#339 : Eric Corne - Happy Songs for the Apocalypse

2018 – Forty Below Records

By Phillip Smith; June 30, 2018

Eric Corne, founder and president of Forty Below Records, has brought fabulous new artists like Sam Morrow and Jaime Wyatt to my attention and recorded established favorites such as John Mayall, Walter Trout, Joe Walsh, Lucinda Williams, Edgar Winter, Joe Bonamassa, John Doe (X) and Glen Campbell.  Happy Songs for the Apocalypse, the latest release from award winning producer/singer/song-writer Eric Corne is rather reflective of the world today, and is an amazing listen.  The dozen original tracks are beautifully written and tightly woven together in the assembly of this album.

I love the way Corne splendidly starts the album off with “Mad World”, his prophetic account of the beginning of the end.  Eamon Ryland lends a dreamy texture to this personal favorite on pedal steel.  Doug Pettibone (Lucinda Williams) provides a delicate Dobro performance on “The Guilded Age” while Corne sings of the wolves of Wall Street. Sasha Smith on dolceola and violinist Freddy Koella (Bob Dylan, KD Lang, Dr. John) inject a bright Celtic sound into Corne’s dispirited observance of current day politics “Short Wave Preachers”.

Corne taps into the spirit of the early Rolling Stones with “Ridin’ with Lady Luck” and “Locomotion”.  “Ridin’ with Lady Luck” features the legendary Walter Trout laying down some fabulous licks on lead guitar and Corne ripping it up on harp.  The excitement builds as Smith lays the piano groundwork on the upbeat “Locomotion”.  Guest David Ralicke (Degue Fever, Beck) orchestrates a rich horn arrangement on this captivating song as Corne revs it up with a side of guitar twang and more harp.

Corne utterly wins me over with Happy Songs for the Apocalypse. It is definitely a delightful and intelligent listen. 

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#338 : Little Boys Blue w/Kid Memphis - Hard Blue Space

2018 – Vizztone

Release Date :  June 1, 2018

By Phillip Smith; June 23, 2018

Forged in Tennessee, Little Boys Blues keeps pumping out solid southern blues music.  Their latest album, Hard Blue Space brings guitarist John Holiday (aka Kid Memphis) into the mix, as he rips it up with singer/harmonica player JD Taylor for ten luscious original songs.  Holiday played the role of Carl Perkins in the 2005 Johnny Cash bio-film Walk the Line.  Taylor actually played gigs with Perkins himself.  The band also consists of drummer Mark Brooks, bassist Dave Mallard, and guitarist Alex Taylor.  Guests include guitarists and slide players Andrew White, Wes Henley, and Brad Webb, with Dave Thomas on keys. 

The first cut “Six Foot Down” tells the story of a broken heart beyond repair.  Taylor’s smoky vocals are reminiscent of John Hiatt’s and hover above gobs of juicy harp, a heart-pounding beat, and a lot of laidback slide.  “Loving Kind” takes a walking blues stroll and is topped with nice bluesy licks from Kid Memphis.  Changing pace and slowing it down a bit, “Blues Bug” is wonderful and right in the pocket.   

I’m immediately caught up in the intoxicating rhythm of “Got a Mind of Your Own”.  Swirling sounds of the B3, and Taylor’s magnificent harp playing perfectly accent this one as Kid Memphis plays guitar with a cool Robert Cray vibe.  The ghosts of North Mississippi must’ve been present on the recording of “If the Blues Start Calling”.  The song’s infectious groove is so downright dirty, it sounds fabulous.      

Hard Blue Space from Little Boys Blue w/ Kid Memphis is a grand slam. This pairing is a delight to hear.  They were definitely made for each other.   

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#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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#336 : Ghost Town Blues Band - Backstage Pass

2018 – Ghost Town Blues Band

By Phillip Smith; June 9, 2018

Ghost Town Blues Band’s Backstage Pass is one of the best live albums I’ve heard all year.  With every listen, I fall head over heels for its long soulful jams heavily steeped in American blues and roots.  From the beloved city of Memphis, Tennessee, Ghost Town Blues Band is composed of lead vocalist/guitarist Matt Isbell, guitarist Taylor Orr, Suavo Jones on trombone, Kevin Houston on sax, Tim Stanek on the Hammond B3, piano and keys, bassist Matt Karner, and drummer Preston McEwen.  Produced by McEwen, Backstage Pass consists of nine splendid tracks recorded live at Lafayette’s Music Room in Memphis on July 29, 2017.

The album breaks out with a smashing cover of The Beatles’ “Come Together”.  This sounds fabulous with slide guitar and horns.  I love the way they weave bits of “Norwegian Wood” and Led Zeppelin’s “Whole Lotta Love” into the fabric of the tune.   I will be sadly disappointed if this song does not make it on the next Fried Glass Onion compilation series (a tribute to the music of The Beatles, performed by Memphis bands).  They take on the Allman Brothers’ signature song “Whippin’ Post” with true justice and a truck load of responsibility, bestowing the listener with a beautiful and amazing sixteen minute jam.  Isbell’s guitar performance is stellar.  Their cover of George Porter Jr’s (The Meters) “I Get High” is a bouncy and funky treat loaded with contagious horn riffs and more head-turning guitar.  McEwen is a bodacious drummer, and keeps everything in check. 

“Shine”, drenched in that good ol’ Memphis soul greets the listener like an old friend whose face has not been seen in a long time.  The Stax sound is definitely represented here with the swirling organ and those cool little blasts of horns led by Isbell’s wonderful and gravelly vocals.  From their Dust to Dust album, GTBB revisits “One More Whiskey” a blues-soaked ode to drinking which Isbell tops with a tasty side of harmonica.  This is a fun tune indeed. 

   

I had the privilege of catching the band in Memphis earlier this spring at the Beale Street Music Festival.  With cigar box guitar in hand, stretching as high as Isbell could raise it, Jones proceeded to extend his trombone to its outer limits, to use the far-most edge as a guitar slide until that cigar box just plumb gave out.  After several attempts at reviving that guitar with no luck, Isbell put his own creation out of misery with a mighty rock-and-roll Pete Townsend style bashing.  They outshined every act I saw that day, and quite frankly, most of the other acts I saw that whole weekend.  They were truly amazing, as is this album.  It’s ridiculously good.

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Ghost Town Blues Band live in Memphis, Tennessee at
Memphis in May Beale Street Music Festival 2018
Photo by Phillip Smith

#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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#334 : Too Slim and the Taildraggers - High Desert Heat

2018 – Vizztone

Release Date :  April 27, 2018

By Phillip Smith; May 26, 2018

High Desert Heat, the latest release from Too Slim and the Taildraggers soars off the launchpad with a blazing psychedelic cover of the Chambers Brothers’ classic “Time Has Come Today”.  It’s magnificent to say the least.  Too Slim then proceeds to tear through nine ripping guitar-infused tracks of original blues-rock.  With Tim Langford aka “Too Slim” on guitar and lead vocals, the Taildraggers consists of Jeff “Shakey” Fowlkes on drums, Zach Kasik on bass guitar and special guest Sheldon “Bent Reed” Ziro on harmonica. 

With Ziro supplying a hearty accompaniment on harp, Langford dispenses a big tasty dose of blues guitar on “Trouble”.  I love the groove Fowlkes and Kasik keep afloat.  They never leave the pocket.  Too Slim sings about hitting bottom in “Broken White Line”, a badass song with an opening riff sweetly reminiscent of Steppenwolf’s “Pusherman”.  It captures my attention immediately.   Communication breakdown is what “Stories to Tell” is all about.  This infectious rocker lures me in with its funky, searing riff, and keeps me hooked with Langford’s delightful guitar licks.  Too Slim and the Taildraggers close the album out with the title track “High Desert Heat”, a spaghetti western style instrumental with ominous overtones and exquisite slide guitar.   

Too Slim absolutely nails it with High Desert Heat.  It’s a fantastic album.

      

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Click below to read the PhillyCheeze review of : Too Slim and the Taildraggers – Blood Moon  https://phillycheezeblues.blogspot.com/2017/02/too-slim-and-taildraggers-blood-moon.html     

#333 : Crystal Shawanda - Voodoo Woman

2017– New Sun Records

By Phillip Smith; May 12, 2018

The latest release from Juno Award winning Crystal Shawanda is about as good as it gets.  Growing up in Ontario and introduced to the Blues by her brother at a young age, Shawanda has been playing paid gigs since the age of ten.  Voodoo Woman, her sixth album since 2008, is simply fabulous.  Of the ten tracks on this record, Shawanda delivers seven magnificent covers, and three outstanding original tracks of her own. Shawanda’s band is composed of Dewayne Strobel on all guitars, Dave Roe and Michael Dearing on bass guitars, Louis Windfield, and Darren James on drums and percussion, Stephen Hanner on harmonica, Dana Robbins on saxophone and Peter Keys on the B3 organ.

Shawanda takes on Willie Dixon and Howlin’ Wolf with a riveting two song medley of “Wang Dang Doodle / Smokestack Lightnin’”.  Strobel shines on slide guitar as Hanner wonderfully wails on harp.  It sounds great.  More power vocals follow on title track “Voodoo Woman”, a fitting homage to the late great Koko Taylor.  Shawanda brings it back on her beautiful cover of Etta James’ “I’d Rather Go Blind”.  I love this song, and this version sounds amazing.  I’m also head-over-heels for her cover of Bob Montgomery’s “Misty Blue”, which was also covered by Etta James in 2011 on her Dreamer album.  Robbins’ saxophone adds a lovely touch to the song.       

“Cry Out For More”, an original co-written by guitarist Strobel is a smooth blues-rocker which comes to an end in full shin-dig form.  Shawanda’s vocals carry the perfect measure of rasp, reminiscent of the magnificent Bonnie Raitt.  Strobel conjures up a cool twangy groove accented by a suave horn accompaniment on “Trouble”, another one of Shawanda’s originals. With a tight band behind her, she approaches the mic with a fearless attitude. 

Voodoo Woman is such a delightful listen; I give it my highest recommendation.  

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#332 : Michael Buffalo Smith - The Austin Sessions

2018– Michael Buffalo Smith

By Phillip Smith; May 07, 2018

Between juggling his gigs as southern rock historian, author, creator/publisher of Kudzoo online magazine, blogger, podcaster, singer/songwriter/guitarist Michael Buffalo Smith has just released his sixth record since 1992.  The Austin Sessions, a four track EP recorded in 2016 at Green Garage Studio, is co-produced by Billy Eli and Jim Hemphill. With Smith on lead vocals and acoustic guitar, the remaining members of the band is composed of Jim Hemphill on lead guitar, Joseph Parrish on bass guitar, Michael McGeary (Jerry Jeff Walker) on drums, and Eli on backing vocals and acoustic guitar.

Smith opens up with a relaxed country ditty called “Paintin’ Her Toenails”.  This song according to Smith, was inspired while observing his wife sipping wine and painting her toenails on the front porch illuminated by the light of a harvest moon.  I can’t help but be reminded of the Boxmasters when I hear “Fatboy”, Smith’s southern rock homage to motorcycles and women.  Chockful of quick-witted double entendres, the song puts a grin on my face from ear to ear.  The pièce de résistance however is “Karl Childers Blues” a brilliant ode to Billy Bob Thornton’s Academy Award winning film, Slingblade.  Doyle Hargraves very much had it coming, indeed.  

There's a full album from Buffalo coming around the bend, this summer called Makin' it Back to Macon, which is being produced by Paul Hornsby (Charlie Daniels Band, Marshall Tucker Band, Wet Willie).  So the four tracks on this EP will have to tide Buffalo's fans over until that is released.     

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For all things Michael Buffalo Smith, visit him online at http://www.michaelbuffalo.net.

Michael Buffalo Smith is also very much involved in spear-heading a campaign to establish the Southern Rock Hall of Fame and Museum.   For more information, visit the website, http://southernrockhall.org/

#331 : The Eric Hughes Band - Meet Me in Memphis

2017 – Eric Hughes Music

By Phillip Smith; April 28, 2018

If you’ve listened to live music on Beale Street in Memphis, Tennessee within the past seventeen years, there’s a good chance you’ve heard Eric Hughes on stage performing his unique and captivating blend of blues.  He took up residency on the historic Official Home of the Blues in 2001, and plays there on a regular basis still today.  Meet Me in Memphis, marks his fifth album to date, and is an homage to the city in which he was born and raised.  The Eric Hughes Band consists of Eric Hughes on vocals, guitars, harmonica, and percussion, Walter Hughes on guitars, mandolin, lap-steel, Leo Goff on bass guitar, Brian Aylor on drums, Chris Stephenson on keyboards, Art Edmaiston on saxophone, Marc Franklin on trumpet, along with Susan Marshall and Reba Russell on backing vocals.

The nine track album rolls out the gate, ready for business, with “Freight Train of Pain”.  This southern rocker comes loaded with scads of blues-soaked harp and ripping guitar riffs.  Hearing title track “Meet Me in Memphis” ushers me right to the heart of the Bluff City with a longing for some fine music, tasty barbeque, and a tall glass of sweet tea.  With a robust horn accompaniment, chords, and Steve Cropper-like guitar licks, I love how the song gently taps into the soulful sounds of Stax Records.

Hughes has a gift for incorporating the lost art of story-telling into his songs. A captivating tale of outlaw nature is spun in his western ballad “The Day They Hanged the Kid”.  Franklin, on trumpet, suavely tops the song with a little Spanish seasoning.  With poetic truth, and a shovelful of satire, the troubles of the hipster nation finally get the spotlight in Hughes’ humorously penned “Midtown Blues”.  Once pulled in by Aylor’s caffeinated beat and Goff’s funky bassline on “Here Comes the Boogie Man”, there’s no escape from   Eric’s magnificent harmonica performance and Walter’s wonderfully ominous guitar licks.  

In joyous celebration of one of America’s favorite pastimes, the album closes with “Believe I’m Going Fishing”.  I simply adore this song.  It’s catchy as hell.  In fact, the whole record is that catchy.  Meet Me in Memphis is a terrific album, and a splendid delight.        

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#330 : Kris Lager Band - Love Songs & Life Lines

2018 – Kris Lager

By Phillip Smith; April 21, 2018

The Kris Lager Band has hit an “out of the stadium” home-run with their latest album Love Songs & Life Lines. Taking a more rootsy approach than usual, Lager embraces the core musical genres classified as Americana as he opens up and shares an honest yet soulful insight into life itself.  The band is comprised of Kris Lager on lead vocals and guitar, John Fairchild AKA Scooby Sha Bobo on drums, Aaron Underwood on bass guitar, Mike Lefever saxophone, and Jeremiah Weir on the B3 organ.  Recorded by Pony Creek Studios in Sioux Falls, South Dakota, Love Songs & Life Lines was mixed by legendary producer Jim Gaines (Stevie Ray Vaughan, Santana, Steve Miller, Van Morrison).  Needless to say, it sounds great.

The album sweetly opens up with the magnificent instrumental “Aurora Borealis”.   Lager notes this is both a love song and a life line, as the song’s title is derived from Aurora, Nebraska, his father’s birthplace.  Immediately following, “The Heart Wants What the Heart Wants” grabs me with a contagious hook and a Traveling Wilbury vibe.  It then relinquishes me to the beautifully written and performed “Sweet Magnolia”, a track which brings back fond memories of growing up in the South.  I love the slide guitar on this track.  A smooth funky rhythm constructed by Underwood and Scooby sets the stage for “San Francisco Bound”, a freewheelin’, feel-good ode to Lager’s 2009 journey of California via the Pacific Coast Highway.  This one makes me grin from ear to ear.  Delightful waves of Dylan wash over with every listen to “Where the Green Grass Grows Tall”.  Lager’s voice sounds so good amid Weir’s spirited electric piano accompaniment and Scooby’s shuffling beat.   

Love Songs & Life Lines is both charming and brilliant.  Give it a listen, it will not disappoint.

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Love Songs and Life Lines can be purchased from Kris Lager on his website: https://www.krislagerband.com/store.html

In June of 2014, I caught up with the Kris Lager Band with camera in hand, for the annual Irish District Music and Arts Festival in Cedar Rapids, Iowa.  Those photos can be viewed using the following link:   https://phillycheezeblues.blogspot.com/2014/06/irish-district-music-arts-festival_22.html

   

#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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#328 : Reverend Freakchild -Dial It In

2018 – Treated and Released Records

By Phillip Smith; April 7, 2018

Dial It In, the third album from the good Reverend Freakchild is absolutely fabulous.  Most often with a National steel guitar in hand, his brand of blues and blues-rock is incredibly unique, outstanding, and at times a bit psychedelic.  For this album, Freakchild enlists drummer Chris Parker (Bob Dylan, Joe Cocker, Paul Butterfield) and guitarist Hugh Pool who also recorded and mixed the album.

The record softly cracks open with a mostly instrumental, backwoods, swampy blues track “Opus Earth”.  Accented with backwards guitar, a hypnotic beat, and spiritual chants, this amazing track lets the listener know they are in for a unique listening experience.  Freakchild delectably covers Depeche Mode with a nice and greasy blues-soaked arrangement of “Personal Jesus (on the Mainline)”. With Pool blowing harp, and Freakchild providing the suave velvety vocals and twang, this version totally demolishes the original.  Guitarist Mark Karan and bassist Robin Sylvester, both from Ratdog guest on “Hippie Bluesman Blues”. They instill a delightful deadhead vibe into this country-blues original.

The soulful rhythm in “Dial It In” coupled with Freakchild’s fast-paced prose draws me in with a firm grasp.  Spirited backing vocals from the lovely Hazel Miller join with Garrett Dutton’s (G Love and Special Sauce) for a rejoicing funky good time.  With Jay Collins boldly belting it out on saxophone, Freakchild fearlessly takes on Dylan’s “It’s Alright, Ma (I’m Only Bleeding)” in a marvelous no-holds barred performance. A wonderful tribute to Blind Willie Johnson is exhibited in a “Soul of Man”, before the good Rev takes us home with the cosmic closer “Opus Space” for a grand finale.  And to this, I say “Amen Brother, Amen!”.            

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Click below to read the PhillyCheeze review of  : Reverend Freakchild - Illogical Optimism

https://phillycheezeblues.blogspot.com/2016/06/reverend-freakchild-illogical-optimism.html

      

#327 : Tyler Morris Band - Next in Line

2018 – Vizztone

By Phillip Smith; March 31, 2018

Next in Line, the third album from Tyler Morris continues to break new ground for the nineteen year old guitar prodigy.  Chock-full of blues-soaked rocking originals, this record, produced by Grammy Award winner Paul Nelson (Johnny Winter), stands tall.  While Morris holds the fort down on guitar, the rest of the band is comprised of vocalist Morten Fredheim, bassist Scott Spray, drummer Tyger MacNeal and keyboardist Mike Dimeo.    

Morris lays down the blues in a tantalizing jam with the fabulous Uptown Horns in the instrumental “Choppin’”.   His performance in “Thunder” rides the rails of a funky dirty groove and is downright amazing.  The great Joe Louis Walker teams up with the band to belt out the classic SRV barnburner “Willie the Wimp”.  The swirling sounds of Dimeo on organ coupled with MacNeal’s tremendous beats and Spray’s standout bassline set a perfect stage for Morris’s searing licks.    

“Down On My Luck” is unbelievably good.  Morris fills this stunning song to the brim with an intoxicating blues riff which keeps the energy flowing while Fredheim’s powerful vocals evoke a spectacular fierceness. If this is any indication of what’s in store from the band in the future, I can’t wait to hear their next album already.

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#326 : Ten Second Pistol - You Have No Power Over Me

2018 – Zeven Music Entertainment

By Phillip Smith; March 24, 2018

Ten Second Pistol packs a hard-hitting punch with their delightful and raw debut album, You Have No Power Over Me.  Benny Chang, front man of this up-and-coming blues-rock band out of El Paso, Texas connects with the listener using attention-grabbing guitar riffs and suave smoky vocals.  Alongside Chang is his rhythm section composed of bassist Davis Alexander and drummer Manny Ayala.  They’re a tight outfit indeed.  

Fueled by searing guitar licks and a dire mood, Chang spotlights the slow-baked break-up blues ballad “Get To Steppin’” with a fabulous heart-wrenching performance reminiscent of Tom Waits.  Elegantly played and thought provoking, “Like A Bird” takes a cold hard look at the world today.  It’s quite outstanding.  A buttery electric groove forges the way for a captivating hypnotic listen in “Hold On”.  Riding atop a steady pounding beat, Chang breaks out his slide for the swampy and deliciously ominous “Got No Love”.  This leads right into the powerful blues ballad, “She Left Me”, which splendidly brings the album to its end.  Beautifully played and with no accompaniment, Chang invokes a retro juke-joint vibe with this wonderful blues-soaked track.

When I’ve listened to You Have No Power Over Me, I feel like I’ve actually listened to something with substance.  This is what the Blues is all about.    

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#325 : Tinsley Ellis / Wooden Nickel Lottery live @ The Redstone Room

Tinsley Ellis w/ opening act Wooden Nickel Lottery

Live @ The Redstone Room      

March 16, 2018

Davenport, Iowa

By Phillip Smith; Mar. 17, 2018

Tinsley Ellis blessed a full house at the Redstone Room in Davenport, Iowa with an amazing night of guitar blues, this past Friday, March 16^th.  Performing with Ellis as his rhythm section was new touring bassist Kevan McCann and drummer Erik “Jazzy Skins” Kaszynski. 

Eastern Iowa blues-rockers Wooden Nickel Lottery opened for Tinsley with a powerful forty-five minute set.  WNL is comprised of lead singer Rick Gallo, lead guitarist Rich Toomsen, bassist Jess Toomsen, and drummer Delayne Stallman.  WNL kicked their set off with “Morning Heartbreak” off their 2015 debut album On My Way and proceeded to play through favorites from their latest album Down The Line, such as “Can’t Be Wrong”, “No Second Chances”, “Bad Gone Good” and “Nickels and Dimes”.  They closed out with a tight delivery of Sam Cooke’s “Change is Gonna Come”.  Gallo’s vocals were on the mark and the band’s performance was magnificent.

Tinsley did what Tinsley does best… and that’s play the Blues with his amazing arsenal of guitars.  He covered tons of favorites right from the get-go, hitting on “Saving Grace”, “Cut You Loose”, “To the Devil For a Dime”, and “Quitter Never Wins”.

My favorite moments occurred with Tinsley's Dobro in hand.  Before playing “Can’t Be Satisfied”, Tinsley explained Bob Margolin taught the song to him, and Muddy Waters had taught Margolin the song.   It was spectacular. He spoke about meeting many of the blues masters as a youth, and then tore into a breathtaking “Little Red Rooster”.

    

Before the evening was over, Tinsley let loose on “Highway Man”, “The Last Song”, and “Pawnbroker”.  It definitely was a marvelous night for music. 

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all photos by Phillip Smith

Wooden Nickel Lottery

Wooden Nickel Lottery

Delayne Stallman, Jess Toomsen, Rick Gallo

Rick Gallo

Rich Toomsen, Delayne Stallman, Jess Toomsen

Delayne Stallman, Jess Toomsen

Rich Toomsen

Delayne Stallman

Rick Gallo

Rich Toomsen, Jess Toomsen

Rich Toomsen, Delayne Stallman

Tinsley Ellis

Kevan McCann, Tinsley Ellis

Kevan McCann

 Erik “Jazzy Skins” Kaszynski.

Kevan McCann

Tinsley Ellis

Tinsley Ellis

Tinsley Ellis

Kevan McCann, Tinsley Ellis , Erik "Jazzy Skins" Kaszynski

 Erik “Jazzy Skins” Kaszynski.

Kevan McCann, Tinsley Ellis

Tinsley Ellis

 Erik “Jazzy Skins” Kaszynski.

Tinsley Ellis

Tinsley Ellis

Tinsley Ellis

Tinsley Ellis

Kevan McCann, Tinsley Ellis

 Erik “Jazzy Skins” Kaszynski.

Kevan McCann

Tinsley Ellis, Kevan McCann

Tinsley Ellis

all photos by Phillip Smith