Keepin' it alive for the future.

	Tab Benoit Wetlands Telarc CD-83530
Review by Brian Augustine

.... This is Tab's seventh disc and second for Telarc. It's the first he has dedicated solely to the music of his native south, especially Louisiana. Each cut fairly drips of swampy essence, New Orleans swagger and second-line rhythms or primitive hill country blues. Throughout most of the recording, he trims participants to just himself and two others. These are drummer Darryl White and fellow guitarist Anders Osborne; these two also provide occasional back-up vocal. On the last cut 'Georgia', he also invites Neville Brothers guitarist Brian Stoltz to guest.
     The stripped down nature of this effort just naturally focuses attention on guitar playing and gravelly vocals of Tab. At times, he sounds uncannily like a young Dr.John, especially on the ballads like Otis Redding's 'These Arms of Mine', his own 'Lovers Lips', and partner in crime Anders Osborne's 'Georgia'. The vocals are emotive and project a definite sense of place to the proceedings. His guitar playing which throughout the recording is lean and angular eschewing showboating emphasizes this singing. That doesn't prevent him from varying his approach to his instrument enough to keep the listeners attention. There certainly is no way escaping the fact that this is Tab's album. 
     Besides covering material as diverse as Peppermint Harris's 'I Got Loaded', Boozoo Chavis's 'Dog Hill' and Professor Longhairs 'Her Mind is Gone', he wrote nine of this CD's thirteen tunes. Each of which maintains the earthy spell this album casts. Tab shares the production credits with Randy Labbe and between them they keep things low-key. In fact, the performances are so pared down that the list of behind the scene participants is three times larger than the performers credited.
     For my money this is Tab's most appealing and effective effort to date and the essential CD to own in his discography. It has all the essentials necessary to have this disc evolve into a classic, a hallmark of primitive southern blues. At 34 years old, he has a long career ahead of him and potentially some great music left to get out and as a listener I'll be waiting for these contributions. 

www.tabbenoit.com
www.telarc.com 

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	Carl Weathersby Hold On Woodcutter Records
Review by Brian Augustine

.... This, first and foremost, is certainly a blues guitar player's disc, although fellow traveler Johnny Neel on keyboards lends a prominent helping hand. Carl, a prot g  of the late Albert King, shows how it's done, bending the strings like the master. This album though is about much more than just guitar He shows off his vocal chops and delivers songs with social meaning and conscience. Check out the peens to the plight of the little guy 'Angel Of Mercy' and the Cd's title cut, the self-penned, 'Hold On'.
     Although Albert King influenced many of the top guitarists of the last 30 years, including Stevie Ray Vaughan, Robert Cray and Eric Clapton, Carl learned from the masters' knee and this familiarity shows in the ease with which he incorporates that style. This lineage is especially on display in 'Nothing Hurts A Man (Like A Woman Can)' and the Johnny Neel tune 'Too Far Gone'. It isn't forced or imitative; it just naturally captures the flavor of his mentor's genius.
Vocally, Carl projects a smooth, yet earthy feel in his singing. He never goes over the edge into syrupy pabulum that many emotionally based singers slip into, nor does he ever resort to shouting. He maintains an edge like Johnny Taylor and Little Milton were capable of, even at their most vulnerable. To hear what I'm talking about check out the soulful wistfulness of his own 'My Baby', or the resignation in his voice on another of his originals 'Love Ain't Fair'. For me though, the songs that epitomize his singing on this recording are his interpretations on two of the covers. One is his soulful rendition of the John Hiatt ballad 'Feels Like Rain' and the other is a gut wrenching take on Burton Garr's 'Willingly'. This latter tune is delivered in a way that would make Percy Sledge envious.
      In all, the track list includes five of Carl's own tunes, one by band-mate Johnny Neel, two more from fellow southern blues rocker Burton Garr. The remaining five songs were selected from a variety of talented songsmiths. Whatever the origins of these songs he recorded, Carl goes out of his way to make them his own.
The core band is tight experienced players and consists of the aforementioned, Johnny Neel on Keyboards and some back-up vocals. Johnny, in my opinion, is the best keyboardist currently recording in the south. I have in the past compared him with Jimmy Pugh, and that's some class company. Chris Kent is on bass, while Leon Smith beats the skins holding down the bottom. Richard Waters contributes rhythm guitar to a number of tracks and is given production credits.
Carl also recruits and minimally uses a couple of guest, like Tim Gonzalez, who's harmonica graces the instrumental 'Freedom', giving it a sense of longing. Then there is Michael McDaniel's sax that adds a raucous feeling to the title cut, the southern rocker, 'Hold On'.
     This disc is a release that is solid and shows off Carl's multitudinous talents and should by all rights invigorate his career giving him the exposure he so richly deserves. 

for more information contact loroad@bellsouth.net 

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	Popa Chubby Peace, Love & Respect Blind Pig Records-BPCD5089
Review by Brian Augustine

     This release might be characterized as politically charged, in fact Popa Chubby, with this set might be seen as the Michael Moore of Blues/Rock. His songs are pointed and witty barbs that lambaste the current administration and their policies that impact the average American. He takes pot shots at our learned helplessness in 'Top Ten Reasons Why I Can't Sleep At Night', the systems callousness is dealt with in 'Life Is A Beat Down'. He next turns his eye toward the uncritical way we accept religion 'Like The Buddha Do'. The Patriot Act takes a hit in 'Un-American Blues', while the mercenary nature of our recent military adventures are tackled in 'Young Men'. The news media's complicity is cited in 'The Man On The News'. 'I'm Not Afraid' is a pretty direct plea to join him in activism while 'Sweet Release' chronicles the benefits of standing up. The consequence of acquiescence is handled in 'The Devil Gonna Drag You Down'. 'Midnight Ride/Peace' the first half of this medley is the least overtly political song on the disc, it deals with betrayal, then the album ends on an up-note with the second half of the song 'Peace', this is Poppa's formula for how we should all treat each other. Poppa, of course, is given all song writing credits. 
     All this social/political stew is played against a catchy folk/blues/rock background. The disc is essentially an ensemble effort with the core band being Poppa on guitar and vocals, Nicholas D'Amato, bass, Steve Holley, drums/percussion and last, but certainly not least Mike Lattrel, keyboards, including the omnipresent B-3. The only listed guest is Steve Logan playing bass on 'Top Ten Reasons Why I Can't Sleep At Night'. The musical dynamics are basically between Poppa's guitar and Mike Lattrel's B-3. The rhythm section on most cuts, busy's themselves with laying down a very basic pulsing, driving beat. 
     Vocally, Poppa is in great form, he has always been able to convey menace and this tendency continues on this recording, this is best exemplified o 'Life Is A Beatdown', but on this disc he also plays around with the emotion of tenderness on the Willie DeVille style 'Sweet Release' and vulnerability in 'Midnight Ride/Peace'. For many of the faster paced numbers Poppa adopts a pacing and cadence similar to Bob Dylan in 'Subterranean Homesick Blues'. This comparison is most notable on, the opener, 'Top Ten Reasons Why I Can't Sleep At Night'. On the midtempo numbers, he adopts a vocal style that harkens back to Leonard Cohen, especially noticeable on 'The Man On The News'. Even though I make these comparisons, Poppa is able to maintain his own individuality.
     This CD proves that when the tone of the times recycles, the arts respond. The War in Iraq has been divisive, as was Viet Nam, and this album represents one of the clearest and thoughtful musical responses yet.

www.popachubby.com
www.blindpigrecords.com 

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	W.C. Clark From Austin With Soul Alligator Records - ALCD-4884
Review by Brian Augustine

.....This is the latest release from the acknowledged godfather of Austin's blues and soul scene. This is his first release for the Chicago based Alligator records. To complete the geography lesson here, this is an album that owes as much to Memphis soul as it does to Texas grit. He comes by this soulful approach to the blues honestly. He served six years as the guitarist for the legendary Joe Tex band. He left the Joe Tex Band just as his hometown Austin scene was exploding with new talent. This was the likes of Angela Strehli and Stevie Ray Vaughan. He initially joined a band around this time headed by Lou Ann Barton. These young white players showed their respect to the black bluesmen that preceded them by giving them exposure to their essentially white college audiences. Soon through this process, W.C. had gained his own recognition and following.
     In 1987, W.C.'s solo recording career began with an album entitled Blues Revue/Something for Everyone on the small Drippin' label. This landed him a recording deal with Blacktop records that resulted in three releases that included his classic Heart of Gold in 1994. To date even though he garnered a W.C. Handy Award for Texas Soul, this is the work that everything else he records is measured against. So let's turn our attention to how this his latest effort stacks up.
One of the first things that struck me listening to this CD was the apparent fun he seemed to have making it. His guitar strikes crystalline notes and he plays it as an excellent foil to his dynamic vocals. Although all the songs are secular, his vocal approach imbues each cut with a distinct gospel feel. His obvious vocal influences include Wilson Pickett, Sam Moore and Al Green. He has melded all these reference points into his own unique blend.
     On this effort, he continued his association with Mark 'Kaz' Kazanoff as his producer. This legendary Austin based horn player (Roomful of Blues, Fabulous Thunderbirds) produced W.C.'s previous three Blacktop albums as well. In addition, to twirling knobs Kaz takes responsibility for playing sax and leading and charting the 'Texas Horns' contributions to the album.
Another Austin stalwart with a prominent presence on this disc is Marcia Ball. She plays piano and contributes a duet with W.C. on the old Sain Chevis tune 'Don't Mess Up a Good Thing'. Throughout this thirteen-song cycle, W.C. counts on a strong musical support from his hometown cronies, and the fact he's in his native recording setting, and neither let him down.
     Well with all this praise, you might think I believe that he outdid himself, not quite. On this album, eight cuts are covers, five are self-penned, and frankly some of the material he chose isn't ideally suited for him. The best example of this mismatch is the 1965, Allen Toussaint written, Lee Dorsey hit 'Get Out of my Life Woman'. He simply adds nothing to the song and fails to make it his own. Consequently, though it's not up to the near perfect standards set by Heart of Gold, It's good enough to make it among the better Soul, Blues efforts released so far this year. 

www.wcclark.com
www.alligator.com 

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	W.C. Clark Deep In The Heart Alligator Records - ALCD4997
Review by Brian Augustine

..... At this point in time, I'd have to rank W.C. as one of the top ten Soul/R&B singers recording today. I put him right up there with Solomon Burke, Bobby 'Blue' Bland, Magic Sam and Frankie Lee or, relative newcomers Curtis Salgado and Darrell Nulisch. 
      His rich, warm, voice has the knack of wrapping itself around a lyric and wringing every ounce of emotion from it, each and every word. He's also more than just a decent and tasteful guitarist he's downright good. His last album Austin Sessions, I consider as a defining entry of contemporary Soul music. 
     On this, his latest effort, I felt at first, that W.C. was continuing exactly where he left off. The quality and style seemed to continue without an iota of drop-off. Unfortunately, repeated listening dissuaded me of this notion. It began to slowly sink in, just how derivative this recording really was.
      I still maintain this disc is characterized by tight, better than average playing and singing. After all he recruited the likes of Marcia Ball who contributes piano on 'Soul Kind Of Loving', and a duet on the albums best cut, 'You Left The Water Running' and again on 'Soul Kind Of Loving'. He also has another duet with a powerful Austin female singer, Ruthie Foster on 'I Want To Do Everything For You'. He also employs the "Texas Horns" That I'd say was either the third or fourth best horn section in the country led by that saxman Kaz Kazanoff. In all he relies on the best musicians in Texas, Pat Boyack, Tony Braunagel, Barry 'Frosty' Smith to name but a few. W.C.'s ability to vocally project himself emotionally remains unparalleled. This is coupled with his underrated guitar playing and the interaction between him the dynamic B-3 playing of Riley Osbourn.
     W.C. himself only had a hand in writing three of the fourteen tunes presented here which might account for the curious lack of feeling he shows for the material. Mark 'Kaz' Kazanoff, not only is credited with arranging the horn parts and playing sax, but also is credited with production chores. This heavy duty involvement guarantees the music and playing will be a cut above. Unfortunately it doesn't mean that creatively it will be the same quality.

www.wcclark.com 
www.alligator.com 

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	Paul DeLay Heavy Rotation Evidence - ECD-26115-2
Review by Brian Augustine

.....Paul has a reputation as being the most creative harp player to come from the West Coast in years and this album does nothing to tarnish that renown. Although his basic approach is informed from the Chicago school, (Big Walter; Little Walter and Sonnyboy) that's just the base from which he takes off. He also gives airy inflections on the chromatic bring up Lee Oskar, swamp boogie of Raful Neal, or Lazy Lester before cutting in with the more urbane wailing of Carey Bell.
     He'll move from a traditional Chicago number like 'Wealthy Man' to a silky, sensuous track such as 'Bess And Ernie's Rib Joint' effortlessly. Then he incorporates a number with a rhythm line that sounds like perfect background music for a snake charmer 'It Isn't Easy Being Big'. His approach to the material proves the clich  that the blues are more about feeling than form. There are also jazzy arrangements 'Givin' Up The Body', rock'n'soul 'Ain't Feelin' That Love No More' and shouters 'I'll Quit You Tomorrow'. These are all with songs Paul himself wrote or co-wrote, except for the one minute, four second instrumental outro 'Cat's Away'. This last short track was collaboration by the bands drummer, Kelly Dunn and keyboardist, Louis Pain.
     Vocally Paul ain't no slouch either. His voice can be husky and aggressive (reminds me of the Radiator's Ed Volker) or smooth and powerful (shades of Huey Lewis). Not once did he strike me as insincere or forced. This guy has the potential of becoming very big. This is no pun on his weight, which he pokes fun at on 'It Isn't Easy Being Big'. 
     The entire project is an ensemble effort without any outside guests listed. The band is tight and plays like a group who read each other well. In addition, the band is credited with all production chores. If I see any flaw here, that is this familiarity sometimes makes the performance at times a bit stodgy. I'd like to see what this band could do if they brought in some guests musicians to challenge them a bit. Nonetheless this is certainly an album worth adding to anybody's collection. 

www.pauldelay.com 
www.evidencemusic.com 

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	Tinsley Ellis Hell or High Water Telarc Records CD-83531
Review by Brian Augustine

.....This is the latest album by the king of the Atlanta blues scene and his first for the Telarc label. In 2000 he left his longtime label Alligator, recorded one CD for Capricorn, and is now on his third label Telarc. Don't have a clue as to why all this shifting about has occurred, but you have to wonder if it's effected his recording. 
     This effort is a pretty straightforward blues-rock album that contains no surprises. All twelve cuts are characterized by some solid journeyman playing. Trouble is it doesn't seem inspired, in fact the dour look that Tinsley sports on the jewel case's back photo sums up the feel I got from this disc. This is an ensemble effort with no credited guests. Tinsley of course contributes lead guitar and vocals; Donna Hopkins provides an assist with back-up vocals. Rhythm guitar is Kenny Kilgore and keyboards are covered by Kevin McKendree. The bottom is taken care of by Scott Callison on drums and Phillip Skipper on bass.
     The song cycle runs the usual gamut; there are the usual suspects, a swampy number in the title track 'Hell Or High Water'. A couple of straight out blues rockers in 'All I Can Do' and 'Ten Year Day'. Then there's the taut smoky numbers like 'Mystery To Me' and 'Real Bad Way'. All of these tunes are done well, if not excitingly. 
     The real compelling numbers I found are the slower ballads. There's the slow languid feel of, 'Stuck in love' with its soaring guitar with piano underpinning. The vocal approach is that of the traditional ballad. On 'Feelin' No Pain' (by far the albums longest cut, clocking in at 8:04) he overcomes some pretty non-descript lyrics with a strong Gary Moore like mesmerizing guitar work. In fact, I'd say this was the most impressive tune on the album for me. Then he closes the effort with a delicate and beautiful acoustic ballad 'Set Love Free' that has an appealing vulnerable quality. In fact you could say it's almost Beatlesque in its structure.
     Tinsley does show his mastery of the guitar and demonstrates that he can be a formidable songwriter, just listen to the aforementioned 'Set Love Free' and 'Mystery To Me'. There just seems to be a lack of energy that pervades the overall project and seems to weigh it down. Although this disc has its moments it is probably best collected by the completist. Most other listeners would be better off going and purchasing his 1994 release Storm Warning, still his high water mark.

www.tinsleyellis.com
www.telarc.com 

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	Terry Hanck I Keep on Holdin' On Mo'Muscle Records
Review by Brian Augustine

.....Well, you can finally say this perennial sideman has emerged from the shadow of his mentors with this his first studio release. Last year he did release a live CD Live and Raw Rocks that received rave reviews, but saw only limited exposure. Many listeners may be amazed at his polish and professionalism, not realizing he has been around for years. It's like where did this guy come from? He's been playing with many prominent blues and pop acts contributing mightily to their sound. Folks what you hear is no mistake or fluke, this guy has been around a lot and absorbed a lot.
     He spent 10 years playing sax and singing with the Alligator recording star Elvin Bishop. He's also played with many other prominent Bay Area artists, including Bonnie Raitt, Steve Miller, Robert Cray, Charlie Musselwhite, Tower of Power and even the Grateful Dead. 
     Among his other credits are stints playing with such luminaries as the Neville Brothers, Albert Collins, Albert King, B.B. King, Buddy Guy, Bobby 'Blue' Bland, Ray Charles, Allman Brothers and Dr. John, quite resume. All these influences can be heard in this recording. But for the most part, Terry sticks with his Bay Area and Louisiana blues and R&B influences. 
Throughout the disc, he demonstrates a vocal versatility that is uncannily on time for the given song. Instinctively his arrangements and production are calculated to demonstrate his ever-present virtuosity on his sax. Marry years of hard work and proficiency has also attracted a strong supporting cast for his debut CD. You have Junior Watson, guitarist extrodinaire from the West Coast Playboys, Butch Cousins drummer along with bandmate, premiere keyboard talent Jimmy Pugh from the Robert Cray Band. Then there's Michael 'Fly' Brooks, Elvin Bishop's longtime bass player. Guesting on another track, he has fellow traveler Lloyd Jones. There are also a dozen or so lesser lights that play on this effort and they are no second-rate slouches. They ably contribute the sheen of first class musicianship heard on this recording.
     As for the disc's content, there's smooth soul ballads such as 'Cryin' Fool' and the slinky title cut 'I Keep Holdin' On'. On the former, Terry conjures up Zachary Richard. The latter shows his range for conveying emotions with his vocals. Both of these numbers feature Jimmy Pugh's great B-3 playing.
Then there's the syncopated tunes that sound as if they came straight out of Allen Toussaint's fabled Sea Saint Studio. Songs such as Oscar Willis's 'Flatfoot Sam' or Terry's own 'She Ain't Coming Back'. This last tune features a duet with Lloyd Jones. 'I Don't Love You No More" another old New Orleans chestnut is resurrected, while maintaining it's Crescent City stamp, it seems all filtered through Terry's old mentor Elvin Bishop. He even uses Elvin's penchant for homey talking introductions to great effect here. 
      Recording another New Orleans nugget, this time by acknowledged musical innovator Dave Bartholomew 's 'Is It True'. Terry transforms this song by employing Junior Watson's guitar, giving it a definite West Coast feel. This is while he maintains its loping Bourbon street essence. Another number given the West Coast feel was written by another Louisiana legend Eddie Bo 'Where's My Baby'. Here it's Chris 'Kid' Andersen who adds a jazzy hollow toned guitar, while Sid Morris plays his piano in a style remenicient of Charles Brown or Amos Milburn.
     Terry even exposes some of his rock roots with entries like 'Hard As You Can'. This has Blasters-like overtones. In fact, Terry's vocals for all the world sounds like Phil Alvin. Then there's the sax driven 'Itchy Twitchy' that raises the specter of one of those great old 1950's instrumentals. You know where the only vocals are a shouted chorus of the song's title. Think 'Tequila!'. Also a treat, check out June Core's drumming on this number. 
     Maybe one of Terry's biggest risks here was recording one of the Chuck Willis's tunes 'Whatcha' Gonna Do When Your Baby Leaves You'. It's always a challenge to cover anyone of his mythic stature. Terry's approach, doesn't even try to recreate the tunes original sound; instead, he changes it to a Beale Street R&B number. He adds delicate guitar filigrees by 'Mighty' Mike Schermer and sax charts with Mark Whitney joining in with him. 'You Could Of Let Me Go', a Terry original, also presents this same kind of soulful R&B feel with its smoking, grinding tension that features Junior Watson's guitar.
     Rounding out the track list are two tunes that show yet another direction, on Dave Malone's 'One Horse Town' or a live number where he his bands cohesion using James Wayne's 'Travelin' Mood' recorded at Monterey Bay Blues Festival. 'One Horse Town' opens with a Junior Walker sax intro that leads into a Tower of Power funky rhythm that propels the song. 
     It's clear from this outing that Terry possesses that rare ability to write instant classics songs and make old classics his own. All the while he is able to infuse old sounds making them seem new, fresh and energetic, a unique talent. 

www.terryhanck.net
Mo' Muscle Records

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	Rick Holmstrom Hydraulic Groove Tone Cool/Artemis Records - ADV-CD 751 134-2A
Review by Brian Augustine

     Rick certainly has the credentials to bring out a blues solo album. After all, he is Rod Piazza and the Mighty Flyers current lead guitarist. His father was a blues D.J. and before his job he played and toured with Kid Ramos, W.C. Clark, Smokey Wilson and Junior Watson. Quite illustrious company I'd say, as well as wonderful mentors for a young fella' coming to L.A. from Alaska.
     On this, his third solo outing and his second for Tone-Cool, he releases something that is entirely different from anything else out there. Most of the influences I hear on this CD stray far from the traditional blues tree. There is the reverb laden rinky-dink piano lines with swelling organ all to a Rock-Steady groove most apparent on the opener 'These Roads'. What I was immediately reminded of was the 1970's Reggae hit by Dave and Ansel Collins' 'Double Barrel'. Throughout most of the disc, a southern soul groove prevails that is remenicient of Archie Bells 1968 hit 'Tighten Up'. Then there are the arrangements they have a funky Chicago R&B instrumentation that's augmented by chants and sayings. The last time I heard anything like that was 1965's 'Twine Time' by Alvin Cash. Those are some pretty obscure sources and strange bedfellows. Somehow, he makes these disparate pieces fit together and the sound comes out unique and whole.
     All the liner notes tout the contributions of Rob Schapf. As sound engineer, he is credited for these elements coming together. In his past, he's worked with such diverse artists as R.L.Burnside, Foo fighters and Beck. Where all this is probably true, Rick filled the role of producer. This position is usually seen as critical to the overall sound a project takes. So, I don't know who should wind up with the most credit here.
     The material is consistently melodic with punchy fat rhythms you can sink your teeth into. About a quarter of the tunes are basically instrumental although some of these have non-sensical grunts and human made utterances overlaid on the track. Of the tunes, that have lyrics, they seem more directed towards fun that any profound statements. That's not the point anyway, lyrics aren't the focus and don't get in the way of the listening pleasure. All the cuts presented on this disc were either written or co-written by Rick. The other credited writers are mostly his supporting players on this project. 
     These expansive nature of the arrangements give Rick the opportunity to demonstrate his virtuosity without showboating. As for his singing well, he has a pleasant voice, but lacks range and has a flat deadpan delivery. That's why the use of electronics and sampling was brilliant move. Like with David Byrne's best work this detached vocal approach adds to the overall sound. It conveys the emotional context of disaffected angst. 
     This kind of approach becomes very dependent on the rhythm section to carry a bubbling kind of tension. This goal is more than adequately achieved through the use of a trio of percussionists, Stephen Hodges, Iki Levy and Steve Mugalian (also active in co-writing some songs). Add to this multi-instrumentalist Jeff 'Big Daddy' Turmes on bass. He also is responsible for horns and sax. The other activists on this CD of course are the omnipresent keyboard work of John Medeski (another active songwriter with Rick) and the samplings of Rob Schnapf.
     Altogether, I'd pronounce this effort a successful experiment and one well worth putting your hard earned dollars out to experience yourself.

www.rickholmstrom.comwww.tonecool.com 

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	Hamilton Loomis Kickin' It Blind Pig Records - BPCD5084
Review by Brian Augustine

.....Hamilton Loomis is a young, Houston based, multi-instrumentalist with three previous albums to his credit before this, his first Blind Pig release. Coming from a musical family, he learned music early and was introduced and exposed to professional musicians from childhood. He claims influence from a plethora of usual Texas bluesmen. People like Albert Collins, Clarence 'Gatemouth' Brown and Johnny Copeland. His mentor though, he flatly says is, Bo Diddley. On this recording, with all its funk colorations, he should have added Lucky Peterson.
      Hamilton's voice is still, youthful and exuberant and to his credit, he doesn't try to hide it behind some world weary, phony persona. The energies of his vocals are contagious and is the center of the disc's drive. In terms of his playing, although has a range of instruments he can play, he confines himself to guitar, harmonica, some bass, vocoder and of all things, a power drill. His guitar playing here is controlled and not overindulgent. You get flashes of Albert Collins style in the opener 'Workin' Real Hard', funky wah,wah feel in 'No, No, No', 'Be Mine Anyway', '99 Miles' , and the closer 'Who Dat?'. Elsewhere, he contributes guitar styling with country blues and southern rock influences. This surely demonstrates his versatility. Except for the Edwin Starr influenced '99 Miles', harmonica is only used to accent. He also contributes bass on all but two cuts.
      This CD is an ensemble affair with Mike Cross providing bass on the two cuts Hamilton didn't, Brent Leeper, keyboards and back-up vocals. Leeper is also credited with writing two of the songs presented here. Nico Leoponte drums on all but three numbers, Levi Haddock III taking up the slack. Finally, Kevin Needham, sax and Kenny Borak, trumpet provide funky horns.
      Hamilton's songwriting skills are demonstrated on seven of the ten songs in the cycle. As mentioned before Brent Leeper contributes two songs and they are the discs mellower moments. They include the lilting soulful ballad, 'Better Man' and the harmonic southern rocker, meets gospel 'Something's Gonna Come My Way'. These to numbers are the mellowest on the disc and Hamilton does a excellent job on them, he just doesn't write them. The final tune not written by Hamilton is the funkified number attributed to a G. DeVore 'Be Mine Anyway'.
      Possibly the most interesting tune is the closer 'Who Dat' a funky, country blues song with an electronic overlay. It simultaneously has a primitive, yet modern feel. Except for a little scat and yelps, it's an instrumental. It's a great ending leaving you wondering what will be his follow-up to this. Guess we have to wait till his next release.

www.hamiltonloomis.com
www.blindpigrecords.com 

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	R.J. Mischo West Wind Blowin Mountain Top Productions
Review by Brian Augustine

.....  R.J. is the latest in a line of blues harp and vocal stylists to move in and call the San Francisco Bay Area home. He joins the likes of Charlie Musselwhite, Mark Hummel, Norton Buffalo and Rick Estrin in this rich scene. It seems he has patterned his playing after is the late great Jimmy Reed, Willie Horton and Sonny Boy Williamson II. 
      A testament to this newcomer's talent, is the fact he's attracted so many of the Bay Area's top players as sidemen on this his maiden recording in this significantly larger scene. Although he has five records under his belt in Minnesota and is well known, on the West Coast he's a relative unknown.
      'Money Back Guarantee' starts the disc out in typical Chicago style that that is repeated often on this album. Its followed by, the too short, acoustic number 'R.J., Getup! Milk That Cow'. This is a lazy instrumental, Delta blues number that reeks of the big muddy. It's also the most original tune on the CD. It has some spoken segments interspersed throughout the song for emphasis. The album then returns to its trademark Chicago roots. 
R.J. wrote seven of the fifteen cuts presented on this effort. He is not a bad songwriter; it's just that often his songs are indistinguishable from one another. His song writing is patterned after the Chicago masters so closely they end up losing their personality. 
     Vocally he suffers from the same problem; trying to mimic the Chicago greats. However, his voice is thin, therefore not a real versatile instrument. He's better off when he stays within his limits. To make matters worse there are a few times where he sounds positively bored singing. This is evidence that he's capable of more. This better singing is found on Jerry McCain's, Boogying number 'Courtin' In A Cadillac', this features R.J.'s best and animated singing.
     You can't fault his top notch supporting cast well , check out the guitar pyrotechnics between Rusty Zinn and Steve Freund on 'Bit Off More Than I Can Chew' . Then there is, 'Goin In Your Direction' which is a great west coast swing, instrumental number. This is a natural for his sidemen and it allows them to really stretch-out. On this track pay special attention to, Rusty Zinn's guitar work and Randy Bermudes' stand-up bass. 
     On another tune, Lula Van Hunt's 'Jelly Selling Woman', which is done as a tribute to Sammy Lawhorn an old Muddy Water's sideman, listen to Rusty Zinn as he outdoes himself with his fret busting work. It's really a treat to hear.
      A couple other tracks that bear notice are, 'Miss Heidi Ho' which is mainly due to Bob Welsh's tasty barrelhouse piano which offers counterpoint R.J.'s harmonica. Then there is the album's closer, which is a haunting, harmonica tour-de-force, the instrumental 'South City Fog'. This tune would not have been out of place on a War or Lee Oskar recording.
     R.J.'s Bay Area debut effort shows him to be a talented newcomer that has a lot to offer his new home. At the same time has a lot to learn from it as well and shows him welling to do just that. 

http://hometown.aol.com/rjmischo1/rjmischo.htm

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	Calvin Owens The House Is Burnin' Sawdust Alley Records SAZ4233
Review by Brian Augustine

     From this CD's first notes on the opener, 'Opus In Sawdust Alley', a statement is made that this is going to be a different sort of Blues recording. I can't remember another blues project, at least since W.C.Handy, and that's a long time ago, which features trumpet as the center of attention, but the work of Calvin Owens rectifies that situation. Oh sure, in jazz you can easily cite Louis Armstrong and Miles Davis, but friends make no mistake, this is a blues album as well as something else entirely different. He came by his blues licks honestly, toiling for the likes of Peacock Records, Johnny Copeland and B.B.King before striking out on his own back in 1994. On the other hand, the trumpet has had its natural solo home in jazz.
      Much of Calvin's earlier work relied on his jazz forebears, but with this disc, he breaks from that mold. The jazz heritage is still evident, but certainly not predominant. He starts out with an orchestral intro that reminds me and likely some of my older cohorts, of the TV theme from "77 Sunset Strip". That's all before breaking into an R&B organ riff by Ron Cole that would do Booker T. Jones proud. This is all contained in an instrumental that is jazz informed but with a strong funk underbelly. I elaborate on this cut because it gives you a good indication of the dichotomy and crossbreeding evident in this project.
     Highlights include the plaintive R&B vocals of Trudy Lynn on 'Don't Walk Away' and 'Stop Lying In My Face'. Then there's Gloria Edwards's vocals on the gospelish title cut 'The House Is Burnin' Down' enhanced by the impeccable sax of Grady Gaines and also has a slight hint of cajun added with Cedric Powells accordion. Then there is the B.B. King vehicle 'Please Love Me', here done in 50's R&B fashion with Leonard Brown's vocals and guitar. Calvin's horn gives a faint Louis Armstrong feel to the overall package. The same ambience can be attributed ton 'Message To Man' except it's a bit bluesier. 
     Finally he closes the disc with a couple of Christmas standards, Charles Brown's 'Merry Christmas Baby' and Mel Torme's 'The Christmas Song'. It as if he decided to tack on a mini Christmas E.P. as a bonus.
     Calvin is credited with production and arrangements, as well as all trumpet contributions of course. He also wrote or co-wrote four of the CD's twelve cuts. Calvin is also given lead vocal credits on four songs, or should I say croaking. His guttural voice is, in fact, quite endearing on the two Christmas numbers in the same way that Louis Armstrong's vocals were. He also has enlisted a large cast of musicians to assist him on this recording. These players consist of a variety of horn, reed and string players that he mixes and matches, as he deems necessary. The job he does weaving this tapestry together lends credence to the nickname given him, Maestro.
     If you're tired if the same old approach to the blues, then this entry is certainly your cup of tea and comes highly recommended.

www.calvinowens.com

	Jackie Payne & Steve Edmonson Band Partners In The Blues Burnside Records - BSCD49
Review by Brian Augustine

      Back in the 80's and 90's, there was a definitive roots rock band, The Dynatones. They were based out of the San Francisco Bay Area and stirred things up. They were good enough to act as the back-up band for Charlie Musselwhite on several recordings during that period. The lead guitarist for that aggregation was Steve Edmonson and here he teams up with another veteran of the Blues/Soul scene, vocalist Jackie Payne. 
     Payne's pedigree goes back to such legendary bands as Johnny Otis and T-Bone Walker. On this recording they also rekindle their relationship and bring back many other musicians they've mutually worked with in the past. This includes the likes of, keyboardists, Austin DeLone and Jimmy Pugh, guitarist Rusty Zinn and sax virtuoso Terry Hanck, to name a few. With support like that, you can count on stellar playing throughout and they deliver.
     These tunes in general reflect a soulful approach that most nearly reflects the mid-sixties soul. Yes the Stax/Volt sound is prominent, but so is the sixties soul sound of Chicago, and Texas. This is when acts such as the Impressions, Jerry Butler, Joe Tex and Solomon Burke ruled. Also mixed in are influences from Little Milton and Bobby Bland. Many of these songs, all covers, reflect the sixties in another way as well; the lyrical content is often socially relevant. 
     This CD contains very tasty versions of a number of my perennial favorites 'Tell It Like It Is', 'I Need Your Love So Bad' and 'That's How Strong My Love Is'. It seems everything they've chosen fits their approach like a kid glove. 
     Jackie's voice is warm, emotive and passionate, delivered with power that doesn't distort even the tenderest of emotions. Steve Edmonson's guitar is Jackie's ideal foil, punctuating every vocal chop with just the right accent. The staunch, rock-solid support provided by the band and guests is faultless and hi-octane. This all combines to make one of the best Roots Rock, R&B, Soul recordings released this year.

home.comcast.net/~edmoblues/index2.html 
www.burnsiderecords.com 

	Roy Rogers Slideways Evidence - ECD26121-2
Review by Brian Augustine

    
      Worst thing that I can say about this album is, the title lacks creativity. When will he get away from using "slide" in his titles for albums? It's getting to be a bad joke; I count this to be the fifth recording with some play on the word "slide' referenced. That aside, this latest album from a man who is arguably the best slide guitarist recording today, is among his best. It is also his very first instrumental effort. 
     Although, his voice is reedy and lacks range, I always found it an appealing emotive instrument. He has always been able to wring the last drop of emotion out with his quavering vocals, it always added to the ambience of the music he was performing. Consequently, on my first listening, I missed his singing. The more I listened though, the more I realized that he made up for it. Like a person who is blinded the other senses become more acute and Roy seemed to invest more emotion into his playing to make up for the loss of his voice.
     From the first burst of guitar filigrees that opens the album with 'Avalanche' to the contemplative, languid guitar lines of 'For The Children' thirteen cuts later, he puts on a heart stopping demonstration of how to play with feeling as well as control. Then there is the anger of, 'Smoke And Mirrors' the meditation of 'Crescent Step' the melancholy 'Talking Walls' and passion of 'Razor's Edge'. It is truly a powerful debut release for his new label Evidence. 
     As might be expected from a Grammy award-winning producer (John Lee Hookers-The Healer 1989) Roy's production values are beyond reproach. In addition, he brought onboard another Bay Area producing legend, Scott Matthews as his co-producer. The likely intent was to infuse some unpredictability into the project while not jeopardizing the projects integrity. Employing these acknowledged superb pair of ears he succeeded if this was his goal. The proof is that each succeeding cut seems to demand the listener's attention. The disc never sinks into repetition or uses cliches. 
     Although he does have some additional players on the recording, it remains mostly an ensemble affair. He brings on his good ole pal Norton Buffalo on Harmonica. Then there's Bay Area keyboard phenom Phil Aaberg; Steve Evans man's the bass and on drums/percussions, there is either Scott Matthews and/or Jim Sanchez. For added spice he brings in the mythic New Orleans drummer Zig Modeliste (Meters; Dr.John) and Freddie Roulette for some stellar Lap Steel accents. 
     This now at mid-year is the best instrumental disc that I've heard all year and an auspicious debut for Roy's relationship with Evidence records. For fans of Roy's it's an essential acquisition since it represents his first and only instrumental effort. For everyone else, they should get it because it's just damn good. 

www.roy-rogers.com 
www.evidencemusic.com 

	Roy Rogers & Norton Buffalo Roots of Our Nature Blind Pig Records - BPCD5077
Review by Brian Augustine

     This two musicians have been awfully busy this year, each have released critically acclaimed solo projects. Likely as a by-product of these efforts, some worthy material remained that didn't fit. It's my guess it's these leftovers that make up the bulk of this CD's content. There are a couple of numbers where they share authorship like on 'All I Want', 'Ritmo De Las Almas' and the epic ballad 'Seven Hearts'. The bulk of the material though was either written or co-written by our heroes. 
     These are songs that are more rootsy and far-reaching than anything on either of their recent solo releases. Here the presentation is acoustic, down-home, and as American as Apple Pie. The sound is warm and intimate, yet with the addition of supporting musicians on most cuts, surprisingly full. Sometime with just a rhythm section, other times with a full band. There are also some stripped down numbers with just the two principles as on Roy's 'Under the Rug', Norton's 'Long Hard Road'" and the co-written closer 'Happy Go Lucky'. 
     No matter what the arrangement it's the warmth and vulnerability of Roy and Norton's vocals that propel this recording. That and the creative use of instrumentation, this includes Jeremy Cohen's gypsy violin on 'Seven Hearts' and Doug Harman's cello on 'Making New Love Out of Old' or Roy playing mandolin on 'Deny and Down the Distance'. This is testament to these two guys ability not only to write and play music, but the expertise to present and produce it as well.
     This then is one of the best unassuming blues releases of the year. It dosen't try and be bigger than life. It only tries to present the music in an amiable pleasant way and that goal is certainly achieved.

www.roy-rogers.com 
www.norton-buffalo.com 
www.blindpigrecords.com 

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