#559 > The Harpoonist and The Axe Murderer - Live at the King Eddy (PhillyCheezeBlues.Blogspot.com)

 

2022 – The Harpoonist & the Axe Murderer

By Phillip Smith; June 18, 2022

Original source : phillycheezeblues.blogspot.com

 

It’s a rare occasion where a live album is my first experience with a band’s music, and it turns me into an instant fan.  Live at the King Eddy, the latest release from The Harpoonist and the Axe Murder is definitely the center point of one of those occasions.  The Harpoonist is vocalist/harp player Shawn Hall.  The Axe Murderer is guitarist Matt Rogers.  The two together with vocalists Andrina Turenne and Dawn Pemberton, along with keyboardist Geoff Hilhorst throw down one hell of a shindig at the historical King Edward Hotel in Calgary.  That recorded performance celebrates fifteen years of collaboration of playing the Blues, and it’s absolutely wonderful.

“Cry a Little” trucks right on in, and gets things off to a swinging start with a funky harp-laden groove and whiskey-soaked vocals.  I can’t help but gush about the swamp-water soaked “Do Whatcha”.  Between the whirling sounds of Hillhorst’s organ and Hall’s guttural yelps, the song takes glamourous dips into the psychedelic realm.  From their most recent studio album Apocalipstick, “Pretty Please” is a fiery, rambunctious track which transforms the revival tent into a hot and sweaty blues tent, bringing everyone to their feet.  “Father’s Son”, another selection off the same studio album, is simply amazing.  I love how the driving beat and funky riff takes a cliff dive into another universe.  It’s certainly no “Cats in the Cradle”.  That’s for sure.  Rogers cranks up the heat on guitar for a cooking performance as Hall goes all-in on “Get Out” taking the blues to the brink of places I’ve never heard.  This track does indeed tear the roof off the sucker. 

Live at the King Eddy is an absolute eye-opener for me.   The musical chemistry shared between these guys sure makes for some exquisite blues.  I hope I have the opportunity to catch them live in concert one of these days, because I’m sure it would be a hell of a good time.

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For more information about this band, visit their website https://www.harpoonistaxemurderer.com/

Find this album on Bandcamp

#508 : The Whiskey Gingers - You Should Know

 

 

By Phillip Smith; July 17, 2021

Beautiful vocals, rich harmonies, and catchy melodies quickly capture my attention on You Should Know, the debut album from the Oklahoma-based acoustic trio The Whiskey Gingers.  Their brand of music playfully expands across multiple genres producing their own special blend of pop-country-folk-rock.  Beginning as a duo comprised of Jess Crothers and Jenny Bendure, who had met at the 2017 SongWriters Association of Norman, The Whiskey Gingers incorporated bassist/vocalist Michael Bendure shortly after forming in 2018.  Honorary Gingers for the recording of this record are Mike Marty on drums, T.Z. Wright on accordion/keys, Bob French on banjo/mandolin, Gregg Standridge on guitar, Kent Graber on violin, Ethan Hicks on clarinet, Kevin Webb on steel guitar, and Bill “Top Dog” Cummins, David Henson, Jim “Big Train” Madsen, and Matt Stratton on claps/vocals.  Produced by Terry “Buffalo” Ware at Buffarama Studio in Norman, Oklahoma, the album consists of thirteen all-original songs.       

Sweetly delivered lyrics which cut like a knife bring “Cowboy” front and center.  It’s such an amazing song.  “I Don’t Play with Boys” is absolutely terrific too.  The violin and mandolin accompaniment produces a tranquil tension as I soak up the Natalie Merchant / Julianna Hatfield vibe.  With a touch of accordion, steel guitar, and violin “I Love You Mostly” is a splendid western-flavored on-the-fence love song.  “Ghost” is another poignant example of their masterful lyrics, and lovely vocal stylings.  I’m quite drawn to the gentle, funky rhythm which sits behind the scenes on “Mockingbird”, another absolute favorite.  Those who have ever had a dog will certainly perk their ears up to take in “Daisy’s Song”.  I can’t help but grin with each listen, recalling pet pups of days gone by.

The Whiskey Gingers certainly scored with this record.   You Should Know is hands-downs one of the best American roots albums I’ve heard this year.

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For more information about The Whiskey Gingers, visit their website : www.whiskeygingers.com

 

 

Available on Spotify

 

#440 : Justin Saladino Band - Live

2020 – Disques Bros.
By Phillip Smith; April 11, 2020

Montreal-based Justin Saladino has a stellar new album, simply called Live.  The recording took place over two nights at Piccolo Studios in Quebec for an audience of dedicated fans.  Hearing the live takes from A Fool’s Heart and No Worries adds an extra layer of soul to the songs.  With Saladino taking lead of this six-piece band on guitar and vocals, he is joined by guitarist Antoine Loiselle, keyboardist David Osei-Afrifa, drummer Denis Paquin, bassist Gabriel Forget, and percussionist Lucie Martel.  

The album splendidly opens in a bluesy romantic direction with “Take What You Want”.  Saladino’s vocals are smooth and confident.  I love how he fearlessly brings “Purple Girl” to life with his guitar mastery.  It rocks in a fabulous way.  While beautifully wearing his heart on his sleeve, he lays down a slew of extraordinary licks on his break-up ballad “Peace With You”.  Saladino packs a gob of delicious blues slide into Tom Petty’s “You Don’t Know How it Feels”, making for one hell of a cover.

JSB Live is one of the best live albums I’ve heard in a while.  Saladino absolutely cooks on guitar.    

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For more information about the artist, visit this website : justinsaladinoband.com   

#405 : Seth James - Good Life

2019 – Cherry Bomb Records

By Phillip Smith; Aug. 25, 2019

Good Life, the latest from Texas singer/songwriter Seth James captivated me from the beginning.  Sitting in that same wheelhouse of music which encompasses the songs of John Hiatt and Delbert McClinton, this album is a bowlful of soulful Americana.  James, on guitar and lead vocals is joined by Bob Britt on rhythm and slide guitar, Lynn Williams on drums, Kevin McKendree on keys, Steve Macket on bass, Jim Hoke on saxophone, Roy Agee on trombone, and Vinnie Ciesielski on trumpet.  The cover art from Paul Thorn is a blast too.  I can’t help but smile when it catches my eye.  

Title track, “Good Life”, is a wonderfully soulful tune with a spirited and catchy hook to jam out to.  I love the Memphis Stax-style delivery the band packs into “Little Angel”.  James’ impassioned words in this love-letter are moving and heartfelt.  For anyone who’s spent any amount of time away from their home and loved ones, “I’m Coming Home” beautifully expresses the joy-filled anticipation of returning to roost in one’s own abode.  I love “Medicine Man”.  It’s fun and funky rhythm is topped with a wily guitar riff, and slathered barrelhouse-friendly keys.  The stand-out song on this disc, however is “Third Generation”.  In this terrific selection, James takes an intelligent look at how the wealth created through hard work in one generation, is carelessly dismantled and thrown away by the third.

Good Life is a splendid mix of roots, blues, soul, and country, culminating into one fantastic album.  I highly recommend it.     

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For more information about the artist, visit this website.. www.sethjames.com  

#398 : Big Jack Reynolds - That's a Good Way to Get to Heaven

2019 – Third Street Cigar Records

By Phillip Smith; June 29, 2019

Third Street Cigar Records has recently released a terrific twenty-track CD compiling the best of Ohio bluesman Marshall “Big Jack” Reynolds.  This deluxe package also includes a feature-length documentary on DVD containing eighty minutes of rare footage, and interviews which has gone unseen since the late Eighties.  Although this was my first exposure to Big Jack Reynolds, I found the documentary to be very engrossing.   

Reynolds’ earlier recordings were made during the Sixties in Detroit on the Fortune and MAH labels.  After moving on to Toledo around 1970, Reynolds set up his home-base and continued performing for another twenty years, recording his last songs in 1990, three years before he passed away.  According to Third Street president John Henry, “Big Jack wasn’t nationally famous, but he was our guy and now we get to bring him to the world…  Every local player wanted to perform with Jack.  He was a ‘real-deal’ bluesman from somewhere down south, though it was never clear where”.  With Reynolds on vocals and harmonica, the majority of the cuts on this fascinating compilation feature Larry Gold on guitar, Johnny “Hifi” Newmark on bass, Slim Tim Gahagan on drums, and Chad Smith on piano.

The album opens with a sweet previously unreleased cover of Jimmy Reed’s “Honest I Do”.  Reynolds also lays down a very nice cover of Slim Harpo’s “Scratch My Back” as well.  I love Gold’s ripping guitar performance on “You Better Leave That Woman Alone”.  Coupled with a cracker-jack rhythm section and Reynold’s slightly raspy vocals, this original sounds great.  “Mean Old People” is about as real as it gets.  Here we get to hear Big Jack alone with his guitar.  It is unadulterated raw blues at its purist.   

The infectious and inescapable surf beat on his 1962 single “Made It Up in Your Mind” is a wonderful backdrop for Big Jack and his harp.  It’s dripping with cool.  My favorite, an original called “Hot Potato” has a stellar groove.  Big Jack breaks out his guitar on this jamming instrumental which concludes with him exclaiming “That’s a good way to get to heaven!”.  This gravitative track is such a great listen. 

This is one great retrospective collection which I will enjoy for a long time.   

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For more information about the artist, visit this website.. www.thirdstreetcigarrecords.com

#394 : Sean Taylor - The Path Into the Blue

2019 – Sean Taylor Songs

By Phillip Smith; June 1, 2019

The Path Into the Blue, the ninth full-length album from London-based singer-songwriter Sean Taylor is absolutely remarkable.  I love how this beat-poet troubadour underscores the social issues of today with his expertly crafted lyrics.  Then with a blanket of soulful, funky, and rootsy music, his message is beautifully delivered.  With Taylor on vocals and guitars, and electric piano, Mark Hallman takes on the bass, suitcase drums, electric piano, and Hammond organ.

A groovy disco-infused rhythm is the backdrop as Taylor tears off his quick-fire rant against Brexit, hipster culture, addictions, corporate greed, and the dark side of the internet in “This is England”.  Wordless backing vocals from Stephanie Daulong add a very cool Pink Floyd-esque touch to the song.  The 2013 Lampedusa migrant shipwreck is the melancholic subject of “Lampedusa”.  Andre Moran makes a guest appearance on guitar for this beautifully executed performance.  The sounds of a pedal steel guitar played by Henry Senior gently ushers the melodic “In the Name of God” into play.  However, when the saxophone and backing vocals finally arrive, this floaty anti-hate song delightfully breaks the boundaries between country, jazz, and gospel.  Taylor’s slightly gravelly vocals and the irresistible, delicate melody on “Tobacco and Whiskey” naturally remind me of the finest works of the great Tom Waits.  It is definitely one of my favorites.

The album is certainly an amazing listen.  I highly recommend it.

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#359 : Artur Menezes - Keep Pushing

2018 –Artur Menezes

By Phillip Smith; Oct. 27, 2018

Keep Pushing, the fourth and latest album from Brazilian blues artist Artur Menezes scores high on my list of blues-guitar albums released this year.  Currently based out of Los Angeles, Menezes was recently named winner of the Gibson/Albert King Award for Best Guitarist and picked up third place winner in the Band Category at the 2018 International Blues Challenge.  Keep Pushing, produced by another current favorite of mine, Josh Smith, also features Daniel Aged on bass guitar, Gary Novak on drums, Carey Frank on Hammond/keys, Jamelle Adisa on Trumpet/Flugelhorn, Dan Boisey on Tenor/Baritone Sax, and Smith on rhythm guitar for four tracks.

I love the mix of horns and keys as they build off the slow-cooked opening riff of “Now’s the Time”.  This feel-good song sets the mood and fills me with joy with its message, ‘listen to your heart’.  Title-track, “Keep Pushing” quickly draws my attention with Menezes’ power vocals and impressive picking as it thumbs a ride atop Smith’s deep-seated rhythm.  An ominous, bone-crushing riff surges through “Come With Me” as Menezes spackles the song with gobs of scorching hot guitar.  I positively love this track.  “Pull it Through” oozes with a soulful, funky goodness.  “Can’t Get You Out of My Mind” is a mammoth head-turner.  A suave vocal performance in a puree of jazz and buttery soul lulls me into a state of absolute peace. The George Benson vibe on this treasure elevates Menezes to a whole new level.   

Terrific songs, a tight band, and a mastery of sound insure Keep Pushing maintains its status of heavy rotation.  It’s a keeper.  

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#340 : Whitney Shay - A Woman Rules the World

2018 – Little Village Foundation

Release Date: August 1, 2018

By Phillip Smith; July 7, 2018

Recorded at the acclaimed Greaseland Studios in San Jose, California and produced by Christopher “Kid” Andersen, A Woman Rules the World, Whitney Shay’s latest album is her first in six years.  This landmark recording surrounds the riveting vocalist with an outstanding group of musicians whose appearance includes Kid Andersen (guitar, bass, sitar, and Wurlitzer) , Jim Pugh (organ, piano) “Sax” Gordon Beadle (saxophones), Kedor Roy (upright and electric bass), and Alex Pettersen (drums).    

The album begins with the sweet sound of horns, and a huge splash of Detroit soul in “Ain’t No Weak Woman”.  Shay’s smooth and sultry vocals sound great on this funky original. This rolls quite nicely into a jaw-dropping performance of Dinah Washington’s “Blues Down Home”.  It’s absolutely fabulous.  “Love’s Creeping Up on You”, another original from Shay is rooted in the Memphis sound.   Andersen seems to channel B.B. King on guitar, while the rest of the crew takes a cruise down McLemore Avenue, for more of a Stax Records vibe.  Pettersen gives a brilliant execution on drums to boot.

Shay soulfully sings title track “A Woman Rules the World” an exquisite selection by the legendary blues master Denise LaSalle, who sadly passed away earlier this year.  Then there’s the rousing rendition of Little Denise’s “Check Me Out”.  Slathered in old school funk, this smash hit written by the great Jimmy McCracklin oozes with groovy goodness.

Paying homage to one of the greatest Rock and Roll legends ever, Shay and company let loose an amazing cover of Little Richard’s “Freedom Blues” off his 1970 album Rill Thing.  They then rip it up on “Get Down With It” from his 1966 album The Wild and Frantic Little Richard to bring this wonderful album to its conclusion.

A Woman Rules the World is full of everything a music lover wants in an album: great songs, a spectacular voice, and an amazingly tight band.  I love every bit of it.   

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For more information about Whitney Shay, visit her website :  https://www.whitneyshay.com/home

#337 : Sugar Brown - It’s a Blues World (Calling All Blues)

2018 – Sugar Brown

By Phillip Smith; June 16, 2018

Ken Kawashima, a finalist in the 2017 International Blues Challenge in Memphis, Tennessee, grew up in Ohio, studied in Chicago, got his PhD from New York University, and now lives in Toronto.  There he teaches East Asian Studies at the University of Toronto and plays the blues.  While in the Windy City, where his musical path was shaped, Kawashima was given his nickname Sugar Brown by Chicago bluesman Tail Dragger Jones.

It’s a Blues World (Calling All Blues), Sugar Brown’s third album glows with authenticity.  Each of its thirteen original songs has a sense of stewardship and timelessness.  Joining Sugar Brown on the studio for this album is special guest and blues guitarist Rockin’ Johnny Burgin, a close friend of Brown’s who was instrumental in inspiring him to play blues guitar.  The rest of the band is comprised of Michelle Josef (drums), Russ Boswell (upright bass, electric bass), Nichol Robertson (guitar,banjo), Julian Fauth (piano,Farfisa), Julia Narveson (horns and fiddle), Chuck Bucket (drums), and Bill Howard (tambourine, bass drum). 

Sugar Brown shares a lesson on the topic of economics, as he sings about everyone scrambling for the same “Lousy Dime”.  Robertson’s infectious banjo riff rolls throughout this wonderful song.  Accompanied by an exquisite fiddle accompaniment and a beautifully executed piano backing, it’s absolutely flawless.  With a Tom Waits-like gusto, Brown suavely sings “What I Know”.  The song sweetly rolls in with a horn and harp intro and is threaded with gobs of marvelously twangy guitar.  A North Mississippi blues approach is taken with “Out of the Frying Pan“, an intoxicating tune about having nowhere else to go.  The circulating rhythm lures me quickly in, and holds me captive for the remainder of the song.  It’s terrific.

The retrospective makeover he applies to his music, using vintage technology, encapsulates his work in an era of bygone times, giving it a unique sound.  That’s half the attraction to this album.   The other half is Sugar Brown’s exemplary songwriting.  This album comes highly recommended for Blues enthusiasts.   

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#335 : Fantastic Negrito - Please Don’t Be Dead

2018 – Cooking Vinyl

Release Date : June 15, 2018

By Phillip Smith; June 2, 2018

Please Don’t Be Dead is one of the most exciting albums to be released this year.  I’ve been a fan of Fantastic Negrito (Xavier Amin Dphrepaulezz) since viewing the C-Store Session videos on YouTube in 2015, and I loved The Last Days of Oakland album which was released in 2016.  The title of his latest record, Please Don’t Be Dead, refers to the underlying fear a parent holds for the future of their children in a world filled with school shootings, opioid addictions, and homelessness.  

The album wonderfully ignites with an infectious guitar riff backed with a captivating beat on “Plastic Hamburgers”, an anthem about the need for due change.  Fantastic Negrito has a genuine gift of sparking moments of inward enlightenment in his songs.  With “Bad Guy Necessity”, he sheds light on the age-old craft of misdirection in a Prince/Beatles kind of way, and how it’s used by those in power to create an enemy which only they can eradicate. 

A gut-wrenching response to gun violence and mass shootings is revealed in his “Letter to Fear”.  This beautiful song, delicately steeped in blues and bathed in swirling sounds of organ is elegantly sung.  Funk and gospel are cleverly woven together in “The Suit That Won’t Come Off”, a song about feeling isolated from the world.  Fantastic Negrito paints a dire portrait of that place in our minds where we often flee to in the darkest of times.  Then he sings a song of apology to those he’s offended or wronged while in that place on a “Cold November Street”. 

I dig the hard-hitting hook busting loose on “The Duffler”, and how it smoothly navigates its way through a sweet, galactic groove. The album comes to a close in a huge P-Funk-style presence with “Bullshit Anthem”.  The song is slathered in funk and gushing with attitude.  It is a sheer delight.  On the topic of P-Funk, I recently read that  the Godfather of Funk George Clinton plans to retire in 2019.  Although, it will be most sad to see him depart, I would love to see Fantastic Negrito pilot the mothership when that time comes. He definitely has what it takes.

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#329 : Long Tall Deb and Colin John - Dragonfly

2017 – Vizztone Records

By Phillip Smith; April 14, 2018

Dragonfly, the second disc from Long Tall Deb and Colin John is a superb album to sink ones teeth into.  This eleven track album explores a variety of worldly genres while anchored in American roots, blues and soul.  Deb Landolt aka Long Tall Deb fills each song with her enchanting vocals, building a connection to the listener every time, while Colin John wondrously plays guitar.  The main core of musicians on the album consists of drummer Jimmy Castoe, bassist Melvin Powe, and Nate Hofman on organ.  Produced by Michael Landolt (Coldplay, O.A.R.) the album also features several noteworthy guests such as Mick Kolassa, Jeff Jensen, Michael Hill, Jo El, James Cunningham, Bill Ruffino, Cliff Starbuck and Chris Stephenson.       

There’s a sense of attitude and fearlessness on the head-banging blues-rocker “On the Way Down”.  From John’s searing guitar riffs to Deb’s powerful vocals the song rides the wave of Castoe’s thunder and sticks the landing quite nicely. John breaks out the sitar to add a taste of India to the spaghetti western ballad of no regret called “Remember Why (It’s Good He’s Gone)”.  The brutal honesty of the lyrics in “Pull The Pin” cuts through like a broken beer bottle.  It’s an amazing song of self-reflection and metamorphosis.

With the exception of an intoxicating cover of Townes Van Zandt’s “Lungs” off his 1969 self-titled album, all songs on Dragonfly are original compositions.  “Lungs” is a little extra special in that it features a different configuration of musicians than the rest of the album.  For this poignant and beautifully played cut, Long Tall Deb and Colin John enlist drummer James Cunningham, guitarist Jeff Jensen, bassist Bill Ruffino, and organist Chris Stephenson. 

The word, “Dragonfly” as mentioned in the liner notes, is a symbol of transformation and change, and is the definitive theme to the record itself.  The album’s title track, full of adrenalin-pumping surf guitar is cloaked in the shadows of an ominous and forbidding atmosphere.  This twangy masterpiece is most interesting and has a strong presence, much akin to the songs Quentin Tarantino hand-picks for his films. It’s a brilliant song indeed. 

The flowing continuity of Dragonfly smoothly weaves its eleven songs into one very enjoyable listen.   

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#313 : Bernard Allison - Let it Go

2018 –Ruf Records

Release Date : February 2, 2018

By Phillip Smith; Jan 6, 2018

I have nothing but the highest of praise for Bernard Allison’s latest album Let it Go.  It’s a delightful blend of blues, funk and soul.   With this release, Bernard returns to Ruf Records, the label Thomas Ruf created for his father, the late great bluesman Luther Allison in 1994.  Bernard’s band is wonderfully tight and consists of rhythm guitarist John T. McGhee, bassist George Moye, and drummer Mario Dawson.  Recorded by the legendary music producer, Jim Gaines, the album was recorded at Bessie Blue Studio in Stantonville, Tennessee.

From the beginning, I’m hooked by the spirited rhythm and bouncy groove on “Cruisin for a Bluesin”.  It wonderfully ignites into a smoking guitar performance.  His soulful vocals on title track “Let it Go” are suave and soulful.  This is such a terrific song.  There’s a definitely a bit of the P-Funk influence on the front end of “Night Train”.  I love the bassline Moye throws down as Bernard takes this fresh, funky track to the next level with his guitar mastery.  Covered and topped with Dawson’s dynamic drumming, this is one phenomenal listen. 

Bernard charmingly takes on Brook Benton’s 1960 hit single “Kiddio”, enlisting the magnificent Jose Ned James on sax. For a fabulous finale, the listener is treated to two wonderful covers originally recorded by his father, Luther.  First served is the delicious slow-cooked blues of “You’re Gonna Need Me”, from the 1982 album South Side Safari. Then for a captivating closer, Bernard beautifully performs “Castle”, from Luther’s 1994 album Hand Me Down My Moonshine. 

Over the years, Bernard Allison has continued to push the envelope in his songwriting and artistry, and that certainly shows in Let it Go. 

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#306 : Little G. Weevil - Something Poppin’

2017 – Vizztone

Release Date : Nov. 17, 2017

By Phillip Smith; Dec 8, 2017

Little G. Weevil’s latest release, Something Poppin’ is a fabulous mix of blues, R&B, soul and funk, infused with a hip hop beat.  Originally from Hungary, Gabor Szucs aka Little G. Weevil relocated to the United States in 2004 to immerse himself in the music and culture of The Blues.  Since then, he’s called Birmingham, Atlanta, and Memphis home at different points along the way. His music is so rich and full of texture, it’s no surprise: in 2013, he pulled down first place in the Solo/Duo category of the International Blues Challenge in Memphis, Tennessee.  Singer/songwriter/guitarist Little G. Weevil holds court with drummer extraordinaire Daniel Harper , bassist Marton Pfeff , guitarist Laci Borsodi, and on Hammond organ/Fender Rhodes/keys, Matyas Premecz.

An incredible surge of excitement plasters the wall as Little G drop-kicks the door wide open in “Here I Come Knocking”.  Harper’s beat effortlessly draws me in like a moth to a flame and that rocking opening riff sinks its claws in quick.  As the tune barrels right on, it clears a path for the rest of the album to slide right through.  It’s fantastic.  A hypnotic beat with smooth backing vocals from Sharika Allen Brown and Rebeka Easley Ellis make for a great hook in title track “Something Poppin’”.  G’s suave vocals fearlessly croon while I immensely enjoy his guitar performance.  The guitar licks G adds to the hill-country-blues-soaked “See Me in the Country” is phenomenal. I love the funky keys Premecz throws in too.  When I hear the introduction to Curtis Mayfield’s “Pusher Man” from the 1972 film Super Fly, I crank that volume way up.  This is one super delicious cover, for sure.  The ripping rhythm of “Crawling” is slathered in soul. Amid the lush swirling keys, Little G sings this one with the conviction of Jimmy Vaughan of the Fabulous Thunderbirds, and blesses the listener with a healthy dose of stellar guitar playing.  It sounds so good.

Little G. Weevil scores huge with this album. Something Poppin’ is an absolute delight!

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Nick Schnebelen - Live in Kansas City

2017 – Vizztone Records

By Phillip Smith; May 20, 2017

I’ve been a fan of Nick Schnebelen since hearing Wrong Side of the Blues, a 2011 release from his band Trampled Under Foot, which was cofounded with his siblings, Danielle Nicole and Kris.  That album was one of my favorites that year, and I was fortunate to have reviewed it for Blues Review Magazine’s online magazine, Blues Wax.  Nick now leads his own band, a high-energy power trio with Cliff Moore on bass and Adam Hagerman on drums.  Live in Kansas City captures a riveting concert from this band who took the stage at Knuckleheads Saloon in Kansas City on December 3, 2016. 

Leading off this killer ten track album, is the spectacular “Fool”.  Schnebelen’s vocals, soaked in the blues, are powerful and smooth.  The captivating sound of his guitar rings with spirit and emotion.  I love the funk-infused rhythm on “Herbert Harper’s Free Press News”.  Catchy riffs and high-octane drums fuel this one.  The guitar mastery demonstrated in “You Call That Love” is second to none, and sounds absolutely amazing. Chills shoot up and down my spine when they break into a quite superb cover of Johnny Winter’s “Mean Town Blues”.  Schnebelen takes no prisoners as he plays this wonderful piece on slide.  The album closes with “Conformity Blues”, an exquisite instrumental guided by a propelling rhythm and intricately laced up with an exhilarating guitar performance.

Nick Schnebelen Live in Kansas City is an outstanding album of fortified electric blues which hits the ground running and plows through right to the very end.

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Tom Craig and Soul Patch - Get Ready For Me

2017 – Tom Craig and Soul Patch  

By Phillip Smith; Feb 18, 2017

It’s obvious to see why Tom Craig and Soul Patch were chosen to represent the Central Delaware Blues Society for the 2017 International Blues Challenge in Memphis, Tennessee this past January.  Oozing with soul, this fabulous R&B ensemble’s tantalizing debut album, Get Ready For Me, is solid proof.  Soul Patch, fronted by singer/guitarist Tom Craig has one bodaciously tight rhythm section consisting of drummer Johnny O’Connell and bassist “Rando” Randy Branning, smooth keyboard stylings of Eric Johnson on Hammond and a terrific horn section with Vince Gleason on tenor sax, and Skyler Hagner on baritone.

Tom Craig and Soul Patch deliver horn-infused soul, reminiscent of the formative music coming out of Stax Records in the Sixties with “Louita” and “How Did I Break the Rules”.  I love the bluesy undertones of title track “Get Ready for Me”.  Craig’s vocals are suave and commanding like Neil Diamond.  His guitar licks sounds great, as they pepper Johnson’s lush keys and the smoothly blended sax riffs.  Heartbreak hit, “She Did it to Me, She’ll Do it to You”, is a big tantalizing bowlful of slow bluesy soul.  A captivating hook with a peppy groove steers “Captain Funk” right into my list of favorites.  Craig serves up a delicious taste of Chicago blues in “Please Forgive Me Baby” with a brilliant vocal performance.

Listening to Get Ready For Me puts me in a good mood, and brings a smile to my face with every listen.

Sean Taylor - Flood & Burn

2017 – Sean Taylor Songs  

By Phillip Smith; Feb 18, 2017

Flood and Burn, the eighth full-length release from UK singer/songwriter Sean Taylor is an engaging, melodic jewel.  The album consists of eleven original pieces covering a variety of genres, along with a compelling bluesy cover of “Heartbreak Hotel” featuring Taylor on harp and Andre Moran on slide guitar.     

The velvety and lulling “Codeine Dreams” welcomes the listener in with soft swirly vocals amid colorful splashes of saxophone courtesy of Joe Morales. Taylor’s poetic mastery cleverly reveals itself on “A Good Place to Die” and the jazzy “Cruelty of Man”.  

With Roscoe Beck (Leonard Cohen) on double bass and Mike Hardwick on pedal steel, “Troubadour” beautifully recounts the uncertainly of life as a traveling musician.  A wave of melancholy washes over me when I hear “Life Goes On”.  Whether going through good times or bad, one can only go forward.  The lord giveth and the lord taketh away when Taylor charmingly conjures up an ominous hill-country vibe on the downtempo title track “Flood and Burn”.  Mark Hallman guests on banjo and Andre Moran on slide guitar, elegantly setting the song’s dark mood.  

Subtle references to Charles Bukowski, Townes Van Zandt, and Skip James are delightfully plucked like Easter eggs from “Bad Case of the Blues”.  A lush mix of slide guitar from Moran and violin from Hana Piranha taxis this daunting melody to exactly where it needs to be.  “Better Man”, a song of blessing and sacrifice, guided by the wonderful talent of Piranha on violin and Danny Thompson on double bass, eloquently brings Flood & Burn to a graceful end.

Jack Mack and the Heart Attack Horns - Back to the Shack

2016 – SSR Freeroll Records

By Phillip Smith; Jan. 7, 2017

There’s a big, bodacious, and retro sound imbedded in Back to the Shack, the latest release by the Jack Mack and the Heart Attack Horns.  Front-man Mark Campbell invigorates each song with his powerful and soulful vocals as the band tops them off with rhythm, blues, and copious amounts of brass.  It’s impossible to miss the Stax and Motown influences which seem to be deeply rooted in the music. 

Guitarist Ed Berghoff artfully introduces “Before the King” on acoustic guitar.  The track, which features the talented guest backup vocalist Melanie Taylor, soon turns into a smokin’ blues number complimented with smooth horns, a snappy piano accompaniment, and blazing guitar from Andrew Kastner.  Keyboardist/vocalist Mike Finnegan also makes a guest appearance on this album, serving up some of his finest splashes of sound on the swaying blues ballad, “Somethin’ in the Water”.  I love the funky bassline and James Brown inspired singing on the mucho danceable “Bad Habit”.  Bad habits lead to bad decisions, which happen to be the theme of “Serves Me Right”, a funky little mix of soul and country with a nice twangy delivery from Kastner.  “Never Too Late” hits big and hits hard, showing positive proof just how tight of a band this is. Campbell sings with dedicated conviction on this hot electric blues tune immersed in a sea of horns and keys.

Jack Mack’s Back to the Shack is a sure-fire hit in my book.  It is an immensely enjoyable listen.

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For more about Jack Mack and the Heart Attack Horns, visit their website http://www.jackmack.com/

Popa Chubby - The Catfish

2016 – Popa Chubby Productions

By Phillip Smith; Dec. 17, 2016

With a music career which has spanned over twenty five years, New York blues artist Ted Horowitz, aka Popa Chubby, continues to keep the sound fresh and the songs innovative on his latest release The Catfish.  Popa Chubby shows he can not only dish it out with raw sheer attitude, but he can also approach a song with grace and elegance as well.  The Catfish contains ten outstanding new songs, as well as two wonderful covers.

Nothing quite compares to the magnificent instrumental “Blues For Charlie”.  There’s a whole lot of heart and soul poured into Popa Chubby’s searing guitar performance.  On the subject of instrumentals, I also fell for “Wes is More”, a smooth jazzy number with a lot of pick-me-up and a sweet accompaniment by the prestigious Dave Keys on piano, and drummer Dave Moore.  In a barrelhouse style, Keys plays a wonderful backup to Chubby on a delightful cover of Robert Johnson’s “C’mon In My Kitchen”.  This is a fine cover indeed.  Taking on the Everly Brothers 1957 hit, “Bye Bye Love” while adopting a reggae beat, Popa Chubby catches me off-guard when breaking into an amazing run of hummingbird-like guitar picking. This is one fantastic track.

Popa Chubby’s daughter Tipitina peppers the ominous and hypnotizing rhythm of another favorite, “Slow Down Sugar” with cool blasts of trumpet as Chubby raps through his own vocal harmonies. I tend to crank the volume up a smidge when I hear “Cry Till It’s a Dull Ache”, a vibrant nod to Seventies blues-rock with a John Kay and Steppenwolf feel.  Chubby has his mojo running on “Dirty Diesel” too.  This rowdy rocker is loaded with smoking guitar licks and rambunctious keys.

Masterfully engineered hooks and grooves sidled up with Popa Chubby’s bold and fearless guitar handling sets the table for an enjoyable and engaging listening experience.

The Paul DesLauriers Band - Relentless

2016 – Big Toe Productions

By Phillip Smith; July 17, 2016

Relentless, the follow-up to the self-titled 2014 album from The Paul DesLauriers Band is a riveting electric blues album to say the least.  Singer/guitarist extraordinaire Paul DesLauriers takes the helm of this ship manned by a magnificent rhythm section, bassist Greg Morency and drummer Sam Harrison.

In “Stewtro Rock (Just Got Back)”, DesLauriers breaks loose with guitar in hand like a furious and caffeinated bat out of hell, soaring all the way until its mind-blowing climax.  The energy stays high in “I’m Your Man”.  Walking the narrow line between blues and rockabilly, DesLauriers doles out Memphis-style riffs while Morency keeps the rhythm going with a boogie-laced bassline. DesLauriers gets nice and swampy with “Still Under My Skin”, while hopelessly pining over lost love.  The jam on the bridge is absolutely amazing.  DesLauriers unleashes a wondrous wall of guitar sound while Harrison dishes out a stellar and thunderous performance on drums.  I also can’t help but gravitate towards the beautiful eight and a half minute power ballad “If I Still Had You”.  As the tension slowly builds, I crank the volume to fully embrace the lovely intense jam which follows.                 

More often than not, as the last song on the album finishes, instead of replacing the disc with another, I’ll just let it ride for another spin.  That must be why this album is so suitably named, Relentless.