October 2007 Reviews
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October 2007 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
**** I'm still digging on Thorbjørn Risager's last disc, "From The Heart" when in my mailbox materialized a brand new album this week. Needless to say I'm thrilled as I consider Risager to be the artist most deserving of crossover success of any Blues newcomer. "Here I Am" delivers 9 more hard Rhythm & Blues jams plus a re-arranged version of their power soul ballad "Heart Of The Night". As anybody who's read more than a few of my reviews I'm partial to singers. In the first review I wrote on this vocal dynamo I compared his voice to luminaries like Ray Charles, Bob Seger and Joe Cocker (with no hyperbole), but now I'm adding the late Freddie King to that list after hearing the potent title cut here. He sounds like King in his early 70s prime, bellowing from deep in his throat over a "Pack It Up"-type pounder. Kasper Wagner and Peter Kehl provide a memorable horn lick and Svein Erik Martinsen squeezes his guitar quite rightly. The record only stumbles a bit on the rote "All I Want" with the banal lyrics "All I want is you/girl you know it's true. I'm ready to do what you want me to" but that's easy to forgive when he evokes vintage Cocker on "From Now On" and swings ala 60s Ray Charles for "You Better Pay Attention". Other bright spots include "Johnny Called The Whole Thing Off", which quotes Willie Dixon ("way past 21") and the somber, sparse "I Won't Back Down". It's the kind of piece Nick Cave has been trying to write for years. It's only a matter of time before the secret's out on this guy. He's already garnering raves overseas but his music has mass appeal. Bottom line: He's dynamite. Don't sleep on this one. To learn more visit the website www.risager.info.
Lurrie Bell "Let's Talk
About Love" (Aria B.G.)
LISTEN Lurrie Bell "Let's Talk About Love" (****). Son of the late Blues harp legend Carey Bell has been a blessing and a hurdle for Lurrie as pops casts a long shadow. It's really apples and oranges to compare. Both play Chicago Blues but one played harmonica while Lurrie's a stringer. On his own Lurrie had yet to catch my ear on his own albums but that all changes with this lean, crisp electric blues set on a new label, Aria B.G (his first "solo" album since Delmark's 1998 set "Blues Had A Baby"). Straight blues with a soulful feeling that is graced with a sympathetic mix and smart song selection. 12 covers but those most from the road less traveled. For example you get your Willie Dixon fix but instead of the usual retreads ("Mannish Boy", "Hoochie Coochie") Lurrie and cohorts roll out "Earthquake And Hurricane" (from the soundtrack to an obscure movie "Ginger Ale Afternoon") and the slow sizzle "Chicago Is Loaded With The Blues". The latter, a clever observation that points out "New York is loaded with people/L.A. Is loaded with movie stars but Chicago is loaded with the Blues". It's also one of the best vocal takes of his career. Methinks it's his best LP overall and this has occurred in spite of two major heartbreaks for the man. Both his father and his child's mother Susan Greenberg have passed this year. With Carey Bell now gone perhaps the torch has finally been officially passed to the song and Lurrie mans up on "Let's talk About Love". Cherry Lee Mewis "Little Girl Blues" (***). This is a rootsy, acoustic cache of mostly covers from the very talented 22 year old Cherry Lee Mewis. Like Maria Muldaur she's mastered that early, pre-war blues phrasing made famous by the likes of Memphis Minnie- who, obviously, is Mewis' biggest influence. On "Little Girl Blue" she nails two delightful Minnie tunes ("Where's My Good Man", "Nothin' In Ramblin'"). But she also samples later divas like Janis Joplin ("Mercedes Benz"), Koko Taylor ("The Man Next Door"). She covers the menfolk too ranging from Jelly Roll Morton ("Sweet Substitute"), Robert Johnson ("Red Hot") to the late, alternative rocker Jeff Buckley ("Everybody Here Wants You"). The sparse accompaniment is provided by Max Milligan (guitars) on all tracks with occasional bass from Dave Jenkins and harmonica by Jeff Dakin. Milligan is also credited as co-writer with Mewis on the disc's one original, "Ugly Night". There's not much more to say other than the gal has an excellent coffee shop voice you could listen to all day. Downchild "Live At The Palais Royale" (**). Gruff, meaty-voiced Chuck Jackson leads the Downchild Blues Band through 11 rumbling live performances recorded November 11, 2006 at Toronto, Canada's Palais Royale. Though lesser known to U.S. bluesers, the Downchild Blues Band founded by guitarist/songwriter Donnie Walsh may be the ultimate Canadian blues aggregate- one that inspired actor Dan Akroyd to create the Blues Brothers (the faux blues band with John Belushi from the famed movie). In fact Akroyd and Belushi featured two Downchild originals on their own debut LP, "Briefcase Of Blues". Walsh references this fact prior to the rendition of "(I Got Everything I Need") Almost". What's unfortunate is the Blues Brothers, being nothing more than a competent bar band, went on to multi-platinum success rather than the marginally better Downchild, which. at least delivered original material. This live set boasts clear sound and draws from their approximately 12 LP catalog stretching back to 1971. Those who have the compilation "A Matter Of Time: A Downchild Collection" might want supplement that 20-song collection with "Live" though seven of the tracks are repeated. To sum it up: An average live album that takes a back seat to the studio counterparts. For completists. Patrick Flynn "Good News" (**). This is a songwriter's album. Flynn is merely a guide vocalist on this otherwise adventurous set of Blues/Americana and classic Rock. After a pedestrian 12-bar blues number "Good News Blues" things get interesting with the retro "Don't Take Your Love Away" led by Mardell Stickley's violin, which to today's listeners might recall the Dave Matthews Band. But it's back to basic blues on the slightly swingin' "Money Don't Matter", a catchy shuffle dampened by dry vocals, but distinguished by blues harp legend Charlie Musselwhite. The track could've used a punchier rhythm section. Next Flynn shows a debt to Paul McCartney's "Maybe I'm Amazed" with the piano ballad "Maybe You're The Dream". Perhaps a better singer might have sold this maudlin piece. Continuing the eclecticism Flynn even shows a Motown influence on "What I Say To You" and a Stax reference on "I Wanna Go There". Interesting tracks one and all. Somebody should cover them. Overall you have a talented man who should've hired some strong vocalists to showcase his songs.
Bigg Robb Presents "Blues
Soul & Old School" (Over 25 Sound)
LISTEN Reviews by Calvin Lee Hill (edited by Blues Critic) BIGG ROBB Presents "Blues Soul & Old School" (**** 1/2) Everything Biiiiiiiiiigg Robb touches turns to gold. Midas touch fo' sure. The brutha is busy too! This is the third release this year. His "8 Tracks & 45s" then "Best Of Da Problem Solvas" are already out there and now this party in a box! Good news for those who want to get Pat Cooley's "Younger Man, Older Woman". It's in there. (like Ragu). Bigg Robb's new version of Carl Marshall "Good Lovin' Will Make You Cry". It's in there. "Grown And Sexy", the one with Sir Charles? Yuuuup in there! You get it cuzzin. But that's not all! If you order now you also get the Zappified slow jam "Old School Lovin" by Sure 2 B. Wait! That's not all. We'll also throw in new tracks by Napoleon ("Party Like The Rich Folks"), Special ("Put Your Hands On Me"), Da Problem Solvas ("Pot Liquor N' Cornbread" but too close to "Mississippi Boy"!) remixes Bigg Robb on Bigg Robb ("Keep On Swingin", "I'm Ready To Party") and...sound like a commercial. Sorry Bigg Robb does that to me. Buy this CD. Period. No bad tracks. El Willie "Dance With Me" (***) Willie is now with that old crusty Senator Jones' label (you know I'm playin') Hep Me Records. El's got that easy, lean back, nod yo' head and get your sip on groove again on "Dance With Me". This ain't no dance record but there's a lil' more mid-tempo tracks like "I'm So Blessed", "Dance With Me", "Crazy Kind Of Mind", "Hello Sunshine". Still El's the man when it comes to romantic, seductive slow ones. Listen to him intone on "Sugar I'm Tryin' To Get To Know You". So smooth. I can't help but picture Tyrone Davis covering this song. I don't think El ever wrote for Tyrone like he did for Theodis (Ealey) and Willie Hill but they would've made THE love album to end 'em all!. And Smokey Robinson should cover "Hello Sunshine"! El doesn't play around on the beautiful "Will You Marry Me?" Ooh, whoever my boy sang this too sho' nuff had to melt! El's woman gotsta be some fine a** woman. Take a look at this song titles. They tell a story. I'll put them in order. First: "Sugar I'm Tryin' To Get To Know You". Next should come "I'm So Glad To See You Again" 'cuz they hit it off the first time see. Next he says "Stay With Me Tonight". Whoa! slow down boy. So El's gotta get the ring before her music box's gonna sing. So he sings "Will You Marry Me?" and the wait was worth it 'cuz he's singing "You Got Me Where You Want Me", "You Made Lovin' Easy" and "I Don't Wanna Stop Loving You". Can someone say "whipped!". Ha, but El don't care he's got good lovin and says "I'm So Blessed". The only thang I have against the record is because El is a great sax player but doesn't play sax on most of the tracks. he uses keyboards for horns. Nothing against keyboards but El plays great saxophone on "Springtime At The Old Havana" and coulda-woulda-shoulda played on all of them. The Duchess "It's My Time" (**). The Duchess is fizine and she can sing too. Sounds just like Lil Kim Stewart and Monique Ford. But not everything works on her new CD "It's My Time Now". Like the cds's title track. It tries to be funk, southern soul, r & b all in one but it just doesn't hit the pocket. The first song they pushed to radio was "Doin' My Job" was just plain stale as nine-day old Wonder bread. When it started playing I thought it was gonna be that song "It Ain't The Size" by Charles Wilson but then it reminded me of some Marvin Sease record I can't recall. It's just a junk track and that was the first single?! A little mo better is "I Need A Man" but it still doesn't have no hook. I can't believe it too because Archie Love wrote all the songs and he's usually on point. The slow jams are the best part of the record. "Friends Don't" and "Forever & Ever" (with Warren Miller) are head and shoulders better than the other 7 tracks. Maybe next time.
*** 1/2 Brinston's debut LP "Hit & Run" is a classic of modern soul and a benchmark for the Southern Soul genre. Brinston hasn't hit those heights since but came close with "Fly Right", which featured the same producer as that record, Marshall Jones. Also his independent 2006 release "Mississippi Boy" played to his strengths- bumpers and ballads rather than Contemporary R & B. I mention "Hit & Run" because his latest disc captures some of that magic. Now on his fifth record label, Ecko, Brinston delivers the goods with simple melodic bumps, ballads and beach. Though it's heavily synthetic music a singer like Brinston can still make it sound soulful. The set opens with the title track, a sweet dancer nearly ruined by obnoxious background vocals (that goofy "here I go here I go" bit). It sounds like an outtake from the "Hit & Run" sessions! The likely radio cuts though are the bump "Baby Let Me Hit It One More Time" and midtempo "You Took That Dog In Me" & "Too Many Women", which have the strongest refrains on the LP. The latter also features a bona fide B-3 Organ part by John Ward, who this time gives co-production credited to frequent collaborator Morris J Williams. After a mediocre stretch Morris J has written some strong songs ("Love's Always Gonna Be Around", "After Party" with Big John Cummings, "You Took That Dog In Me" as well as the aforementioned cuts) and cut out that gurgling "bucka bucka bucka" percussion programming.. Also noteworthy is a superior take on the dancer "Work That Thang", which was rather lazy on Bill Coday's final Ecko CD "Take Me". Interestingly another cut from that album, "Back It Up And Put It There", is also here and is one for the Carolina shaggers.
*** Latimore albums the past two decades are a frustrating experience and this new new venture is no exception. "Back 'Atcha" is the maiden release on a new record label, LatStone, co-owned by Latimore and legendary producer/mogul/gangsta Henry Stone. Nevertheless, it's 100% a Lat-helmed record, playing most of the parts (on Motif keyboards) and writing all ten of the songs (including three co-authored by Roach Thompson). It's hit and miss. Two great songs ("Edna Mae", "My Give A Damn Gave Out A Long Time Ago"), two awful songs ("Miami", "Ghetto Girl"), 1 strong blues ("Wake Up America") and some awkward attempts to fit into mainstream R & B (albeit of the 80s and early 90s); very much like his previous platter, the Mel Waiters-produced "Latt Is Back". It kicks off right with the charming "Edna Mae", a sentimental ode to mama on top of a loping drum pattern, noodlin' guitar and electric piano only to give way to the pedestrian, faux reggae "Ghetto Girl". A relic of the 80s for sure. Despite the plastic backing "'Nanna Puddin'" scores again on sentiment (props to a woman who's like sweet ole' grandma's pudding). That drum track though nearly ruins the track. Same goes for the soaring ballad " I See Love", which proves Lat can sing as well as ever. Sexy Latimore lets that baritone purr on the trance-like "Honeymoon" and testifies on the anti-war "Wake Up America". We buy Latimore discs for that voice but it sounds even better with an organic sound. That said, it's still a pleasure to have a new record (six years since the last one!). How about a sequel with more Stone?
**** 1/2 Right from her first few notes I thought to myself big-voiced Julie Black was star material. After the first listen I was ready to place her in the upper echelon of Caucasian female blues singers, you know Janiva Magness, Susan Tedeschi, et al. Is It too soon? Has she paid her dues? It doesn't matter all I know is this is a dynamite record by a talented young lady. Twelve originals all written by Black. The gal even painted the darn album cover! The forceful, grinding "Bigger Fool For You" features a Delta Blues guitar lick and Janis Joplinesque vocal, followed by a Jazzy finger snapper with a Beatles flair for melody. Here she praises a man who's got game: "You know how to treat a lady/The way she oughtta be/You just keep your game on smooth/I might take you home with me." Just as soon as that ends she turns into Sarah McLachlin on the acoustic guitar, organ and piano Folk/Rock of "Call The Cards". It's one of those songs you swear you heard on the radio because it belongs there. "Hurt My Baby" is an dark tale of jealousy and rage. "Well it started one night. I'd been drinkin' I'd been up a couple of days when this fine thing started lookin' at my man". Black then explains she had a gun in her purse and proceeded to shoot her husband while "that fine thing ran for the door...and my true love fell to the floor". Yikes! Perhaps the cad in "Go & Get Her" is the same guy that got that bullet. Here she describes her man leaving her for someone blonder, younger and thinner. Her man says: "Babe I appreciate all the things you done and how you stood by me through years of strife. You should be happy for me... My ship's come in. She's a real sweet girl. Her name is Darlene. She's young. She's blonde. She's thin." Suffice it to say Mz. Black then plans to teach his "lyin' ass a lesson" and "when I see Darlene I'll snap her neck!" Another "killer" is the smoky slow blues "Love This Mama", which finally adds some of that sexy swagger you'd expect "Devil's Child" is a stone masterpiece. A commanding, emotive vocal, piercing guitar and dramatic piano that simmers to a boil. "Angel For the Blues" has to be the debut of the year. I know it'll be on my year-end list.
Root Doctor "Change Our
Ways" (Big-O) LISTEN Root Doctor "Change Our Ways" (*** 1/2) A majority of original tunes makes this sophomore effort by Root Doctor preferred over their otherwise competent debut of last year. Organist/Producer Jim Alfredson with either vocalist Freddie Cunningham or guitarist Greg Nagy composed a six pack of Urban Blues around his Hammond B-3 and Cunnnigham's earthy voice. Ching-ga-lang guitar, icy B-3, and a funky rhythm grace the terrific "Blues Will Take Good Care Of You"- their best song so far and one I expect to get covered frequently in the near future. "Keep Our Business Off The Streets" contains a familiar rhythmic pulse I associate with the Robert Cray Band (cira 1988) before hitting a brassy chorus about a gal that needs to button her lip about what goes on in the home. The Motor City Horns (Mark Byerly, Keith Kaminski, John Rutherford, Bob Jensen) put the icing on this cake. Cunningham gets to stretch out those vocal chords on the classic-styled soul ballad "Lucky One". Their second best song so far, this stirring performance lifts them to another level. W.C. Handy folks should take note. Cunningham's strong take on "Soul Shine" shows it was no fluke. Of the other covers their namesake, Roy Hytower's "Root Doctor", stands out. (Though nearly identical to both the original and Buddy Ace's great version). The umpteenth cover of the Temp's "I Wish It Would Rain" has a fresh skank to it- just piano and vocals until a cello and violin join in for the final third. This is the way to do a song that everybody already knows about. Make it seem original and with different lyrics it could be a new song. I often complain about ubiquitous tributes and karaokes so a disparate arrangement is appreciated. If you're going to cover a classic on your album add something to it Save the carbon copies for the local pub. But, this is no average bar band Sleepy John Estes "On The Chicago Blues Scene" (**). To some what I'm about to say will amount to blasphemy against the blues but albums like this re-issue by Sleepy John Estes are tedious these days outside the historical value. Now Delmark Records is one of the very greatest blues labels we have and they've been releasing a steady stream of marvelous out-of-print, rare and live recordings as of late (last year's Junior Wells live disc recorded 1974 at Theresa's a prime example) but there's so many great contemporary blues singers out there...that I doubt Estes would even get signed to Delmark in today's blues world. Yeah I said it. Estes is a lousy vocalist and a mediocre songwriter to me. According to the admittedly informative liner notes, the impetus for this set was realized when Delmarkian Robert Koester saw an impromptu gig featuring Estes in non-Folk mode back in1964 at a Dusseldorf dive. Koester told Estes that one day he would have him record such an album with the "rugged" electric sound he heard that night. True to his word, Koester had Estes cut the album in 1968 with Carey Bell, Jimmy Dawkins, Sunnyland Slim, Earl Hooker and others. Originally titled "Electric Sleep", this 13-song collection has been remixed and remastered...but it's still boring. Estes has one of those creakly old man voices throughout that no modern blues listener or person under fifty truly enjoys. Great at the time but tedious today. Go head admit it. Yeah, ok, but I'm not saying Babe Ruth wouldn't hit 50 homers a season if playing today. The Calvin Owens Show "Houston Is the Place To Be" (****). Hot on the heels of two 2006 discs featuring The Calvin Owens Blues Orchestra (Trudy Lynn's "I'm Still Here" and Owens' own "Ain't Gonna Be Yo' Dog No Mo'") comes another set of Big Band Blues with mucho guests. The set is sub-titled "Blues Orchestra Vol. 3", it being the third of similar projects. Frequent collaborators Rue Davis and Barbara Lynn each supply lead vocals on two tracks apiece. Davis, who wrote most of the songs on Trudy Lynn's recent LP, lends his Bobby Bland-like chops to the swingin' "Oh I Wish" and "You Are My Babydoll". Man, this cat can sing anything (and like anybody)! Lynn croons well on her self-penned "Lose A Good Thing" and digs deep for the slow rolling blues "The Highway Is My Way". To my ears her voice has aged marvelously. Tweed Smith usually sings backup on Owens records but she gets two starring roles here. First a duet with the curmudgeon himself ("Houston is The Place To Be") and by her lonesome on "Somebody Tell Me". Now I wanna hear more of this voice, which reminds me of Peggy Scott-Adams. New addition to the fold, Evelyn Rubio wails on Trudy Lynn's (who's conspicuously missing on this LP) "Everybody's Got A Blues Song To Sing" , as well has blowing some mighty fine alto sax. As always this is Owens' party and he adds some new gems to his catalog including "Sawdust Alley", named after his record label. Longtime listeners know what to expect and will get it here. Conversely, those who claim to not like Big Band change their mind on records like this. Jason Ricci & New Blood "Rocket Number 9" (**). The Eclecto Groove imprint is a new pet label of Delta Groove Productions, perhaps the hottest blues label today. I can't blame them for branching out and trying some alternative music- a junkyard mishmash of styles that manages to be filed under "blues" by a stretch. After all look how successful Robert Randolph has been. I'm no purist by any means That said Jason Ricci, or should I say Jason Screechy?, must be an acquired taste. Right from the obnoxious, cacophonous seven-minute whack off "The Rocker" that opens the set I knew I'd found a challenge to my patience. At least Spinal Tap had a tongue in the cheek. But then Ricci kicks out a catchy Pop/Rocker with harmonica next that had me second guessing myself. The cut in question, "I'm A New Man", is the most accessible and best thing here. The wild instrumentals "Dodecahedron", "The Eternal" & "The Blow Zone Layer", plus the soulful "Sonja" also made an impression. Ricci can play his mouth harp but he can't sing so let the harp do the talking, will ye? This disc had potential if not for several irksome interludes, such as the drowsy, interminable (eleven-minute) "Loving Eyes", thereby reminding me that "eclectic" can easily mean "pretentious". I don' like the yuppie band Dave Matthews Band either but if you do then "Mr Satan" (the song) will trip your trigger. The arty closer "Rocket Number 9" just proves things must sound better when inebriated in the studio. The trick is to get sober before you put it on record. Interesting record but...pass.
copyright 2007 by Blues Critic Media unless indicated otherwise. May be used if web address www.bluescritic.com and company name are included. |
Thorbjørn Risager "Here I Am" (Cope)
David Brinston "Here I Go Again" (Ecko)
Latimore "Back 'Atcha" (LatStone)
Julie Black "Call Me Angel For The Blues" (BOYA)
