Brass Transit Authority played to a full house at the Longbranch in Cedar Rapids, Iowa on New Years Eve, making it one of the hottest spots in town to spend the evening. Known for their spot on covers from bands such as Chicago, Blood Sweat & Tears, and Van Morrison, BTA brought their "A-Game" and rocked the house.
Mike Zito is
quickly becoming one of my favorite songwriters. His lyrics have a way of connecting with the
working class, and the music to which they are delivered is a splendid dose of rock,
blues, and Americana. The Wheel
consists of a stellar group of musicians: bassist Scot Sutherland, pianist Lewis
Stephens, saxophonist Jimmy Carpenter,
and drummer Rob Lee. Keep
Coming Back contains ten magnificently written and performed originals along
with a ripping cover of Bob Seger’s “Out
of Denver” and a funky take on CCR’s
“Bootleg”.
Stephens and
Carpenter dole out tasty barrelhouse
piano and rocking sax on title track “Keep Coming Back” as Zito kicks out the jams on guitar.
This one is one big ball of bluesy fun.
I love easing into the day,
listening to “Early in the Morning” on my way to work. Zito’s
raspy vocals remind me a lot of Rod
Stewart's.
A true master at telling
stories through this music, Zito
delivers the goods with “Girl From Liberty”, which takes a closer look at the grim
underbelly of dysfunctional family life.
This song sits atop my list of favorites. Zito
then digs deep inside his soul to share the destruction and aftermath resulting
from his battles with addiction, in the heart wrenching “I Was Drunk”. There’s an anxious energy surrounding “Cross the
Border”, a chaotic tale of reckless abandon.
It surely leaves me hanging on the edge of my seat as the story unfolds.
Whether he’s performing his
own songs, or one of the covers, Zito keeps
it real and keeps it interesting. That’s
what I love about his music.
Johnny I. is
Connecticut-based singer/songwriter/guitarist John Ingrassia, and this guitar-slinging bluesman has enlisted a
few very well-known and very well-respected friends in the music industry to join
him in the recording of All Star Blues
Revival, a terrific three track EP that packs a lot of punch.
Mixed by non-other than the
legendary producer, Jim Gaines, the laid
back and cool “Late Night”, ventures into the realm of psychedelic blues with Johnny I’s groovy guitar licks and the lush
B3 sounds of the great Bruce Katz. But wait, there’s more: Jaimoe (Allman Brothers)
delivers the beats and Tommy Shannon
(SRV Double Trouble) the bass, making
for a killer performance. “Avery’s Tune”
features Blind Melon’sGlen Graham on drums with Brad Smith mixing. Ingrassia plays his heart out and Graham wails on the drums. This tune truly jams. A fun and funky
rhythm drives “Life is Better (2nd Time Around). On this one, Ingrassia enlists Billy Cox
(Jimi Hendrix Experience), drummer Chris Layton (SRV Double Trouble) and Reese
Wynans(SRV Double Trouble) for this
true all-star jam, also mixed by Gaines.
All Star Blues Revival is a huge winner in my book. Three songs are just not enough though. I want
more.
Set the Blues on Fire, Jay Jesse Johnson’s latest album does indeed set the Blues on fire. This album is fully-loaded with a dozen outstanding
original blues songs delivered by one of the most bodacious guitar players
around. Johnson surrounds himself with great talent as well. Joining him is bassist Reed Bogart, drummer Jeff “Smokey”
Donaldson, and keyboardist Lee Evans,
making one tight as hell band.
Johnson jump-starts
the ride with full force, delivering a magnificent no-holds-barred performance on
“Hell or High Water”. I get charged when
the title track “Set the Blues on Fire” kicks in. This one is red hot and flawless. “Ace in the
Hole” is an intriguing boat load of fun.
Donaldson’s killer beats and Bogart’s deliciously funky bassline set
a perfect environment for Johnson to
let loose and jam. Another head-turning
favorite, “Don’t Mess with My Baby” is a badass song doused in Texas blues and
infused with funk. I love the rollicking
and gritty “Wheelhouse Boogie”. It’s “roadhouse
blues” at its best.
Jay Jesse Johnson has surely got it going on. Set the Blues on Fire is the real deal
and I highly recommend.
Josh Smith’s
2012 release, Don’t Give Up On Me was
terrific. His latest album, Over Your Head is even better. The lineup of his band remains the same, with
Smith dishing out copious amounts of
electrified blues on guitar, alongside bassist Calvin Turner and drummer Lemar
Carter.
“How Long”, a killer track about
slowly being pushed over the edge, gets the show going very nicely. Carter
tears it up on drums, while Smith
delivers thick bluesy hooks and a phenomenal session of shred. There’s even more exquisite guitar on the bad-ass
and catchy “Smoke and Mirrors”. The song begs to be played loud. Another track best played loudly is “First
Hand Look (at Down and Out)”. Guitarist Chicco Gussoni lays down some delicious
licks that are pure candy for my ears.
Smith doesn’t
skimp when it comes to special guests. Joe Bonamassa sits in on the killer title
track, “Over Your Head” for an outstanding performance. Smith’s
gravelly and soulful vocals sound so good on this one. Kirk
Fletcher from the Mannish Boys gets
his groove on in the funky instrumental with an old school Bar-Kays vibe, “… And What”.
This one is just plain fun. “You’ll
Find Love”, features the legendary Charlie
Musselwhite on harp. This is blues at its best.
Smith inserts
power and perfection into each and every song, making Over Your Head such a delightful listen from beginning to end. Needless to say, this album is definitely going
down as one of my favorites of the year.
I have nothing but good
things to say about Detroit band, Jennifer
Westwood and the Handsome Devils. Their
debut album Greetings From This Town
is an intoxicating Memphis-meets-Nashville blend of rock, blues, and country. Lead vocalist Jennifer Westwood is joined by guitarist Dylan Dunbar, bassist Jeremy
Mackinder, pianist/organist Jarrod
Champion, and drummer Matt Stahl.
Westwood’s sultry
yet powerful vocals instantly draw me in on “Bad Luck Charm” a rockin’ track sweetened
by Dunbar with luscious guitar licks. I’m quite drawn to “Living on the Fringe”, a relatable
country song about just getting through the day. Westwood
has such a pretty voice; it reminds me a lot of Linda Ronstadt, especially on this track. “Nobody’s Business” is one cool as hell post-break-up
song. Champion lays down some ominous chords on the organ while Dunbar serves up a funky dose of cowboy
surf guitar.
Westwood and the Handsome Devils put their own spin on R.L. Burnside’s “Skinny Woman” with “Redneck Man”. Westwood
and Dunbar nail this duet to the
tree as they belt the song out with conviction and true grit. Dunbar
dishes out a magnificent guitar performance on this one too. Other
stand-out covers include Eddie Rabbit’s
“Driving My Life Away” and the Stones
bluesy classic from their Exile on Main
Street album “Ventilator Blues”.
There’s something magical
about Greetings From This Town. It is an absolutely wonderful listen and music
for the rustic soul.
In 2014, Pam Taylor and Robert
Johnson Jr. came together to forge a new musical dynamic duo, joined
together in heart and on stage. Hailing
from the Carolinas, the music of Stolen
Hearts’ debut album, Dirty Southern
Soul is a wholesome blend of blues, jazz and folk rock. Taylor
and Johnson are both soulful vocalists
and masterful guitarists. Adding to the
cool factor, Taylor was mentored by non-other
than the renowned blues guitarist Debbie
Davies.
“Carolina Days (Bootsie’s
Song)” is a fresh splash of roots rock. Johnson takes the lead on vox and
tosses in smile-worthy mandolin playing, which adds quite a nice touch to the
catchy guitar riffs. Taylor belts
out the sax-infused heartbreaker “All I Got Left” in a most impressive
way. Her buttery vocals sound great. Taylor delivers more exquisite vocals on “My
Johnny”. This one reminds me so much of Rumours-era Fleetwood Mac with its light bouncy melody.
Stolen Hearts take
us on a trippy psychedelic journey in “Werewolves (Make Lousy Boyfriends)”. Fuzzy guitar riffs and echo effects turn this
space jam sung by Johnson into an
instant favorite. This twelve track album
ends with a delightful live performance of the Etta James classic, “I’d Rather Go Blind”.
Stolen Hearts
certainly embrace their creativeness, both lyrically and musically. Dirty Southern Soul is a tasty musical
treat, indeed.
###
for more information on Stolen Hearts, visit their website : http://www.stolenhearts.rocks/
Formed six months ago, in May
of 2015, after a show at The Ground Zero
Blues Club, in Clarksdale, Mississippi, Mississippi Bigfoot is akin to lightning in a bottle. They certainly have revealed to be the
biggest musical surprise for me this year.
This Memphis-based band consists of lead vocalist Christina Vierra, lead guitarist Johnny Holiday, guitarist Ashley
Bishop, drummer Doug McMinn, and
bassist Cade Moore. Population Unknown is a stellar
collection of nine boogie-infused, rocking blues songs, one of which is a phenomenal
cover of “The Hunter”, first recorded by Albert
King.
Vierra’s vocals
are powerful and soulful as she belts out the fabulous “Burn That Woman Down”. Holiday
has no shortage of tasty guitar licks as he plays this swampy favorite with
true grit and conviction. “Wag the Dog”
is another killer tune. This
hard-driving song is a perfect storm of blues and rockabilly. McMinn slathers on a hefty helping of tasty
harp, which sounds so cool running alongside the commanding voice of Vierra.
Mississippi Bigfoot breaks out the funk and delicious grooves in “No Flesh In OuterSpace”,
a cosmic favorite. Holiday and Vierra perform
as a duet in the smoking hot “Clarksdale”, which pays homage to Robert Johnson’s legendary crossroads
where deals with the devil are made.
Mississippi Bigfoot nails every song with great writing and outstanding performances. Population
Unknown is such an enjoyable album from start to finish; I recommend it for
anyone who loves great blues music.
The Devil to Pay, the latest from the legendary Kim
Simmonds and Savoy Brown is a monster set of thirteen all-new, original mojo-infused
blues tunes. Savoy Brown retains their exemplary three man lineup with bassist Pat DeSalvo and drummer Garnet Grimm as Simmonds continues to lay down the law with his guitar and verse.
Simmonds’
guitar oozes with heartfelt emotion as he explores the deep well of loneliness in
“Ain’t Got Nobody”. He then faces the harsh
consequences of infidelity in the title track “The Devil to Pay”, a rambling blues
tune with an old school Sun Records rockabilly vibe. Simmonds
rips it up with tremendous slide on “I’ve Been Drinking”. While “Snakin’” is a nice instrumental to which
one can sit back, relax and enjoy, the ominous “Evil Eye” pretty much begs to
be turned up full blast so one can completely absorb the radiating guitar licks
and badass bassline. This is one killer tune.
I really like this particular
incarnation of Savoy Brown. Simmonds,
DeSalvo and Grimm sound so good together, and really know how to tap into that rawer,
edgier sound so reminiscent of the early days of rock and roll. The Devil to Pay is a definite ‘keeper’.
Listen to the new five song
EP, 5 @ 15 by the New York recording
artist Chloe Collins, and you’ll
find yourself amazed at the sound of her voice.
Collins not only possesses an outstanding ability to sing, but this
fifteen year old star shines brightly as a songwriter and guitarist too. Recorded
at Grind Central Station in
Nashville, and produced by Mikey Reaves,
5 @ 15 is a well-polished album of Country-Pop
music. Backing Collins on additional guitars and instruments is Reaves and Taylor Ivey.
Breakup ballads, “All Over
Again” and “My Goodbye” both have ‘radio-hit’ written all over them. The music is fresh and catchy. Collins
takes to slightly darker waters with “New Nightmares”, a playful song about
cutting lose and raising a little Hell.
5 @ 15 will
certainly resonate with Country-Pop fans all over. A great voice and good songs make this one a
fun little listen. I look forward to
hearing what Collins has in store for us in the future.
Ain’t Bad Yet, the
sixth album from Finnish blues-rock group Micke
Bjorklof & Blue Strip is an instant hit as far as I’m concerned. The lineup of the band remains the same,
featuring Bjorklof
(vocals/harmonica/guitar), Lefty Leppänen(electric
guitar/slide guitar), Teemu Vuorela(drums), Seppo Nuolikoski(bass) and Timo Roiko-Jokela(percussion/malletkat). Terrific songs and outstanding performances
with a rich southern vibe are key to the allure of this album, which by the way
is produced by legendary John Porter.
A saucy rhythm, joined with hot
harmonica licks, spill all over “Rat Race”, a spectacular jammin’ favorite,
reminiscent of one of my favorite bands, Phish.
I love the change of tempo when the band
breaks into “Sweet Dream’s a Sweet Dream”, a slightly spacy Hendrix-influenced treat. Leppänen’s
swampy slide guitar sounds so good on “Last Train to Memphis”, and “Today”.
Catchy blues-filed hooks and
a hard driving beat keep the anti-war anthem “Rain in Jerusalem” quite centered. This is such a powerful song. Bjorklof
delivers funky vocals and sweet harmonica over a really cool little bass-line
provided by Seppo on “Hold Your Fire
Baby”. Gritty blues sounds best with
some cool harp.
I dig the twangy “Blame It On
the Bright Lights”, with its catchy back-beat.
John Porter steps in with
guitar in hand and is joined by singers Lena
Lindroos and Veera Railio. This
song reminds me a lot of southern twangsters, Southern Culture on the Skids. I can’t help but feel good all over
when I hear it.
Ain’t Bad Yet
is a soulful blend of blues and country, making this eleven track album a
refreshingly cool listen from start to end.
Micke Bjorklof and Blue Strip
definitely hit this one out of the park.
It’s been a long damn time
since Kinky Friedman has released a
new studio album. To put it in a
political perspective, Gerald Ford
was winding down his last year of presidency the year Lasso From El Paso was released in 1976. The thirty-nine year wait is finally over,
and The Kinkster has delivered a
mother-load of western/folk greatness in his brand-spankin’ new album, The Loneliest Man I Ever Met. The album features musicians Joe Cirotti (guitar, bass, mandolin), Brian Molnar (guitar), and Jeff ‘Little Jewford’ Shelby (keyboard),
and is chock-full of magnificent covers and original gems.
The Willie Nelson classic, “Bloody Mary Morning” is quick to grab my
attention. This is just a great song,
and to smear the icing on the cake, Nelson
lends not only guitar and vocals to the song, but steps in as producer on it as
well. I would have loved to hang around the studio when this was recorded. Kinky’s
version of Tom Waits’ “Christmas
Card From A Hooker in Minneapolis”, keeps my ears glued to the speakers as much
as the original. “My Shit’s Fucked Up”, by
the late great Warren Zevon, prompts
me to keep in mind, life doesn’t slow down for anyone. If there’s something on the top shelf of one’s
priority list, take care of it before the opportunity is lost.
Friedman is
a true master of storytelling. With seemingly
little effort, he draws me in to this despairingly gloomy world of solitude and
isolation in title track, “The Loneliest Man I Ever Met”, and then transports
me to a different place and time in “Wild Man From Borneo”. The album closes with the elegantly performed
standard “A Nightingale Sang in Berkeley Square”, which features guest pianist Bobbie Nelson. This one is very nice indeed.
I hope the wait-time is much
shorter until the next release from this national treasure. The
Loneliest Man I Ever Met is a quite the splendid listen.
I Ain’t Lyin’…,
the latest album from legendary Bluesman Charlie
Musselwhite is chockfull of downhome blues and happens to be a sheer
delight. The album was recorded live in
2014 at the Valley of the Moon Vintage
Festival in Sonoma, CA, and Clarksdale
Soundstage in Clarksdale, MS, with Matt
Stubbs (guitar), June Core (drums),
and Steve Froberg (bass).
I love how Musselwhite takes on Elmore James’ “Done Somebody Wrong”. Stubbs’
crisp bluesy riffs and Musselwhite’s
second- to-none harp playing sound so good.
There’s a sort of playful Fifties rockabilly vibe going in “Long Lean
Lanky Mama”. It’s just a fun song to dig into, as is “My Kinda Gal” with Froberg’s cool-as-hell, cowboy-fitted
baseline. The band gets kind of funky on
“Long Leg Woman”. Its Allman Brothers
feel makes it one of my favorite tracks on this album. This is definitely a song that jams.
Duke Pearson’s
“Cristo Redentor” is such a lovely piece.
This slow and easy instrumental is exquisite. Core’s
drumming really shines and Stubbs so elegantly keeps the rhythm going as Musselwhite beautifully plays his heart
out on harmonica.
Musselwhite
scores big with I Ain’t Lyin’… This
is how the Blues should be played.
UK singer/songwriter/guitarist
Martin Harley along with Daniel Kimbro, an extremely talented
upright bass player from Eastern Tennessee, should work together more
often. The duo recorded the magnificent
ten track album, Live at Southern Ground in
just a ‘handful of hours’ at Southern
Ground Studios in Nashville, Tennessee. With the exception of a couple of
covers, the majority of the album features the engrossing lyrics and fetching
melodies written by Harley.
“Cardboard King” is such a beautiful
song about loss and disappointment. Harley’s
buttery vocals are the icing on this cake filled with an amazing blend of resonator
with slide and bow-played bass. I love
the playful and fun approach Martin takes as he picks “Honey Bee” banjo-style. This one makes me smile, as does the swinging
“Love in the Afternoon”.
I can feel the emotion emanating
from Harley as he goes to church and
plays the hell out of Tom Waits’ “Chocolate
Jesus”. They also nail Blind Willie Johnson’s “Nobody’s Fault
But Mine” to the wall. Harley has the perfect voice for
wailing out the blues. That voice paired
with his unique guitar stylings make for a delightful listen.
Live at Southern Ground certainly lands in my personal list of favorite
records this year.
The Todd Wolfe Band seems to just get better and better.
Wolfe surrounds himself with
some of the most talented musicians around: drummer RogerVoss, bassist JustineGardner, and the master of the B3, John Ginty. Since Wolfe’s last album was released in
2013, his band has spent over 200 nights on the road touring the world. It was during these travels; the band wrote
and developed material for his ninth album, Long
Road Back. It’s an intelligent mix
of mind-bending Rock and Blues.
Title track “Long Road Back” is
pure Southern Rock with an Allman
Brothers/Govt Mule vibe. I’d love to hear this one with an extended
jam. “Poison” has all the qualities of a
hit song. Wolfe lets loose some really nice bluesy guitar licks while Ginty’s luscious B3 attacks and Gardner’s funky bassline slide nicely
into place. This is just a fantastic piece. “Fire Me Up” has a nice homey
groove, and seemingly calls back to his days working with Sheryl Crow. Wolfe throws a little Southern seasoning
into “Annalee” which hums down the track like a freight train tearing cross-country. I love the slide guitar screams he injects into
the song.
Wolfe
breathes a phenomenal new life into StephenStill’s “Black Queen”. This rockin’ jewel, slathered in a heavy dose
of Seventies psychedelia, is such a delightful listen. They also give a stellar performance, taking
on Cream’s “Outside Woman Blues”.
Voss bangs
out a cool as hell tribal beat which leads in to the witchy “Hoodoo River”. Sporting infectious grooves saturated in trance
blues, this is a splendid song to chill to.
Ginty plays the hell out of this
one, and Wolfe’s guitar playing is
simply amazing. “Gone” is another track
that blows me away. It’s fuzzier, funkier,
and contagious as hell.
There is so much going on in
the music in this album, I hear something new and interesting each time I hear
it. Needless to say, Long Road Back is a fabulous album and indeed
a terrific listen.
The title via zammata’ is taken from the name of the street in Partinico, Sicily where Dweezil’s grandfather, Francis Vincent Zappa lived before immigrating to America. The street name refers to the very specific sound made when rain puddles are trampled by the feet of children at play. In 2013, Partinico renamed that exact street, via Frank Zappa after Dweezil’s father. Zappa hugs the curb, sticking close to this definition of via zammata’, in the music created for this album. His playful splashes are in a musical playground, however, with focus on waves of sound instead of water.
Zappa starts the album with the fantastic instrumental, “Funky 15”. Reminiscent of the attention-grabbing themes associated with television crime dramas from the Seventies, it boasts a nice slice of funk, a groovy bassline and a beautiful string and brass arrangement by ‘Scoremeister’ Kurt Morgan, which all culminates into a wonderful and thrilling listen. “Rat Race”, lulls the listener in with a sweet little vocal harmony from the Song Birds, and then in a Reverend Horton Heat rockabilly fashion, pushes the pedal to the metal and takes off like a souped up hot rod. A strong and steady flow of adrenaline keeps this one headed in a furious frenzy. Zappa dives into the world of heavy metal on “Dragon Master” taking a tongue-in-cheek, over-the-top Spinal Tap approach. Featuring lyrics written by Frank, and vocals by Shawn Albro, the song is a definite favorite.
Switching gears from metal to meta, Zappa enlisted the one and only John Malkovich to speak the whimsical wandering narrative on “Malcovich” to which Zappa returns in song, this reply, “Malcovich, Malcovich what the fuck are you talking about?” This makes for a nice sing-a-long. ”Hummin’” takes a realistic look at life with a weirdly hypnotic melody which burrows deep into my brain and digs in, as if to set up permanent residence. I’ve caught myself waking up in the middle of the night a couple of times already with this song running through my head.
via zammata’ is a fun and quirky album with lush melodies and complex compositions built around bizarre yet intelligent lyrics. It took only one listen to establish this album as a favorite.
Taking in the cool blues-lavished sounds of the Andy T. – Nick Nixon Band’s latest release, Numbers Man makes me smile from ear to ear. The band is guitarist Andy ‘T’ Talamantez, vocalist Nick Nixon, Larry van Loon handing the B3 and piano, drummer Jim Klingler, and bassist Sam Persons. Also along for the ride is The Texas Horns (Kaz Kazanov: tenor sax, Al Gomez : trumpet, and John Mills : baritone sax).
A blast of horns and a wave of B3 lead the way for a swinging R&B treat in “Shut the Front Door”. Andy T. delivers classic rock guitar, Chuck Berry style, as Nixon belts out his commanding vocals. The band nails down a splendid rendition of Clarence ‘Gatemouth’ Brown’s ”Gate’s Salty Blues” in which Klingler’s precision drumming rolls out to greet the sweet twang of Andy T’s guitar.
Infatuation with a 6’-3” tall gal is the inspiration for the fun and spirited, “Tall Drink of Water” in which special guest, Christian Dozzler takes the boat out for a little Zydeco fun. Dozzler also adds a nice taste of barrelhouse blues to “Sundown Blues”, which mixes nicely with the lush B3 sounds of Van Loon. This extraordinary track features Kim Wilson from the Fabulous Thunderbirds on harmonica. When that is joined with Nixon’s gravelly vocals, everything gels perfectly and culminates into a flawless performance.
It’s very obvious that Andy T. and Nixon take their music seriously. Numbers Man is the proof in the pudding.
