There’s a Time

Reference Recordings

BluesWax Rating: 10 out of 10

TITLE

Two years after his last release, the lauded Brand New Eyes, troubadour Doug MacLeod returns with a set of thirteen tunes that emphasize his versatility and expertise in singing, acoustic guitar artistry, and storytelling. This album is proof that MacLeod’s seven nominations in the last eight years by the Blues Foundation for the Blues Music Award as Acoustic Artist of the Year are well deserved.

Abetted by consummate professionals Jimi Bott on drums and Denny Croy on bass, MacLeod cavorts, cogitates, and emotes. Consistent with his many records, the songs are originals and are based on his personal experiences (with the exception of “My Inlaws Are Outlaws,” which Doug asserts is “the only song I’ve written that’s not true!” His family will be relieved). They run the gamut from belly-laugh hilarious to eerily spooky to mesmerizingly poignant, an impressive variety that he handles deftly.

The first four songs perfectly demonstrate MacLeod’s range in performance and composition. “Rosa Lee,” the jaunty opener, is a smug tale about a woman of the night with a special fondness for the singer: “I know you gotta pay, but I get her for free.” It’s followed by “Black Nights,” a wrenching blues song about a painfully unsatisfying relationship. (It’s not Charles Brown‘s classic song, “Black Night,” but it’s equally good.) MacLeod’s vocal is moving, and his finger-picking (on his Gibson named “Little Bit”) is dazzling.

Rising from the depths of despair, we next have “The Up Song,” in which Doug advises us to “loosen up, lighten up,” and do every other kind of up, but “don’t give up!” Ribaldry ensues with the risible lament that “My Inlaws Are Outlaws”; we’re not halfway through the album and have already enjoyed the range of blues emotions and MacLeod’s wide-ranging talents.

There are more highlights. (In fact, there is never a let-down.) “The Entitled Few” is a scathing satire of the economic 1%, and “Dubb’s Talking Religion Blues,” one of MacLeod’s ongoing series of talking blues tunes over several albums, is a similarly tart take-down of intolerant religious fundamentalists. In several of the songs, as in past albums, Doug delves into superstition, the supernatural, and the inexplicable: “Run with the Devil,” “Ghost,” and “The Night of the Devil’s Road.” In fact, the shivers that the latter song sends up my spine echo the feeling that I get when listening to similar works by seminal blues greats Blind Willie Johnson and Skip James…and that’s high praise indeed. The effect is augmented by MacLeod’s evocative vocals, including his frequent forays into the field of falsetto.

This CD was recorded live, without overdubs. The sound is crisp and the instrumentation is pristine, without frills or pretention. The liner notes include informative biographies of the three musicians and MacLeod’s brief but enlightening descriptions of the provenance and tunings of each song.

Even if you have never heard MacLeod before, you will end up delighted by the breadth and skill of this CD, and its intimacy will probably induce you to think of Doug MacLeod as a new friend. We old friends are equally delighted. If this album isn’t acclaimed by many as best acoustic album of the year, I will be stunned.

Steve Daniels is a contributing writer at BluesWax.

 http://www.youtube.com/watch?v=KWAN0fCEIMU

Doug MacLeod

“The Entitled Few”

From There’s A Time

March 14, 2013

The Bing Lounge for KINK

BONUS!

http://www.youtube.com/watch?v=4agIdfU_n0M

Doug MacLeod

Promo Video for 2012 Los Angeles Guitar Festival

Standing In The Shadows

ManHatTon Records

BluesWax Rating: 8 out of 10

The Best of Scottish Blues

I first saw King King at the Maryport Festival in Cumbria in 2009 and remember vividly the formidable sight of giant Scot Alan Nimmo resplendent in his trademark tartan kilt making Braveheart look like the schoolboy Wee Jimmy Krankie. The audience looked petrified, fearing another Scottish invasion and that is exactly what they got from the heavy blues rockers’ high-octane performance that day.

Four years later and the release of a second album follows a succession of accolades from many quarters, including Best Album and Best Blues Band voted by readers of Blues Matters! The opening track, “More Than I Can Take,” typifies the powerful, hard-driving blues associated with the band, with its funky beat, scorching guitar solos, and uncompromising vocals. Similarly, in “One More Time Around,” Wayne Proctor lays down a torrential drumbeat, providing the perfect platform for the inventive solos from Nimmo and keyboard player Bennett Holland. Elsewhere, a discernible change of style becomes evident as the tempo slows with tracks like “Taken What’s Mine,” albeit still building up to impressive crescendos where appropriate.

You can feel the anguish, insecurity, and emotion of “Jealousy,” with Nimmo captivating the listener with the shame he feels about his lack of trust and belief. “Can’t Keep From Trying” and “Coming Home (Rest Your Eyes)” show the maturity in the lyrics, tunes, and arrangements of Nimmo and bassist Lindsay Coulson, which are reflective and yet uncomplicated. The last track is the gospel-sounding “Let Love In,” with exceptional background vocal harmonies from the Butler Family providing a real sense of spirit and occasion, a fitting end to an uplifting album.

If your expectation is a hard-rocking Alan Nimmo with attitude, then you might be disappointed despite songs like Free’s “Heavy Load.” What you do get is King King’s evolution into a more versatile, mellow, mature, and subtle band which has not lost its high-energy intensity. King King won’t be standing in the shadows, but will continue moving onwards and upwards towards claiming their rightful spot centre stage.

Dave Scott is a contributing writer at BluesWax

http://www.youtube.com/watch?v=H9YmNnNsHsI

King King

“Jealousy”

From Standing In The Shadows

Official Video

Bonus Track!

http://www.youtube.com/watch?v=shESO4i8C2Q

King King

Promo Video Sampler

2011 Peer Blues Festival

Belgium

Let’s Get Outta Here

Hittin’ the Note Records

BluesWax Rating: 6.5 out of 10

Sanctuary

Once a member of Cowboy, a group that recorded for Capricorn Records, Tommy Talton has had a long career during which his guitar could be found backing singers like Bonnie Bramlett, Clarence Carter, and Dickey Betts in the recording studio, plus a featured spot on Gregg Allman‘s Laid Back record. For the last six years, Talton has focused on recording his original material under his own name and doing guest spots for singers like E.G. Kight.

His latest release, Let’s Get Outta Here, features plenty of his cutting slide guitar, wistful vocals, and songs infused with Talton’s positive outlook on life and love. The last two elements work to make the gentle ballad “Make It Through the Rain” an appeal for sticking with love to ease the pain of life. Talton doubles on acoustic and an electric guitar run through a Leslie speaker. The rhythm section of Frankie Nattola on bass and David Keith on drums appear on half of the album. “Dream Last Night” is another subdued track as Talton ponders the merging of visions and reality with a graceful vocal underscored by his flowing slide work. Some delicate acoustic picking by Talton tempers the pain of lost love on “Recent Rain.”

Talton also understands that the state of the human condition has changed, a point driven home on “Where is the World,” with the leader’s guitar and Chuck Leavell‘s piano serving as beacons calling us to the light. And when Talton unleashes his slide on “Sunk Down in Mississippi” with Nattola and Keith behind him, the disc takes on a rockin’, bluesy groove that ponders the price of infidelity. Things keep rolling on the aptly named “If Your Attitude if Funky (Nobody Wants Your Monkey).” Bill Stewart pushes the beat and the dynamic horn section consisting of Chad Fisher on trombone, Shane Porter on trumpet, and Brad Guin on sax add the exclamation points behind strong contributions from Kelvin Holly on electric guitar and NC Thurman on the clavinet. David Pinkston‘s steel guitar brings a touch of twang to “Half of What She Is (Is All I Can Hope To Be),” with another member of Cowboy, Scott Boyer, joining Talton for some exquisite vocal harmonizing.

The horns brighten up the title track, a breezy tune made to be listened to on a summer’s drive with the top down. Talton fires off a nimble-fingered solo before switching to slide on “You Can’t Argue With Love,” lending a menacing tone to a song celebrating the power of love with Red Young on piano and organ, plus Brandon Peeples on bass. “Slacabamorinico” is a rousing celebration, New Orleans style, with the horns getting a chance to stretch out. With Boyer, Leavell, and Stewart on hand, the song serves as a brief Cowboy reunion.

The disc finishes with a brief audio clip of Talton’s late mother, Julie, reminiscing about her life, which leads into a tribute to Levon Helm titled “Give a Little Bit.” Talton handles all of the guitar parts, ripping off an impressive solo, and his robust vocal is a highlight. Tony Giordano lends a hand on keyboards and harmony vocal.

While there are plenty of fine moments on this recording, Talton’s musical universe offers little in the way of blues influences. If you are looking for a change of pace from traditional 12-bar blues or over-driven rock/blues records, this one offers a worthy sanctuary to calm your soul.

Mark Thompson is a contributing writer at BluesWax.

 http://www.youtube.com/watch?v=Ne6C4ddgVzw

Tommy Talton

“Slacabanoninico”

From Let’s Get Outta Here

March 3, 2013

B.B. King’s

Not sure which one.

Bonus!

http://www.youtube.com/watch?v=rsR33f-XVsQ

Tommy Talton

Promotional Video For

Let’s Get Outta Here

What The Hell Is Goin’ On?

Perpetual Obscurity

BluesWax Rating: 7.5 out of 10

Superpowers

What The Hell Is Goin’ On? indeed! This twelve-song follow-up album to his 2010 release, Pimps and Preachers, is composed entirely of cover songs. This is not your typical cover album though, as they are mostly all rather deep cuts. I have to admit though, while tapping into topics such as love, infidelity, broken relationships, revenge, and loneliness, they all fit in Thorn’s wheelhouse quite comfortably.

From the 1973 Buckingham/Nicks album, “Don’t Let Me Down Again” is approached by Thorn in a more countrified manner with a slower tempo than the original, thus allowing the riff to really soak in and take hold. This I really liked. I still kind of missed Stevie Nicks on vocals though. Although I appreciate and enjoy the Thorn’s rendition of Buddy Miller’s “Shelter Me Lord,” I prefer the original version a little better. This one is somewhat of a contemporary gospel song to be sung with catastrophic events in mind. Background vocals provided by the McCrary Sisters, along with the organ accompaniment by Michael Graham, give Thorn’s version a little boost of “church” that interestingly blends in with some nice swampy slide work by Bill Hinds.

Thorn journeys to unusual places to find love and retribution. This is one my favorite traits of his. Whether he’s writing the song or choosing one to cover, he doesn’t take the heavily traveled path. Take his cover of Ray Wylie Hubbard’s “Snake Farm.” The music is heavy on the slide, with a little echo to set an eerie tone. The song itself is country-quirk. It’s a song of affection about a tattooed woman named Ramona, who works at the Snake Farm reptile house, likes beer and loves the U.K. band The Alarm. If you listen closely to this one, you can almost hear the rattlesnakes in a faint, repeating sped-up drum track toward the end.

Thorn enlists Delbert McClinton to assist with vocals on his version of Wild Bill Emerson’s “Bull Mountain Bridge.”
This catchy song is a captivating one about a redneck Klansman Bull Mountain Hawk who seeks retaliation on a local charismatic drug dealer, Stone Fox Dan for messing around with his woman. Bull Mountain Hawk’s solution is simply to break his arms, throw him in the river, and if anybody asks, tell them he committed suicide.

Questioning the reason behind today’s rampant violence, the title track, “What the Hell is Goin On?” from Elvin Bishop, features Bishop himself on guitar. The song is additionally fortified with Thorns energy and surpasses the original as far as I am concerned. Thorn and Bishop make a great team. Another artist with roots in the Sixties that Thorn chooses to cover is Paul Rogers. Taking on “Walk in My Shadow” by Free (originally on their Tons of Sobs album), the song is flipped from its original sixties electric blues format, with its faster pace and Paul Rogers vibrato infused vocals, to a more traditional electric blues. This one turns out nice. If you have ever lived in a small town and experienced rampant gossip and loss of privacy, you may just identify with “Small Town Talk,” by Rick Danko. This track sounds very much like a Randy Newman song with Thorn’s slightly nasally voice and the poppy organ melody.

My introduction to Paul Thorn was through his previous album, Pimps and Preachers. I was blown away at his ability to pen a song. And now I am aware of his superpower to dive deep and find songs that deserve to be listened to again.

Phillip Smith is a contributing writer at BluesWax.

http://www.youtube.com/watch?v=HulJhHWTBTo

Paul Thorn

“What The Hell Is Goin’ On?”

From What The Hell Is Goin’ On?

 http://www.youtube.com/watch?v=5fFJFf0led4

Paul Thorn

“She’s Got A Crush On Me”

From What The Hell Is Going On?

On Real Life Real Music

Live at Dosey Doe

Woodlands, Texas

Life At Captain Tom’s

Fat Hippy Records

BluesWax Rating: 8 out of 10

Scottish Blues

When I first saw Gerry Jablonski at the U.K.’s Orkney Blues Festival in 2005, he was pursuing a solo career although he sounded like a one-man band on stage, stamping his feet, throwing his head backwards and forwards, and playing his amplified acoustic axe in a manic frenzy at breakneck speed. Whilst steeped in the blues, his repertoire included Hendrix and Ray Charles covers plus a roller coaster of other genres such as heavy metal, punk, and what he called “fiddly diddly.” I predicted that the CD he recorded soon after that festival, The Man Who Lost The Moon, would become a highly acclaimed album, but perhaps it was too avante garde.

While Jablonski is still on the periphery, he is building up his reputation gradually with The Electric Band and is supported by a growing, enthusiastic fan base in the U.K. and Europe. Which brings me to Life At Captain Tom’s. I must have seen or at least listened to around fifty Scottish blues bands over the past 10 years through attending gigs and reviewing CDs, including the excellent Jock’s Juke Joint compilations (a great place to begin for those new to the Scottish blues scene). Despite the high calibre of contemporary blues in Scotland and the international profile of bands like King King and Blues ‘N’ Trouble, my favorite by a mile is Gerry Jablonski because of his creative, dynamic, and zany performances, and above all his genuine feel for the blues. These qualities permeate the band, which has at least one more genius in harmonica player Peter Narojczyk, although drummer David Innes, bassist Grigor Leslie, and Paul Emerson on keyboards are no slouches either, but highly competent musicians.

The breathtaking opening track, “Higher They Climb,” has one of the most distinctive and memorable riffs since Alvin Lee’s “Love Like A Man.” The slick changes in tempo, enigmatic vocals, mesmeric harmonica, incendiary guitar solo, thunderous bass, and pulsating drumming make this the best blues-rock track in recent years. A sensitive side is also not too far from the surface, however, and Jablonski can add light and shade to both his vocals and his guitar playing.

“Sherry Dee” is an actual biker bar in Louisiana, and the song is a blues shuffle interspersed with explosions of the most dynamic harmonica solos you will hear this side of the Atlantic. “Koss” is a moving tribute to the late Paul Kossoff, “We cried, we cried the day the young blood died,” with Jablonski’s guitar imitating the style and tone of the axeman from the English rock band Free.

“Hard To Make A Living” is a sanguine reflection on the realities of working hard for little reward; Narojczyk’s harp providing the anguish and frustration. However, optimism lies in the fact that “whatever life throws at you, the blues will always have a voice.” “High On You” typifies the band’s collective creative brilliance and sincerity, while “Merchants Of Soul” celebrates the blues influences of B.B. King and Jimmy Page, with plenty of Jablonski’s trademark licks as well. The other tracks which stand out are the beautifully crafted autobiographical ballad “Anybody” and “Skinny Blue-Eyed Boy,” the heartbreaking story of parental separation. I continue to predict a very bright future for Gerry Jablonski and The Electric Band because of their talent, honesty, dedication, and, above all, commitment to the blues.

Dave Scott is a contributing writer at BluesWax.

http://www.youtube.com/watch?v=gty9UxSGy3k

Gerry Jablonski and The Electric Band

“The Higher You Climb”

Club Gdynia

Gdynia, Poland

Bonus Track!

http://www.youtube.com/watch?v=vK3BhNLtI3Y

Gerry Jablonski and The Electric Band

Short Segment from Polish National Public Television

Dick’s Picks 25: May 10 and 11, 1978  (4 CDs)

Real Gone Music

BluesWax Rating: 9 out of 10

New Haven’s Second Set’s Hot, Springfield is Beyond Belief

Dick’s Picks 25 is two back-to-back shows from New England, the New Haven show takes a while to solidify, but the Springfield, Massachusetts, (second night) is nearly as good as it gets. Typically I am more interested in early seventies Dead shows, but these two performances changed my perspective as tape archivist David Lemieux selected two of the better shows from 1978. By the way, Owsley Stanley recorded the New Haven show, and Betty Cantor Jackson captured the second night that I thought sounded more detailed and clear, but that could have had a lot to do with the venue.

Highlights from New Haven’s first set are few as the band sounds disinterested and doesn’t seem wanting to bounce off each other with much interplay. But there had to have been some sort of prayer meeting between sets, and maybe some magic dust was sprinkled on the band as there’s a surprisingly strong (not one of my favorite tunes) “Estimated Prophet” that nicely segues into a tantalizing “Eyes of the World,” both tunes check in at nearly twenty-five minutes; the drums take over (not too long: eight-minutes) as Lesh leads the way into a not-too-spaced-out “The Other One” that morphs into a delectable “Wharf Rat,” onto the closing “Sugar Magnolia” that rocks and rolls. This second set is one of those (somewhat rare) non-stop jams that had no breaks between all songs performed, but they also do it again on the next night, but on the second night there’s not one but two encores.

On the very next night, just up the road from New Haven, the Dead brought their near-highest supernatural prowess to the Springfield, Massachusetts, Civic Center Arena that’s mostly known as a hockey rink and not for it’s superb acoustics, but the set shines sonically and on the musicianship and vocals, as all band members are on the same wavelength from the first notes to the end. Just about every song during their first set oozes with eloquent interplay, even their vocals standout. Donna Jean Godchaux sits back and vocally plays more the role of a background singer and never gets in the way. “Cold Rain and Snow” chugs along in a funky zone. “Beat It On Down the Line” is typically short and sweet, yet rocks solidly. “Friend of the Devil” is performed slowly but it’s gorgeous. “Looks Like Rain,” and a devilishly heavy “Loser” also burnish magnificently. The tempo rises with the bluesy “New Minglewood Blues” and a fun “Tennessee Jed.” The set closes with a percolating “Lazy Lightning” into torrid “Supplication.” Those not knowing that the Dead always performed (at least) two sets, would have been satisfied with this sixty-minute prelude of what was yet to come.

Set Two opens with a carefully executed “Scarlet Begonias” into a slightly more upbeat “Fire On the Mountain,” as I felt the band hadn’t yet wanted to unleash their “knowing” that they had plenty left in the tank for later. It’s Disco-Dead time with their danceable take on “Dancing In the Streets” for fifteen minutes, into a very lengthy drum segment (almost twenty minutes). Thank goodness for the fast-forward function on the remote! Out of the drums comes a raucous “Not Fade Away” that sweetly flows into the hypnotic “Stella Blue,” that rocks into “Around and Around” that would have made Chuck Berry smile, and perhaps be envious too, as Garcia’s having a blast playing Berry’s licks. The encores included a fun cover of Warren Zevon’s “Werewolves Of London,” a tune the Dead covered limitedly, and another tribute to the father of rock ‘n’ roll on Berry’s “Johnny B. Goode.” What a night! Were you there? If yes, you’d remember it.

As with any Dead sets, there are some quibbles such as Weir’s ill-chosen overuse of his slide guitar playing (a stint that was later demanded by other bandmates to cease and desist). And the mostly MIA Keith Godchaux’s piano, not sure if he was mixed down on purpose (his playing had been in rapid decline at this time) or if he just wasn’t up to it that night. That being said, Keith is not missed as Lesh, Garcia, and Weir (when playing regular rhythm guitar) were functioning on all cylinders and beyond on this mystical evening.

Yeah again for the Real Gone Music people for keeping this Grateful Dead Dick’s Picks collection alive, as I’m not certain about the length of time www.Dead.net will keep this series of over thirty performances in print.

Note: Every volume of Dick’s Picks has its own caveat emptor warning about the sound quality, but I thought (especially on the second night) these shows sounded pure, clean, and were mic’d perfectly as each instrument (other than Keith’s piano) and all vocals were as detailed sounding as I could ever expect from a live recording. Last but not least and also noted in the liners: “Dick’s Picks 25 was mastered from the original analog 2-track tapes, recorded live at 7.5 ips and 15 ips, and may exhibit some minor effects of the ravages of time. However, the music contained on these four discs is quite remarkable, and by far makes up for any slight anomalies in the recording. Enjoy.” Sonically speaking this statement is very humble, but from a performance perspective, they are right-on as most of these two performances were remarkable indeed!

Bob Putignano www.SoundsofBlue.com

http://www.youtube.com/watch?v=lmr3o0_92f0

The Grateful Dead

First Set

Jack Straw

Dire Wolf

Beat It On Down The Line

Peggy-O

Mama Tried

Mexicali Blues

Funiculi Funicula

Row Jimmy

New Minglewood Blues

Loser

Lazy Lightnin’

Supplication

April 12, 1978

Cameron Indoor Stadium

Durham, North Carolina

Bonus Track!

http://www.youtube.com/watch?v=OT5KDz8XemE

The Grateful Dead & The Allman Brothers

“Dark Star”

February 11, 1970

Fillmore East

New York, New York

Born Under a Bad Sign  (Reissue)

Concord/Stax Remasters

BluesWax Rating: 7 out of 10

These Stax Remasters are Great,

Especially When It’s an Albert King Reissue

I think it’s safe to say we all know this recording classic from head to toe, this is where Albert King debuted on Stax and was backed by all members of Booker T. & the MG’s with the Memphis Horns. Talk about a marriage made in heaven! Early in 2013 Bill Dahl wrote his insightful new set of liner notes, also included are Michael Point’s 2002 liners and, of course, the original 1967 liners by Deanie Parker are there; so there’s a sixteen-page booklet included, as well as five previously unreleased bonus tracks.

The original LP Born Under a Bad Sign was comprised of eleven tunes, with one King original, “Down Don’t Bother Me,” though there’s one other King/David Porter tune (see below). It’s no wonder that this recording was such a success, starting with Booker T.’s and William Bell’s title track with those thunderous opening bass lines, that was later covered by Cream. King stamped his signature sound on “Crosscut Saw,” as it became one of his many signature tunes. Note how King took the Leiber and Stoller “Kansas City” as uptown-Memphis styled.

And the hits kept on coming with “Oh Pretty Woman” and the lesser-known “Down Don’t Bother Me,” written by King. Plus the covers of Ivory Joe Hunter’s “I Almost Lost My Mind,” the co-authored (David Porter and Albert King) “Personal Manager,” “Laundromat Blues,” and “As the Years Go Passing By,” all are fond memories from this wonderful original recording, though I thought it was a bit odd to conclude with “The Very Thought Of You.” But no matter, it wasn’t unrealistic to expect that soon after “Born Under a Bad Sign” made its appearance on the charts that King Albert found himself playing to larger audiences like the Fillmore’s East and West.

Of course, most Stax Remasters series albums would not be complete with previously unreleased bonus tracks. The alternate take of “Born Under a Bad Sign” isn’t that different than the original album version, but I do like the audio mix better. The “Crosscut Saw” alternate also sounds a bit brighter, especially the horns. Yet another alternate, “The Hunter” is definitely grittier and more righteous; Duck Dunn’s bass roars at you and Albert’s snarls are more apparent, I clearly like this version better than the original. The final alternate “Personal Manager” is about one minute shorter than the previous original; it’s a little heavier too. The final (non-alternate) bonus track is an instrumental titled “Untitled Instrumental” credited to Albert, it’s short at just over two minutes, Dunn’s bass pounces, the horns kick, Booker tickles the ivories on this all too short gem.

So if you have the original Born Under a Bad Sign in your collection should you purchase this one? That’s a tough (and perhaps a financial) call, but considering the magic touch and enhanced sounds unearthed by the re-mastering whiz Joe Tarantino, the two sets of liner notes, and the five bonus tracks, I say get yourself this new Stax Remasters edition and enjoy.

By the way, if you happen to need further proof of Albert King’s prowess, know that King Albert will be posthumously inducted into the Rock andRoll Hall of Fame on April 18, 2013. Finally! Here, here!

Bob Putignano is a senior contributing editor at BluesWax, a contributing writer at Blues Revue, and the heart and soul of Sounds of Blue.

http://www.youtube.com/watch?v=-TkdHUZqRvM

Albert King

1981

The Maintenance Shop

Iowa State University

Ames, Iowa

Bonus Track!

http://www.youtube.com/watch?v=goAdai2-jLI

Albert King

“Born Under A Bad Sign”

 1992

Ohne Filter

A German Public Television Music Program

This is probably the last performance video of the the great bluesman

(Sorry it cuts off a little quick, but we knew you wanted to see it!)

Back To The Woods: A Tribute to the Pioneers of Blues Piano

Cross Cut Records

 BluesWax Rating: 9 out of 10

Proving The Piano

This stunning tribute to the pioneers of blues piano showcases the immense keyboard skills of the multi-talented Chuck Leavell, who is also a renowned author, farmer, and conservationist. In addition, Leavell is a very competent vocalist who assembled and led a superb group of musicians to ensure a full and varied blues sound on this CD. A bonus is the informative accompanying booklet which traces the history of blues piano and identifies some little-known artists alongside the greats, such as Otis Spann and Ray Charles.

The greatest of them all is Chuck Leavell, because he has mastered so many styles, including barrellhouse, boogie woogie, ragtime, honky-tonk, and even the unique jagged playing of Skip James. Above all, whilst the tracks are not original to Chuck, his interpretations are, and so this collection remains true to the traditions represented. So long in the shadows of the Allman Brothers and the Rolling Stones, Back To The Woods, his fifth solo album, affirms Leavell’s status as a serious artist in his own right, not that this was ever in doubt. It is worth buying the CD just to hear John Mayer and Keith Richards trading licks on Otis Spann’s “Boots and Shoes,” a truly virtuoso performance.

There are so many highlights here, but my personal favorites are “Evening Train,” one of the five Leroy Carr classic blues here, this one featuring Richards’ tasty acoustic guitar; the up-tempo “Wish Me Well|” by Memphis Slim, memorable for its pulsating stand-up bass solo from the excellent Chris Enghauser; “Naptown Blues” with guest guitarist Danny Barnes taking over the lead vocals, playing banjo, and sounding like Scrapper Blackwell dueting with Carr; Buck McFarland’s “I Got To Go Blues” for its sheer speed and ferocity; and, “Back To The Woods Blues,” first recorded in 1929 by the little-known Charlie Spand. Finally, Little Brother Montgomery’s “Vicksburg Blues” is a tour de force master class in pianoforte technique, laced with the emotion Leavell brings to every single track. His main objective was “‘to expose the piano as an important instrument in blues history”; he has achieved this and more through his exemplary playing and timeless arrangements.

Dave Scott is a Contributing Writer for BluesWax

 http://www.youtube.com/watch?v=5Cd-Qql3DDw

Chuck Leavell and Randell Bramlett Band

“No Special Rider”

September, 2012

Greenville Little Theater

Greenville, South Carolina

Ruby

Self-Released

BluesWax Rating: 6 out of 10

LSD (Liberating Southern-Dreamy) Blues

The seeds that most music grew from in this country are the blues. When they got planted in certain areas the roots got crossed together and different trees began to take root. Those were the Louis Armstrong, Elvis, Beatles, Hendrix seeds, to name a few obvious ones. Well, I can’t think of a town where the seeds were planted and then the dirt was mixed all up to see what would happen more than the live music capitol of the world: Austin, Texas! And they bring us the latest release from Andy Macintyre, Ruby.

This is Macintyre’s third solo album and he mixes up the cultural melting pot. On first listen I picked up many different sounds coming at me through my speakers. His vocals reminded me of Anders Osborne on the opening track, “Left Behind,” and there is that southern relation underlying the disc as a whole, but let me continue. As you get deeper into the disc, Macintyre’s guitar playing has a heavy distortion which reminds me of Jerry Cantrell of Alice in Chains on some songs. It’s a dirty, rootsy tone.

We could bring in groups like Austin’s Black Angels or Sonic Youth as influences in the open style of their attack. Some songs are on the verge of a jam-style song, but with a darker tone. If you could walk far enough into the forest to see the tree that sprouted here I would say it would be pretty psychedelic.

The downside is that with all of these sounds some of the instrumental parts get too long and wandering. You can go from a chill-out moment on a song to a loud, blasting guitar solo without a warning. It doesn’t go over really well. They are only minor gripes and this album should have a good audience, just don’t go buy it expecting to hear a classic Howlin’ Wolf sound.

Andy Macintyre has a different voice than most modern musicians and is not afraid to mix it up. Sometimes it works better than others. If you like heavy rock with your blues, or are more open to experimental music with a lot of roots, then give it a chance. This album does have some great vistas to stop and look out upon.

Kyle M. Palarino is a contributing editor at BluesWax.

 http://www.youtube.com/watch?v=0sydGfPrv9Q

Andy Macintyre

“Deranged”

Promotional Video

Memphis

429 Records

BluesWax Rating: 9 out of 10

Eloquently Executed

Early on, Boz Scaggs was a member of the Steve Miller Band and recorded his self-titled debut album (with Duane Allman) in 1969 at Muscle Shoals, Alabama. Memphis is his first recording in nearly five years. His last was a mostly jazz recording, Speak Low, for the Decca label, which brings us to today.

Assembled here is a smartly chosen crew of top-rate musicians. Willie Weeks holds down the bass, Ray Parker Jr. plays guitar alongside Boz, the album’s wonderful producer is drummer Steve Jordan, and there’s additional support from Memphis-based veterans highlighted by Spooner Oldham’s piano and B3, Al Green’s session organist Charlie Hodges, Jim Horn’s baritone, with occasional string arrangements by Lester Snell and the late great Willie Mitchell, who passed in 2010. Twelve tracks are included, ten are covers and the opening and closing tunes were authored by the leader.

Boz’s “Gone Baby Gone” opens and feels like a tribute to the Reverend Al Green; not only does this beauty sound like a tune Al Green recorded for the Hi Label, it also includes a organ solo by Green’s session man Charles Hodges, and Boz’s Green-like subtle falsetto vocals. To further exemplify the Al Green connection, “So Good To Be Here” (authored by Al Green) follows in near-perfect fashion, Hodges’ organ is again employed, and there are string arrangements by Snell and Mitchell. With horn arrangements by Jordan, Scaggs’ vocal is snug as a bug as the rhythm section, horns, and strings evoke Green’s heydays. New York’s own Willie DeVille’s “Mixed Up, Shook Up Girl” fits like a Memphis glove, especially with Oldham’s piano and Boz’s superb vocalized interpretation.

Steve Jordan arranged the strings on Tony Joe White’s classic “Rainy Night In Georgia.” Boz’s vocals are (at times) a bit gruff, but in the end it’s a exquisite rendition. Another classic, “Love on a Two Way Street” follows; Oldham and Hodges handle the keys, female background vocalists are added, Boz croons on, and this too is another well-crafted beauty. Even Steely Dan’s “Pearl of the Quarter” takes on the Memphis groove, especially with Snell’s horn and string arrangements where you can almost see Boz smile with his opulent vocals where Jim Cox’ piano adds potent value.

I wouldn’t have expected to find Moon Martin’s “Cadillac Walk” covered on this collection, but this very bluesy tune picks up the tempo and hums particularly hard with Weeks’ bass, Jordan’s drums, and when the guitars kick in Boz also snarls as this track is further aided by Cox’ tasty tickling of the ivories. The traditional “Corrina, Corrina” is drop-dead gorgeous; Boz’s vocals are emotive, the acoustic guitar work is flawless, and Oldham also fills on keys. The soulful classic that “Can I Change My Mind?”, a hit that Tyrone Davis made ultra-famous, is yet another keeper. Monet Owens adds interesting vocals, trading off a bit with Boz, who is (once again) very cozy and spot-on on this sultry and mildly funky chestnut.

Keb’ Mo’ provides slide dobro and Charlie Musselwhite joins the parade on the blues number “Dry Spell,” authored by Jack Walroth. Keb’ briefly borders on being explosive here, as does Musselwhite’s short harp solo. Additional blues ensue with Jimmy Reed’s “You Got Me Cryin’.” Rick Vito’s guitar is added, his tone is clear as a bell on a track that I suspect wasn’t recorded in Memphis as it also offers a different band along with an uncredited harp player. Boz’s closing ballad, “Sunny Gone,” features Jim Cox’ moving piano closing this fine disc on a tender and heartfelt note.

There’s so much that’s right on Memphis. Outstanding production, great musicianship, well-chosen and well-crafted covers, Boz’s two new additions, and the precise timing between tracks that segue perfectly from tune to tune that’s so righteously well thought out. This segueing timing between tunes is a rare art these days, unfortunately they probably won’t convey appropriately via iTunes or other digital downloads, as is infrequently witnessed on modern day recordings since the days of vinyl. Kudos to all involved on this soulful and near-perfect recording.

Bob Putignano is a senior contributing editor at BluesWax, a contributing writer at Blues Revue, and the heart and soul of Sounds of Blue.

http://www.youtube.com/watch?v=gu8M9UyMjIs

Boz Scaggs

Memphis (Official EPK)

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