Saturday, January 18, 2014

Tommy Castro and the Painkillers - The Devil You Know



Alligator Records,  2014

By Phillip Smith; January 18, 2014


Returning to the studio with a new band, The Painkillers, along with a bus load full of special guests which includes Marcia Ball, Tab Benoit, Joe Bonamassa, Samantha Fish, Mark Karan, Magic Dick, Tasha Taylor, and the Holmes Brothers, Tommy Castro has recorded one smoking hot Blues album, The Devil You Know.  The Painkillers consist of bassist Randy McDonald, drummer Byron Cage, and keyboardist James Pace. 

It’s almost impossible to not get down and do some foot-tapping when I hear “When I Cross the Mississippi”.  Tab Benoit and Mark Karan both jump in with guitars. Tab joins along on vocals as well.  I really identify with this song, and the way it invokes a longing to return to wherever we call home.  When I hear him sing the lyrics, ‘That river runs so strong.  The river clears my brain.  When I cross the Mississippi, I got muddy water in my vein.’, I get the urge to hop in my car, drive down to Memphis, and catch some live music. 

I love the slow and swampy infectious groove on the title track, “The Devil You Know”.  Between that groove, Castro’s killer guitar licks and the soulful organ contributions from Pace, this makes for a strong opening track.  Things get even better when Joe Bonamassa joins in on a cover of Savoy Brown’s “I’m Tired”.  Bonamassa handles most of the guitar on this as Castro’s slightly gravely vocals add an extra layer of ‘cool’ to the song.  The jam between the two towards the end of the song is nice as well.  Mark Karan also sits in on another outstanding cover, Wet Willie’s “Keep on Smilin’”.  I might have to even say I like this version a smidge better than the original.  I can’t help but be in a better mood when I hear it.

Joining Castro as he wails on his guitar, in the fast paced original, “Medicine Woman”, is Samantha Fish.  She’s sexy and sultry.  It’s always a pleasure to hear her sing.  It’s also a pleasure to hear the Holmes Brothers who provide spiritually uplifting backing vocals on “Two Steps Forward”, which has an extra boost of richness provided by harmonica master, Magic Dick.     

One of my favorites, “Center of Attention”, is an energetically charged powerhouse of a song with pounding rhythmic drums, splendid guitar riffs, and fierce vocals.  Revolving around a drama queen who just has to be the center of attention, this song definitely ends up on my heavy rotation list. 

The Devil You Know is thirteen tracks of soulful positively charged Blues music. It is a fantastic listen from beginning to end.   

Saturday, January 11, 2014

Jimmy Vivino & the Black Italians - 13 Live


Blind Pig Records,  2013

By Phillip Smith; January 11, 2014

In November, 2012, Jimmy Vivino, leader of Jimmy Vivino and The Basic Cable Band on Conan, reunited the Black Italians, a band formed twenty years ago, for a concert and recording session at Levon Helm Studios in Woodstock, NY.  This nine member ensemble consists of Vivino (guitar, vocals, piano), Catherine Russell (vocals) Felix Cabrera (harmonica, vocals), Danny Louis (keyboards, trombone, snare drum, vocals) Mike Merritt (bass guitar), James Wormworth (drums), Mike Jacobson (congas, bass drum, percussion), Fred Walcott (timbales, percussion) and Justin Guip (snare drum).
13 Live captures the energy and magic on the stage that evening, chronicling the performances of a few originals and covers by Bob Dylan, Johnny Winter, Traffic, The Band, and James Brown.  

Vivino tears it up on guitar as Cabrera does the same with his harmonica on Bob Dylan’s “From a Buick 6”.  And what’s really cool about the performance of “Maggie’s Farm”, another Dylan song, is the dueling lead vocals by Vivino and Russell. Splitting the song into male and female lead parts makes it interesting.  Also, the background vocals take on the role of an old-time gospel choir.  Can I get an Amen?  This one is pretty damn close to being my favorite song on the album. 

With vocals reminiscent more of Jimi Hendrix, Vivito takes on Johnny Winter’s “Fast Live Rider” with unbridled ferocity.  Guiding this track is Justin Guip, who lays down a driving head-bobbing rhythm on the snare. Another Seventies inspired cover they perform is Traffic’s classic, “Light Up or Leave Me Alone”.  This one gets kind of funky, and Vivito’s vocals on this one remind me of Danny Hutton from Three Dog Night.  Vivito and company also hit a homerun on their cover of the Band’s “Shape I’m In”.  Louis nails the keyboards, giving it a soulful groove.  I believe this is what the song may have sounded like if it were originally recorded at Stax studios in Memphis, TN. The way Catherine Russell delivers the vocals on Sugar Pie Desanto’s “Soulful Dress” is sexy and soulful.  Her lead vocals on “Fools Gold” is just as sweet.

“Song for Levon”, is a poignant tribute to the late Levon Helm, who passed away earlier in 2012, the same year this was recorded.  Vivino, playing piano and singing in a style reminiscent of Randy Newman, recalls his memories of the good times he shared with his good friend.  I feel my heartstrings being tugged on and I well up a little with emotion with each listen.  I love the last line, ‘It’s not what you take with you, it’s what you leave behind’.  That’s so true, and such an inspirational thing to sing.

13 Live, this thirteen track recording, is outstanding and I wish I could have been in Woodstock to experience it in person. 

Saturday, January 4, 2014

Spin Doctors - If the River Was Whiskey


2013 - Ruf Records 
By Phillip Smith; January 4, 2014



The original members of the Spin Doctors have all reunited; bringing vocalist Chris Barron, guitarist Eric Schenkman, bassist Mark White, and drummer Aaron Comes all back together again to record their sixth studio release, If the River Was Whiskey. This ten song album is their first in eight years, and interestingly leans a lot more toward the Blues side of the scale.  It’s fun to hear the Spin Doctors take on the Blues full force.  If it weren’t for Barron’s recognizable voice, I wouldn’t have guessed this was the Spin Doctors.   

I really like the twangy guitar riff Schenkman dishes out on “Some Other Man”, a song about broken hearts and lost love.  This could very well be mistaken as the missing track from Bob Dylan’s Tempest album. It has a very folky blues feel to it.  I also enjoyed the cleverly written, “So Bad”.  Schenkman puts an eerie spin on this slow devilish twelve bar blues song about the horrifying Mr. Satan.
 
Surprised and impressed is how I feel each time I hear “Scotch and Water Blues” .  Schenkman steps out in the spotlight and lets it rip on this electric blues favorite, while Comes pounds the hell out of his drums.  It doesn’t get much better than this.  And while on the subject of spirits, I better mention “If the River Was Whiskey”, a catchy fast paced rockabilly selection with the hook, ‘if the river was whiskey, you’d have no trouble drowning me’. I like this one quite a bit too.

More Blues, along with just a tiny bit of their trademark alt rock music round out the rest of the album.  I’m not sure if this is a new direction for the Spin Doctors, or if making a Blues album is a one-time gig. However, if this is a new direction for the band, consider me on-board.  


Saturday, December 28, 2013

Cyril Neville - Magic Honey




Ruf Records,  2013

By Phillip Smith; December 28, 2013



We all know moss doesn’t grow on a rolling stone, and at Sixty-Five years of age, one will not find one gram of moss on Cyril Neville.  Constantly recording and touring with either his own band, or as part of the super-group, Royal Southern Brotherhood with Devon Allman and Mike Zito, the man keeps on rolling.  That being said, one can plan on settling down for a nice groovy listen when one reaches for the new Cyril Neville album, Magic Honey, and taps the play button.  I love the way Neville adds his funky spin to the Blues to make his own fresh sound.  Band members consist of guitarist Cranston Clements, drummer “Mean” Willie Green, bassist Carl Dufrene, and keyboardist Norman Caesar.  Neville also enlists help from friends, Dr. John, Walter Trout, Mike Zito, Allen Toussaint, and David Z, Neville.  With all of that going on, this album can’t help being anything but fun.

I was drawn in by the catchy melody and Clements swampy licks on the bluesy title track, “Magic Honey”. But by the time I got to “Something’s Got a Hold on Me”, I was totally captivated.  With guest guitarist, David Z on board, this one emanates the sound and energy of Led Zeppelin. Crank up the volume on this one and enjoy.  

It’s cool to hear Dr. John sitting in on and applying his trademark sound to “Swamp Funk”, a song he wrote himself.  I find myself nodding my head and hitching a ride on this tasty groove every time I hear it, as it leans a little more to the side of team ‘funk’, as opposed to the side of team ‘swamp’.  It’s also neat to hear Mike Zito playing on “Money and Oil”, a track co-written by Zito and Neville. Neville addresses the reality of the politics of today, as he rightfully sings ‘when it all comes down, it’s all about money and oil’.         

 
The must-hear song on this album though, is “Working Man”.  If it sounds like the title of a Rush song, that’s because it is.  Instigating a proverbial double take at first, I realized this was an outstandingly cool cover after my neck snapped back to its rightful place.  This one is surely more bouncy and playful than the original, but that’s what makes it memorable.  I really like Neville’s smooth and vibrant vocals coupled with Clements killer guitar performance.

Really good from start to finish, one can’t go wrong picking this album up.    



The Official Video – Cyril Neville covers the RUSH classic – “Working Man”





Thursday, December 26, 2013

Johnny Rawls “ Ace of Spades ” From the Archives #9



by Phillip Smith

With Ace of Spades, Mississippi blues artist Johnny Rawls brings the big city blues club to the listener with a very polished production and smooth as silk vocals.  His style reminds me a lot of Sam and Dave, as it reflects a lot of that Memphis sound from the mid to late Sixties. The recording of  Ace of Spades was split between two different studios, Sonic Ranch in Tornillo, TX, and Soul Tree Studios in Helena, MT.  Rawls uses a separate set of musicians at each location. 

There are three songs recorded at Sonic Ranch that really jump out and grab me.  The first being the title track, “Ace of Spades”.  This is such a fun song, and I really like the way Rawls includes the horn section.  The second, being “Gasoline on the Fire”, a really funky selection from the viewpoint of a fellow whose lady is a bit on the wild side.  Lastly, “My Broken Heart”, which features a powerful horn arrangement with a taste of keyboards to spice up Rawls soulful vocals as he sings about his heart being torn apart. 

Some very wonderful cuts were recorded at Soul Tree as well.  Rawls makes an excellent point, as he  preaches about how self indulgent we have all become trying to live the “American Dream”.  The lyrics are poignantly honest  as he sings ‘as you drive on by in your limousine, he [the homeless man] can’t see into your American dream.’.   It makes one think about priorities.   “Can’t Win For Losing”, another song I think quite a few folks can identify with,  considering the current condition of the economy,  is a slower cut with a slight zydeco flavoring.  When I hear the hook, ‘I can’t win for losing, I lose every time.  Every time I get a nickel, somebody want a dime‘, I say ‘Amen brother!’.

This is a solid CD.  It’s enjoyable from beginning to end, and worth checking out. 

Rating =  5/5
http://www.johnnyrawlsblues.com/


Originally published in the Linn County Blues Society Bluespaper - April 2010

Sunday, December 22, 2013

The Janeys - Get Down With the Blues


Grooveyard Records,  2013

By Phillip Smith; December 22, 2013


It has always been a pleasurable treat when Billylee Janey and Bryce Janey join forces to play as The Janeys. With Get Down With the Blues, their third studio release playing together, they continue a family tradition of producing outstanding blues.  Accompanying the talented father/son team is bassist Dan ‘DJ’ Johnson, and drummer Eric Douglas.  Also joining the crew on four tracks with his Hammond organ is Tommy ‘T-Bone’ Giblin.

Get Down With the Blues opens strong and closes even stronger as the Janeys cover Jimi Hendrix’s “Beginnings” on track one, and serving up a very cool rendition of ‘Third Stone From the Sun’ on the last track.  I love the dual electric guitar sound riding atop the percussionary bus driven by Douglas on “Beginnings”. Billylee and Bryce trade licks back and forth as if fighting it out in a psychedelic guitar-centric ‘Thunderdome’. 
I consider “Third Stone From the Sun”, the desert at the end of the meal.  I just want to close my eyes and listen when it comes on.  Johnson and Douglas keep the trance-friendly rhythm going while the Janeys totally let loose on their guitars.  This one is the crème de la crème.

The Janeys offers up quite a soulful rendition of “It’s Not My Cross to Bear” from the Allman Brothers Band’s self-titled album.  I like the way it witfully ends with the closing riff from “Whipping Post”, also from that same Allman Brothers album. Giblin and his Hammond, gives this one authenticity.   Still on the subject of covers, I have to smile when I hear “Mind Bender”, the classic ditty from Stillwater about a mind-bending guitar whose father was a Gibson and mother was a Fender (that’s why they call him Mind Bender).  The Janeys also nail down “The Good Love”, a track from Johnny Winter’s Second Winter album.  Bryce’s deep vocals fit this one very well. 

There’s some really nice originals on the album too.  I really like the slightly unsettling track, “When the Devil Comes Out to Play”.  It has a retro Seventies Blues Rock vibe and just the right amount of fuzz.  “The Rose” is another one that made me perk up and take notice.  Marinated in a big bucket of Southern Rock, I hear a definite Allman Brothers influence running through this one.            

The Janeys scored big with the appropriately titled, Get Down With the Blues. This collection of Blues Rock is a sweet blend of deep covers and interesting originals.            

Tuesday, December 17, 2013

Paul Thorn - “ Pimps and Preachers ” From the Archives #8


Phillip Smith

Hailing from Tupelo, Mississippi, the birthplace of Elvis Presley, Paul Thorn proves that lightning does strike twice in the same place every once in a while.  Composing an almost perfect anthem for the common working man, Thorn mixes it up with a variety of styles ranging from country-blues to zydeco boogie on Pimps and Preachers.

Appropriately named, Pimps and Preachers tends to avoid pledging total allegiance to either ‘Team Pimp’ or ‘Team Preacher’.  It finds humanity, as it exists, right in the middle of God and the devil.  I love the last few lyrics in ‘You’re Not the Only One’, the first selection on the album: “Life don’t come with a  guarantee.  You only get so many heartbeats.  It’s such a blessing to be alive.  Whatever happens I’m satisfied.”.   These words are so true, and its nice to be reminded that every day is a blessing.

“Pimps and Preachers”, the title track, is one of the most interesting tracks, as Thorn describes the conflicting lessons he learned from his father the preacher, and his uncle, the polar opposite.   I find there is also a pimp and preacher aspect to the musical portion of the song as well, as it mixes contemporary country with a funky R&B bass line. 

I got tickled listening to ‘I Don’t Like Half the Folks I Love’, a bluesy song that poignantly reminds us that just because someone is loved, they don’t necessarily have to be liked.  This is one of my favorite tracks.   A couple of other favorites are  ‘Better Days Ahead’, which has a certain Bruce Springsteen air to it‘s chorus, and ‘Nona Lisa’, a melody about pining for a gal with which he once had a one night stand.  

Paul Thorn is an expert story teller/song writer.  I’ve thoroughly enjoyed this album from start to finish, and will enjoy it for years to come.

* Originally published on BluesRevue.com, Oct 2010

Saturday, December 14, 2013

Vince Esquire - “First Offense”


By Phillip Smith


It’s always exciting and somewhat fulfilling when one uncovers a new musical artist to enjoy.  That’s why I am never satisfied listening to the same music over and over again.  I have to keep sampling new songs and music.  As I listen to new music, I categorize them as either top shelf, bottom shelf, or somewhere in-between.  First Offense, a nine track album from Vince Esquire landed on one of the upper shelves in my categorization process.  This album is straight up blues/rock at its finest.  I can definitely see why his guitar of choice is a Stevie Ray Vaughan signature Strat.  Esquire, guitar master/vocalist is joined by bassist Mark Epstein, drummer Vito Liuzzi and organist Jeff Levine on the studio recordings, and joined by bassist Shawn Michael and drummer Josh Greenbaum on an outstanding live bonus track of, B.B. King’s “Rock Me Baby”.  

Leading off with Etta Jame’s “Blues is my Business”, we see business is good indeed as Esquire opens the doors to his arsenal of axe-wielding skills, giving us a good taste of what’s to follow.  Slick licks riding atop a Texas Blues groove make “Check Out Her Mama” a nice cover, sans the signature Johnny Winter growly vocals.  Check out the guitar solo on this one. 

I feel like I’m soaking in a relaxing hot tub of nice warm Blues, when Esquire breaks into Buddy Guy’s “Leave My Girl Alone”.  Slow and emotional, this one is Blues to the core.  Also slowly steeped in the Blues, is the heart wrenching rendition of “Tin Pan Alley”.  Almost eleven minutes long, written by Bob Geddins, and also famously covered by the late great Stevie Ray Vaughan, all I can say about this one is ‘Wow!’.  Words can’t explain the intensity on this one.  It just needs to be heard.  

Esquire is no slacker when it comes to song writing either.  “Better This Time” has just a little bit of a country flavor added in, reminiscent of the music of Gregg Allman.  I like the texture Levine’s Hammond organ adds to it. There’s also “Freight Train”, another original about the pursuit of love.  This one takes me right to Beale Street, as it has Memphis blues written all over it.

I am quite impressed with this album, and am definitely glad I gave this one a listen to.


Monday, December 9, 2013

Metallica - Death Magnetic - From the Archives #7




By Phillip Smith


My curiosity of how would Metallica sound with new bassist, Robert Trujillo and producer Rick Rubin had been getting the best of me.  Upon listening though, I concluded this CD was definitely well worth the wait.  Death Magnetic is unmistakably Metallica in their truest form... heavy and more aggressive than ever.

The listener is first greeted with the steady sound of a heartbeat, which seems to fade away as a heavier percussive and electric assault marks its territory.  James Hetfeld is at the top of his game as his vocals for “That Was Just Your Life” join along.  Second up to bat, 'The End of the Line' is just a damn good song.  I grow more and more fond of it the more I hear it.  The guitar licks Kirk Hammett throws down on this song is quite impressive. 

One of my favorites of the collection and the first single, "The Day That Never Comes" is the Jackson Pollock of the album.  With all sorts of layers and emotions spattered about.  It's tranquil. It's heavy.  It rocks.  As does "All Nightmare Long", which showcases Lars percussive ingenuity.

Staying true to the Unforgiven formula, if there is one, 'The Unforgiven III' surely fits within the mold.  Suitable enough for a Sergio Leone spaghetti western, if he were alive today to make a film.  The song was enjoyable, and also provides a few moments to catch ones breath.

Again, Kirk displays his amazing talent on "The Judas Kiss".  Reminiscent of early Metallica, we also acknowledge Hetfelds’ voice remains as powerful as ever.  "My Apocalypse", the second coming of "Battery" from their album Master of Puppets, and also the final track is absolutely Metallica at their finest.  This will be the song I will remember this album for.  I really couldn't even begin to guess how many boxes of Wheaties Lars had before recording this track, but I would say probably a lot.  


* Originally published on FoundryMusic.com, Oct. 2008

Saturday, December 7, 2013

Tony Spinner - Earth Music For Aliens


By Phillip Smith
Dec. 7, 2013

About a week before first listening to Tony Spinner’s ninth solo release, Earth Music for Aliens, I had read about the recordings of 100 songs from around the world, placed on Voyager back in 1977.  It was to be heard and enjoyed by whomever or whatever the Voyager makes its way to.  Rock and Blues were sparsely represented. 
At least they included Chuck Berry’s “Johnny Be Good”, and Blind Willie Johnson’s “Dark Was the Night, Cold Was the Ground”.  Both nice tracks, but my selfish thoughts were that they should have added more Rock and Blues music, something more akin to songs found on this new disc from Spinner.  Judging from the title and cover art from the new disc, I think Spinner may have had the same idea.

Returning to the studio with bassist Michel Mulder and drummer Alex Steier, Spinner takes the listener on a journey down several paths.  I like the way “Best Friend” and “Got What I Wanted” can pump the listener up with its energetically charged, funk infused blues and hot guitar licks and then later, chill us out to a relaxing listen to “Free Now”, about letting go and forgiveness.  Spinner’s vocals are very nice and calming on this track.   

There seems to be a bit of Frank Zappa influence on “Let Her Go” because when I hear the intro and the hook, I am instantly reminded of the late great musical genius.  This one gets weirdly fun and playful. 

Spinner serves up some funky treats with “Hot Mess” and “Low Down Dirty Shame”.  A funky rhythm along with Spinner’s teasing guitar licks makes “Hot Mess” a favorite, while “Low Down Dirty Shame” is like a bluesy Funkadelic song with its cool vocal harmonizing, rhythmic groove, and Eddie Hazel-like guitar playing.  
   
A couple of rockabilly treats are worth noting as well. It’s a Living” revisits the sounds of the Fifties rock and roll, and peppers it with a heaping dash of roadhouse blues. And if that’s not enough, check out “Missy Talk”, a guitar centric answer to Jerry Lee Lewis’s “Honey Don’t”.  This one has ‘Sun Records’ written all over it.

“Earth Music for Aliens” is so easy to listen to, I recommend it to all Earthlings, and those not of this world as well.  

Tuesday, December 3, 2013

Flobots - Fight With Tools - From the Archives #6


By Phillip Smith

I was captivated upon my first listen of Fight With Tools by Flobots,   Flobots, an alternative  hip hop band hailing from Denver, are similar in style to bands, Cake and 311.  But Flobots,  flaunting a seemingly higher IQ, are a bit more funky and a lot more political.  Jamie Laurie, aka Jonny 5, the founder and constant member of the band, chooses to write and rap about current events and his political views rather than the topics usually covered by hip hop artists. 

Jesse Walker lays down some really kick-ass bass lines to cuts, “Combat” and title track, “Fight With Tools”.   Violist, Mackenzie Roberts along with trumpeter, Joe Ferrone add a unique flair to this album, enriching the musicality of tracks such as “Mayday”, one of my personal favorites of this collection, and the in-your-face, world leader-challenging “Same Thing”.  “Handlebars” standing out as the downloadable favorite on iTunes, showcases Laurie’s skills as a writer/rapper.  Different than the rest, “Never Had It”  kicks off with a sultry beginning, and resonates with a vibe of sixties pop.  But if you really want to take something catchy to the dance floor, take a listen to “The Rhythm Method”.  Flobots all come together on this song like none other on Fight With Tools.  

I found the song “Anne Braden” very lyrically powerful and musically hypnotic.  Flobots take a stab against racism with this track, a tribute to a woman who received honors for her contributions to civil liberties.  

Each track is individually unique, yet one can sense a common thread running through them all.  The album is very well constructed, and I have to say, I am impressed. 


Rating =  4.0 / 5.0


* Originally published on FoundryMusic.com, July 2009