#463 : Andy Watts - Supergroove

 

2020 – Booga Music

By Phillip Smith; Sep. 19, 2020

 

Supergroove, the latest album from Israel’s Ambassador of the Blues Andy Watts is an impeccable record of big-band blues topped with the delectable sound of Watts’ smoking guitar.  With vocals rotated around a noteworthy guest list of singers such as Eliza Neals, and Joe Louis Walker, the band consists of Eyal Klein on keys, Ioram Linker on sax, Gregory Rivkin on trumpet, Tom Mochiach on bass, Moran Bar-On on trombone, Tom Bolig on drums, and Coastin Hank on harmonica.  Co-produced by multi-BMA winner and Grammy nominee Kenny Neal, Supergroove is nice mix of originals and covers, with a clean and polished sound.  

The funky instrumental “Supergroove” leads the recording off in a way which perfectly fits its name.  The sweet sound of horns backed with a B3 and a snappy back-beat make for great accompaniment to Watt’s Texas-blues stylings.  Linker’s baritone sax solo is a nice touch too.  I love Roy Young’s vocal stylings on their cover of Rick Estrin’s “Living Hand to Mouth”.  This is blues at its best with a luscious side of harp.  Young sounds great on the funky R&B cover of Gonzalez’s 1974 song “Pack it Up” too.  Grammy nominee Joe Louis Walker adds a silky-smooth touch to “Burning Deep”, a beautiful and soulful original.  It’s an absolute pleasure to hear the fabulous Detroit songstress Eliza Neals pour her magic on his 1995 song “Blues of the Month Club”.  I’d love to hear more collaborations between her and Watts.  High-energy blues-rocker “Don’t You Let Me Down” which was originally recorded in 1972 by the band Jericho, features the original singer Danny Shoshan.  This new version, rearranged for Watts’ larger band, sounds fantastic polished up with sounds of brass.  The album closes with a beautiful and delicate performance of Peter Green’s intoxicating instrumental “The Supernatural”.  Watts takes this song which first appeared on John Mayall and the Bluesbreakers’ A Hard Road album, and lifts it skyward in his own unique way.

Watts’ guitar mastery shines brightly on this album and he makes interesting choices music-wise.  Supergroove is a rock-solid album with rock-solid performances.  It’s definitely an album worthy of adding to your collection.   

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#462: Sir Rod & the Blues Doctors - Come Together

 

2020 – Adam Gussow and Roderick Patterson

 By Phillip Smith; Sep. 12, 2020

Sir Rod & the Blues Doctors is a collaboration between Adam Gussow, the master harp player of Satan & Adam, and Roderick Patterson aka Sir Rod.  Sir Rod a vocalist, dancer, and motivational speaker from the Atlanta-area also happens to be the nephew of Sterling “Mr. Satan” Magee.  Magee is the other half of the incredible blues duo Satan & Adam.  After watching the highly-rated documentary Satan & Adam last year, Sir Rod contacted Gussow to suggest they join forces to record a few songs as a tribute.  One thing led to another, and they gave birth to this wonderful new blues album, Come Together.  Sir Rod takes on lead vocals, as Gussow brings it on harp/percussion along with fellow blues doctor Alan Gross on guitar.

The album opens up with a blast of riveting original blues on title-track “Come Together”.  The harp is hot, and the vocals are delivered with soulful conviction.  This is a song of the times which bears a positive message.  “I Want You”, another original song, fills me with joy with every listen.  I can’t help but smile when I hear it.  Sir Rod shines as songwriter, and pianist on “So Mean”.  It’s a beautiful song filled will heart-stirring emotion.

Sir Rod & the Blues Doctors pay an honorable homage to Satan & Adam through a few songs.   “Sanctified Blues”, a delicious slice of delta blues, takes me back to sounds of Mississippi when I hear it.  Rod’s vocals remind me a lot of Chris Robinson’s on “Seventh Avenue”.  I absolutely love this song delivered in a Black Crowes-inspired fashion.  “Freedom for My People” is terrific as well.  A song of unity and freedom, it cuts through right through to the bone.

The covers they chose for the album are plumb great.  They absolutely cook on James Brown’s “I Got You (I Feel Good)”.  Then immediately following, they bring the blues back home on a fabulous rendition of Willie Dixon’s “Little Red Rooster”.  For an album closer, they get down on Ray Charles’ “What’d I Say”.  Rod’s raspy growls, tossed in like little grenades, are fabulous. 

Come Together is a remarkable recording from beginning to end.  Blues fans will surely want to give this a listen.

 

 

 

* Note:  Just as I was writing this review, I sadly found out Sterling Magee, passed away on September 6^th, at the age of 84 in Gulfport, due to complications from COVID-19.  Condolences to Roderick, Adam, and all of Sterling’s family and friends.

 

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Take a listen to the album on Apple Music, and if you decide to purchase it, use my special link.  This helps keep the PhillyCheeze site going.

 

#461 : Peter Parcek - Mississippi Suitcase

 

2020 – Peter Parcek Lightning Records

 By Phillip Smith; Sep. 5, 2020

Boston-based blues guitarist Peter Parcek has hit a homerun with his third and latest album, Mississippi Suitcase.  I can certainly see why he was compared to the great Eric Clapton, by living-legend Buddy Guy.  This new eleven-track album is fully loaded with fabulous songs played with a fine-tuned finesse.  Backing Parcek in the studio is Tim Carman on drums, Tom West on keyboards, and Marc Hickox on electric bass,        

Parcek starts the album off with “The World is Upside Down”, an original down-and-dirty blues tune fitting for the times today.  Slathered in that North Mississippi hill country blues, this attention-grabber is loaded with wonderfully swampy slide guitar.  It nicely slides right into a captivating cover of Sleepy John Estes’ “Everybody Oughta Make a Change”.  It’s such a rush to hear Parcek sink his guitar pick into this one.  He takes a slightly psychedelic turn, breaking into Peter Green’s “The Supernatural” which first appeared on John Mayall and the Bluesbreakers’ A Hard Road album.  It’s a beautiful instrumental.  Luther Dickinson and Mickey Raphael make a guest appearance on an exuberant take on Cousin Joe’s “Life’s a One Way Ticket”.   It’s so cool to hear Parcek go toe-to-toe with Dickinson while Raphael is ripping it up on harp. 

Two unexpected but very notable covers on this album include an intoxicating instrumental of The Beatles’ “Elenor Rigby” and a killer rendering of Lou Reed’s “Waiting For the Man”.  Parcek definitely makes them both his own.  I love them both. 

Hearing the way Parcek pours himself into his performances on this album, is a big part of the allure of why I adore this album.  Mississippi Suitcase is such a splendid recording.

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

#460 : Kat Riggins - Cry Out

 

2020 – Gulf Coast Records

By Phillip Smith; Aug. 29, 2020

 

It’s been almost four years since being smitten by the music of Kat Riggins, with her 2016 album Blues Revival.  That album was so incredible.  Her brand-new album, Cry Out is yet another musical masterpiece.  Recorded on Mike Zito’s label Gulf Coast Records, the album has a big Zito presence.  Each of the original thirteen tracks were written by Riggins and composed by Zito, with the only exception being a short thirty-five second interlude of “Hand in the Hand”.  Backing Riggins on the album is drummer Brian Zielie, bassist Doug Byrkit, featuring Zito on guitar.  

“Son of a Gun” kicks the record off with a big meaty bassline, locked and loaded with a driving rhythm.  It’s a southern rocker infused with Seventies-style stanky funk, and packed with soul.  A fitting song for the times, title-track “Cry Out” is steeped in blues, and topped with a big slice of juicy harp.  “Catching Up” captivates me with Riggins’ smooth, powerful vocals which ride atop a tide of infectious riffs and thunderous beats.  Her no-holds-barred delivery on “Can’t You See Me Now” is nicely punched up with blasts of brass and hot guitar licks.  Kat sings the blues with abundant intensity in “Burn it All Down”, as she goes all-in for a final showdown in a shaky relationship. “The Storm” ominously wraps the album up in a harrowing and blues-soaked manner.  Riggins’ gives a dynamic performance as Zito takes his guitar out for a lush and psychedelic walk. 

Kat Riggins is definitely among the top of my list when it comes to favorite blues singers today.  As a songwriter, her mastery of writing blues songs is quite noteworthy.  Cry Out is an excellent album in all regards.                   

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

 

PhillyCheeze’s Sep.16, 2016 review of Kat Riggins’ Blues Revival

https://phillycheezeblues.blogspot.com/2016/09/kat-riggins-blues-revival.html

 

 

#459 : Bette Smith - The Good The Bad The Bette

 

2020 – Ruf Records

Release Date : Sep. 25, 2020

By Phillip Smith; Aug. 23, 2020

 

Three years have passed since Bette Smith released her debut album Jetliner.  The Good The Bad The Bette, her follow-up album, is an exquisite explosion of gritty, soulful, and funky music.  Recorded at Dial Back Sound in Water Valley, Mississippi, the record was produced by Matt Patton (Drive-By Truckers), and Bronson Tew.  With Patton on bass guitar, and Tew on drums, Smith enlists a small army of guitarists comprised of Luther Dickinson, Jimbo Mathus, Craig Pratt, Jody Nelson, Bronson Tew, Matt Patton, Curtis J. Brewer, and John Mcleod.   

A bodacious cover of Lonnie Sheilds’ “Fistful of Dollars” struts in with a glamourous, spaghetti-western disco fashion.  The rhythm is downright funky and sophisticatedly accompanied with strings and horns.  “Whistle Stop”, an original from Smith is extremely bluesy and soulful.  Based on a dream she had shortly before her mother passed, this is a song commemorating her last goodbye.  Featuring Jimbo Mathus (Squirrel Nut Zippers ), “I’m a Sinner” invokes the sounds of sixties surf rock and absolutely cooks.  Smith’s vocals are fearless and from the gut, reminiscent of power-house soul singers Aretha Franklin, and Sharon Jones.  Luther Dickinson makes a guest appearance to pour some sweet southern soul into “Signs and Wonders”, setting the stage for an uplifting cosmic spiritual.  Smith serves up a big bowl of Muscle Shoals-style southern rock, with a delightful cover of The Dexateens’ “Pine Belt Blues”.  The band is tight as hell, and Smith’s vocals are rich and superb.  More Muscle Shoals-inspired music follows with a fabulous cover of the late, great Eddie Hinton’s “Everybody Needs Love”, featuring Patterson Hood of Drive-By Truckers.     

The Good The Bad The Bette is beautiful and flawless.  Don’t let this record pass you by.

             

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For more information about the artist, visit this website : https://www.bettesmith.com/