March 2008 Reviews
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March 2008 Reviews |
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Rating System... ***** Classic, Essential Purchase **** Very Good. Majority of songs above average *** Good. Solid disc with little filler ** Mediocre. A few above average cuts- mostly filler * Avoid it. Reviews added throughout the month so check often NEWEST REVIEWS LISTED FIRST
Review by Steven Alvarez *** 1/2 Williams, to me, is one of the champions of modern Southern Soul (aka 'Deep Soul") Blues who with the right break, or right hit song for that matter, could've been as popular as a Z.Z. Hill or Little Milton. "Lee Shot's" (born Henry Lee Williams) career dates back all the way to 1962 when his first 45 was released called "Hello Baby". It, along with it's B-side "I'm Trying", were typical B.B. King-style Blues numbers everybody was cutting then. A series of similar 45s were released throughout the 1960s with only "I Like Your Style" having a lasting impact. He had the powerful Blues voice and personality and he cut contemporary-sounding tracks the market was calling for (like the Funky 1968 number "I Feel An Urge Coming On") but still no breakout smash. Nevertheless he made a living and became a legend still. In the mid 90s he enjoyed a bit of a comeback (if only critically) when Black Magic recorded "Cold Shot", one of Blues music's highlights of 1995. His popularity grew to it's zenith when he began recording regional "chitlin' circuit" hits for Ecko Records ("I'll Take The Risk", "She Made A Freak Out Of Me", "I'm A Nibble Man"). But by 2006 his profile and sales took a dip with the mediocre CD "Starts With A P".But now he's back with a consistently strong CD that'll remind you why he's the "Don of Southern Soul". "Shot From The Soul" starts off with four winners in a row. The Sam Cooke rhythm of "Country Woman" hit my ears like a welcome mat. Shot says "Now I got a woman/Her name is Sally Mae Brown/She lives just outside the city/In a little old country town". He proceeds to explain why he loves them country woman. They treat you so sweet, cook you up something nice on the stove and they'll "love you to the rooster crows!". Next is the anthem "It's Friday (Time To Get Paid)". It's one of those instant classic weekend songs that you can't help but get down with. Writer/Producer Floyd Hamberlin Jr manages to write an even better Delta-blessed Soul Blues tune than his own "Mississippi Boy". Thank God "It's Friday" for sure. Hamberlin is also responsible for another brilliant track on this CD called "Dirt Road To Your Heart", a gut wrenching Deep Soul ballad critics will adore. Backing up to track 3 comes a real treat for me. I've always loved an inexplicably ignored Soul gem by James Peterson called "Wrong Bed!" that you can't find these days without a costly search. Well, you don't have to now because Shot updates the track in glorious fashion on this album. The same could be said of Joe Tex's hilarious "Leaving You Dinner", which gets the Lee Shot treatment here. Shot comes home to find his woman has cooked him up a candlelight dinner. Hmmm, what's this about? Well it turns out to be her "I'm leaving you dinner" to him! She says "Eat you dog! Eat it baby yeah it's your 'I'm leaving you dinner'"! Classic stuff. "Shot From The Soul" is classic Lee Shot Soul (and Blues).
Review by Steven Alvarez *** 1/2 When Blues Critic asked me to review "Groove U" I wasn't looking forward to it much I admit. The current hit single "Groove U Baby", with it's clunky rhythm and average hook, had me expecting a real dud of a record. I was wrong. Plenty of Southern Soul jams on here superior to the single (especially good news for those who do like the song). The midpaced bumps "Been There Done That" and "Blue" followed by the funky "Don't Stop The Music" cut the mustard for me. "Don't Stop" has some slapping drums, a killer bassline and Stovall singing with a vocodor. Can someone say "club joint"? What would a modern Southern Soul/R & B album be with a slow jam or three. "Good Lovin'" is slinky and soulful. "Sneakin'" is laid back and aching. But the boogie can't be beat here. Afterall the record is called "Groove U" and that's exactly what Stovall does. The retro-70s "Dance", percolating "Get Some Lovin" and especially the upbeat bumper "Turning Point" deserve repeated listens. Nope, no duds here. Also worth looking for is his 2003 debut CD "Private Party".
Michael Burks
"Iron Man" (Alligator)
LISTEN Michael Burks "Iron Man" (** 1/2). Third Alligator release (and fourth overall) continues the husky-voiced thick Blues onslaught from Albert King's-would be successor. I say "would be" because Albert's Blues leaned toward Soul rather than Rock. Needless to say I'm still waiting for Burks to cut a Stax-like record as "Iron Man" offers little special in comparison to his last couple collections (especially the terrific "Make It Rain"). Methinks it's time for a change. Of course Burks unfurls nasty guitar licks throughout and rocks hard and this sells records; but the songs have become increasingly pedestrian. Lumbering midpaced jams like "Love Disease", "Salty Tears" & "Hard Come, Easy Go" are his bread and butter but soulful turns like "Don't Waste My Time" & raucous roadhouse moments like "Strange Feeling" & "Quiet Little Town" are the keepers here. On the latter Burks, who normally sings like he's got a mouth full of cotton (ala Albert), shouts in his upper register, breaking up the monotony. But missing from "Iron Man" is one of those smoldering slow Blues killers like "Make It Rain" or "I Hope He's Worth My Pain". On the plus side the performances are often looser and less polished, such as on the basic 12-bar shuffle "Changed Man" (likely due to Burke's use of his touring band rather than studio session men). Nevertheless, after a three year wait this one's a letdown for me. Jeff Healey "Mess Of Blues" (***). If anyone had the right to sing the Blues it was the late Jeff Healey (who died earlier this month from cancer). He lost his sight when he was eight months old, due to retino-blastoma, a rare cancer of the eyes. His eyes had to be surgically removed, and he was given artificial replacements. He later suffered an unrelated sarcoma in his legs, which spread to his lungs and ultimately killed him. Before so, however, Healey, like Ray Charles, proved to be an example of the triumph of the human spirit. Playing the guitar on his lap, he formed his first band at 17 and six years later he was signed to a major label (Arista). He scored a Top 5 hit on the Billboard pop charts with the ironically-titled "Angel Eyes" (written by John Hiatt) from the ironically-titled album "See The Light". Though platinum success quickly faded he remained a dazzling guitarist in the Stevie Ray Vaughan vain and even became accomplished as trumpeter on a series of 20s and 30s era Jazz-based albums prior to his death. "Mess Of Blues" was his return to the medium that made him famous. "Mess Of Blues" is a Blues & Classic Rock covers album incorporating live tracks like "I'm Tore Down" , "Sittin' On Top Of The World" & "Like A Hurricane" and oft-covered studio takes (The Band's "The Weight", Hank Williams' "Jambalaya" & BB King' "How Blue Can You Get?"). Healey reminds us what a fine fiddler he was ("Sugar Sweet") and the record feels like a jam session overall, which is why it works. Strong versions of "Mess Of Blues" & "It's Only Money" stand out. Meanwhile the erstwhile Neil Young nod "Like A Hurricane" could garner some Triple A play. "Mess Of Blues" is a fitting bow by a remarkable musician. Darrell Raines "Moanin' Time" (**). Florida-born but Delta-styled Blues by former guitarist with the Joey Gilmore band. Anyone who's read my reviews know I pay close attention to the vocals and like Andrew "Jr Boy" Jones (another terrific guitarist who can't sing), Raines' weak voice is hard for me to ignore. His laidback vocal phrasing is fitting for sparse pieces like "Moanin Time In Arkansas" but out of place on forceful tempos like the Howlin' Wolf cover "Who's Been Talking" (titled "Baby Caught A Train") or his own pedestrian "Your Love". The good news is we have mostly laidback songs. Basically a talk/sing delivery that occasionally detracts from the tight guitar playing he's better at. Several cuts would've been just fine as instrumentals. Still the reverb on his vocals when placed deep in the mix, such as on the easygoing "Love Doctor" & "Fever", creates a moody landscape. Actually it's pretty darn cool. Same goes for the intriguing "Drug Hole". But that pace gets tedious by track five ("Don't Bring It On Home"). Then the disc lands on it's feet with the jive-talking funky Jazz closer "Biscuits". Raines is interesting in small doses, can leave you wanting more after one track...but wears you out on three or four. The Beat Daddys "Live A The Quincy Blues Fest 2007" (*** 1/2). The annual Quincy Blues Fest held in Quincy, Illinois is hosted by the Mid Mississippi Muddy Water Blues Society (MMMWBS), formed in 1993 as a result of the inaugural festival. The Society is a -not- for- profit organization that works to promote, educate, and keep Blues music alive in the local area. The material collected here is from The Daddys' 2007 appearance and features a few selections from their most recent LP ("Five Moons"), some covers and cuts from their back catalogue. The 14-song set opens with a rock solid take on the SRV-inspired "She's All That" first heard on a 2001 studio album ("Delta Vision"), followed by an equally raucous "Train In The Distance" from the 1994 Malaco records project "South To Mississippi". Vocalist/guitarist Larry Grisham is fine voice (again very Stevie-like). Longtime Daddy Tommy Stillwell is also a fine guitarist (takes leads on "Hey Joe" & "Little Wing"). Up next is a terrific reading of B.B. King's "Beautician Blues" where Grisham picks his axe mightily. Bassist Jon Rochner takes the mic on the unexpected Blues/Rock version of the "Beverly Hillbillies" theme song! Rochner has a throaty voice that cuts the mustard. Next comes one of the finest moments (in addition to the stirring ballad "I'll Always Love You" from their 1992 debut) on a funky version of "Pale White Circle" from "Five Moons"; an exceptional song abut a failed marriage. "This pale white circle on my finger from a missing golden band". Also from "Moons" comes the light-hearted ode to a woman's "Big Thighs" and a smokin' version of the 12-bar "Where Is She". The nadir of the show, however, is the back to back covers of "Hey Joe" & "Little Wing" where Stillwell sings lead. It's one of those charitable moments bands like to give to that band member who really can't sing but wants a turn. Trim those two bumps and it's a live show that deserved to be pressed onto glass. Albert Castiglia "These Are The Days" (***). Album number three keeps Castiglia in comfortable electric Blues shoes on a set of originals and covers. "Bad Year Blues" is a prime example of a modern Contemporary Blues song. A raspy/nasally vocal, tight 12-bar rhythm and humorous lyrics. "My New Year's Resolution didn't last too long/Tried to quit smoking but too many things went wrong/It's been a really bad year/Only 12 more months to go". It's from Castiglia's pen as is the heavy rollin' tribute to his mentor Junior Wells, "Godfather Of The Blues". Master songwriter Graham Wood Drout (writer of Blues Song Of The Year In Of 2005 "The Ghosts Of Mississippi") contributes the album's centerpiece "Celebration", an acoustic Rock song John Mellencamp's been trying to write since his hitmaking days. In fact, somebody needs to send this to the former Johnny Cougar! But Albert does the song just fine on his own anyway. Other Castiglia originals include the anti-war "Another Bloody Day", the N'Awlins piano cut "Twister" and the instrumental "Blues For Evan". Of the covers there's a brilliant take on Bob Dylan's "Catfish" where Castiglia squeezes out one of his best guitar solos on record. Robert Guidry's "He's Got All The Whisky" hits it's mark and the Fenton Robinson's classic "Somebody Loan Me A Dime" is rearranged into a moody slow Blues number augmented by chilly organ. This is how to cover a song- interpret it not copy it. "Days" is another satisfying set from the underrated Castiglia.
Omar Cunningham "Time
Served" (Soul1st)
LISTEN Omar Cunningham "Time Served" (*****) He's done it again. Actually better than before. A perfect Southern Soul single with "My Life". Like "Check To Check" and "I'll Get By" Cunningham has painted another aural picture sympathetic of the Everyman's life. It's tough out here. At the same time it's sentimental in it's earnest ruminations about his dear late Grandmother who "was the truth" and a "little nappy-headed boy" who "made it" despite humble beginnings. That little boy was Omar. And what an emotive, Gospel-inflected vocal! This midtempo swayer is simply inspiring and all hooks. Brilliant! It will be hard to find a better song in 2008. "A lot of things I had to go without/I still find it hard to talk about". That line gives me chills every time. Like his previous LP's "Served" straddles the line between mainstream R & B and "Party Blues". The don't-get-caught-cheating song "The Same Soap" would easily pass for an R. Kelly song. It's a lift-up-your cup rhythm slyly reminiscent of Kelly's smash "Ignition (remix)". It's also a highly specific cheating tale. TMI? He says he's gotta "smell the same when I get home" so he needs the "same soap" he showered with at the crib. In one sense he complains about how suspicious and investigative his woman is but looks like she's justified. Better is the faithful-minded "The Right Woman", a bumper featuring fellow Soul1st Records artists Daybreakk! who send the refrain through the stratosphere with their harmonies. The party dancers continue with "This Old Music", "Check To Check 2008" and the steppin' "That's My Jam", which could hit the mainstream charts if the "Blues" label doesn't hold Omar back. On the slow tip Omar only has only a couple peers (Willie Clayton and Steve Perry) and this time he serves up the piano ballad "Could You Be", the autobiographical "Ain't Nothing Changed" and the clever "The Beauty Shop". Here he gets busted when his girl hears gossip about Omar when she's getting her hair done. She said "The beauty shop is putting our business in the street". Forget about the soap Omar you can't wash away the 411. Anyway the skinny on Omar and this album is you'd be a sho' nuff fool not to buy it! Tyree Neal "All Grown Up" (***). It still hurts to think about the tragic murder of Soul Blues diva Jackie Neal but it won't stop the talented Neal family from spawning another notable talent. Initially I thought this was the same as Tyree's album "Stepping Out At 22" and that by time it hit the street the title had to be altered. Not true. "Grown Up" is the second disc and it features a little help from Sir Charles Jones and his late aunt Jackie (her vocals are inserted on "Zydeco"). Despite scant distribution the cut "Whiskey And Beer" (featuring Jones) is turning out to be an underground hit. It's irresistible "Party Blues" for the Southern Soul crowd in the Sir Charles or Kenne' Wayne style. "Party On The Weekend", "Juke Joint Woman", "Two Step", "Old School Feel" follow suit. Amongst There's also the requisite creepin' slow jams like "Trouble", "In Love With A Married Woman" & "Quality Lady" and a Zydeco number ("Zydeco"). "Katrina" sounds like it borrowed the rhythm of the Rolling Stones' "Miss You" for this social commentary piece that reaches beyond just the hurricane. "Grown Up" is a fine debut for the newest Neal to hit the Blues world. Roni "Come Back Kind Of Love" (**). The "Sexy Lady Of Southern Soul" is back (well, there are more than one, right?) but she forgot to bring any distinctive songs this time. True there is the hit single "Come Back Kind Of Love" but having Sir Charles Jones sing the chorus was hedging the bet. Jones also wrote the track. All the other cuts are from the pen of Rhonda "Roni" McCullum and deal with the usual themes- partying and relationships. Nothing wrong there but producer Steve Ganaway needs a better drum machine evidenced by the annoying sounds backing nearly every track. It's especially obvious (in it's monotonous metronome quality) on "Get Away", "Swinging All Night" and otherwise swell "Mr. Right". The latter is also garnering airplay being released in tandem with the title track. The brittle sound of the rhythm tracks keeps this album from hitting the mark and Roni isn't dynamic enough as a singer to eclipse that fact. Roni's previous disc "Call Me" is recommended instead. El' Willie "Situations" (****). The E-to-the-L-to-the Willie has a gift for melody, expert vocal phrasing and clever lyrics. "Situations" is where it all comes together. Again, in case you forgot, he is the brutha who co-wrote Theodis Ealey's "Stand Up In It" and penned Ealey's "All My Baby Left Me Was A Note, My Guitar & The Cookie Jar" and Willie Hill's "Man On A Mission". While he is mostly known for his uber-mellow slow jams El does add a dancer or two to his repertoire like the booty mover "Come Get Your Groove On" & the funky "You Got To Play With The Hand You've Got". Still, he's got made skills with the laid back to midtempo numbers. I fell in love with "Shoo-Be-Doo-Be-Doo, Shoo-Be-Doo-Be-Dee", a coasting finger snapper with a memorable refrain. It may seem light and even slight sonically but it's soulful in it's restraint, a perfectly structured song in it's simplicity that the Temps or the Four Tips (or heck, Boys-2-Men for that matter) could take to the top of the chart. Just as melodic is the lovely "Don't Ever Be Lonely", the early 70s hit for the Cornelius Brothers & Sister Rose. These two songs make it worth the while for me. But, wait! If you order now you also get...seriously there's much to like amongst the generous 16 tracks. The title track, "I Can't Get Over You", "If Some Know Somebody?" and the supremely romantic "I'm So Glad I've Got You" is vintage El'- chillin' on the slow tip- rappin' to you. Speaking of "rap" in the Hip Hop sense our hero adds a little Hip Hop flavor to the hilarious "Dope Or Dogfood" (with lyrics from Bishop James E. Bryant). Here El' reproves a foolish youngin' who's trippin' and wasting his life. Funkay! I've also grown to dig El's baritone voice. Initially (in my review of his first CD "El' Over Easy") I referred to it as "guide" or "pilot" vocals but either he's greatly improved or I just finally get it. It creeps up on you. Now I'd consider him a top notch singer. El's cool as all get out.
Copyright 2008 by Blues Critic Media unless indicated otherwise. May be used if web address www.bluescritic.com and company name are included. |
Lee "Shot" Williams
"Shot From The Soul" (CDS)
Mose Stovall "Groove U" (Soul 1st)
