Keepin' it alive for the future.

	Marcia Ball Live!: Down The Road Alligator
Review by Brian Augustine

     This has got to be one of the best live albums in years, and it has a local Northern California angle, it was recorded at the, Sierra Nevada Brewing Company in Chico California in September 2004. 
If you like Marcia Ball, this CD is a must, it's got crisply recorded and Marcia and her usual gang infuse energy into each and every tune. Then you have a real natural inter-song banter that the way it was recorded it makes you feel as if you're right there. In fact that energy is so high, that even though you've heard her do most of these tunes before, they take on a freshness real fresh feel on this take. 
     The mix is clear and balanced, none of that muddy sound that you have to sometimes have to tolerate on live recordings. As for the material she cherry picks from all of her recordings that go back to her early career 'La Ti Da', through the title cut 'Down The Road', then to be more recent 'Louella'.
     In fact this discs song cycle, includes six of Marcia's own compositions and seven covers. Her own material bears testimony to her songwriting skills. These songs are some of her best known material like 'Big Shot', 'The Right Tool For The Job' and 'That's Enough Of That Stuff'. Marcia also co-wrote 'No Ordinary Woman' with percussionist Freebo, it appears here on this disc for the first time anywhere.
     The covers include five songs that she has recorded before, but another two are presented here for the first time. These are, Duke Robillard's 'Just Kiss Me' and Bell and Jones 'Every Day Will Be Like A Holiday'. So you can see on this CD, you have something old, something new, something borrowed and it's all the blues.
     Along with her road tested band that includes, the extrodinary Pat Boyack on guitar and a horn section. She's joined for a duet on one cut, 'It Hurts To Be In Love' by one of her old Austin cronies, that has now relocated to Northern California, Angela Strehli. That reunion is one of this recordings highlights, another is a smokin' rendition of Randy Newman's 'Louisiana 1927'. Then again with her Zydeco tinged, swampy, Louisiana, Texas blends, there isn't much not to like about this release.      This album is a true keeper and one that will be taking many a spin in my player in the coming months.

www.marciaball.com
www.alligator.com

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	Tab Benoit Fever On The Bayou Telarc Records - CD-83622
Review by Brian Augustine

     Tab's last release, Sea Saint Sessions, was a sparse downhome affair, that made you feel as if you were on a Louisiana back porch listening to some friends jam. This disc continues with that southern flavor, but this time out, the recording is a bit more produced and arranged, but not much more. Tab has earned himself a niche as the leading contemporary exponent of New Orleans and Louisiana swamp blues. This recording only enhances that reputation. Presented on this recording are prominent second-line rhythms, 'Lost In Your Lovin', a Mardi Gras marching chant, 'Golden Crown, and swamp boogie, 'My Buckets Got A Hole In It'. This continues that down home feel while at the same time showing a solid progression from his previous efforts. 
     Although, he retains pretty much all the usual suspects that assisted him on his recordings in the past, Carl Defrene on bass, Daryl White on drums with guests Cyril Neville, percussions and vocals and 'Big Chief' Monk Boudreaux on vocals. He also adds Jimmy Carpenter on sax. These guest certainly add to the richer flavor this CD offers.
     Tab is responsible for three of the CD's cuts , the strident 'Night Train', the cajun rocking title cut 'Fever On The Bayou', and the second-line mid-tempo rocker 'Lost In Your Lovin'. His guests also contributed to the song cycle, as you might guess, the Mardi Gras march number 'Golden Crown' is the product of the 'Big Chief''s, while Cyril Neville lends two compositions, the rich R&B tune 'Little Girl' and he co-wrote 'The Blues Is Here To Stay' with Norman Ceasar and Taj Mahal. The remaining five songs are from standard bearers, such as Buddy Guy's 'I Smell A Rat', Elmore James' 'I Can't Hold Out' and then some lesser lights. One of the highlights I've not yet mentioned is the Credence Clearwater Revival styled chooglin number, written by Henry Glover and Levon Helm, 'Blues So Bad'. The pure exuberance emanating from the grooves is magic and worth the price of admission alone.
     This then is a worthy successor to his previous work and solidifies him in his already established niche as king of Louisiana blues. It's more calculated than the last effort, but that effect on the sense of spontaniety is minimal and made up for in the disc's listenability.

www.tabbenoit.com
www.telarc.com

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	Tommy Castro Soul Shaker Blind Pig Records - BPCD5094
Review by Brian Augustine

     This is the latest edition from the, most well known exponent of West Coast Rock'n'Soul, and it's a good one. It has Tommy's riveting proto-typical slashing guitar and the gutbucket vocals you've grown to expect. The difference with this disc, is that it owes as much to Bruce Springsteen and 'Southside Johnny and the Asbury Jukes', as it does to Otis Redding and Wilson Pickett for inspiration. That is, if the Jukes, or E-Street band possessed a slashing guitarist of Tommy's talent. 
This East Coast Rock'n'Soul comparison is never stronger than when the sax man breaks into a solo. At first, I thought they'd enlisted the 'Big Man' himself, Clarence Clemmons. A quick check of credits changed my mind, it lists that this blowing was the work of Keith Crossan, known to most of us for his work with Tommy and Robert Cray. 
     This shift in approach should keep Tommy from being type cast, as just another Stax/Volt influenced soul rocker. Of course, this isn't to the extent you can't find Memphis Soul on this album. You'll find the aforementioned Stax/Volt influence on some numbers. You'll also find some Texas blues/rock on the title cut 'Soul Shaker', some 50's styled R&B, a'la Johnny Otis' 'Take Me Off The Road', also a Johnny Heartman, informed summery flute blues shuffles 'The Crossanova'. and of course some James Brown inspired Funk 'The Next Right Thing'. Then there's the Bluesiest number on this album, the closer 'Big Love'. 
     This is the first album of brand new material from Tommy in four years. Not only are all these songs new, he also had a hand in writing all of them, most with other band members, or his co-producer Kevan Bowe. In fact, he shares co-producer credits, with the aforementioned, Kevan Bowe. The production itself is clean, but an edge to the music is maintained. This is accomplished by the clever sequencing of songs and placing a burst of energy through instrumental solos at strategic moments.
     He has the usual suspects playing with him, Randy McDonald bass and vocals, Chris Sandoval drums and percussions, while the above mentioned Keith Crossan handles sax and flute. Some impressive guests join him on this disc as well, notably Jimmy Pugh (Robert Cray) on keyboards, Roy Rogers adds his slide guitar to the title number 'Soul Shaker', and Tom Poole spices things up with his trumpet and Flugelhorn.
     If the main thing here, is to bring out an album that appeals to his fan base, gains him new converts and prevents him from being typecast as the next Rockin' Soul savior, then he has succeeded admirably.

www.tcband.com
www.blindpigrecords.com

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	Otis Clay Respect Yourself Blind Pig Records - BPCD5095
Review by Brian Augustine

.....Here we have a live recording to rival the classic of Otis Redding on his In Person At The Whiskey 'A' Go Go, this is soul to go. This was recorded live at the Lucerne Blues Festival in Switzerland by Otis, who is a legendary figure in soul music in Europe and one of it's remaining elders to many in Europe and America.. 
..... Now 63, he was raised and matured through the traditional style of the early soul singers. First you come out of a family with a Gospel background and then graduate into the ranks of professional Gospel groups. Then you are talked into singing secular Soul music. This is exactly the path Otis took. Otis Clay is known for recording some revered sessions for Chicago's One-Derful Records and then Muscle Shoals and finally Willie Mitchell's Hi Studios.
.....More recently, Otis has been splitting his time between the secular and spiritual musical worlds. This live set from Lucerne Switzerland Blues Festival, reflect both these interests, but mostly the secular. Not being a songwriter all these tunes are covers and he chooses his material well,. We have traditional tunes like 'You're The One', and on the more Gospel side, a medley of 'Amen/This Little Light Of Mine' are coupled with songs from Ronnie Lovejoy's 'Sho Wasn't Enough', Al Green's 'Love And Happiness', Kris Kristofferson's, 'For The Good Times' and Mac Rice's tune and Pop Staples signature song 'Respect Yourself' that closes his set. All of these tunes feed into Otis's emotionally charged, Gospel educated and fueled Soul attack.
..... When I compare Soul singers, other than the obvious one, Otis Redding, I also have to match him against some of my favorites, O.V. Wright, James Carr, Solomon Burke, Garnet Mimms and Wilson Pickett. When he opens his set on 'Respect Yourself', an early Chicago contemporary, Major Lance, comes to mind. Then he switches and drops the pop affectations and comes across, as a synthesis between James Carr and O.V. Wright's deep soul.
.....Otis's backing band and singers are simpatico and seem to him and intuitively follow his every lead, providing a full sound. 'Hollywood Scott's' guitar is ever tasteful, Joewaun Scott's, bass, is an anchor, Edmund Farr's drums are in a groove and his help on defense unquestioned.. Benny Brown's keyboards swirl and add accent while the horn section of, Darryl Thompson and Fred Johnson add muscle to tunes like, "When Hearts Grow Cold", "Nickel And A Nail" and "Love And Happiness" and flavor. 
.....Back-up singers Theresa Davis and Dianne Madison clearly have their roles down pat. The only guest here is Sharrie Williams who joins Otis for a duet on his Gospel medley. 
.....Although this won't take the place of Otis's, Hi Studio sessions, which remain the peak of his recording career, they certainly make a handsome bookend for Otis Clay's recent recording.

www.blindpigrecords.com

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	Coastline Sweet 'N' Ripe Landslide Records LDCD-1031
Review by Brian Augustine

     Here we have a regionally popular North Carolina based band who are through their constant playing, (reputedly more than 300 gigs a year), have mastered all the permutations of southern, Soul Rock and R&B. This includes the Allman Brothers guitar intro to 'How You Gonna Know?'. Wow, this band knows it's turf!
     The band was formed some thirteen years ago and the natural ease of their musical interactions, is the outgrowth of a long association. This is their second album length feature together but their first for Landslide Records. This is an imprint with national distribution, which the first release did not receive. On this disc, it doesn't seem that they do anything that would undermine their fan base and with the increased exposure, are likely to expand that audience.
     This CD contains eight original compositions, all from band members, and six covers among it's song stack of fourteen. These covers include a couple from Allen Toussaint numbers 'Tears, Tears And More Tears' and, titled here, 'Play Something Sweet', elsewhere the same song goes by 'Brickyard Blues'. These tunes are given the appropriate New Orleans style second line rhythms. 
     With Hank Ballard's 'Sweet Mama Do Right' the band employs a honky Tonk piano, while Jimmy Reed's 'I'm Nervous' gets a Chicago like Shuffle. Joe Tex's 'I've Got To Do A Little Bit Better' has a southern soulful treatment and Roy Brown's 'Love Don't Love Nobody' gets a Louisiana swamp arrangement.
     On their own material, they stay with solid, soulful R&B, even the Funk 'Chesapeake Bay' approaches. But they go a bit farther afield adding some Caribbean florishes to 'Take That Picture' and 'Hold It Down'. Latin flavors appear on 'Old Flame' and Gospel on 'Turn Myself In'. All these tunes feature prominent horn charts, especially, sax played by band members, Steve Thorne and Glen Tippett. They are supplemented by guests Keith Stone on trumpet and Craig Woodard with additional sax. 
This is not to say that Casey Meyer (Guitar), Jim Quick (Keyboards), Sam Bryant (Drums) or Robby Hiegler (Bass) don't have a vital role. In fact, this is very much an ensemble recording. Keyboardist Jim Quick also doubles as lead vocalist and contributes harmonica. His voice seems to be a cross between Delbert McClinton and Phil Alvin in his Blaster days. Jim tends to accent this songs dependent on what that particular song warrants. An example of this being, 'Old Flame' he has a decidedly Delbert McClinton feel, then it seems a Phil Alvin approach is used on 'I'm Nervous'. 
     This album with it's national exposure should garner this hard working band a brand new following, while at the same time maintaining their old fans. This major distribution should get them exposure that should lead to more gigs even farther afield. Good luck guys!

www.thecoastlineband.com

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	Kirk Fletcher Shades Of Blue Delta Groove Records - DBRCD101
Review by Brian Augustine

     So here we have the solo debut of one of the L.A. scene's most accomplished and sought after guitarists. It's another in the recent spate of releases designed to showcase fast rising studio aces. Attesting to this young players credentials (he's only 27 years old and was most recently chosen as guitarist for the reformed Fabulous Thunderbirds, is Kim Wilson, who also plays with him on this CD. Kirk's credits also include such luminaries as, Charlie Musselwhite and other L.A. pros like Al Blake, Lynwood Slim and Junior Watson. He learned his craft well playing with the cream of the west coast blues scene.
The reason he's a favorite with many of these titans of the harmonica, might have something to do with his light and delicate touch on guitar. This may the reason he is often picked over his other talented contemporaries. Many of these young up and comers are heavier handed and masters of pyrotechnics and flash, such as Shawn Pittman, Albert Cummings and Albert Castiglia. Kirk on the other hand can drop in a delicate jazz arpeggio, or staccato burst at just the right moment almost by instinct. Or he can play with a muscular tense power, yet that line does not overwhelm the flow of the song. 
     Most of this album consists of other peoples compositions. Only the jazzy instrumental opener 'Blues For Boo Boo' is self penned. There are also two other instrumentals the classic Booker T and the M.G.'s vehicle 'Hip Hug Her' and the harmonica driven Kim Wilson (duh!) number 'Club Zanzibar' which is reprised again towards the end of the album. The rest of this epic (there are17 total cuts) are a mish mash. You have another guest Finas Tasby contributing his own 'Worried Man Blues'. After that, you get pretty traditional collection of songs from Eddy Taylor, Jimmy Dawkins and Willie Dixon. Other than a few numbers, this album is more about showcasing this unique guitarist's talents.
     In terms of players this is pretty much an ensemble effort, Kirk is responsible for all lead guitar, Ted Young all keyboards, Jeff Turmes or Ronnie James Weber sharing bass and Kenny Sara and Richard 'Big Foot' Innes taking turns on drums. The changes seem to occur mostly with a series of guest vocalists taking turns these feature Kim wilson (Vocals and harmonica) on six cuts, Finas Tasby (vocals) on four and Janvia Magness singing on five songs.
     My personal favorites among this collection is the down home swamp number 'Country Girl', the honky-tonk tune 'Down Home Woman ', the cover of Booker T and the MG's' 'Hip Hug Her', and finally, the reprise of Kim Wilson's 'Club Zanzibar'. These songs are the stand outs from a generally appealing set.
     This effort represents a good introduction to a guitarist that you've probably already heard immersed in the mix of other recordings but didn't know it. Hopefully, now you'll hear him front and center on more of his own offerings in the future and know who he is.

www.deltagrooveproductions.com

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	Jesse Mae Hemphill Get Right Blues Inside Sounds ISC-0519
Review by Brian Augustine

     From the very first listening, this recording struck me as even rawer than those of R.L. Burnside or Junior Kimbrough in their earliest Fat Possum Records incarnations. The playing is sloppy, but energetic, her singing is brittle, scratchy and spoken in mumbles, with unpredictably strong bursts. Altogether, everything about this disc is elemental and childishly simple when first heard.
     On the other hand, there is so much kinetic energy and the grooves are so hypnotic, it pulls the listener right in, as if by instinct. This is North Mississippi, juke joint, hill blues at its most primitive. As if to extenuate this point, she uses a 'diddley bow' on 'Take Me Home With you Baby', an 'ankle bell (purchased at a Choctaw Pow-Wow) on 'Shake Your Booty (Shake It Baby)' and a 'foot tambourine' on three cuts. She even uses a 'hat box' as a percussion instrument on another cut.
Almost half the songs on this cycle are solo performances, the rest include only a small token contingent of musicians, mostly friends who augmented her music to make it bigger. The most frequent of these helpers is the guy who was with her at her beginning, Compton Jones. He provides his vocals on a duet on 'Little Rooster Reel'. He then contributes vocals again and 'diddley bow' that adds fullness to another tune. You get the point, this is real down home music and represents the style that has earned Jesse a worldwide cult following.
     Jessie Mae didn't start recording until 1979, when she was 39. Then she was laid up by a major stroke in 1993. This CD contains material mined over the course of her career, but most of it is being presented here for the first time, her first recording since her health disaster. She wrote eleven of the fifteen cuts and several of these are alternate takes of her signature songs. You'll find titles such as 'Streamline Train' (a take-off on 'Mystery Train'), 'Cowgirl Blues' the afore mentioned 'Little Rooster Reel' and 'Jessie's Boogie'. Others songs are typical of music that was associated with her during her hayday such as the ballad 'Jesse's Love Song' and the spiritual 'Jesus Will Fix It For You'.
     God knows where she may have gone had her health held out. As it is, she deserves to be acknowledged as a fellow traveler with other exponents of this entrancing groove based music such as Bo Diddly, John Lee Hooker, Junior Kimbrough and R.L. Burnside.

www.insidesounds.com

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	Alvin Jett & the Phat Noiz Blues Band Wet My Beak unsigned
Review by Brian Augustine

     This album represents to me, the current state of Saint Louis blues. That is where Alvin and band reside and they seem to imbue this recording with a deep sense of place. Alvin's baritone voice, abstractly reminds me of Big Joe Turner and leans heavily on, Soul influenced Jazz with doses of Gospel. 
     The Soul is reflected in the Muscle Shoal's rhythms anchored by Jeremy West on drums and Matt Davis on bass. The Jazz can be heard in the abundant use of Frank Bauer's sax, while the Gospel just oozes out in Alvin's vocal musings and the use of choruses and call and response arrangements. Marcus Steinman's keyboards swirl in or out accenting whatever the arrangement demands. This album is an ensemble affair without much outside help.
     Although these schemes mentioned above are the overarching influences, other sounds make themselves felt from the Coaster's style 50's harmonies of the opener 'What Must A Prayer Do' and again in 'Coming My Way'. Then there's the vauge allusion to the Four Tops' 'Teahouse In Chinatown' on their own 'China Doll'. I hear Joe Walsh's guitar riff to 'Rocky Mountain Way' that's used for the intro to 'How Long'. So the sources they draw from are varied, but throughout they seem to maintain a strong sense coming out of St. Louis.
     All the tunes are credited to 'Alvin Jett and the Phat Noiz Blues Band' and although not spectacularly original material in either, melody or lyric, these songs certainly are nothing to be ashamed of and for the most part work in the way the band intended. The exception to this rule, is the closer entitled 'Phat Noiz'. This is where the band seems to divert themselves from what they obviously know well and has worked for them throughout the rest of the album and delve into Funk. This is a song that Tower Of Power would have easily made their own, but for Alvin and company it's simply too tight a fit.
     Overall I have no problem recommending this disc, but where'd they come up with that name? 'Phat Noiz Blues Band'. Yo, ain't a Hip-Hop sound here, little brother!

www.phatnoiz.com

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	Li'l Ronnie & The Grand Dukes Do What 'Cha Do Trust Me Baby Records - TMBR1957
Review by Brian Augustine

.....This is a harmonica driven recording, by a Baltimore, Washington D.C. based band. They prove you don't have to be from the West Coast to make a West Coast sounding blues album. This impression is enhanced because, Ronnie Owen's voice conjures up images of Boz Scaggs who if anyone epitomizes the California/Texas axis of Blues Rock.  
. ....The band itself are five journeyman musicians who have perfected their chops over the years. Ronnie himself has been around since the 60's playing harmonica in pick-up bands for many of the East Coast's top Blues acts. The rest of the band consist of Michael Dutton (guitar), Bryan Smith (bass), Steve Utt (keyboards) and George Sheppard (drums). They all have been around the block with the Mid-Atlantic states best bands.  As a band by themselves, this is their third album and for producer this time, they brought on board Anson Funderburg a renowned bluesman in his own right. Anson adds his own experience to the mix and it shows in the steady grooves that are achieved. Finally, filling out the sound, are the sax section of, Terry Hummer on tenor and Nate Hawks on Baritone and some percussive help, with shaker by Rattlesnake Slim. Their input is most notable on the jump and funk instrumental numbers 'Walk The Talk' and 'Still Sweatin'. 
. ....So what you have on this CD's mix is, what sounds a whole lot like a West Coast blues/rock album, but with a Chicago and Texas twist. All the tunes are credited to Ronnie Owens with another band member Michael Dutton getting co-writing mention on several cuts. These are not songs that stand out as particularly original or creative, on the other hand the listener won't want to rush to turn them off either. This is especially true when you get into this bands strength, its ability to groove. The rhythm patterns change from the swing of 'Long Distance Lover', to the Chicago shuffle of 'Wine Headed Woman', then the latin Congo Square style drive inherent in 'Love Trance', then the closing number with it's honking sax and swirling B-3 of the album, reminds one of the James Brown on this inspired cut, 'Still Sweatin'.
. ....This essentially is a dance and party set, done by some reliable and experienced players that you can count on not to miss a beat.

www.lilronnie.com

	Little Charlie & The Nightcats Nine Lives Alligator Records - ALCD-4902
Review by Brian Augustine

.....This the ninth CD (thus the title 'Nine Lives'), that finds the kings of the West Coast Blues stretching out. They handle a variety of styles that are fun. You'll find, Voodoo, Chicago shuffle and Swampy Blues, set along, Jimmy Reed, 50's rock'n'roll and Cab Calloway swing. Lyrically some songs deal with the contemporary issues of the despora of the current everyman. Like the protagonist in 'Got To Have A Job' and his frustration trying to find employment and meaning in life. Then while listening to 'Circling The Drain', you cannot help but feel the ominous desperation, in the pervading the whole song. These cuts address the concerns important to all current Americans without compromising who they are as a band. 
. ...As if to emphasize that they're not going take things, too seriously, they throw in the more traditional blues concerns, of jealousy and lost love 'Keep Your Big Mouth Shut', or the Jimmy Reed goes swamp number 'So Good'. They also give us some good natured instrumentals like the swing oriented 'Tag (You're It)' or the swing meets Chicago style of 'Wall To Wall', then there's the surf influenced 'Slap Happy'. Old time Rock'n'Roll gets it's nod with, 'Cool Johnny Twist'. This tune conjures up the spirit of the Coasters. 
. ...All this variety is mostly attributed to Rick Estrin, but 'Little' Charlie Baty is credited with two of the instrumentals, 'Tag (You're It)' and 'Slap Happy', while drummer J. Hansen claims 'Deep Pockets'. In fact all thirteen songs are band original's. In terms of song writing I can actually say that, Rick Estrin ranks up there with Willie Dixon and Percy Mayfield as one of the most prolific song writers in the Blues. Songs he's written like 'Keep Your Mouth Shut', 'So Good', 'Got To Have A Job' and 'Circling The Drain' are likely to join earlier compositions that have been covered by so many other Blues artists. These songs all have a traditional feel, while at the same time, are replete with fresh imagery. The band's two main lights, Rick Estrin and Charles Baty are also given production credit. The sound they achieve on this recording is really all their own.
. ....As far as additional help, they do employ the piano of Chris Siebert, which is prominently featured on several cuts and a sax section of John Firmi and Scott Peterson (no not that guy!). They also have a chorus of friends join in on, 'Got To Have A Job' and 'Don't Cha Do Nothin'. So this entire CD has the feel of a homegrown affair.
.... This latest project is the most eclectic effort yet, by a band that seems to be continually striving to grow and give their audience something new and different with each outing. With Nine Lives they again succeed admirably.

www.littlecharlie.com
www.alligator.com

	Michael Peloquin House Of Cards Globe Records - GLO-025
Review by Brian Augustine

.....Here we have another in the line of excellent releases from the San Francisco Bay Area scene's soulful rockin' blues. This one features a steadfast alumni of San Francisco blues scene, saxophonist, harmonica player extraordinaire, Michael Peloquin. Over the years he's played as a sideman for a variety of prominent Bay Area musician, like Tommy Castro and Mitch Woods. As his reputation grew, he was chosen to support such major national acts as Albert King and Johnnie Johnson. Like so many other of his fellow Bay Area session men going solo, he is helping to build a dynamic recording scene, (Steve Edmonson, Randy McDonald, Jackie Payne, Terry Hanck, Mighty Mike Schermer, my God the list goes on). So here it's Michael turn to step forward into the spotlight on his own self-produced effort. 
.... Because of the range of people who have relied on him for backing over the last 20 years, he's able to bring on board an impressive array of guests to join him on his own project. These include Tommy Castro, Mitch Woods, Steve Lucky, Steve Freund, Daniel Castro, Anthony Paule and Danny Caron. All these varied artists allow him to paint from a varied pallet. You have gritty soul, blues, rock, swing and jazz, often with these influences segueing and colliding within the course of a single song. Some songs are full arrangements for ten musicians, others are stripped down affairs with only three players. Three of these selections are instrumentals. Nine are original compositions, with only two covers, the Tower Of Power styled Richard Palmer number 'So Close' and the stripped down Delta arrangement of Delbert McClinton's 'Maybe Someday Baby'.
.... The most consistent players on this disc are Michael's 'Horns Of Dilemma' they consist of, Michael on sax and harmonica, Tom Poole on trumpet and Danny Armstrong on trombone, with Michael doing all the horn charts. These players contribute in every configuration in some way. Five numbers have Willie Riser on bass, Tyrone Wheeler and Steve Evans split this chore on four additional cuts. Drumming and percussions are divided between T. Moran, Vince Littlejohn, Ray Rizzo and Jimmy Sanchez. Keyboards when not handled by a guest, are either played by Herman Eberitzsch or Parris Bertolucchi.
.... Obviously, this is a guy whose learned his lessons well and applies them in a highly selective and artistic manner, in order to maximize the listeners pleasure. A good selection to any discerning listener who wants more than just the ordinary roots music.

www.harpsax.com
www.globerecords.com

	Mighty Mike Schermer Band Next Set Fine Dog FD61036
Review by Brian Augustine

     It seems the San Francisco Bay Area today is a hotbed of dynamite Soul and R&B artists. Many of the sidemen of yesterday are stepping to the fore to give the world a taste of their own vision. Last year there was the Jackie Payne & Steve Edmonson Band release Partner In The Blues, and that release just blew me away, then Tommy Castro's bassist, Randy McDonald's recent effort and now there's this album. This Santa Cruz denizen, 'Mighty' Mike Schermer, attracts feelings of gratuitous payback that results in him drawing the assistance of a virtual who's, who of the Bay Area recording scene as helpers on this his second solo release. 
     This help in fact, speaks volumes about the esteem with which he's held by the fellow musicians with whom he's played. His core band includes such Bay Area standouts as Austin DeLone and Dale Ockerman on keyboards, June Core on drums and Steve Ehrman on bass, while all-world Terry Hanck provides tasty sax. Guests that lend a helping hand on this recording include Maria Muldaur, Angela Strehli, Sista' Monica and Shana Morrison.
     In fact in my mind one single cut 'My Big Sister's Radio' has to be worth the price of this CD alone. Anyone who grew up listening to an older sibling's music will relate. Then there's the blues torch ballad 'Real Fine Love'. Then he gives us the homey New Orleans feel of 'Mama Say' or the gut bucket blues of the closer 'Setting Sun'. 
     Where all this may not be new stuff, it's calculated to get you up and boogeying, rubbing tummy's on the dance floor and to this end it surely succeeds. In all, Mighty Mike'either wrote or co-wrote eleven of the twelve cuts presented here. His chief collaborators are bandmates Steve Ehrmann and Austin DeLone. The odd song out is a menacing version of Earl King's 'It All Went Down The Drain', it contains an ominous guitar line reinforced by a fat sax. 
     This is a can't miss dance album and a tribute to all music Americana, and it comes from the new capitol of roots music, the San Francisco Bay Area, where the ghost of Otis Redding seems to have settled.

www.mighty-mike.com

	Mem Shannon I'm From Phunkville Northern Blues Records NBM0029
Review by Brian Augustine

     This is like watching the spawning of a great career of a soulman, except different. He doesn't confine himself too rigidly to one idiom, but he has that same rich baritone voice and innate sense of soulful timing, of same, Solomon Burke. On the other hand, he's less stuck in idiosyncratic affectations, like growls and gurgles, like so many other soul singers.
     This is Mem's fifth recording, but the first he has self produced. Differences for him are, his acclaim is coming later in life and this leads to a greater worldliness based on his life experience. He hasn't let this experience wear him down though, instead it seems to inform his music. He's also lived long enough, to get a sense of place and that place happens to be New Orleans. Although, he certainly does not let New Orleans overwhelm his recording, it is present. You can still hear the piano triplets and occasional second line rhythms. New Orleans only becomes a predominant feature in two of this albums thirteen songs, the syncopated 'Swing Tiger, Swing' and the album closer, 'We Going'. This last cut for the life of me, has Mem sounding a lot like Big Joe Turner.
     With his resonant baritone voice and his instrumental ability to accent each emotion with his guitar in a tasteful way, I must say his ballads tend to stand out. He also has this understated and wise way of addressing the human condition. As a result these slower numbers come across as stories chock full of characters you can care about. He places these slower numbers in sparse arrangements 'Perfect World' and 'Eleanor Rigby', then almost as an after-thought, adds coloration in the form of instrumentation, such as in the horn punctuated 'Forget About Me'. 
     He also dabbles with Gospel in 'Battle Ground', where his vocal assumes a quality not unlike Percy Sledge. Then there's the Funk of the socially astute 'Phunkville'. This seems to be his observations of ghetto life. 
     For something entirely different, you have a Latin Jazz instrumental 'The Lights Of Caracas'. All this points out another difference between himself and other Soul practitioners, he doesn't shy away from complex arrangements. You'll hear things like light jazzy introduction breaks that turn into smoky honky tonk blues after a short bridge. Or a soft ballad that suddenly opens up into a chugging Chicago shuffle. These changes are like walking through a shady forest that suddenly opens up into a large lush meadow.
     This assuredly is Mem's project, not only did he write twelve of the thirteen cuts presented in this song cycle, the only cover being the Beatles 'Eleanor Rigby', but he's also credited as producer. So the diversity that you hear are the grooves that sprung from his own head. It's clear he's the man in charge.
     He employs mostly the same band throughout, he handles all the lead guitar and vocals, Robert Dabon has the keys, Ian Michaels on bass, Jason Mingledroff does sax and clarinet, while trumpet and second sax are province of Barney Floyd and Frederick Sheppard respectively. He employed two drummers, Josh "The Little Kid" Milligan on the bluesier numbers, while Doug Belote handled the more complex cuts that demanded various changes.
     The only additional musicians he used were to judiciously flesh out specific pieces, and employed the likes of Billy Martin on percussions on the spiced up opener 'The Reason' and the Latin flavored 'Lights Of Caracas' or delicate 'Eleanor Rigby'. He also employed what he calls, the country guitar of A.C. Gayden Jr. on 'Battle Ground', while he adds Troy Andrews trombone to the horn section on 'Perfect World'. 
     I'd say this is probably the most complete album Mem has made and demonstrates that musically he has talent in every aspect necessary to make records that will stand out among their contemporaries and still stand the test of time. This could be a classic disc.

www.memshannon.com
www.northernblues.com

	Toni Lynn Washington Been So Long Northern Blues Records
Review by Brian Augustine

     Much as New Orleans has Irma Thomas, here we have Toni Lynn the acknowledged diva of Boston Blues. She has a rich, smoky but smooth voice, that I can best compare to Ruth Brown, with a touch of Lavern Baker. That certainly is not company any singer should eschew. The overwelming influence I hear, is informed by the sophisticated St. Louis blues of the fifties, where jazzy horns punctuate most cuts and act as an exclamation point to the singer.
     This approach is understandable if you connect her with her roots. She comes out of the southern gospel and R&B scene as so many of her generation In the 60's. In fact she'd gained enough noteriety earlier in her career to be tabbed to do a U.S.O. tour with R&B hitmaker Jackie Wilson to VietNam. Then just as fame and fortune was knocking, she inexpicably dropped out of the music business for two decades. 
     As a result of this hiatus Been So Long is only Toni's fourth album and her first for the Northern Blues imprint. As mentioned above, this recording is not your down and dirty gritty Blues, it has a level of sophistication and polish with the Jazz overtones heard in the fifties R&B that became Top 40 romantic hits. 
     I guess the epitome of this approach, is best heard in her covers of two lounge classics that might easily part of Peggy Lee or Eartha Kitt repertoire 'Willow Weep For Me' and 'Angel Eyes'. Each of these tunes reaches back to the fifties and sixties and have multiple classic jazz interpreters. On 'Willow' there are early versions by Julie Christy and Ella Fitzgerald, but Toni admits she was influenced by Nina Simone. 'Angel Eyes' was done by Julie London and Count Basie, but Nancy Wilson was Toni's model. 
     Toni is not known as a song writer, so this album is populated by covers. The songs she chooses all have personal meaning for her, so you can count on pure and emotional deliveries. The material ranges from Swing, Jump blues to early Rock'n'Roll stylistically. The most gritty Blues number in the song cycle is 'Back Water Blues'. This is an old Bessie Smith vehicle, and is one of the few songs she was unfamiliar with before these sessions began. Toni picked up on this song because she heard the band practicing the tune when she came in for rehearsal. So, this cut is her most impulsive choice. 
     Examples of how she chose her material include a childhood reflection, Ruth Brown's 'It's Love Baby'. This is a song she performed while on that U.S.O. tour of Viet-Nam. 'It's Been A Long Time' a Gamble and Huff number. Another one that goes back to that same tour experience, and of course is relevant in this age of Iraq, is the Bell and Jones composition 'Everyday Will Be A Holiday'. So the songs performed all have some personal connection for her and a lot of thought went into how each should be presented, performed and arranged.
     Listeners can also expect exceptional musicianship and production values. Why, you might ask? My answer would be, because Duke Robillard guided this recording from behind the boards and played much of the lead guitar. In addition, he recruited a lot of his Boston cronies to play along with him. Prominent among them are, Bruce Bears on keyboards, Jesse Williams bass and Mark Texiera drums. Also playing a major role are the horn section of, Scott Aruda, trumpet, and sax by Gordon Beadle and Doug James.
     If smooth, polished, jazz oriented blues are your bag don't miss this one!

www.tonilynnwashington.com
www.northernblues.com

	Charles Wilson If Heartaches Were Nickels Delmark Records DE-771
Review by Brian Augustine

      This is the major label debut of this would-be, secular replacement for Al Green. He's helped out here by his uncle, Little Milton and friend, guitar ace, Carl Weathersby. This CD is actually more blues than anything else I've heard from him. There's his bluesy vocal on 'Cut You A-Loose', then the shouter 'Hattie Mae'. There is the St. Louis style urban blues of 'Your Love Is Real' or the romping 'Lonely Man'. On the other hand his typical smoother side is still evident. It is represented in tunes such as 'I Talk To Myself', 'Losin' Boy', 'If Heartaches Were Nickels', and 'I Like Your Style'. So those who are already fans can hear their man at the top of his form and stretching out. New listeners that result from this wider distribution, find a highly stylized singer that's flexible and uses his rich voice wrap around several styles.
      All the songs on this disc are covers. His two primary guests donated three songs to the project. Uncle Little Milton provides two, they are 'Hattie Mae' and 'Lonely Man', while friend Carl Weathersby's guitar rave-up 'Up At Carl's', is oddly an instrumental on a vocalists recording. Other contributors range from the well known, Albert King's 'I Walked All Night Long' and Robert Ward's 'Your Love Is Real', to the obscure such as Mel London's 'Cut You A-Loose'.
      Where the big label association shows through the most is in Robert Koester's production. With him behind the knobs, a professional sheen is given to each and every cut. This is both a plus and a minus, on the plus side, there is nary a note dropped out of place, on the minus side this veritable perfection of sound seems to have eroded some spontaneity. This latter is a shame, since on his last few releases he seemed to be constantly experimenting with vocal arrangements. This is a link that he seemed to share with the creative past masters of the genre it was the creative hallmark of early 1960's Soul.
     Charles players are mostly long-time friends and associates from his previous releases, Carl Weathersby handles most of the guitar chores, and with uncle Milton fills that role on his two cuts. In fact, his contribution 'Hattie Mae' is a syncopated; rolling delta number that is one of the discs definite highlights to my ear. Others are the Memphis stylings of 'Doctor, Doctor' and 'Losin' Boy' where Charles sounds more Al Green than Sam & Dave or Otis Redding. Then there's the early 60's Chicago soul sound of 'I Like Your Style'.
      Overall, this is a varied sampler that gives his potentially broader audience an idea of his capability. It is also maintains enough material to retain his down home local followings allegiance that he's worked hard to cultivate. All in all, a pretty good balancing act.

www.mrcharleswilson.com
www.delmark.com

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