
derivative melodies. The remaining ten tracks are covers taken from more prominent blues and
R&B performers.
Most noted among these tunes is the Jimmy McCracklin's material. JusVon does two of his songs;
there is the oft recorded 'Think' and the lesser known 'Do It Together'. Other covers are from
a couple of L.A. Soulsters Leon Haywood and Ronnie Lovejoy and are songs I could imagine him
having played drums on the original sessions. The material except for the aforementioned 'Think'
is fairy obscure.
I'll now turn my attention to arrangements and production aspects of this recording. It's a
mixed bag; there are touches of genius only to be matched with some cloying touches. Negatively,
the female chorus on most cuts are mixed down too far and sound just a bit lame and an after-thought.
The positive exception to this rule is 'Here Comes The Fool'. Its a sensuous, soulful Bobby
Bland feeling number. The song also features some interesting dynamics between the lead and
rhythm guitars. All the proceedings are underlined with an incessant, driving horn line. Another
fascinating touch on this disc are the woodwind accents found on 'Something For You'.
In summary, JusVon demonstrates himself to be a dynamic, powerful singer with a talent for
arrangement. One can speculate that he does possess the talent for a worthy of a solo career.
On the down side, he needs to hone his skills in songwriting, song selection and production. Back to Top
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I've often
thought that the late Eddie Hinton, a white soul singer and
guitarist, who was one of the original
Muscle Shoals crew and a late blooming solo artist, influenced
many of todays rockin' soul
performers. This album demonstrates his influence on at least
Jimmy. It's a disc that falls
just one iota short of a tribute to one of his seminal sources.
He covers eight of Hinton's
songs on this CD's eleven-song cycle. The remaining three are
self-penned numbers that demonstrate
just how he has assimilated Hinton's fusion of blues, rock
and R&B.
It is a bit strange that the first
album on his new label Telarc would contain so many covers,
regardless of how good the material
is and how much it deserves to be heard. Hinton's song's reflects
his background it puts the
southern ensemble sound over anyone's individual virtuosity.
Anyone who's listened to Jimmy
Thackery knows he is a capable guitarist, who can play with
a high level of virtuosity. Here
though he sublimates this natural tendencies in order to achieve
the sound each song deserves.
This then is essentially a band
album with no guests and only few additional players to augment
his band, the Drivers, sound.
The band itself consists of Ken Faitinson, bass, B3 and piano
and Mark Stutso on drums and
back-up vocals. Jimmy plays most of the guitar parts and all
of the lead vocals. In addition
to these chores he takes over behind the board as producer
and is therefore responsible for
the overall sound.
The additional players Jimmy brought
in to fill out the sound are, The Cate brothers, Ernie on additional
keyboards (back-up vocals
on 'It's All Wrong, But It's All Right') and Earl on rhythm
guitar and back-up vocals. On top
of that there is Jimmy Carpenter spicing things up with his
Sax, and finally Reba Russell contributing
female back-up vocal support, and that's it for performers
on this CD.
Jimmy's vocals seem to naturally achieve
a similar guttural quality as Hinton. His singing quakes, quivers
and breaks to convey emotions
effortlessly. I don't recall his voice like this on previous
releases. At the same time it
is clear, this is no copycat effort, but instead an artist
who has absorbed his influence and
made a similar style his own, a sincere tip of the hat. This
makes this disc a strong entry
for the inauguration of his relationship with Telarc, even
though it's mostly covers and lacks
his usual guitar heroics. Back to Top
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.....This emerging singer/songwriter has the strong
earthy roots feel his music. Very similar John Hiatt when he first rose to the top. Jeffrey's
arrangements also hint at John Mellencamp at his rootsiest. These seem the stock from which
sprang roots Americana, artists that incorporate blues, rock, country and folk, often within
the same tune.
Several cuts, especially 'Black Gold'
and 'Radio Flyer', seem to indicate some deep California Central Valley connections. No one
without an intimate knowledge of the area and culture writes songs about Los Banos and Delano.
The aforementioned tunes are also a couple of this discs standout songs from an altogether
standout album.
As a writer, he crafts songs that are socially
astute and demonstrates a keen eye for detail. This makes his tales of mostly dreams gone sour
seem real and unpretentious. His Americana includes a Civil War narrative 'Oh Susanna' (with
opening acoustic guitar lines from the old original folk tune). Then there's 'Crazy Horse',
a tribute to the lost spirituality of the first Americans and "Satchel's Fastball"
all about the racial politics of the 1950's. He also tackles the social issue of gun violence
on '. 44', and then the loss of charitable spirit in 'St.Vincent de Paul'
His best work, though, is on his little personal songs.
They seem so much a part of him; they seem so human and full of yearning and yes regret. They
make him seem such an open book the listener feels they are hearing about a friends most inner
thoughts. Whether he is, or is not sharing so personally may or may not be true, but it is
convincing.
His band is a solid rocking unit that rarely skips a beat, although I'm not
quite sure who the band really is. He seems to use a revolving door of musicians. Some cuts
feature Paul Olguin on bass, others Thom Canova. He uses three different drummers most frequently,
either Trey Sabatelli or Vince Littleton. He uses primarily guitarist Rich 'Goldie' Goldstein,
but has four guest appearances by the inimitable Chuck Prophet on guitar and vocals. What ever
the magic was that he uses to pull this motley crew together. They sound tight and give the
impression of an ensemble.
This guy gives me the same feeling I had
when I first heard the likes of John Hiatt, John Mellencamp and even Bruce Springsteen long
before they became popular. He is a powerful songwriter who has an ear for how to present his
material in the best light. On top of that, his songs are so good I wouldn't be surprised to
hear a variety of other artists cover his catalogue. In my opinion, here's a chance to be turned
on to a major talent before he is discovered by the masses. Back to Top
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.....The title of this disc clearly states what it's
about. A star-studded bash, bringing together the likes of Lucky Peterson, Bobby Rush, Koko
Taylor, Jimmie Vaughan and Kim Wilson to mention a few friends helping to celebrate the long
career of not only, Cotton, but his band as well. The base all the tunes remains Cotton's old
stalwarts, Mike Williams, guitar, Noel Neal, bass, Per Hanson, drums and Mike Maxwell, piano.
This salute is not rigid and note for note affair, instead it a bunch of friends and admirers
getting together and having fun. An example of this is the 'Jingle Bells' solo break in the
middle of 'The Creeper'. This sense of a relaxed good time permeates this whole CD and demonstrates
the meaning of the term, jam.
Most of the songs selected represent a sampling
from his recorded offerings over this period and there's virtually no new material here. Consequently,
this is a quintessential Chicago blues album with little variation and few surprises. That's
O.K., Koko Taylor breathes fire into 'I've Got A Feeling', Shemekia Copeland gives angst to
'How Long Can A Fool Go Wrong?' and Syl Johnson has 'Rocket 88' bounce right along. Kim Wilson
gives a little Texas twang to, "Rivers Invitation" and also duets on harp with the
master.
Speaking of the master, James' playing throughout
continues to be hot and tasty seemingly losing nothing to the years. Of course, some of the
musicians joining him in this anniversary effort are more simpatico than others. Although,
I must admit I can't identify a real clunker some tunes do fall into the ordinary category.
One of these better partners seems to be the versatile guitarist Jimmie Vaughn. He participates
on three cuts 'Rocket 88', 'Hold Me Baby'and the closer 'Blues For The Hook'.
This CD is a worthy addition to anyone's collection
to represent the work of James Cotton although it may not be the best recording James and the
band have ever made. Back to Top
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Nick Curran & The Nitelifes Doctor Velvets
Blind Pig Records - BPCD5081
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| Review by
Brian Augustine |
.....This seems to be the year for Roots music.
Here is another one of these artists rooted in the past, but
making music in the present, and
he's good one. In fact, he seems to be the cream that rises
to the top. His pedigree is legitimate
out of a blues, Rock-A-Billy family background. Daddy had a
local Rock-a-Billy outfit called,
'Mike Curran and The Tremors',
this band played around his home in Maine. By his teens he'd
joined the family band and met many of the celebrities passing
through that they opened for.
At 19, he was tabbed by Ronnie Dawson to accompany his band
on tour. This led to a gig with
Kim Lenz out of Texas and ultimately his relocation to Dallas.
Since 2000 he has brought out two solo albums
for a small imprint by the name of Texas Jamboree. Now comes his first release on a widely
distributed label Blind Pig. Buzz has been heavy and has caused this to be a highly anticipated
recording. He blends a concoction of Texas R&B, blues, jump and Rock-n-Roll into a sound
that was fully realized from the very beginning of his solo career.
Although he is now on a major label,
it hasn't allowed it to compromise his sound a bit. He still combines elements of Jump, Swing,
Rock-n-Roll, R&B with even a tad of Doo-Wop thrown in for good measure. This is all rolled
into a package of excellent ensemble playing. The primary band accompanying him is comprised
of Eric Matthew Przygocki, bass, Damien Llanes, drums, Matt Farrell, piano and the Rev. Murph
Motycka on sax. Although, all are solid musicians, Matt Ferrell's piano and the good Rev.'s
sax need to be singled out for praise. The honky-tonk piano on the title cut 'Doctor Velvet'
or the triplets on 'Shot Down' give life and depth to those tunes. The sax counterpoint on
'Doctor Velvet' and the retro reeds on 'Don't Be Angry' help make these numbers to memorably
stand out.
Nick's guitar playing should not be
underestimated either. Listen to the guitar accent to the Doo-Wop vocal chorus on 'Lonesome
Whistle Blues', the Chuck Berry styling on 'Midnite Hour' or tremolo on 'One More Time' and
you realize he has mastered a wide variety of styles. His vocals have a nasally flatness remenicient
of Doug Sahm in his prime. This means like the aforementioned singer, he has a strong inclination
towards powerful sexy grinders. The best example of that here is 'Please Don't Leave Me'. Also,
listen to him as he harmonizes with his guest Jimmie Vaughan on 'Midnite Hour'. Another guest
who adds immeasurably to the effort, is Gary Primich who's harmonica graces the slinky Latin
tinged 'Drivin' Me Crazy' and the jump track 'Can't Stop Lovin' You'.
In all, Nick wrote six of the thirteen
songs recorded for this disc. The remaining seven covers are mostly obscure 40's and 50's songs
like the Sonics 'Shot Down' and Nappy Brown and Cadets vehicle 'Don't Be Angry'. The most unusual
choice to cover is the Hank Williams Country gem 'Cold, Cold Heart' done in a distinctly bluesy
fashion.
What's fun about this album is the way he makes the connection between the past
and present. On top of that, it's in an imminently listenable package with top-notch musicianship
and production sheen. This is just enough production to sound professional, without overwhelming
the music. The credit for this balance goes to Bobby Horton's work behind the boards. The songs
are typical for this genre, not lyrically profound, instead mostly dealing with the travails
of romantic relations. This though makes it all the easier to pay attention to the musical
Gestalt. Back to Top
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Melvin Taylor & The Slack Band Rendezvous With The Blues
Evidence Records - ECD-26123-2
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| Review by
Brian Augustine |
.....Melvin
Taylor is an accomplished Chicago guitarist who many blues aficionados have called the music's
best-kept secret. He certainly seems to enjoy much more popularity in Europe than he does here
at home. On this release, he takes an eclectic approach that has him teamed up with popular
keyboardist, Lucky Peterson. With this pairing, he hopes to change this situation of anonymity
and emerge from the shadows.
One thing that has hobbled
him is that he's as equally influenced by Wes Montgomery and George Benson as he is by B.B.King,
Albert King and Jimi Hendrix. Therefore, his music has an uncharacteristic airy and jazzy feel
to it. The teaming with Lucky's funkier tones seems like it might be the proper antidote, lending
as it were a contemporary feel to the proceedings.
This convergence of all these
new influences on Melvin is most evident in the Latin flavored and percussion laden vehicle,
The John Lee Hooker, Carlos Santana penned 'Chill Out/The Heale' medley, subtitled 'A Tribute
To John Lee Hooker'. Here as with the best Santana releases you hear all the influences come
together. As for his vocals, they do recall a young John Lee with similar phrasings.
He doesn't give up his
jazz leanings all together in order gain increased exposure. These tendencies are more than
evident on the breezy opening instrumental 'Comin' Home Baby' and 'Eclipse'. This latter tune
is especially tailored to sound like George Benson's mellow jazz. Elsewhere, there are definitely
concessions, there is a rock influenced ZZ Top song 'Blue Jean Blues' and Prince's 'Five Women'.
Neither of these songs are material readily associated to Melvin by those familiar with his
previous work. The nexus of this project though, remains his alliance with Lucky Peterson.
This combination is best illustrated in the funky treatment of Stephen Stills 'Black Queen'
that closes the CD.
The negatives of
this outing are primarily because he strays from his usual path. First, since all the material
recorded are covers, it results in the listener having no idea of his usual musical approach,
which is too bad. Consequently, this CD is a disconnect from his past. Finally, the music chosen
and it's sequencing, sometimes leaves the feeling it was haphazardly thrown together. Regardless
of these flaws, it is hard not to be impressed by Melvin as a player when you listen to his
performances. It is also easy to see why so many praise him as the equal to any blues guitarist
out there today. Back to Top
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Maria Muldaur A Woman Alone With The Blues
...Remembering Peggy Lee
Telarc Records - CD-83568
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| Review by
Brian Augustine |
.....This CD is Maria Muldaur latest of 23 albums she's released since
1974. This discography includes the A.O.R. rock standard 'Midnight
At The Oasis', the W.C.
Handy nominated album 'Meet Me At Midnite', as well as the
acclaimed children's classic 'On
The Sunny Side'. She's been a rock steady fixture on the pop,
rock and blues scenes since that
1974 solo debut. On this outing, she pays tribute to another
female icon, the late Peggy Lee.
This
project in a way seems like a natural, although her voice is
substantially different, she has
proven effective in achieving that same purring, barely contained
sexuality as Peggy Lee. This
quality is what gave Peggy's music such power and tension,
and does the same for Maria on this
disc.
Maria didn't confine herself to only the most popular
songs in Peggy Lee's catalogue,
but opts for some of her more obscure numbers. This demonstrates
that Peggy Lee was a truly
diverse singer. Oh sure, her signature tunes 'Fever' and 'I'm
Gonna Go Fishin' are presented
on this disc, but certainly not the focus. Also chosen, are
songs like the title cut, 'A Woman
Alone With the Blues', 'Everything is Moving Too Fast' and
'Some Cats Know', lesser-known gems
that deserved to have the spotlight shined upon them. It is
mostly these songs that portray
Peggy Lee's connection between Blues, Jazz and Pop. On this
disc, Maria proves the perfect
vehicle to connect these dots. An especially compelling number
is the duet she does with Dan
Hicks on 'Winter Weather'.
Maria also gathered around her
an impressive supporting cast.
Many of this aggregation has played with her before, at least
on several occasions. However,
these musicians' individual disctographies are quite spectacular
in their own right. Guitarist
Danny Caron, most recently from Charles Brown's band, was also
connected with John Lee Hooker,
Boz Scaggs and Mitch Woods to give the cream of his list. Here,
on tunes like 'Moments Like
This' and 'Everything Is Moving Too Fast', I'd swear he was
channeling the spirit of Charlie
Christian.
Then on piano is David Torkanowsky the man who's
played with virtually all of
the headliners out of New Orleans. The chops he uses on this
recording are mostly those he
contributed to that 40's revivalist Harry Connick Jr. CD's.
Other Harry Connick Jr. alums are
bassist Ruth Davies and drummer Gaylord Birch. These players
experience lend authenticity to
this projects period atmosphere.
In order to add more color
she employs a horn section with
a wide spectrum background, from Zydeco and Dawg music as well
as Latin and Blues. This includes
Kevin Porter on trombone and Jeff Lewis on trumpet. The piece-de-resistance
though is saxist
Jim Rothermel, whose list of credits are at least an arm length
long and include one of my
favorite sax solos of all time. This is from Jesse Colin Young's
'California Suite (Ridgetop)'
off his Lightshine album. Here, he dosen't come up with anything
as spectacular as that, but
he doesn't need to in this illustrious company.
You can
probably tell I liked this disc,
and I do. It is far from a traditional recording, in any sense
of the word. It is not for the
music buyer who wants a true blues, jazz or rock album, it
fits none of those categories. But
on the other hand, it incorporates elements of all these genres.
This is what you might want
to play when you're in the mood for something a bit different.
Back to Top
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Lee Rocker Bulletproof
33rd Street Records
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| Review by
Brian Augustine |
.....Rock-A-Billy standup Bass master, Lee Rocker's
latest release proves, that Brian Setzer was far from the only creative force in the legendary
revivalist group Stray Cats. This, his fifth solo effort since 1994's final break-up of the
Stray Cats, is a Rock-A-Billy rave-up the likes of which hasn't been heard since the untimely
death of Carl Perkins in 1998.
It's characterized by Lee's quavering, stuttering
vocals, that smoothly synthesizes the influences of Gene Vincent and Eddie Cochran among a
few others. Of course, his stand-up bass playing is impeccable as usual. The listener is even
treated to an instrumental bass number to close out the CD Bottoms Up. Lee, as a touch to demonstrates
his mastery of the 50's white boy Rock-n-Roll styles, contributes keyboards to the proceedings.
Although, none of the nine original songs are earth shaking classics, none are duds either
and Lee wrote or co-wrote seven of them. The other originals 'Evil' and 'Little Lies' were
contributed by bandmate Tara Novick whose also is cited as co-writer on 'Upright And Underground'.
The three covers are also an interesting batch, they
include the Buddy Holly vehicle 'Midnight Shift', Lennon, McCartney's 'I'll Cry Instead' and
Johnny Cash's adaptation 'Johnny, Frankie's Man'. To me though, 'I'll Cry Instead" is
the most interesting and shows how indebted the Beatles actually were to the early Rock-n-Roll
pioneers.
This recording is ensemble playing at its best. Each one of the three musicians
playing with Lee seems acutely aware of their role, and fulfill it flawlessly. That includes
Brophy Dale, guitar, slide and vocals, Tara Novick guitar and Jimmy Sage drums. Especially
noteworthy is Brophy's Carl Perkins sound alike vocals on 'One More Shot" and Tara's,
Scotty Moore stand-in on 'Upright And Underground' and 'I'll Cry Instead'.
The upshot is that if you are a fan of Rock-A-Billy,
50's music or the Stray Cats, then this represents an album that will not disappoint. Back
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Joe Louis Walker Pasa Tiempo
Evidence Records - ECD26126-2
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| Review by
Brian Augustine |
.....This was the second CD for Joe this past year.
The first album In The Morning came out in the early spring and represented a very good, though
fairly typical, Joe Louis Walker release; it embraced most of the elements familiar to his
fans. Then this fall, Pasa Tiempo came out and from my first listening, it was clear this was
a departure from Joe's traditional fare. Although, elements of rock, gospel and blues were
still present, influences only hinted at in previous outings, of jazz and Latin were being
fully embraced on this recording.
He even employed sidemen better known in
jazz circles, such as Wallace Roney on trumpet, Ernie Watts on Saxophone and Bob Hurst on bass.
Then he had session journeymen Barry Goldberg on keyboards, Phil Upchurch on guitar, Leon Ndugu
Chancler provided drums, and 'Master' Henry Gibson was on percussions. Finally, he welcomed
Carla Olson and her acoustic guitar onboard as a guest. This broad experience of his helpmate's
led to a blues based potpourri of musical references.
Joe continues to demonstrate one of the
most distinctive voices in contemporary music. Its soul drenched, but definitely effected by
his years singing gospel. Certain blues vocal modulations are mixed with an impeccable pop
sense of timing. What can you say about Joe's guitar playing? Answer, it's effortlessly diverse
and always tasteful. It doesn't sound as if he is stretching and he doesn't sound as if he's
imitating anyone else. On this disc, he takes risks like he's not attempted since his foray
into dueling guest appearances on 1997's Great Guitars.
This CD moved me so, even on my first listening that
immediately placed it on my year's top ten releases. I'm not only talking about my blues favorites,
but my best for all musical forms. Joe's take on Van Morrison's 'Sweet Thing' and it had me
tapping my toe. I found it irresistible, making my body move and groove. That tune went immediately
into my top ten singles list for the year as well. Then there's his emotive rendering of Ernie
Watts' 'You Get What you Give' or the 50'ish take of 'You Can't Sit Down' or the traditional
rendering of 'It Hurts Me Too'. All these struck me as special. However, the cool salsa shadings
to 'Barcelona' and the title cut 'Pasa Tiempo' just sent me into a reverie as I listened. This
is a title to check out. I highly recommend it, it's special. Back
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Jimmi Accardi
Rock & Roll Party
Molehill Music
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| Review by
Brian Augustine |
.....Here we have the latest entry by a master
of 50's based pop music. Jimmi's impeccable resume, illustrates his credentials to reproduce
the music of the late fifties, early sixties. After all, he was the guitarist in one of Chubby
Checkers touring bands and was closely associated with many other musical notables of the fifties.
On this disc, Jimmi presents 24 self penned
ditties that come in at just under an hour in playing time. Most of the songs come in at just
a bit over two minutes each. That's just like in the old days! His lyrics also reflect that
long past age of innocence. They deal primarily with familiar themes in fifties pop, unrequited
love, puppy love, cars and partying down at the local juke joint. Don't expect incisive, introspective
lyrics, this is all about fun and avoids anything remotely like a serious topic.
Contained within this CD's grooves are many of
the musical styles, all from the fifties. Some are easily identified and pure in approach.
Like the Rock-a-Billy on 'I Can't Make you Love Me', or the Jump tune 'I'm A Fool About You,
Baby'. Then there is the New Orleans R&B of, "Little Girl In The Rain' and the early
Rock'n'Roll instrumentals sound of 'Alright'. This latter tune includes the sax work of Doug
Davies. It stands out as a laudable imitation of Bill Justis at his 'Raunchy' best. The most
straight forward blues number is 'Next In Line For The Blues'. This tune features Bob Mora's
Harmonica. It's the perfect counterpoint to Jimmi's delta infused guitar lines. Bob does an
outstanding job on the Slim Harpo style, which is just the right spice for this song.
For the remaining 19 cuts, Jimmi seems
perfectly happy to patch and weave many old-time sounds together. After all, he does seem to
demonstrate a singular knack in this endeavor. Check out the Rock-a-Billy vocals he grafts
onto a Drifters Cha-cha rhythms in 'The Price Of Love', or the slashing Joe Walsh guitar intro
that settles into a Duane Eddy style on 'I'm A Fool About You Baby'. These are but few examples
of Jimmi's mix and match approach. One thing this approach makes clear, is the connections
between these genres and how they overlap. Jump style easily morphs into Be-Bop and R&B
into Country tinged blues. It's only rock'n'roll.
Although, Jimmi must be a bit long in
the tooth, given his history, he maintains a youthful edge to his vocals. Believe me, an older
world-weary voice couldn't handle this material. In addition, he's a fairly adept vocal chameleon,
adopting the vocal chops of Clyde McPhatter, Sam Cooke, Lee Dorsey or Johnny Brunette and Eddie
Cochran as the material dictates. On top of his singing, there are his guitar and keyboard
contributions. These efforts are critical and are the glue that holds this recording project
together. Hard to think what the instrumental 'Alright' would be like without the tension between
Jimmi's organ playing and Doug Davies sax.
Speaking of his side players, it's time
to address the incalculable support Jimmi receives. Not only by the aforementioned Doug Davies
sax, but equally important is the thwacking meter provided by drummer Mark Thayer and the thump
of brother Joe Thayer on upright bass. Then there are contributions of Ken Burgan who adds
some additional sax and the female background vocals of Margaret Iredell. There isn't a wasted
performance on this recording its hard to imagine if any of the ingredients were missing.
This disc from it's mock fifties originals,
to it's recreation of that era's innocent rebellion, make it a compelling package this writer
can heartily recommend. It may not be profound, or break new musical ground, but it sure is
a lot of fun. Back
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Seth James Bad Luck & Trouble
Independent Release
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| Review by
Brian Augustine |
.....This is an archtypical Texas Blues-Rock
album; right from the get go it lets you know its stompin' grounds. He opens with a number
that's a Stevie Ray Vaughan, clone, 'Sweet Thing'. The follow-up cut, and the title track,
'Bad Luck and Trouble' begins with another obvious Stevie Ray riff, which then breaks into
a CSN&Y style harmony vocals with continued guitar overlay that evoke Stevie once again.
Throughout this disc, it is clear what you're
going to hear, bedrock, Austin, Texas, Blues-Rock. Other Austin influences hinted at here are,
a bit of brother Jimmie and his bandmate Kim Wilson, or a taste of Doyle Bramhall, the list
could go on. He is an amalgamation of all these clearly Texas sources.
The CD itself is an ensemble effort, the
basic band consisting of Seth on lead guitar and vocals, Ian Bailey drums, Kelly Donnelly bass
and Mark Goodwin organ. A couple of additional guest musicians grace the album to add color
and texture but are not critical to the overall sound. Essentially all this material is stuff
a basic roadhouse band could play on stage on any given Saturday night. And oh my, it would
be one sweaty night, because these guy would get the whole audience up and dancing. The players
generally could be said to understand and have a natural feel for the music they play. This
is more of a tribute to the ensemble nature of the recording, considering James is responsible
for all but one of the CD's ten tracks. The single cover is the Don Nix classic 'Going Down'
which Seth does creditably, but owes more to Freddie King's version than the writer. My personal
favorite on this disc though, is the gentle ballad 'Chains At My Feet' which in many ways strains
against the direction carved out on the rest of the album.
The bassist Kelly Donnelly is given production
credits and he committed no major flaws or mis-steps. The recording levels are all consistent
across the tracks and there are no jarring transitions in the song cycle with smooth segues
cut to cut.
Really, the worst thing you can say about
this effort is that you've heard it all before. All players are credible musicians. In fact,
Seth proves himself to be a talented singer, guitarist and songwriter. He now needs to go about
the process of establishing himself a niche independent of his sources. Back
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