Keepin' it alive for the future.

	Darrell Nulisch Times Like These Severn Records - CD0020
Review by Brian Augustine

.....For the most part, this is a sweet soul album. Darrell a two-time W.C. Handy nominee, avoids clich  while at the same time indulging himself, as he explores a variety of horn driven, organ counterpoint styles of soulful blues. This formula takes him from Beale Street to Basin Street with some detours through Dallas and Chicago. The only true blues tune on the disc, is the Nugo; Nulisch penned 'Something Else'. In fact, it is this song where you hear Darrell noted harmonica; otherwise, it is noticed by its absence. In fact, I'd most likely compare this release with, Boz Scaggs' Dig. 

     From the opening notes of his version of the Little Milton's tune 'Lonely Man', with it's Bobby Bland influenced vocal, to the loping, soulful closer 'Right Here At Home' and it's Chuck Jackson inflections, Darrell firmly sets the tone. This CD is defined by the nuances of Darrell's voice from beginning to end and he is an expressive singer. 

     He conjures up the best singers of the golden era of soul. As you listen, images of Curtis Mayfield, Joe Tex Bobby Bland and Lee Dorsey come readily to mind. This CD is a cohesive blend of soulful styles based in the late 50's through the mid-60's. As you listen you'll hear insinuations of the Impressions 'Handle It With Care', Bobby Bland early period 'Lonely Man' and the Nugo and Nulisch composition 'Good Thing', among the influential mix. 

     One of the more unusual numbers is the rendering of Smokey Robinson's 'Don't Look Back'. It owes as much to Peter Tosh as it does to the Temptations with its blending of reggae and Motown. Also included are a couple of straight-ahead New Orleans style second-line and funked up cuts. These are Ashford and Simpson's 'Running Out' and 'That's A Good Idea' they could have come out of Sea Saint Studio in its heyday. Again, vocals are the thing, evoking Lee Dorsey, Allen Toussaint and the Nevilles. Then you have the Texas soul style projected on Ray Charles', 'The Snow Is Falling'. This tune could have been lifted straight off of a Boz Scagg's album.

     The playing behind Darrell is sharp, crisp and nary a beat is missed. The arrangements are complex; especially the horn charts, and Robb Stupka's keyboards need to be singled out for praise. The production by Darrell and Steve Gomes is executed flawlessly. The only problem is the project can seem a bit inflexible and therefore somewhat antiseptic to the casual listener.

     This stiffness aside Darrell proves himself to be an exceptional soul singer, who has a natural grasp of what the legends were doing and is able to incorporate the style without being imitative. As of now, this album places high on my personal faves as one of the years top soul albums. 

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	Popa Chubby The Good, The Bad And The Chubby Blind Pig Records - BPCD5075
Review by Brian Augustine

.....This is alternative blues at it's very best. It conveys an attitude, angst and lyrics that reflect concerns about the post 9/11 world. All this is done within the context of a tight raw band ensemble, more remenicient of R.L. Burnside or Howlin' Wolf than the Clash or Butthole Surfers. Popa's history of backing New York punkster Richard Hell while secretly harboring a deep affection for the blues is evident here. This musical affection led to him winning a national blues talent search in 1992. 

     This paradigm earned him the label as the latest modern bluesman. This is the same appellate attached to other artists as diverse as Preacher Boy a couple of years ago and before him, the Reverend Horton Heat. So, you have to be careful that a title like this is not another way of saying here's a novelty act coming from a blues base. 

     Under his real name Ted Horowitz, he claims authorship for all thirteen songs on this disc and demonstrates with his lyrics he's not afraid to tackle thorny issues. Poppas though, is not without a sense of humor, check out 'Stress Will Kill You Every Time' and 'Strange Way Of Saying I Love You' these tunes tend to be tongue in cheek looks at important human situations. Two other cuts, 'Somebody Let The Devil Out' and 'If The Diesel Don't Get You Then The Jet Fuel Will' seem to relate directly to 9/11. Together this song cycle shows him to be a nimble songwriter with varied interests and strong opinions. Much like the young Nick Lowe.

     Popa also takes credit for the production and engineering chores that gives this album a raw energetic feel. Some arrangements have a subtle hip-hop cadence with jazzy overtones most noticeable in this vein is the closer 'Play It From the Heart'. Much of this modern hip-hop feel is provided by the scratchin' of M.C. PokeChop, though his contributions are more subtle on two other cuts, the opener 'Somebody Let The Devil Out' and 'No Trouble No More'. The creative arrangements don't end there; there is a distinct middle eastern flair to 'I'll Be There For You'. On the discs only instrumental 'Passion' there is a frenetic electronica feel. Overall though, it is impossible to miss the blues contribution to Poppa's music. There is the delta slide and haunting harmonica that drives 'Somebody Let The Devil Out', the barrelhouse piano on 'If The Diesel Don't Get You' or the swampy guitar that graces 'Stress Will Kill You Every Time'. Rock influence also are prominent as in the driving pulse on 'If The Diesel Don't Get You', or anthemic Allman Brother like riffs on 'Bad Connection', 'Strange Way Of Saying I Love You' and 'Dirty Lie'. What is clear, Poppa is not afraid of using all his musical influences.

     Turning to the performances on this CD, although, he's not the most powerful singer in the world, he tends to use his voice to its best possible effect. His guitar playing is better than adequate, but he's no Eric Clapton or Freddie King. His appeal has little to do with these talents anyway it's his uncanny knack of knowing just where and when to place a particular note for its greatest impact. For the most part, on this recording, he tends to use an ensemble approach, himself with all the guitar parts. Kris Jefferson is on bass, Mike Lattrell on keyboards, on drums he uses two drummers, Steve Holley on eight of the cuts and Larry "Mr.Sticks" Crockett on four. On 'Strange Way Of Saying I Love You'. Poppa himself takes credit for the programming of drum loops. Other than that we have M.C. PokeChop, as mentioned above responsible for all scratchin'. All that's left is to mention some trading of vocal licks on 'Play It From The Heart'. This is between Poppa, Arthur Neilson, Big Ed Sullivan and Mason Casey.

     In all, I was very impressed with the fresh slant Poppa Chubby has brought to this project and the blues. Artists like him keep things fresh and moving forward, other in the future may take his ideas and do it better, but he is a pioneer. He also seems to be an especially talented arranger with a grasp of production values. 

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	Mitch Woods and His Rocket 88's Jump for Joy! Blind Pig Records - BPCD-5067
Review by Brian Augustine

.....Mitch is a past master at variety blues piano styles. He has typically followed the California blues trend towards jump blues as expounded by the likes of Roy Milton, Charles Brown, Amos Milburn, Floyd Dixon and Johnny Otis. Check out his classic 1991 release Solid Gold Cadillac to check him out in his standard style. On this CD though, Mitch turns his attention towards the 1940's swing movement. The music on this recording would make Cab Calloway or Louis Jordan proud. 

     Swing is the predecessor of the jump blues and dates to the mid 1920's and reached it's golden age in the 1940's. It was the mainstay of the musicians who raised the Cotton Club and Savoy in New York to fame. Proponents of the style are the aforementioned Cab Calloway and Louis Jordan but also the pianists Art Tatum, Earl 'Fatha' Hines, Count Basie and Nat King Cole. All these influences are clearly represented here on the 12 self-penned tracks on this Mitch's latest from Blind Pig. 
The only thing that tips you off that this isn't a recording from that era is the clarity of sound. Only today's studio technology could produce the sound as if you find here. One advantage Mitch has here is the guitarist Danny Caron. Danny was Charles Brown's guitarist for the late great bluesman's comeback in the 1980's. His ability to play in the Charlie Christian mode certainly adds authenticity to the proceedings. He also utilizes an Upright bass the typical stringed instrument providing the pulse to the music. Here that role is ably filled by Joe 'Roll 'Em' Kyle.

     Another characteristic of this music is the complex horn charts dictated by the use of multiple horns. Here Mitch's horn section consists of two trumpets, a trombone and four saxophones. Their arrangements are all over by saxophonist Michael Peloquin.

     Mitch does not possess the most dynamic voice around and has a rather narrow range. Therefore, he has to be careful, not stretch, project a meaning of a given song, and core through style and phrasing. On this effort, I have to admit he doesn't make a false step that I could discern. He even handles some Cab Calloway scat in songs like, 'Golden Gate Jump' and 'Palm Tree Tie'. The back up vocals at times can not be described in anything but glowing terms, check out the Jordanaire like work on 'Jive; Mr. Boogie'.

     This is one of the best albums of its kind I've heard in decades. The one caveat is that it's the only one of it's kind I've heard that wasn't recorded 40 or more years ago. Pick it up, its fun and will turn you on to a style of a bygone era.

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	Annie Sampson Under The Moon Sweet Potatoe Records 9013-2
Review by Brian Augustine

.....This release begs the questions, why hasn't Annie stepped out as a soloist before now? Why hasn't this CD garnered more attention? Finally, how come there isn't a follow-up to this overlooked 1996 gem? This album is a diverse affair showing Annie as an R&B balladeer, beltin' blues mama, pop singer and rocker. She does it all and does it all well. She did have some top-notch help, sharing production chores was Elvin Bishop's buddy Johnny V. Vernazza. Johnny also provides nifty guitar work that ranges from sizzling to sensual and solid back-up vocals. She also attracted solid players and guests to support her, you'll find Elvin bishop on 'Shake it Up' and 'That's why I'm Crying' as well as keyboard whiz Phil Aaberg on 'It's all over now baby blue'. 

     The fact Annie attracts these solid and established musicians is no accident. She was a singer involved in one of the most underrated bands of the late sixties, early seventies San Francisco scene, Stoneground. Musicians such as current Blues Rocker guitarist, Tim Barnes, Alligator bluesman Elvin Bishop, session perennial Sammy Piazza and rock gadfly Sal Valentino were a few of the people in that aggregation. 

    She not only provided back-up vocals during those days; she frequently stepped forward as lead. Check out her contributions on 'Deeper than love', the gospelish, 'Down to the bottom' or 'Lead me down' or the intense 'Passion Flower' to name a few. Some of these songs were done as duets with another powerful singer, Jo Baker. She definitely proves that her voice has not deteriorated one iota and she can carry the full load in a recording project. In fact, I find it amazing how she seems to effortlessly and effectively convey and project emotion with her voice.

     This ability to transfix the listener and is never more apparent than on the Bob Dylan standard 'It's all Over Now, Baby Blue'. Her choice to do this song was brave, it's the longest song on the album and it has been so often covered so there are many renditions with which to compete. In addition, Van Morrison when he was with Them is widely considered to have recorded the definitive version. Here she comes out and presents her own vision of this song and makes it her own. Listening to the smooth, confident delivery, I can't imagine anyone, even Irma Thomas doing it better. 

     This is not the only highpoint on this CD, not by a long shot. There are two cuts that harken back to her Stoneground roots, 'Learn For Yourself' and 'Shake It Up'. Then catch the Ruth Brown like jump tune 'I'm Going For The Big Fish'. Then there is an arrangement on the old nugget 'Black Night', that must have Charles Brown smiling down from heaven. Another is the St.Louis style 'Stranger In My Arms' with its jazzy horns and Ella Fitzgerald vocal approach. 'That's Why I'm Crying' would be the perfect segue from Irma Thomas' 'Ruler Of My Hearteart', if I were still doing my radio show. On 'Woman's Intuition' Annie gets her chance to show she can shout dem blues. On 'I Don't Wanna' Lose Your Love' she shows her R&B diva side. This entire disc represents a powerful demonstration of her vocal talent.

    In fact, the only thing that seems out of place is the six or so minute instrumental 'Papa's Blues' credited to Johnny V. Vernazza. It seems that it's tacked on to the end without rhyme or reason. Even so, this tune is well arranged and executed, it's a languid, mesmerizing tour de force that draws the listener in and carries them along as if on a gentle musical river. As good as, it's out of place on this singer's album. Oh well, I have to think as good as her supporting cast was on the previous ten tracks they deserve the opportunity to stretch out. 

     In that regard, special notice should be made singling out the contribution of Salvador Aguilera and his tenor sax. Without his instinctive shadings, this would not have been the same record. His sinewy notes seem to wind warmly around Annie's voice and become her perfect foil. Then check out Tom Fuglestad's trumpet with it's uncanny accents and punctuation. In all, the horn section on this disc is something special.

     When all is said and done this is a CD I could recommend to anyone. It is definitely worth searching out in order to add to your collection. This is one disc I believe will end up as a frequent visitor to your player after the first listen.

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	Chris Cain Hall Of Shame Blue Rocket Records - BRCD137
Review by Brian Augustine

.....What we have here is the next best thing to B..B. .King and Albert King and he's right here in our own backyard. This is the sixth CD by this San Jose based artist and with it and the work he's recently done with compadre's, he seems to have gained confidence that translates to this CD. 

      This CD is full of influence and references as diverse as B..B. King and Wes Montgomery. His growls and groans vocally through the disc, are smooth and soulful and reminiscent of his influences, mostly B.B. King. Never once does he shout, or demonstrate a raw exuberance, of say a Sam Moore or Otis Redding. It's always mellow and smooth with a deep throaty resonance. As for his guitar, he demonstrates why many feel he's the best blues guitarist on the West Coast. Obvious influences are again B. B. King, Albert King and Albert Collins.

     On this disc he has the assistance of long time collaborator and fellow blues traveler, Patrick Ford, for whom he provided assistance on his last effort. Now Patrick has returned the favor with his drumming and production.

     Chris presents a seamless and sophisticated set of contemporary guitar based blues on this disc. It even references many others, while at the same time maintaining his own integrity and style. Most often B.B. King comes to mind while he plays, but then Chris will trail off into a Wes Montgomery or Albert King styled riff that gives a whole new dimension to a song.
Speaking of personal asides, catch his tribute to the late Albert King on 'World Got The Blues At Sunrise'. It uses the mentors style without copying it. This cut, as a matter of fact, seems to be this albums soul center, all else revolves around this second cut. From this jumping off point he demonstrates his mastery over a plethora of blues styles that incorporate jazzy nightclub feels to raunchy after-hours raveups.

     This is an album and artist in the blues idiom definitely on the upswing.

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	Enrico Crivellaro Key To My Kingdom Electro-Fi - E-Fi3379
Review by Brian Augustine

.     This CD seems designed to expose Enrico to the general blues listening audience. He expresses a range of playing styles and his prowess as a player, tackling some difficult pieces of music. He moves stylistically from B.B.King's organic tastes, through Elmore James rousing bursts, to Wes Montgomery's fluidity. This Italian born, L.A. based guitarist has an impressive range of influential mentors in tradional American music. While still in Italy Enrico submitted a demotape and as a result obtained a scholarship to the National Guitar Workshop in Connecticut. There he studied under people like Ronnie Earl, Duke Robillard, Kenny Neal and Paul Rishell. After short stay in the northeast, a tour of the south with buddy, harmonica player Jason Ricci, he relocated to the West Coast. Since then he's played with almost every important blues/jazz musician on the West Coast and gained an American music education from UCLA.

     On this disc he demonstrates his ability to handle almost any American style, but many other foreign players have accomplished that. What he does that few other foreign musicians have attained is the ability to play the music with feeling and believable conviction. He wisely, gathered around some of the best players he has associated with. The vocal chores are handled mostly by Finis Tasby, but James Harman lends his inimitable voice to two numbers, 'Drinking Cheap Champagne' and 'Help Me Flip Another Flop' and four of the twelve tunes here are instrumentals.

      This turns out to be an impressive debut entry and a guitarist to watch as he and his music evolve.

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	Deacon John Deacon John's Jump Blues Music From The Film Image Entertainment - VET0557)
Review by Brian Augustine

.....This is the soundtrack for a PBS video tribute to a local New Orleans musical legend, Deacon John for whom national recognition has unfortunately eluded. He was able to attract the absolute cream of the modern New Orleans music scene to participate. It was recorded digitally at the renowned New Orleans venue, the Orpheum Theatre and features Allen Toussaint, Dr. John and Henry Butler to name only a few.

     The title is a bit misleading. What we really get is demonstration of typical second line rhythms, piano triplets, voodoo vocals, Ragtime, Dixieland, gospel, along with Jump. All the styles regularly associated with the Crescent City thrown together in a gumbo. The material itself, holds no surprises save the inclusion of a version of the Janis Joplin signature number 'Piece Of My Heart', the rest of the tunes all have a long connection to the honored city's roots. There is the Professor Longhair signature tune 'Tipitina', the oft recorded 'Going Back To New Orleans' and 'Let The Good Times Roll' and 'Nobody Knows You', just a few of the tunes with deep New Orleans roots.

     There is nothing new or revolutionary here, just music to honor a city's music and one of the musicians that is considered one of its prized jewels. 

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	Nate "Snakeboy" Shiner Now And Then Blue Line Records
Review by Brian Augustine

.....Here is a local Sacramento guy who isn't afraid to take risks. He even takes on some venerable old blues classics. Most notably Willie Dixon's 'My Babe" with an arrangement that transmutes the song to the point that you don't even try to compare it to any of its famous renditions. He then infuses so much soul into what seems to be typical lounge material like 'Can't Call It Love' that it comes out through your speakers as an R&B nugget. 

     The major drawback on this CD is the poor, uneven recording quality. The sound at times is dense and muddy, mostly on the live cuts. This causes a feeling of irritation sometimes, while at other times seems endearing. The music contained in these grooves was recorded over six sessions, spanning a period from 1976 to 2003. Some of the cuts are live; some are studio efforts, although not the same studio. He also has different line-ups in these different settings. This off the cuff approach with minimal soundboard takes does work perfectly on the discs live closer 'Funky Elk Groove'. It reminded me of the classic live take by Moby Grape of the classic 'Honkytonk' on their mid-seventies comeback album.

    Snakeboy is a multi-instrumentalist credited with harmonica, keyboards, electric and slide guitar, and most notably Lap Slide guitar. He also demonstrates that he is an expressive singer with flexibility. Frequent contributing backing musicians for Snakeboy seems to be the backbone of another local band Catfish & the Crawdaddies. These are Ray Copeland on guitar and Jim Monroe on keyboards. Other frequent sidekicks are drummer Tony Montanino and bassist Andy Samuels. A number of other musicians seem to slide in and out on the CD credits.

     The opening cut is a sparse, recently recorded self-penned number 'Same Place, Same Time' and is the cleanest recorded number. It features just Snakeboy' himself playing guitar and harmonica. Then comes a couple of tunes from a San Francisco recording session, 'Snatch It Back" with it's ' Messin With The Kid" riff and 'Singing Nighthawk' that gives a tasty glimpse at his slide work. Another highlight of those San Francisco sessions is the aforementioned 'My Babe". The weakest cut from this session is the rather cliched 'Hurt And Suffer'.

     Next up is the 1998 Sacramento studio recordings, 'Two Blues' and 'Can't Call It Love". Here Snakeboy''s vocals sound a lot like Bob Welch during his Fleetwood Mac days. These songs also feature some great Lap Steel work. This latter cut, has a funky lounge feel that makes it stand out. This same feel re-emerges on another two Sacramento studio tracks 'Let's Be Lovers' and 'Broke And Broken', which features that same Lap Steel and on the former, juxtaposed against a swampy harmonica.

     This is followed with perhaps the albums weakest track, a fuzzy live version of Big Bill Broonzy's standard, 'Key To The Highway' recently recorded at a club in Elk Grove. Another cut hurt by poor sound, was from the same show 'Rock'n'Roll The Blues'. This is ironic since this muddy ambience on numbers like 'I Feel Like The Devil' and the over seven minute long, driving instrumental and album closer 'Funky Elk Groove' apparently came from that same show. But on these two tunes, the fuzzy sound adds to the sweaty pulse of the numbers.

     A clearer set of live sound comes from a 1994 recording at a Coloma club. It is with an aggregation that he calls, the 'Atomic Blues Duo' which is basically him and bassist G.G. Amos. They do 'Blues Come Over Me'. While the single is representative of another 2002 show at a Volcano bar, features a poor mix and cheesy keyboards that mar 'So Fine'. 
In total, 'Snakeboy' is credited with writing twelve of the seventeen tracks presented on this disc. This production shows that he can be a clever songwriter at times and at other times quite pedestrian. He shines brightest in his unique approach to arranging what would otherwise be some pretty typical blues fare. What he needs desperately is someone to come in and produce his otherwise compelling sound.

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	Little Sister & The Bad Intentions First Time Out Camp/Enos
Review by Brian Augustine

.....This is the debut recording effort from a bar band out of San Francisco. It is fronted by a powerful female lead singer Christine Enos (thus, the 'Little Sister' of the title) and features the able guitar work of Stephen Camp and exquisite sax of Jeff Bartlett. Artis Joyce (Bass) and Shad Harris (Drums) hold down the bottom. They also get able assistance from the guitar of Bay Area club circuit mainstay, Johnny Nitro.

      Christine's vocals remind me most of early Lavern Baker, where she hinted as much towards jazz as she did toward Blues and Rock'n'Roll. This is especially true on the opening number 'Won't Be Long' and 'I Don't Care Who Knows'. The guitar work throughout is tasty and there is no grandstanding that detracts from the song or its arrangement. The sax work of Jeff Bartlett is impeccable. He has a feel for the material, it allows him to drop in just the right note, at just the right time.

     All of the tunes here are covers, don't come to this CD expecting original material. Some of the material chosen works, some of it does not. Its definitely a mixed bag in that regard. Overall the CD has a distinct 1950's feel and the musicians seem well versed in projecting that era. Standout tracks are 'Won't Be Long', 'Easy Baby' and 'I'm Tryin''.

      It's good freshman effort that deserves attention.

	Daniel Castro No Surrender 9D4D-2
Review by Brian Augustine

.....On first listening I remember thinking how appropriate the cover photo is. It shows Daniel striding boldly from the left, Telecaster held by the neck in one hand, as he moves through an urban landscape. This reminded me of the strident, slashing guitar playing on the disc, so reminiscent of one his primary influences, Albert Collins. His vocals, warm and earthy also indicate he listened to a lot of Stevie Ray Vaughan.

      Like the detail in the building behind Daniel in that photo, repeated listening reveals much more subtle shading and variety. He seems to emphasize this versatility by opening with the powerful number 'On That Telephone'. This is an Albert Collins style slasher with surging power chords. Then compare it with the sweetness of his closer, which is a tribute to his mom 'Dos Paloma'.

     In between the beginning and end, Daniel serves up helpings of rockin' and jumpin' blues that show influences from Stevie Ray Vaughn (especially his vocals), Johnny Copeland and Albert King. His most consistent partner in crime is, Lee Pavin on keyboards, sometimes B-3, other times piano. Lee is also given prominent credit for production, along with Daniel. Also along the way there are horn charts employed that are similar to those used by Boz Scaggs some of his early recordings. This aspect jumps out most clearly on 'I'll Play The Blues For You'.

      Song-writing or co-writing credit is given to Daniel on six of the eleven songs presented on this disc. The last two cuts on this CD, of which Daniel is given sole credit, are instrumentals. The first is a tribute to one of his heroes, Albert Collins 'Funky For The Ice Man', the second a nod to his mother and heritage 'Dos Paloma'. Of the remaining five songs, one was written by his good friend Lee Pavin and relatives 'Hear That Guitar Ring'. The other four are covers pretty familiar to blues audiences, songs such as 'Got My Mojo Workin' and Stevie Ray Vaughan's 'Empty Arms' . His guitar approach on a tune like 'Mojo' is echoy, and threatening, while on another cover, 'I'll Play The Blues For You', he takes a gentler approach. It's still echoy, but this time using long sustained notes, he conjures up images of loneliness. 

     The sound is amazingly cohesive considering works with about four different aggregations of supporting players. This is obviously a demonstration on how well Daniel and Lee Pavin work together and are able to direct their fellow musicians.

     All in all a very satisfying listen and a powerful debut.

	James Harman Lonesome Moon Trance Pacific Blue Recordings - PBCD-2304
Review by Brian Augustine

.....In the liner notes for this disc, James makes excuses for his absence from the recording scene over the last couple of years. He goes on to explain about his personal life and his recording philosophy in effort to explain both this hiatis and the origins of this effort. This explanation helped in shedding light on this recordings inspiration and diversity. The album is varied in nature of the tunes, rhythmically, themematically and melodically, yet the work still maintains a cohesive feel. This cohesion only emerges as you listen to the music unfold, cut by cut. 

      This ambitious album ranges, from music indicative of it's Dr. John- like Voodoo cover art, to the Bo Diddly rocker 'My Secret Escapade'. A couple of songs, like the opener 'Double Hogback Growler' and 'Piecework Politicians,' have a Leon Russell sound. They seem to be carried along in a relaxed southern way he perfected. Even James most scathing social commentary, the latter tune conjures up images of Leon Russell during his, Asylum Choir days. Talk about socially conscious lyrics, they seep into another song in this collection 'Lowdown Grown-Up Jive', albeit again in a comic, cynical way. The rest of the songs, all of which are credited to James, are lyrically competent, without any glaring weaknesses. On the other hand, they don't match these two standout cuts and his humorous insights.

     James along with the help of Jerry Hall are credited with handling the production chores and they are handled impeccably. The arrangements are tight, the sound crisp. The song cycle sounds logical, with each song sequenced for maximum effect.

     I have always said, that ensemble playing on a whole recording, by good musicians, gives an album the most together and tight sound. Here I'm proved wrong! This album has a veritable who's, who of the Southern California Blues scene listed in it's credits. You've got 'Kid' Ramos, Enrico Crievllaro, Robby Eason and Bob Margolin all taking lead guitar on different cuts. The same is true of bass, drums and keyboards, all the musicians play musical chairs. I would suppose with the guidance of James and Jerry. Yet the matching of player to song is seamless.

     This is a impressive comeback effort by a guy who for years has been a mainstay in the L.A. music scene. It is also gratifying to see so many colleagues, rally around him. After all, he gave a lot of them a start when passed through his aggregations in the past.

	Deja Blues Killin' The Grass Live At The Best Of The West Deja Blue Records - 121396
Review by Brian Augustine

.....This is a live recording from a September 2003 Chili cook-off in Sparks Nevada. The band is fronted by a singer Wanda Cobb a blues belter in the mold of Koko Taylor. What makes this disc different is the banter between her and the audience where she repeatedly exhorts the audience to, "come on down and kill the grass", her metaphor for dancing. 
Wanda took off more than a few years to raise a family, but now she's back. Her voice is still strong and powerful, her former mentor the late great Mahalia Jackson touted her as the next big gospel singer. Her voice is best served on the old Ray Charles vehicle 'Unchain My Heart', the slow blues of 'Rock Me Baby' and humorous jump tune 'Middle-aged Blues Boogie'.

     She is supported by an able journeyman crew that consists of Gordon Bulcock on guitar, Carl Vanderziel, bass and Kelly Beyer on the drums. As solid as they are, some songs demanded a fuller, fatter sound than they were able to deliver. Much of this seems to be a consequence of poor choices of cover material. From the sounds of the audience they were totally involved and didn't notice this as a problem. All listener needs to do is, turn up their speakers, get up and shake their booty and they probably won't notice either.

     What I'll always remember about this album is Wanda's interaction with the audience and the closing track twelve that is a recitation of sponsors of the event. I've never heard that before.

	the BluesExciters the BluesExciters Hot Stuff Records - BE6533
Review by Brian Augustine

.....This aggregation is a local Sacramento area blues bar band that has garnered quite a loyal local following, some might even call them rabid. This band was, in fact, recognized as the best blues band in that city in 2002.This though is the first recorded outing for them and itself a local affair, done in the Sacramento area studios with local technicians. These guys did themselves proud with the high quality of production values. The recording itself is most certainly is, a band affair, each band member plays on each cut with only minimal outside input. They do cite a few guests Scott Ferguson for his slide on two cuts and Mick Martin for harmonica on one song. They also credit, Ivey Castro, Amber McCaslin and Susan Pankratz for back-up vocals.

      All ten songs on this disc are covers, half are fairly well known, traditional and the usual suspects, certainly most listeners will recognize that they have several versions of each of these songs already in their collections. The other five tunes are less known, such as, Nick Gravenites' (Electric Flag: Big Brother) 'Born In Chicago' , Peter Green's(Fleetwood Mac) 'Stop Messin' Around' and Jeff Beck's (Yardbirds) 'The Nazz Are Blue'. For the most part, it makes no difference if the material is relatively fresh and unknown, they give all their songs a fairly traditional Chicago Blues reading.

     So if you are looking for some pretty traditional stuff that will get you out to shake a tail feather, the 'BluesExciters' might be just what you're looking for. They are certainly vouched for by a multitude.

	Ron Hacker & the Hacksaws Burnin' Live At The Best Of The West HR6-415
Review by Brian Augustine

.....The San Francisco Bay Area seems to attract world class slide players. Just some examples are Roy Rogers and Bonnie Raitt. Now another name to be added to this list is Ron Hacker. On this release he demonstrates mastery of that technique that rivals the great Elmore James. Some good examples can be heard on 'Mississippi' Fred MCDowell's, 
'Red Cross Store' and his own instrumental disc closer and title cut 'Burnin'. That isn't the only style one can ferret out, he claims as primary influences and mentors, the master of blues guitar tremelo 'Sleepy' John Estes and premiere blues mandolin player Yank Rachell. You them and more throughout the CD. Echos of ZZ Top, George Thorogood are also evident. Ron's vocals are impressive, they are all warm and earthy in the Boz Scaggs way.

     Ron claims credit for only three of the twelve songs on the disc, the above mentioned instrumental, the claustrophobic 'Prison Mind' and the socially conscience number 'Mailman Blues'. The remaining nine covers are all from various elder statesmen of the blues. What Ron does though is arranges each song on what seems to be a natural unconscious level with all his eclectic sources. You'll hear, tremelo, slide and delicate filligres all within the confines of one tune and it will seem right. This seems to breath new life into some old warhorses. I mean I don't see Robert Johnson giving his '32/20' a swampy, roadhouse feel, or Sonny Boy Williamson doing 'Welfare Blues' as a loping Texas blues number.

      This disc is definitely ensemble playing, there are no guests or added players. Just Ron's trio, that consists of bassist, Artis Joyce and drummer Ronnie Smith. They combine to produce a powerful blues rock sound with each player so in tune with the other, that it seems they know each other next move instinctively. This is really impressive when you realize that this recording was done live in the studio.

      This disc certainly deserves to be picked up by one of the major labels for much wider exposure, but don't wait. It is certainly worth searching out and once found, run don't walk, you don't want to let this jewell go out of print before you have your copy.

	Elvin Bishop & Little Smokey Smothers That's My Partner! Live At The Best Of The West Alligator-ALCD4874
Review by Brian Augustine

.....As with all Elvin Bishop recordings, this CD is fun, it's replete with his down home humor. This humor is obvious, on such tunes as 'Middle Age Man', 'Annie Mae', and ' Dirty Drawers'. Also presented on this disc, is one of his best known tunes 'Travelin' Shoes', it goes back to the early seventies shortly after leaving the Butterfield Blues Band . Elvin's sarcastic sense of humor is even present his socially relevant tune 'The Skin They're In'. It's a tune about recial intolerance, but it's done with his firmly planted in his cheek. Elvin's humor is more than matched by his recording mate Little Smokey Smothers. He contributes a lighthearted version of Willie Dixon's 'Little Red Rooster', to the proceedings as well as his own pun ridden number 'Pleading With You'

     The good-natured banter between, not only the two main protagonists, but also the audience only enhances the good time feel of the disc. Unlike, livealbums that strive for studio perfection, usually by picking the best performances from a 100 over the course of a year long tour. It's clear this was done in one night, a one show take. The recording itself occurred at the San Francisco blues hot spot Biscuits & Blues. Consequently this CD has a spontaneous ambience. At times you can close your eyes, have someone blow some second hand smoke in your face, and you're transported into the audience yourself.

     The band is comprised of Bay Area stalwarts, like saxman Terry Hanck, Ed Earley, on trombone and Bobby Cochran, pounding the skins. They are tight and loose simultaneously having fun playing in their own backyard to an appreciative audience.. This results in them playingl intuitively together, so there is no feeling that it is being orchestrated, no sense of it being over-rehearsed. It's just a bunch of good old boys playing together, having fun.

     So if you're in the mood for a party album, well here ya' go!

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