Keepin' it alive for the future.

	Barbara Blue Sell My Jewelry Big Blue Records - BBR-1201
Review by Brian Augustine

      Barbara served her apprenticeship with some pretty heavy hitters. These artists included Jeff Healey, Marcia Ball, Maceo Parker, Pinetop Perkins, James Cotton, Tab Benoit and Taj Mahal to mention a few. She accomplished this by moving around a lot. Her hometown is Pittsburgh and from there, she went to Chicago, then New Orleans and then L.A. She is now based out of Memphis. Barbara upon arriving in Memphis went about forming her own band; this has given her the advantage of playing some of the legendary clubs along Beale Street. This kind of exposure can do nothing but hone your skills.
      Besides some compilation releases and such, Barbara and her band released an earlier album Out of the Blue. However, the main source of income for her has been as a working musician belting it out, night after night in the clubs. 
On this CD though, she calls in some markers, traveling to L.A. and enlisting some stellar sidemen. You have Mike Finnigan on keys, Larry Fulcher Bass, Johnny Lee Schell on guitar and Tony Braunagel drums and percussions. These guys make up the core band. Then as a guest, she was able to procure the services of John 'Juke' Logan on harmonica. Tony Braunagel besides pounding the skins performs production tasks, sitting behind the control panel twisting the knobs. Also along for the ride are the well regarded and traveled, Texicali Horns, made up by Joe Sublett, sax and Darrell Leonard, trumpet. 
      This is an impressive array of musicians to work for a singer that is essentially unknown. You can tell by their playing that they aren't half-stepping. Barbara also seems to put forth her best effort. On the slower numbers like, 'Trouble With A Capitol T', 'Don't Lead Me On' and 'Drunken Angel', she sounds every bit like the great Tracy Nelson. On the shouters, ('Road Blues', 'Sell My Jewelry', 'Cheatin' Blues' and of course the Janis Joplin penned, 'Turtle Blues') she adopts the phrasing of one of her obvious idols, Janis Joplin. She actually does a creditable job with this style, one of the hardest of all female influences in Rock/Blues for singers to incorporate successfully.
      This CD consists of nine covers and three self-written tunes. Her choice of covers is interesting to say the least. Most aren't obvious, she picked obscure material including the aforementioned Janis Joplin vehicle, 'Turtle Blues'. Then there's a Lucinda Williams number 'Drunken Angel'. This she interprets by turning it into a tribute to Janis Joplin. Another tune that caught my fancy on this disc, is her own tribute to the late John Lee Hooker, 'From The Delta To The Golden Gate'.
      I'd consider this her solo debut, since her previous release seemed to have been lost somewhere in the shuffle. Viewed in that light it is an impressive first outing and deserves recognition. The professional musicians she gathers around her are first rate. This tends to make the proceeding tight and with their experience they certainly know how to compliment her voice and every mood.

www.barbarablue.com

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	Craig Horton In My Spirit SBad Daddy Records 659428-001-2-21
Review by Brian Augustine

.... The cross-pollination that this artist has experienced between jazz, blues and rock comes together for me on the tune 'Spellbound'. This self-penned number finds Craig blending these influences seamlessly. I hear the subtle smooth jazz approach of Duke Ellington and Count Bassie merge with the rougher hewn Chicago sound of Muddy Waters, Buddy Guy and Otis Rush then the drive of Chuck Berry and the sweet soul of Sam Cooke without any side dominating the other. All the above named artists are musicians with whom he has played over his 40 years in the business.
.... This guy is the type of blues artist we are hearing more and more of, he is the epitome of the long-time sideman coming forward with his own vision. This vision was forged through all his musical relationships that spanned a wide range of styles of expression. The result is you the listener benefit from his creative way of putting all this experience together. Eight of the twelve songs on this CD were written or co-written by Craig, two others were written by either his friends or band members.
From the opening notes he warns you that this will be a different experience. Cut one, 'Chest Pain Blues', is opened by the horn section tuning up. In this off kilter manner, he introduces a little atonality before breaking into a standard blues shuffle. His vocals here, subtly reminds me of B.B. King.
.... Then another number, '3 Days & 3 Nights', starts as a regular sounding jump style, when suddenly we hear a Wes Montgomery-like delicate guitar filigrees. On 'One More Time', he employs a calypso rhythm and a Sam Cooke vocal phrasing. Still another number, 'Cottonwood Tree' has a clipped rhythm that owes its drive as much to the B-3 work of Jimmy Pugh as to Craig's sizzling guitar. 
.... 'Is It True' begins with a Ray Charles like big band arrangement with an R&B feel to the vocal before it breaks into a jazz guitar solo. A spoken introduction lets you know 'Nightclub' is a song about good and evil coexistence. It features a New Orleans honky-tonk piano and guitar with a Rock/B.B. King axis. 
He utilizes this spoken intro again on the traditional Chicago blues number 'Ridin' In My Jaguar' this is a tribute to his now deceased friend Bill Warren with whom he played and co-wrote this song. Noteworthy here is the heavy-handed rock style guitar solo. 'Watch Yourself' is straightforward blues, but it has a quirky feel that is really hard to put your finger on. This is one of the pleasant enigmas of this recording. Everything has a sort of different feel to it that is hard to articulate but definitely there.
.... Not everything on this disc is peaches and cream though. 'Try Me Baby' is a pretty pedestrian number. Not bad, mind you, simply not up to the standard he sets on the rest of the album. The ending cut 'Midnight Shuffle' is an instrumental played behind Craig telling an autobiographical story. Personally, I'd have enjoyed it better if he'd saved his story for the liner notes only, thank-you!
.... Other than these complaints I've got to admit this a damn good album that show this guy was destined to go solo. He has obviously absorbed all he needs in order to succeed. An aside here is this was a San Francisco Bay blues project. Craig now lives in the Bay Area, as do most of the players that help with this effort. This Includes Rusty Zinn who not only contributes some tasty guitar, but is also listed as its producer.

www.baddaddy.com 

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	Liz Mandville Greeson Back In Love Again Earwig Records - CD4949
Review by Brian Augustine

     Wow! Liz has released an album that indicates an enormous amount of growth in a very short period. This CD contains a much richer emotional textures in both her songwriting and vocal performance. The lyrics reflect maturity in how she thinks and conveys these concepts of human involvement and intimacy. On this disc, as on her last, Liz handles most the songwriting cores. The one exception is the title cut 'Back In Love Again'. This was co-written with her old buddy Johnny Drummer. 
     Her voice as always is a strong, crystal clear instrument. On this offering, an increased in natural confidence is demonstrated in her performance. She effortlessly projects a varied tapestry of emotions; the joyous appreciation of having found someone to support her needs 'Soul Tender'. Then there's the despair and disgust in finding your lover loves his booze more than you 'Juice Head Man'. Facing the pain of an impending lost relationship is the subject of, 'Face The Music'. Then the apprehension of reinitiating a new intimate relationship after being burned is the theme of the title cut 'Back In Love Again'. We can all relate with these human foibles. The range of styles utilized, vary from Irma Thomas on some ballads, Koko Taylor on grittier songs, the Pointer Sisters on the steamy, and Rory Block's folksy styling on 'For Real'.
This is a self-assured performance by Liz and it seems to push her supporting cast most of whom played on her last effort, to greater heights. The horn section labeled the 'Chicago Fire Horns' consisting of Bill McFarland, Hank Ford and Kenny Anderson sound as if they have spanish moss hanging off them. It's hard to believe they don't come from south of the Mason/Dixon Line. 
     Allen Batts and Phil Baron again are indispensable to the ambient sound. It's hard to think of some songs without the tinkling piano and fluid organ lines they provide. As an example, on 'Lip Service', Phil plays New Orleans piano triplets that would do Professor Longhair proud. This same cut also includes Liz playing of all things the washboard. Then to continue discussion of different instrumentation on a blues album catch the cello played by Tom Culver on 'The Gift'. This is the above-mentioned Folk/Blues number. Then there's the core ensemble, which consists of Liz on rhythm guitar, Mike Gibb and Mark Wydra sharing lead guitar chores, finally there is Dave Kaye; bass and Twist Turner, drums providing the pulse. They all do a stellar job. 
     There are also guests as well who add to overall appeal of this disc. Check out the jazzy sax line contributed by Sonny Seal on the otherwise slinky Texas R&B number 'The Night Thing' or the harmonica work of the legendary Billy Branch on most of the Chicago blues based numbers 'Juice Head Man' and 'Johnny and Me'. He also lends his hand to the Louisiana style title tune 'Back In Love Again'.
     Overall in my judgement this CD represents a quantum leap forward for an obviously talented singer and songwriter. Her songs show an increased ability to be sharp, clear and build sensitive snapshots that relate to the universality common in the human condition. It also reflects her as the prolific writer she obviously is. Her singing also demonstrates the ability to project the emotions she writes about. And finally, she proves capable of motivating fellow musicians and taking them where she wants to go.

www.lizmandvillegreeson.com 
www.earwigrecords.com 

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	Sean Costello Sean Costello BTone-Cool/Artemis Records TCL-CD-51576
Review by Brian Augustine

.....This self-titled, fourth solo effort by Sean, is his first for his new major label, 'Tone-Cool/Artemis' and represents a major change in direction for him. This young Atlanta based artist sallied forth to the "Big Apple", New York City and used a bevy of heavy-weight session players and touted New York producer (Steve Rosenthal, Lou Reed, Rolling Stones, Freedy Johnston) in order to record a Memphis style CD. He used this opportunity to stretch out a bit, there is very little to hint at his Chicago blues proclivities that were so prevalent on his previous releases. 
..... What first struck me even on first listening, is that plunked down in the middle of these Memphis style arrangements it was how uncanny how much Sean's voice resembled the late and underrated Eddie Hinton. The second thing I noticed was his economy of playing. You're not going to find gratuitous guitar solos here. His playing owes more to Steve Cropper (Booker T & The MG's; Stax/Volt House Band) and Robert Ward more than any of the blues guitar Gods.
..... To me the most interesting cut on the album is his version of Bob Dylan's 'Simple Twist Of Fate'. I've never heard it more soulfully rendered with a guitar solo so pleadingly real. Other highlights, of which there are plenty, include the self-penned opener 'No Half Steppin', the sequential arrangement Robert Ward tune 'Peace Of Mind' and the vulnerable ballad that he wrote 'All I Can Do'. In all, Sean had a hand in writing six of the thirteen songs on the CD. The covers he picks are not really well known, so they're easily mistaken for originals. An example of this is the duet he does with Amy Helm (Levon Helm's daughter) on Junior Watson's 'I Get A Feeling'.
..... As I mentioned above he's employed some of the top New York musicians to accompany him on the recording. They include, Steve Jordan and Levon Helms, drums, Willie weeks, bass and Glenn Patscha, keyboards. In all, a pretty impressive crew, although they aren't Memphis. Irregardless of that fact it sounds authentic.
.....This then is an album that puts the blues world on notice, Sean Costello is more than the sum of his parts!

www.seancostello.com 
www.tonecool.com 

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	John Hammond In Your Arms Again Back Porch Records - 70876-18987-2-9
Review by Brian Augustine

.... John, after his award winning outing with Tom Waits produced and written Wicked Grin and his own fully produced soulful R&B follow-up, comes out with a traditional and minimalist blues album. Hence the title In Your Arms Again, for it certainly is a return to his roots. It would seem the arms of which he speaks is the traditional stripped down blues. With this CD, he reclaims his status as a premiere interpreter of the traditional country blues sty lings.
.... This album consists of mostly covers from the likes of Chester 'Howlin' Wolf' Burnett, Ray Charles, John Lee Hooker, Charles Brown and Bob Dylan. These sources are surely eclectic, but regardless, different each of these contributors music is. John gives each song his own county blues arrangement. Sometimes it has the picking, strumming style of Piedmont Blues as in 'Come To Find Out' or the swampy Louisiana feel in 'Fool For You', but throughout this song cycle. he stays down-home south. One of the two originals tunes in this song stack, is the variation on the album's title, 'I'll Be In Your Arms Again', which is done as a delta shuffle that is centered around John's slide and harmonica.
.... He achieves a homey atmosphere on this disc primarily through his stripped down arrangements. Most of the tunes presented here feature just his plaintive edgy vocals, harmonica, guitar and drums. Due to the CD's stripped down nature, the recordings success is dependent upon John's performances which are front and center throughout. On this front John proves his agility both instrumentally and vocally in a stark way without any camouflage.

www.backporchrecords.com 

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	David Jacob-Strain Ocean Or A Teardrop Northern Blues Records - NBM0024
Review by Brian Augustine

.....This youngster (21 years old), uses American roots music as his starting point, but definitely branches out from there. His own material is more akin to John Mellencamp than '"Mississippi' Fred McDowell, in that it has a blues/rock/folk/worldbeat flavoring. The definite influences seem almost equal parts, heartland rock, blues, and worldbeat rhythms. This stew has a distinct intellectual overlay that seems to culminate on the disc closer, the seemingly autobiographical tune 'Illinois'. The only deep blues sounding tunes on the disc are those covers taken from old time bluesman. 
.....He starts this recording out with a very bluesy reading of the Fred McDowell classic 'Kokomo Blues'. His voice is deep and resonant sounding, older sounding than his years. He it ends with the layered self-penned folk/rock number 'Illinois'. In fact he wrote seven of the ten songs presented on the disc. These self-penned numbers can be characterized as melodically following a folk/rock path with intelligent and insightful lyrics.
.....Overall, it's essentially a stripped down affair, with sparse arrangements that tend to accentuate David's accomplished guitar playing. He demonstrates his mastery of many styles including slide, 12-string acoustic picking and angular, lean blues/rock chording. David's prowess shows he is very likely the most gifted guitarist to hit the grooves since Kenny Wayne Shepherd or Derek Trucks. His vocals are as effective and authentic as Trucks as well. Although, on this disc David varies his approach over the course of the recordings song cycle, where Trucks tends to maintain a stylistic continuity, changing his approach stylistically from disc to disc.
.....David does have help on this CD from veteran bassist Ken Passarelli, who also doubles as producer, Kendrick Freeman is most often the drummer. Kendrick also adds other percussions and some B-3 to the mix. When he's not drumming the chore is handled by Mark Clark. Other assistance of note was rendered by Joe Craven who adds tasty fiddle on 'Ocean Or A Teardrop', and mandolin on 'Take My Chances'. Another stunning performance was delivered by vocalist Ann Weiss with both her duets and back-up vocal roles.
..... This CD definitely demonstrates that David is a talent to be reckoned with and could become a lasting recording artist and a major star in the future if he gets the right breaks.

www.northernblues.com 

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	Janiva Magness Bury Him At The Crossroads Northern Blues Records - CDNBM0022
Review by Brian Augustine

.....If you can imagine Rory Block singing in a Tom Waits style, well you got an idea of this CD's opener 'A Woman Knows'. This is Janiva's Magness, an L.A. based artist, sixth CD and it seems Rory Block is a pervasive influence. Janiva has a naturally strong, powerful voice and enunciates her words, but still maintains an obvious and distinct blues vocal modulation. As with Rory Block, this gives her blues a distinct folk flavor.
.....Adding to this folksy feel, better than half the album is populated with sparse acoustic arrangements. Even the soulful 'The Soul Of A Man' with its gospel embellishments can't get away from that hint of folk. I must emphasize this ain't meant as a negative critique. What this approach does is breathe freshness into what might otherwise be some otherwise pretty staid material. This is especially true on the stripped down 'Wasn't That Enough'.
.....This is not to say the album doesn't have variety. She does switch things up. There's a jazzy nod, with a honking sax and Tom Waits style vocal on 'A Woman Knows'. Then there's the downright dirty blues of 'Everything Gonna Be Alright' and the raunchy feel of 'Eat The Lunch You Brought'. On these more elaborately arranged numbers she gets the most out of her sidemen. These supporting players include guitarist, back-up vocalist and producer Colin Linden; bass, sax and banjo player Jeff Thurmes; keyboardist Richard Bell and finally drummer Stephen Hodges.
.....Her material comes from a diverse lot of sources, including a couple from her band mates Colin Linden and three from Jeff Thurmes. The most famous songwriters to contribute songs are Delbert McClinton and J.B. Lenoir. Even though she hasn't written a one of these songs presented on this recording, after you've given this disc a listen, it will be hard to imagine anyone else doing these tunes, she does make them her own.
.....Even though last year she was nominated for 'Best Contemporary Female Blues Artist' at the W.C.Handy Awards, she still has not become all that well known and that's a pity. I consider Janiva to be one of the bright new lights as a singer. This her latest offering, will likely rank right up near the top of many peoples 'best of' lists at the end of the year, if they like their blues folk tinged.

www.janivamagness.com 
www.northernblues.com 

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	Pinetop Perkins Ladies Man M.C. Records
Review by Brian Augustine

.....This title aptly describes the emphasis of this recording by the 91 year old master blues pianist. On this disc you'll find some of best and most reowned women currently playing and singing the blues joining him. Mostly, it's these women who provide vocal support, but in one instance with Marcia Ball, the tune is an instrumental keyboard duet. On another two cuts, Pinetop, regardless of his advanced years, provides vocals himself. 
..... The women who appear with Pinetop include such oldtime standard bearers such as, Odetta and Ruth Brown. On the other hand, their also are youngsters such as the up and comers, Deborah Coleman and Susan Tedeschi. As for sidemen providing their musical skills in support of Pinetop and his guests on this disc it is a crowded field. Each song in this CD's song cycle seems to have a different band playing with Pinetop, even though there is some overlap in players, Pinetop is the only constant. It doesn't seem to matter to Pinetop, over his long career he's played with most of these people before. The list includes other Muddy Water stalwarts, such as Willie 'Big Eyes' Smith, all the way to New York sessions regular Jimmy Vivino.
..... The material, although much of it not necessarily tunes associated with Pinetop, are all pretty familiar fair. It seems the women guest were allowed to pick the material they'd be recording with him. This is another demonstration of Pinetop's confidence in his skill and talent. One of my favorites is the Susan Tedeschi collaboration, the old 'Ivory Joe' Hunter tune 'Since I Lost My Baby'. Another highlight is the above mentioned piano duet with Marcia Ball on Pinetop's signature tune 'Pinetop's New Boogie Woogie'. In all this disc shows definitively, that age need not slow us down, he's a great example to us all!

www.pinetopperkins.com 
www.mc-records.com 

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	Michael Powers Onyx Roots Baryon Records BYN002
Review by Brian Augustine

     Michael seems a bit irritated by all the attention given to him as a newcomer, after all it was his guitar you heard on the mid-60's hit by the AdLibs 'Boy From NYC'. This New York guitarist then went on to a popular 1970's regional band, the 'Moonbeams' that produced such musicians as Steve Jordan, New York's most popular session drummer. On this album, Steve hooks up once again with Michael. Another top-notch player joining Michael's band is bassist Neil Jason (Eric Gales;David Sanborn). All three of these guys have proven themselves in diverse settings. And that's really a good thing, this album's song cycle jumps stylistically all over the place.
     The disc opens with 'Successful Son' that features a complex Fleetwood Mac rhythm intro, it then ranges through the Latin influenced 'Baby's Got A Train' on to the Spanish/Middle Eastern influenced 'Night In Madrid'. This last mentioned cut, is an instrumental that opens with a drum intro that reminds me of the 'Stones' 'Sympathy For The Devil'. In between these numbers there are forays into other diverse area's, Willie Dixon's 'Can't Quit You Baby' that conjures up the ghost of John Lee Hooker, a syncopated R&B styled version of Doug Sahm's 'She's About A Mover' and some down home country blues with Muddy Water's 'Country Boy'. There's even a cover of Leonard Cohen's, 'Bird On A Wire' followed by the old psychedelic classic 'Psychotic Reaction'. The unique take on these last two numbers, Michael uses a soulful approach and arrangement. This seems to work well for the former tune, but loses the manic edge of the latters original version. Michael's vocals are of the smooth, yet raspy variety exemplified by Bob Seger. This approach is most effective on the ballads and rockers and least useful (though servicable) on the bluesier material.
     Of the thirteen songs presented on this CD, seven are covers and the other six are self-penned originals, including the discs two instrumentals. One thing to note is that, he uses his mother's maiden name for his songwriting credits. 
There is definitely a professional production sheen to the recording. This would the product of Steve Rosenthal's ear (Lou Reed; Freedy Johnston) and the New York contingent of sessions aces utilized as extra help. This includes Jimi Zhivago on keyboards and Glen Patscha on piano. There are also two back-up singers Amy Helm (Levon Helm's daughter) and Fiona McBain that currently seem to be, two of the most sought after in that role on the east coast.
     This certainly seems destined to be a CD that will be a must for those listeners who are adventurous and want to see how the blues might expand from it's traditional base. It is the blues, kinda', but it's also something new and different and you have to appreciate the risks Michael took in recording this different kind of offering. After all regardless of his protestation and feeling of being a journeyman, which he is, it's still his solo debut.

www.michaelpowersfrequency.com 
www.baryonrecords.com 

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	Tom Rigney A Blue Thing Parhelion Records CD50015
Review by Brian Augustine

.....Tom Rigney is certainly one well rounded musician, he started his professional career in a Country Western swing band that gained some renown, 'Back In The Saddle' (Three Bammies). This was before taking up with the premiere Bay Area Cajun/Zydeco aggregation Queen Ida And The Bon Temp Zydeco Band. When this affiliation ended he formed his own highly regarded band The Sun Dogs. This was a Cajun/Zydeco/Roots band that gained a rabid following in their home base, which of course was the San Francisco Bay Area. 
..... With all that diverse history it's not realistic to expect that Tom would confine himself strictly to the blues. Those who would expect an eclectic outing and relish it will be greatly rewarded with Tom's latest solo outing. This CD is an Americana Roots album. He puts forth such an effort that this disc rivals the heyday of the king of all Americana bands, 'The Band'. 
..... Tom covers the country Blues of Clarence 'Gatemouth' Brown's 'Gate's On The Heat', and gives it a full sound, including horns. Then he turns his attention to the traditional sounds of New Orleans 'House Of The Rising Sun' and does this perenial as a loney song of longing. The blues rock of, "Baby Please Don't Go" turns into a shuffle with Roy Rogers vocals gracing only the closing stanza. A tip of the hat to swing is represented by 'That Nasty Swing', ragtime is acknowledged with W.C.Handy's 'St.Louis Blues' with an added tango flavor, then finally a nod to country with a rendition of the Johnny Cash vehicle 'Big River Blues". These are all covers that in some way pay tribute to people who have contributed through their influence to his sound. Tom's sources of influence include, Clarence 'Gatemouth' Brown, Papa John Creach, and David LaFlamme, all fiddlers of extrodinary talent who refused to be pidgeon holed.
..... Then comes his originals, represented by five tunes on this disc of thirteen. These range from the Cajun flavored 'Gator Boy' to the country blues of 'Lunch With Satan's Grandma', where Tom's fiddle is backed up by a honky tonk piano. 'Blow Away My Blues' is a country blues pickin' number with guest Roy Rogers, while the succeeding cut 'The Blues Hour' is a fiddle driven tune with a vauge latin rhythm and hint of Santana-like guitar as accent. The last self penned song 'Hold Me Tight', is a languid tune of longing that would have fit perfectly on guest harmonica player Norton Buffalo's 1970's classic album Lovin' In The Valley Of The Moon. 
..... In all, even counting the closing vocals on 'Baby Please Don't Go' ,only four of thirteen cuts have vocals. The other nine tunes are all instrumentals, but the diverse approach taken to the arrangements is the perfect antidote against boredom. 
Playing with Tom on this release are the royalty of the Bay Area Blues scene. They include Keven Hayes (Robert Cray) on drums, Steve Evans Bass on most selections and along the way guest such as Roy Rogers, Norton Buffalo, Danny Caron, Bob Brozman and Anthony Paule join in. Tom is listed as producer and does a creditable job. He kept the recording a homegrown affair as well, using studios in Berkeley and Walnut Creek, California.
..... Let's hope the star power of Tom's guests helps this album gain the recognition it so justly deserves.

www.rigomania.com 

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	Paul Reddick Villanelle Northernblues
Review by Brian Augustine

...  This is one of the top roots, folk/rock, blues recordings I've come across this year. It's characterized by a creative approach to the tried and true, Americana musical format. Think, 'J.J. Cale, The Band, John Mellencamp or Ry Cooder when you try to comprehend what this CD is all about. You can also expect the same excellent musicianship those artists infer when listen to this disc.
...  If I were going to pick one of the above artists that most epitomize this recording, it would have to be J.J. Cale. It has that same relaxed southern atmospherics and Paul Reddick's vocals have a similar tonality. Paul's also responsible for harmonica, which throughout this disc maintains a homey, even swampy feeling, indicative of Louisiana surroundings where it was recorded. The other main man on this project is producer, guitarist, bassist and harmony vocalist, Colin Linden. On the bottom they use a veritable revolving door of drummers, percussionists and bassists. All of these players equit themselves well.
...  All the songs were written by either Paul Riddick, Colin Lindon or a combination of both men. This collaboration was so close that without the credits it's difficult to determine where one man's ideas begin or the other's left off. This type of symbiotic connection between musicians in the roots Americana field of music hasn't been heard since the break-up of the 'Band'. 
...  It's not clear where these guys hail from, but judging by their music they've sprung fully grown from the loins of the deep south and it feels good.

www.thesidemen.com 
www.northernblues.com 

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	Ron Thompson & His Resistors Still Resisting Poore Boy Records RT6158
Review by Brian Augustine

     This is the latest effort by maybe, the most underated slide guitarist in the world. Oh yes, there are other slide players as good, but their skills are recognized. Ron though is the Rodney Dangerfield of slide guitarists, "he just can't seem to get no respect." This CD acts in essence as a complilation album for Ron's entire solo career since leaving John Lee Hooker in 1980. Consequently, the range of material is expansive and often has the feeling of a sampler. Nevertheless, the sequencing of the songs gives enough cohesion for it to seem like a project rather than just a slap-dash affair. 
     Since this CD covers quite a period of time, his band the Resistors, mostly consisting of a trio of Ron on guitar, along with a bassist and drummer is a revolving roster of sidemen. The liner notes don't offer credits, so other than Ron on guitar, rack harmonica and vocals I can't make any other attributions. Ron's tenor vocals ranges from clear and tender, to manic, to muddy and soulful. His guitar playing is sometimes searing, rollicking, rhythmic and yearning. On the harmonica he must be channeling the ghost of Jimmy Reed.
     The repertoire contains four originals and eight covers. Ron and his cohorts wade through raucous rock grooves, '13 Women', 'I'm Shakin', rockabilly 'Nervous Breakdown', romping uptempo blues 'Looking For Trouble' and 'Hip Shake'. One of my personal favorites on thisa disc is Jimmy Reed's 'Honest I Do' this is one of best renditions I've heard since the original. He includes two instrumentals on the CD, one a self penned, driving slide number 'Monkey Fiddle', where he also does some double pickin'. The other the traditional 'Swing Down Chariot', again featuring the slide guitar and arranged so originally it's hard to recognize. 
     This is a great primer to introduce one of the most underrated guitarists extant recording today.

www.rtblues.com

	Eddie Turner Rise Northern Blues Records NBM0027
Review by Brian Augustine

..  Eddie Turner from the outset of this disc shows he has a unique vision of the blues that's hard to categorize. I'm thinking of a plethora of 60's R&B artists, the Impressions, Major Lance, that whole early 60's R&B scene. Of course Jimi Hendrix factors in, then he does some jazzy chord changes and makes me flash on Bill Withers and Bobby Womack. This all might be natural like the best of them, a factor of culture and experience. Eddie is of Afro-Cuban descent, migrating to Chicago as a youth. Then as a rebellious young man he joined a number of rock bands out of Colorado. This was mainly with Tommy Bolin fronted bands. This of course gave Eddie a grounding in Psychedelia. The sudden death of a close friend saw him dropped temporarily out of music. Eddie re-entered the music scene with another Denver music scene denizen Otis Taylor, who's raw and Holy Roller gospelish approach to Blues was a revelation to him and influence we see incorporated on this his debut solo disc.
      The CD opens with martial drumming that gives way to a funky guitar line and echoy vocals and ultimately a duet with Anna Givens in this gospel number and title cut 'Rise'. Eddie in fact had a hand in writing nine of the twelve songs on this recording. Many of these originals have a distinct religious feel to them, like the title cut and 'Sin'. This minimalist tendency is contrasted neatly with his ethereal cover of Jimi Hendrix's 'The Wind Cries Mary' and the Ten Years After 'Resurrection', which combines his spiritual and progressive rock tendencies.
      This is not to say that traditional style blues don't get their share of time here, Johnny 'Guitar' Watson's classic 'Gangster Of Love', and the Freddie King number 'Play It Cool', as well as the Elmore James-like 'The River', are adequate proof of Eddie's Blues credentials . The thing he's more than the sum of his parts, there is funk in 'Confusion, Illusion' and breathy rock in the closer 'Secret'.
      I guess the essence is, this is an album that rightfully can claim it is staking out new Blues territory. Like or not, and I do, this is different, and it is the Blues.

www.eddieturnermusic.com 
www.northernblues.com 

	Watermelon Slim Up Close And Personal Southern Group Records - SGR-1003
Review by Brian Augustine

..  This most certainly is a stripped down affair, mostly just Slim singing and playing his instrument. Why I don't specify a certain instrument is because, he varies that. Mostly he plays his National Steel Guitar, but he changes it up, sometimes using a Lap Steel, then harmonica and even an African instrument, called a Kalimba. 
..  Making comparisons of the this discs tone to something that the listener might relate brings up the acoustic deep blues, similar to the efforts of legends such as Son House, Lightnin' Hopkins and 'Mississippi' Fred McDowell. This certainly is a down-home earthy recording that could be said to be minimalist. The one tune that bucks this trend is the African influenced 'Bridgebuilder', where he uses the Kalimba. This cut has a strange timeless ethereal feel.
..  Of the eighteen cuts on this disc Watermelon is credited with writing fourteen. The four covers are from bluesmasters that are the inspiration for this recording. Sonny Boy Williamson contributes 'I Don't Care No More', Chester Burnett's (Howlin' Wolf') 'Smokestack Lightnin', Muddy Water's 'Two Trains Runnin' and Mississippi Fred McDowell's 'Highway 61'. The remainders are originals that deal mainly with the consequences of mistakes made, aging and the plight of the working man and the decisions he has to make in order to survive. Heady stuff and he addresses it with uncompromising honesty.
In fact this is an album that is brutally honest, but shows the depth of this mans examination of his own life. It demonstrates a brave willingness to express himself openly. This CD definitely deserves wide exposure, whether it gets or not remains to be seen.

www.watermelonslim.com 
www.southernrecords.com