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I started a quest to find terrific blues music and incredible musicianship when I was just a little kid. I also have a tremendous appreciation of fine musical instruments and equipment. One of my greatest joys all of my life was sharing my finds with my friends. I'm now publishing my journey. I hope that you come along!
I just received the newest release, Enjoy It While You Can, from The McKee Brothers and I love it. Opening with One Of Us Gots Ta Go, a jazzy blues track in the style of WW Washington, this track is hot! Featuring Bob Schultz on lead vocal and Kirk Fletcher on lead guitar this track swings. Denis McKee on guitar, Bobby West on piano, Jim Alfredson on Hammond, Duncan McMilan on Wurlitzer, Ralph McKee on bass and Jerome Edmonson on drums is a solid unit but throw Lee Thornburg on trumpet, Doug Webb on sax and Sophia on backing vocal and you have pure power! Funky, Change, has a slinky feel and a cool bass line by Bobby Watson. Schultz's vocals are super and Fletcher trading off with the horn section and really nice accent vocals by Melissa McKee make this a really sweet track. A real screamer, A Little Bit Of Soul features Larry McCray on lead vocals and guitar. I really like Larry's vocals and his guitar work is crisp. The horn section is tight and a driving bass line from Bobby Watson really works. This music is woven like fine silk with Dennis, Melissa McKee and Maxann Lewis bringing the backing vocals. Excellent! Title track, Enjoy It While You Can, finds Schultz back up fron on lead vocals and and features smoking guitar solos from McCray and Stan Budzynski. Tight drum work by Edmonson and the back pump by the horn section is essential. Bluesy ballad, A Long Way Back Home, has a nice gospel like organ base by Alfredson and Dave mcKee shows his own flare on lead guitar riffs. Very nice. Melissa McKee and Sophia Hanifi really blend nicely on backing vocals and Webb hits a nice stride of his own on sax. Very nice. Another jazz funk number with hot bass riffs, Connections, will have you moving in your seat. Watson sets the pace and Schultz rides the groove. Fletcher on lead guitar, Jonathan Ovalle on percussion and the hot horn section backed by Melissa McKee and Reggie Gonzales on vocals...excellent! If I haven't made it clear yet...I really like this release. Right There, features Schultz on lead vocal and Fletcher on lead guitar. Webb lays out a nice sax riff becoming a part of the constant refrain and the horn section is really rocking. Melissa, Sophia and Reggie and really hot and Webb's soloing is absolutely smoking! Fletcher is always on his game and this track is breathing heavy with super bari work under the bottom with Watson's bass. Excellent! Dr. John's Qualified is an absolute favorite with very little change in arrangement but with really nice slide work from Budzynski as well as cool wah wah effects. Edmonson's drum funk is tight and thumping bass work from Watson is really solid. Thornburg on trumpet and trombone and Webb on tenor and bari gives the track extra pop ... yes... Schultz's lead vocals are super and of course any Dr John track would be dead in the water without super piano work by Dennis McKee. Desperate Situation is a cool R&B track which should easily get a lot of radio play with it's hook. This release is so well put together that I can tell you right now it is one of the best releases I've heard this year. McKee's guitar work hits all of the accents and the backing vocals are rich. The horn work on this track is spot on and parts like the subtle soprano sax solo by Webb are so unexpected and cool. Getting the James Brown on with a rolling funk, Dennis McKee takes the lead on vocal with refreshing ease and Larry McCray sits back and steps on the gas riffing high over a rolling bass line by Ralph McKee and Glenn Giordano. Very nice. Earl King's, It All Went Down The Drain, has a looser feel with deep bari sax notes pushing the train. Stan on slide, Rick Berthod on fills, Dave Kaftan on second solo, Dennis McKee on tremolo guitar... this track has a lot going on. Wrapping the release is Patti Griffin's ballad, Up To The Mountain, featuring Melissa McKee on lead vocal. McCray has the lead guitar playing a really nice melodic but screaming solo and Barsimanto the drums. With choral like horn work by Thornburg and Webb, this track is a solid cruiser.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just had the opportunity to review the newest release, True Believer, from Hard Swimmin' Fish and it's really cool. Opening with title track, True Believer, Demian Lewis is on guitar creating a real dirty sound that has a great groove. A swampy bluesy track that really hits on the spot supported by Waverly Milor on vocal and harp, Jason Walker on drums, Randy Ball on bass and John Sharrer on organ. On funky, Five Years Hard Labor, HSF produces a raw sound with a lot of grit. A rocky kind of sound...I really like it! No Shortage Of The Blues is a nice blues rocker with an almost Steppenwolf swagger and caressed by harp. Lewis plays flashy but unassuming solos and Ball's bass work it tight. Howlin' Wolf's Howlin' For My Darlin' has just a touch more rock than the Wolf version, complimented by a rock beat by Walker and guitar riffs by Lewis. Cool! Ooh, That Was Close has a rockabilly jazz feel with fluid but dirty guitar riffs. On Love Me Or You Don't, Lewis gets a real nice roll going on guitar with an almost Stevie Ray sound but with less flash. Interesting and effective. On country trek, Come Together, the track is a bit more freewheelin' and Lewis' slide style shows influence by Johnny Winter. Very cool. Need Your Love So Bad is a classic blues number and done in classic style, stripped down with solid bass work by Ball and soothing organ work by Sharrer under the soulful vocals of Milor. Lewis takes a real nice guitar solo on this track giving the track a nice edge. Get Gone has an interesting feel with light rim shots by Walker and Milor on harp. With a bass solo interlude this track glides along and Lewis' guitar solo is smooth. Very nice! Easy rocker, Once Upon A Time, gives Lewis the mic with almost spoken lyrics and Lewis and Milor trading riffs. Interesting. Up tempo blues, Mess Around, maintains much of it's original structure with nimble fingered guitar riffs and lively vocals. Milor's harp work is classic blues work giving this track solid blues footing. Wrapping the release is Don't Let The Devil Ride with nice acoustic bass work under a lead vocal. Rocking out, the track has a cool back beat and understated slide work giving the track a cool feel. Milor's harp work with more pronounced slide work in the solo interlude says it all. This is a cool, understated release with a lot to offer. Check it out.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just had the opportunity to review the a really nice instructional book from Hal Leonard Corporation, Play Like Freddie King, The Ultimate Guitar Lesson. Dave Rubin has really done it this time with a super book demonstrating the style of Freddie King. The book takes five basic King tunes, Going Down, I'm Tore Down, Remington Ride, San Jose and The Stumble and explains in great detail how to capture the spirit and articulation of King. On each of these tracks, Rubins explains the basis for the track, Kings approach and style, and then explains specifically how to articulate the ideas with detailed fingering techniques to achieve the sound. A complete tab of the track showing vocal line, guitar line as written and tab. Breaking each track down into sections makes it easy to understand and replicate. Building on this basis, the book in conjunction with the digital tracks, then shows how to build on these basics with essential King riffs, and even Signature riffs for Hideaway, Butterscotch, Sen-Sa-Shun, Side Tracked, Just Pickin', In The Open, Funnybone, The Sad Night Owl, Palace Of The King, Have You Ever Loved A Woman and Pack It Up. Also included is a super section on Integral techniques suggesting when bending techniques, directional picking, pull down bends and suggested fingering. With a section on influences and another, references to must see videos and CDs, this is the full package. I've been a Freddie King fan for a long time and this book is really helpful to getting where you're going.
I just received the newest release, Blues Full Circle, from Duke Robillard and it's styling. Opening with Lay a Little Lovin' On Me, Robillard has lead vocals and the band is sets up a creep. Bruce Bears lays the ground work on piano, backed by Brad Hallen on bass and Mark Teixeira on drums. Robillard ealks in with a really nice fat guitar scream giving the track real attitude. Nice opener. On easy shuffle, Rain Keeps Falling, Bears and Robillard swap lead work under the vocal keeping it tight. Mourning Dove slows it down a bit and Duke plays some of his most expressive riffs of the release. Ouch! Back up to tempo, No More Tears, has a nice groove and Robillard steps out in style backed by Bear's organ work. Very nice. Jimmy Lewis' Last Night features Sugar Ray Norcia and his vocals are rich. Robillard's guitar work is clean and tight and Saw Gordon Beadle lays in some real nice sax work. On New Orleans saturated, A Fool About My Money Bears and Teixeira really set the scene with Bears taking an extended piano solo leading into a contained solo by Robillard. Quite a cool track with particularly nice vocals by Robillard. Kelley Hunt takes the floor on vocal and piano on The Mood Room. A rolling blues rocker, has strong bass work from Hallen and cool solos by Bears and Robillard. Very cool. Taking the tempo down a few notches, I've Got A Feelin' That You're Foolin' has a cool Tulsa country blues style and Robillard shows he knows this style well nice blues riffs throughout. Jimmie Vaughan's Shufflin' and Scufflin' features Robillard paired with Jimmie Vaughan on guitar. A real cool shuffle tune with Bears on organ, and the boys trading, it's Doug James who steps up with the grand slam on Bari sax. Very nice. Blues for Eddie Jones is a cool track about Guitar Slim. Bears' piano work nicely nighlights the scatter guitar riffs. Sweet. On jazz shuffle, You Used To Be Sugar, has a real nice groove pushed by Hallen's bass work and Duke takes a nice walk on the fretboard. On somber ballad, Worth Waitin' On, Robillard put's up some of his best vocals, carried by Bears, who not only sets the carrier but also plays a really nice organ solo. Wrapping the release is Come With Me Baby, a real nice low slung blues, with Robillard answering his vocal call with his guitar response. Saving the best for last, Robillard hits the groove square on with some excellent guitar riffs. Super closer for a cool release.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just received the newest release, A Force of Nature, from Sari Schorr and it's interesting. Opening with Ain't Got No Money, a slinky rocker, Schorr has the lead on vocal and is nicely backed by Innes Sibun and Quique Bonal on guitar, Julian Maeso on keyboards, Nani Conde on bass, Jose Mena on drums and Mike Vernon on percussion. Bouncy rocker, Aunt Hazel has a light country flair. Schorr's vocals are powerful and interesting guitar blending gives the track nice texture. Ballad, Damn The Reason, is nicely supported by Maeso's organ work and Oli Brown steps up with lightning flash guitar riffs. Sassy, Cat and Mouse, shows a different dimension in Schorr's vocals, with a cool funk beat under the track and slick guitar riffs over the top. Ledbelly's Black Betty gets a real nice remake hugging tight to early blues roots but kicking it in a whole new heavy rock style. Very nice! Walter Trout's Work No More features Walter Trout's soaring guitar riffs over a real solid bottom bass line and piano by Dave Keyes. One of the hottest tracks on the release, Trout really lights it up. Demolition Man has an easy shuffle pace, showcasing Schorr's vocals and finds Sibun trading riffs with Maeso. Cool. Oklahoma has a smooth jazzy feel and Schorr's vocals work nicely in this arena. Brown is back with cool ringing chords and nicely articulated lead work. Ballad, Letting Go, showcases the richness of Schoor's vocal style with Jesus Lavillas on keys. Sibun steps up with a really soulful guitar solo on this track making it one of my favorite originals on the release. My absolute favorite track on the release is a soulful take on HDH's Stop! In The Name Of Love, made popular by The Supremes. This is an excellent track and an excellent interpretation that would commonly go unnoticed as a cover. Unquestionably the best track on the release, it features soulful vocals, strong guitar work and solid backing vocals by Rietta Austin. Excellent! Wrapping the release is Ordinary Life, a simple vocal ballad accompanied by piano. Quiet and subtle, a very nice closer for a solid release.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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The Fab Faux come return to THE BEACON in New York for an 11/12 concert -
'The ANGEL in the DETAILS -
A Concert for SIR GEORGE MARTIN --Arranger,
Producer & 5th Beatle ~ Including Abbey
Road in its Entirety ~ SATURDAY, NOVEMBER 12, 2016 - 8 p.m.
NEW YORK, NY - THE BEACON THEATRE The Angel In The Details A Concert for Sir George Martin Arranger, Producer & 5th Beatle ~ Including Abbey
Road in its Entirety ~
For those of us who never got to see The Beatles in concert, we're fortunate to
have The Fab Faux dedicate themselves to faithfully recreating some of the most
extraordinary music ever written. The band commemorated the 43rd Anniversary of
The Beatles' performance on The Ed Sullivan Show with an appearance Late
Show with David Letterman. Check out their fantastic recreation of ‘I Am
The Walrus’ here:
Hometown Favorite? Longtime Ventura-based musician Darrin
Yarbrough and the Shure Thing Band bring their feel-good Countrified-Blues
to the Road to Memphis Band Challenge, presented by the Ventura County
Blues Society, on Saturday, October 1 at Studio Channel Islands in
Camarillo. More at https://www.linkedin.com/pulse/shure-thing-band-brandor-both-darrin-yarbrough.
(Camarillo, CA) - Longtime Ventura-based
musician Darrin Yarbrough and
the Shure Thing Band bring their feel-good Countrified-Blues to the Road
to Memphis Band Challenge, presented by the Ventura County Blues Society,
on Saturday, October 1 at Studio Channel Islands, 2222 Ventura Blvd. in
Camarillo. More at https://www.linkedin.com/pulse/shure-thing-band-brandor-both-darrin-yarbrough.
About...Darrin Yarbrough and the Shure Thing Band
"I take culture, apparel, and philosophy from
the "Good Ole" American West, mix it with late '60's, early
'70's, classic blues-based rock and roll, and arrive at the synthesis of
the Shure Thing "Brand," explains Yarbrough. "The
"Brand" is a blend of C.C. Filson garments, Black Angus
barbecue, the street smarts of a Harlem Smoothie, fast cars, women, and
those (like Moses) that are "Mighty in Words and Deeds." Adds
Yarbrough, "The Shure Thing Brand is reminiscent of Bon Jovi's
lyric, "I'm a cowboy, on a steel horse I ride...wanted, Dead or
Alive."
Shure Thing Band started with Yarbrough's vision
which revisits the late 60's/early 70's era of rock n roll and integrates
modern technological advances with the "Old-School" musicology
of Blues Masters like Robert Johnson, Muddy Waters, BB King, Johnny
Winter, Stevie Ray Vaughn; and rock icons, such as Eric Clapton, Jimi
Hendrix, Jimi Page, Kurt Cobain, and John Squire. "I do not
categorize musicians by terms, such as "good," or
"better,", but rather as, synonymous, or juxtaposed, with my
own feelings or interpretations," says Yarbrough. "Categorical
imperatives, used to catalog my selections, are characterized by the
term, "Electric Gypsies," which, I define by the way these
artists make me feel when I hear them play. I want to revisit experiences
stemming from the counter-cultural renaissance, and integrate the best of
those times with the modern technological advances in musical recording,
instrumentation, and sounds of today."
Yarbrough maintains an ongoing involvement with
the Saturday Night Bath Band,
who educate and help disadvanted youth by presenting educational concerts
in Continuation High Schools and Juvenile Detention Centers throughout LA
County.
Yarbrough - once offered a Music Publishing contract
by the legendary Don Casale (who engineered Iron Butterfly's Platinum
record "Inna Gadda Davita) - is presently recording in West Hills,
Calif. with noted former MCA Records producer Mark Keefer (Tiffany). The
two men are friends and have worked together for over twenty-five years.
I just received the newest release, Champagne Velvet, from Jason Elmore & Voodoo Witch and it's outstanding! Opening with fast paced, House Rockin' Boogie #7 and it's a rip snorting rocker featuring Jason Elmore leading the way on guitar and vocal. Joined by Mike Talbot on drums and Brandon Katona on bass this track is smoking! Cool shuffle track, Double My Money, is up next and it's got a great feel. Elmore slings out nicely on guitar with tasty Texas style guitar riffs. Very nice. R&B style Midnight In Memphis has a Rolling Stones (Beast of Burden) feel and should do nicely on radio. Slashing back to the front is Maybe, with it's heavy bottom and scorching guitar riffs. This guy really has a nose for hot riffs and knows how to push it. Excellent! Shine Your Light has an easy sway and a country rock feel. Nice and easy, another track that could easily become a top track. Another jump track, Cross-eyed Woman, has a great bass line by Katona. With nicely blended chords and cool guitar phrasing, this track is really super. Super nice! Opening with fat saturated arpeggiated chords, Lament For Evelyn McHale, pairs guitar leads giving the track a majestic base for Elmore to solo over. Very nice. Another radio style track, Right As Rain, uses it's warm melody, stylized guitar riffs and soft vocals to cut a memorable groove. Acoustic ballad, Wish, shows a more sensitive side of Elmore with arpeggiated chords supporting only Elmore's vocals. Very nice. Land Of Plenty has a real nice groove with solid blues foundations and loose guitar riffs on the top. Instrumental, Champagne Velvet is a super name for this smooth little jazz style track with silky smooth guitar licks laid comfortably on a lightly brushed drum and bass combo. Excellent! A bit more rural on the country blues side, Green To Gone, has real nice acoustic slide work over basic acoustic guitar and vocals. Cool track with nice contrast to the release overall. Closing with a rowdy rocker, Mary Jane, with clever innuendo Elmore tells the tale and then plays with reckless abandon. Excellent closer...a lot of fun!
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just had the opportunity to review the most recent release, Fresh Air, from Johnny Nicholas and it's got breadth. Opening with Moonlight Train, Nicholas keeps it light with his own vocal and harmonica backed by Scrappy Jud Newcomb on guitar and John Chipman on drums. An early blues sound drives this track with purity. Sleepy John Estes' Kid Man Blues is up next with a cool bop. Cindy Cashdollar makes an appearance with some cool slide and Newcomb adds in nice mandolin giving this track a whole new feel. With a Little Feat kind of funk, Blues Time, has a real nice groove. Backaing himself on guitar with Cashdollar on slide and super percussion and drums by John Chipman and Bruce Hughes this track has a real nice feel. Country flavored, Red Light, gets a real nice lap flavor from Cashdollar and with slick piano work, Steve Riley on button accordion and Newcomb's guitar, Nicholas' vocals are perfect. Sweet Katrina has a smoky Latin feel emphasized by precise piano work and nice slide from Cashdollar. Expressive vocals by Nicholas and nicely executed guitar riffs give the track a real cool sound. Play Me Like You Play Your Guitar has an easy, slinky feel highlighted by nice bass work by Hughes and Jack Bruce like falsetto vocals by Nicholas. Painterly organ parts and a nice trade of acoustic and electric guitar riffs add a nice dimension. With a forward jazz ballad feel, How Do You Follow A Broken Heart?, is a strong entry with simple brush drums, rich lap steel soloing and nice chords supporting Nicholas' clean vocals. Very nice. With it's 8 bar format, Bayou Blues, gives Nicholas on harp, Cashdollar on lap steel and Riley on accordion equal footing in the spotlight. Nicely finger picked, Roll Mississippi, is a solitude blues ballad with mostly acoustic guitar and mandolin. Backing vocals by Newcomb, Chipman and Hughes give the track a warm closeness. Willie Dixon's Backdoor Man features Nicholas o national resonator and Newcomb on mandolin for a update on primitive blues styling. Very nice. Wake Up Bobby has a cool, swampy funk feel punched along by Hughes on bass. Nicholas' vocal phrasing and slick slide work by Cashdollar make this one of my favorites on the release. Grinding guitar tone on the opening of Workin In The Garden sets a rock theme with cool western overtones set by Cashdollar. Strong vocal delivery makes this the most radio driven track on the release. Title track, Fresh Air is a real nice track with Nicholas on slide resonator balanced against Newcomb on mandolin and clear lead vocals backed by warm rich backing vocals for a soft touch closer.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
For added exposure - Blues World Wide Group "LIKE"
I just had the opportunity to review the newest release, Three Miles From Avalon by Davy Knowles and it's quite good. I first heard Knowles on television with Back Door Slam and I was impressed. Glad to see his work surfacing again. His new release opens with Ain't Much Of Nothin', a driving blues rocker, Davy Knowles on vocal and guitar sets the stage with solid guitar guitar riffs and backed by Bryan Doherty on bass, Andrew Toombs on Hammond and Michael Caskey on drums. What You're Made Of is a solid rocker with sailing guitar riffs and nicely blended backing vocals by Caskey and Doherty. On blues ballad, Falling Apart, Knowles does it Gary Moore style with soulful vocals, backed by warm Hammond tones. His guitar riffs are clear and flow like hot mercury over nicely composed minor vamp. Very nice! High stepper, Never Gonna Be The Same, has a real percussive feel with hot slide work from Knowles. His vocals are nicely highlighted by Toombs' organ work and his guitar work is tight and expressive. Very cool. Gov't Row is a highway song with soaring guitar riffs and soothing vocals. This is a real nice radio track without being too polished Very nice! The Oh Yeahs' provide warm backing vocals on Oxford, MS, an old spiritual style track. With only basic backing, this track is very strong. I really like Knowles' guitar work on this track in contrast to the simplicity of the overall track. Title track, Three Miles From Avalon, has an interesting style blending the likes of Black Label Society and Kansas. Knowles vocals are strong and Toombs' key work works nicely in support of strong backing vocals of The Oh Yeahs. Wrapping the release is Willie Dixon's What In The World. This is a very strong blues number with incredible guitar phrasing and chords with a definite feel of Peter Green's Fleetwood Mac. Toombs' organ work works really nicely with Knowles's vocals. This is an outstanding track and a excellent closer.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just had the opportunity to review the newest release, Take Me High, from Laurence Jones and it's really hot! Opening with funky rocker, Got No Place To Go, Laurence Jones handles lead vocal and guitar nicely. With fluid guitar riffs and a super bass line by Roger Inniss this track really moves. Bob Fridzema plays a pretty handy keyboard and Phil Wilson's drum riffs are tight and demanding. Excellent! On Something's Changed, Jones blends a funky beat with a Reggae line coming up with a really terrific rocker. His guitar riffs are melodic and really nicely phrased. This is some hot shit! With a big bat swinging like a pendulum, Jones and Wilson set a basic pattern with really hot bass lines under the top by Inniss. With radio styling, this track has it's share of blues fueled guitar soloing but with modern, rock styling and snappy drum riffs. Over a basic Hendrix (All Along The Watchtower) theme, I Will is s solid ballad punched up by the Hammond work of Fridzema and smooth backing vocals by Reuben Richards. Thinking About Tomorrow has a smooth country rock feel with traces of the best of the Marshall Tucker Band (Can't You See). Easy paced lines, bounced against against Jones lead vocals make for a real nice track. Title track, Take Me High, is a complex rocker with interesting cross blending. Jones vocals are consistently clear and cool, and his guitar riffs are twangy yet punky with traces of Jimi's hammer ons. Cool! Down and Blue maintain's a blues rock format but the guitar work gets a bit more adventuresome and loose. Never losing control, this track helps to cement Jones' guitar prowess. With a light funk, The Price I Pay features Paul Jones on harmonica and a solid back beat by Inniss and Wilson. Jones plays snappy guitar riffs topping up the funky overtone and his vocals are nicely phrased. Wrapping the release is Stevie Wonder's super hit, Higher Ground. The original driving beat is maintained with only minute interruptions for guitar iteration. Jones breaks it open for a real nice guitar solo in the middle where Inniss maintains a basic blues bass line. With a bit of a change up the band double times it a few times in rock style and closes on a high spot. Very nicely done.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just received the newest release, Shine On, from Matthew Curry and it's really solid. I reviewed Curry's first release, If I Don't Got You back in 2011 and this is a more polished followup showing a lot of growth as an artist.
Opening with Blink Of An Eye, Curry is back with a strong ballad and his soulful vocals. His expressive guitar riffs are more mature and his backing band is new. Matthew plays guitar and handles lead vocals with Tim Brickner on bass, Mark Masefield on keys, Francis Valentino on drums. A super radio melody and Matthew's vocal work, backed by Valentino and Alexis Saski on vocals, this track is square on. Very nice opener. With it's funky back beat, Caroline, catches you right at the get go. Brickner, Masefield and Valentino set a great stage for Curry's vocal lead and his stinging guitar riffs have great bite. Excellent! Title track, Shine On, is another radio track with huge commercial potential. I can't say enough about Curry's vocal acuity and the overall balance of the band. His guitar is restrained but not contained showing maturity and precision. Very nice. Electric Religion is a solid rocker with a heavy, lumbering bottom. Curry steps up top with some soaring guitar pyrotechnics pleasing even the toughest critics. Very cool. With a light airy, jazz rock feel, Matter of Time, is the "pop" est track on the release. Curry's soulful vocals anchor the track with skillful B3 work from Masefield and warm backing vocals. Wrapping the release is Draw The Line, a blues rocker with clean guitar soloing and cool B3 backing. Curry has put out a real nice release here and is definitely making a name for himself with John Mayer, Jonny Lang and Kenny Wayne Shepherd. Check out this new release. It's quite good.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just received the newest release (September 16, 2016), The Long Journey Home, from Vaneese Thomas and it's soul is dripping. Opening with Sweet Talk Me, a soulful pop track, Vaneese Thomas plants her feet and delivers. With solid radio melody, tight guitar riffs by Al Orlo, Paul Mariconda on piano, Paul Adamy on bass and Joe Bonadio on drums and ultra rich back vocals by Lisa Fisher, Erin Pellnat and Sergio Cocchi I like this opener. Another favorite on the release is the R&B track, Mystified. Adamy sets up a nice bass line and Thomas' vocals are gripping. Bryan Davis on trumpet, and Ed Palermo on sax give the track a rich warmness and Orlo and Wayne Warnecke lay down some tasty guitar riffs. On The More Things Change, Adamy uses a single bass line to control the track, changing up for a nice vocal opening and Thomas' strong vocals saturate the track with stinging guitar riffs by Orlo. Prince of Fools has a really nice groove with tight vocals and a real sweet organ solo by Cocchi. Very nice. Opening with a heavy bottom and grinding guitar riffs, I Got A Man In TN, has a super heavy sway and Thomas is stomping it down hard. With great vocal phrasing, cool slide work by Orlo and Tash Neal and nicely complimentary bass and vocal backing, this track is hot. With warm gospel style organ, Rockin' Away The Blues has great presence. Peter Calo's addition of dobro work adds yet another dimension and Adamy's ever solid presence nicely highlights Thomas' super vocals. Excellent! With a simple blues strut, Revelation, shows yet another side of Thomas with a bit of country stirred in. Piano work by Mariconda, acoustic guitar work by Orlo, dobro by Neal and harp by Rob Paparozzi gives this track it's spring. Definitely my favorite track on the release is Mean World, a simple soulful ballad with Thomas accompanying herself on piano, joined by military like rudiment percussion by Bonadio. Really nice melodic guitar riffs add a nice dimension to Thomas' already rich vocals and solitary guitar soloing by Orlo is nicely executed. Wrapping the release is a cover of Fleetwood Mac's The Chain. Nicely interwoven vocals by Thomas, Pellnat, Cocchi and Fischer. Cleanly articulate acoustic guitar work by Orlo, smooth violin work by Katie Jacoby and supplemental dobro work by Neal makes this a cool conclusion to a pretty nice release.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just received the newest self titled release from The Apocalypse Blues Review and they have style. Opening with Evil Is As Evil Does, Ray "Rafer" Cerbone on lead vocal has a great rock voice backed by Tony "Big Tone" Rombola on guitar, Shannon "Apocalypse" Larkin on drums and Brian "Bassgod" Carpenter on bass. Junkie Hell is a smoking blues rocker with a solid bass lead and scorching guitar riffs. Devil Plays Strat has a great bass undertone which sets up nicely with Rafer's Morrison like vocal phrasing, excellent drum work from Larkin and rowdy guitar work from Rombola. Possibly my favorite track on the release. With a cool driving bass line, Whiskey In My Coffee has a strong sense of I Been Down So Long with nicely peppered guitar riffs. With traces of Trower's ethereal guitar work and a bit of more contemporary rock, The Tower is a cool track with strong rock roots. Crossed Over seems to be based on Robert Johnson's Outside Woman Blues with a modern rock grooves. Rombola really digs on this track fanning the flames. Very cool. Blues Are Fallln' From The Sky opens as a shuffle track but slows to a really nice blues grind featuring some of Rombola's most soulful riffs. Excellent! With a Big Brother like drum riff, Work In Progress, develops into a cool rocker with solid work by the entire group. Really great drum work by Larkin pushes The Devil In Me, giving Rafer and Rombola a hot platform to work their magic. Very nice. Opening with acoustic guitar work by Cerbone, Blue Cross develops into a cool rocker with a firm bottom and crisp guitar work by Rombola. Larkin takes an opportunity to throw out some interesting percussion riffs to close this track. Wrapping the release is The Door's When The Music's Over. Rafer actually sounds quite similar to Morrison and the band's delivery is solid and respectful.
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I just received the newest release (September 23, 2016), Blues Immigrant, from Matthew Skoller and it's a solid heaping cup of Chicago blues. Opening with Big Box Store Blues, Matthew Skoller takes the lead on vocal and harp backed by Johnny Iguana on keys, Giles Corey on guitars, Eddie Taylor Jr. on guitar, Felton Crews on bass,and Marc Wilson on drums. A smooth shuffle track, Skoller sets a solid line on vocal and has nice tone on harp. With of a rhumba beat, On The Devil Ain't Got No Music, Crews sets a real nice bass line and Skoller gives the harp a nice workout. Title track, Blues Immigrant, has a definite hook for radio play and Iguana's keyboard work along with the standard blues guitar rhythm keeps the instrumentation low key but nicely highlights Skoller's vocals with warm backing by Mike Avery and Stevie Robinson. Another Latin influenced track, Only In The Blues, is really smooth with stylized guitar work and blended vocals ultimately highlighting the slick harp work of Skoller. Very nice. Deep boogie, Tear Collector has a great bass anchor and some really lush guitar soloing. One of my favorite tracks on the release. Story of Greed has a driving bass line coaxing Skoller's vocals and harp work. Nicely crafted and with tasty guitar work, a real cool track. 747 is a slick Chicago track with tasty harp and sharp guitar riffs. Skoller's vocals are solid and sure but his harp work does take off on this one as does the guitar soloing of Carlos Johnson. Excellent! Organ Mouth is a hot instrumental featuring Skoller and Iguana taking hot solos over the solid bass work of Crews. Smokin'! My Get It Done Woman is a driving boogie with a solid bottom and crisp harp riffs. With it's La Grange like drive, this track is a sure thing. Shuffle track, Get Down To The Nitty Gritty, keeps your toe tapping and with clear piano work from Iguana, slick guitar soloing from Taylor and cool harp, this track gets it. Wrapping the release is pure blues instrumental, Blue Lights, with a strong blues base. This track has just the right pace to give Skoller a perfect cushion to do some of his most soulful harp work on the release. Excellent.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just had the opportunity to review the newest release, How Long?, from Little Mike and the Tornadoes and it's hot! Opening with Cotton Mouth, a red hot blues stomper, Little Mike is cooking. (Head's up Stilladog) A screaming hot harp off, this track is a terrific opener featuring Mike on harp, Cam Robb on drums, Dave Sweet on drums, Troy Nahumko on guitar, John Edelman on guitar, Joe Fontenot on bass, Ken Stearns on bass and guitar and Mitch Margold on B3. Title track, J.B. Lenoir's How Long?, is up next with a super groove. With it's stylistic guitar solo, tight piano lines and solid vocals this track is great. Quick paced, Smokin', is right down the Chicago blues lane. Bobby Timmons, Moanin', is a classic with great swing. With call by Nahumko on guitar this track opens strong and Mike takes the reins with really nice harp riffs, punctuated by snappy drum work. Cool shuffle track, When My Baby Left Me, is good solid blues music. Mike, Troy, John and Ken sit in the groove with Cam setting the pace. Mike's vocals are well phrased and his harp is smooth and slick. On Johnny Young's, latin flavored, Slam Hammer, Mike really kicks it on harp. This track cooks. Funky, Whatcha Gonna Do?, steps out in a more rockin' style with a cool back beat. Troy sets out a nice guitar solo and Robb ride the rimshot. Slowing it down a bit, Sam's Blues is up next and Mike really wrings the juice from this one. With grinding guitar riffs contrasting with Mike, this is one of my favorite tracks on the release. Excellent! Another Chicago shuffle, Eddie Taylor's Bad Boy, has a great swagger and Edelmann lays out a really aggressive guitar solo complimenting Mike smart harp styling. Very nice. Not What Mama Planned, is a really unusual track with a great bass line, heavy drums and nice lead guitar riffs. It's loose, almost Mississippi country blues like feel, and Mikes spot on vocals and crying harp makes it one of my favorites. Tryna' Find My Baby is a cool Chicago shuffle with harp and guitar supporting Mikes lead vocal efforts. An extended harp solo by Mike, and Elmore James like guitar riffs smell of Chicago blues giving this track an old style feel. Very cool. Wrapping the release is Sittin' Here Baby, a quiet almost a capella track with Mike on vocal and harp over a basic blues guitar riff... extremely personal and effective.
This is a really cool release and one that you should definitely check out.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just received the newest release, a self titled debut from Ina Forsman and it's terrific! Opening with Hanging Loose, Ina Forsman hits the road running with a solid and powerful, almost indescribable voice. Joined by Laura Chavez and Derek O'Brien on guitars, stellar piano work by Nick Connolly on keys, Russell Jackson on bass Tommy Taylor on drums and Mark Kazanoff on sax, John Mills on bari, Al Gomez on trumpet and Aaron Kazanoff on trumpet this is a solid opener. On Pretty Messed Up you hear solid sounds of the 60's R&B scene and Forsman sings like a star. Showing total confidence and composure, this girl can perform. With a cool piano opening by Connolly, Bubbly Kisses, eases up with a bit of 40' style mystery. Forsman's voice is intoxicating and with subtle nuance and outright power she commands your attention. Backing vocals by Alice Spencer, Tommy Taylor, Nick Connolly and Mark Kazanoff with sassy trumpet work by Al Gomez sets this track up nicely. Reggae track, Farewell, has a super rhythmic feel and really rich vocals. Masterful work by Taylor, Chavez and O'Brien gives Forsman plenty of room to do her stuff and she takes the track by storm. Trumpet accents by Gomez and Aaron and nice harp work by Helge Tallqvist makes this a particularly memorable track. Don't Hurt Me Now is one of my favorite tracks on the release with Forsman covering a latin beat with heavy B3 work by Connolly. Her vocal phrasing and effortless vocals, complimented by a slick solo by Chavez is tight and beautiful. Blues style track, Talk To Me, is given a tint of old school with solid blues style harp work by Tallqvist. Soul ballad, Now You Want Me Back, has a lot of punch with old school, up front vocal, warm backing vocals and nice horns. Very cool. Slinky, Devil May Dance Tonight, rides high on the drum work of Taylor and bass styling of Jackson. Essential piano phrasing by Connolly really works nicely with Forsman's voice and shimmery guitar work by Chavez adds to the dimensional qualities of the track. Very powerful. Fifties styled, Before You Go Home, really has style bringing thoughts of the late Amy Winehouse. Forsman has a powerful tool with a lot of character and she knows how to parlay it. A lower octave guitar solo by Chavez and relentless piano work by Connolly set the bar for this track. R&B track, No Room For Love, has a super beat and tight horns. It's obvious that Forsman has been doing her homework and studying the best in her stylistic influences. Very nice. Wrapping the release is Nina Simone's I Want A Little Sugar In My Bowl and it is over the top hot. Forsman shows just how smoking hot she really is with all of the blues you could possibly pack in one track. Backed only by Connolly, and with a sultry sax solo by Mark, this track is an excellent cherry on top of the whipped cream.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just received the newest release, An Evening With Todd Rundgren, from Todd Rundgren and it captures the master of blue eyed soul in concert at the Ridgefield Playhouse in Ridgefield, CT on December 15, 2015. Todd opens with one of his best know tracks, I Saw The Light, from early in his career and it is a fine opener. Blasting right into Love Of The Common Man with John Ferenzik on keys, Jesse Gress on guitar, Prairie Prince on drums and Kasim Sulton on bass. Early rocker, Open My Eyes really gets the crowd rocking and Todd rips a hot solo to conclude the track. Todd and the crew hit a lot of the top tracks from his 25 release career including titles from at least 15 releases.
Something/Everything
I Saw The Light
Black Maria
Couldn't I Just Tell You
Faithful
Love Of The Common Man
Black and White
Nazz
Open My Eyes
Hello It's Me
A Wizard A True Star
Sometimes I Don't Know What To Feel
Soul Medley: I'm So Proud, Ooh Baby Baby, I Want You
Second Wind
Love Science
One Long Year
Buffalo Grass
Hermit of Mink Hollow
Determination
Can We Still Be Friends
A Cappella
Lost Horizon The Ever Popular Tortured Artist Effect
Bang The Drum
Drive
Global
Soothe
Nazz Nazz
Kiddie Boy
Liars
God Said
POV
Secret Society Oops Wrong Planet (Utopia)
Love In Action
Swing To The Right (Utopia)
One World
He plays guitar throughout much of the release and in some cases sits or dances and of course even plays the drums but no piano on this one.
This is a solid mix overall with Kaz providing solid backing vocals and Rundrgren's own vocals maintaining the expressive qualities that he has shown since his earliest albums. His guitar chops are soulful and lively. I have listened to Todd's music for a good part of his career and I found this a cool release and a solid concert performance for those new to Rundgren as well as long time fans. This release definitely demonstrates that Todd still has a lot to share.
I just received the newest release, Raw Sugar, from JJ Thames and it's rich. Following on the coattails of her spectacular release Tell You What I Know Thames keeps it rolling. Opening with Oh Lord, a simple spiritual blues, the instrumentation is kept to a minimum with Joe Seamons on acoustic guitar and backing vocal and Ben Hunter on mandolin surrounded by a wealth of warm vocals. Hattie Pearl kicks into high gear with Darryl Sanford on rockin piano and with Kimble Funchess on trumpet, Jessie Primer III on sax and Robert Lamkin on trombone. Shuffle track, I'm Leavin' features Eddie Cotton Jr. on guitar and Thames is really moving with Anthony Daniels on bass, John Blackmon on drums and Sanford on keys. Leftovers is a funky, jazz pop track with a strong bass line by Daniels. Thames' vocals are well blended and the melody is radio bound. Bluesy, Woman Scorned, sets a real nice stage with Cotton playing a smoking opener. Thames's delivery is powerful and her vocals inviting. One of my favorite tracks on the release is Only Fool Was Me with particularly soulful vocals from Thames and a really nice solo from Primer. Bad Man rides high on a great blues riff by Cotton and Daniels. Cotton takes a cutting solo swaddled in horns by Funchese, Primer and Lamkin. Very nice. Ballad, Hold Me, is rich in blues and soul. I really like this track with sweetly interwoven vocals. Excellent. Blues track, Don't Stop My Shine has a real funky bottom thanks to Daniels and you can feel Thames strut as she sings. With horns a blazing, and a solid key solo by Sanford, this track is really hot. I Don't feel Nothing has a clever interplay between blues and jazz, featuring Cotton and stinging guitar riffs and snappy drum licks by Blackmon. Plan B (Abortion Blues) has a real nice neo soul feel and Thames really shines. With it's light backing, Thames vocals float on the music. Really nice. Title track, Raw Sugar, sets up with Cotton laying out some hot blues riffs and developing into a down n dirty blues ballad. Thames fuels the fire vocally and Cotton really builds up steam backed by Sanford. Wrapping the release is I Wanna Fall In Love, a brighter R&B style track. Thames warm harmonies, backed by easy horn work sets the pace and Lamkin takes a sassy trombone solo giving the track a boot. Very nice closer to a solid release.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just had the opportunity to review the most recent release (September 9, 2016), Maxwell Street, from Ronnie Earl and the Broadcasters and it's a scorcher! Opening with Mother Angel, a tight jazz influenced number featuring Ronnie Earl and Nicholas Tabarias on guitar, Lorne Entress on drums, Dave Limina on keys and Jim Mouradian on bass. Slow blues, Elegy For A Bluesman is one of many beautifully executed tracks on this release. With subtle bottom and really nice piano and B3 by Limina, Earl takes it front and center with lush melodic guitar lead. Excellent! In Memory of T-Bone is a strong, T-Bone Walker "modeled" blues track with Earl interpreting T-Bone Walker's style and phrasing. With just a wisp of bass and drums and a carrier tune of keys, Earl just flat out plays the melody in fine style. Excellent! Diane Blue joins the mix for original track, Kismet, showing why she is the go to girl on many blues release. Her vocals are clean and powerful and a good balance for Earl's powerful dynamic style. Earl's emotional bends are pointed and precise, and his solo phrases succinct giving the track the sound of fine wine. Otis Rush's Double Trouble is certainly one of my favorite tracks on the release pushing the bar even higher with Blue's emotional vocals and Earl's incredible knack of squeezing every drop of sweat from his guitar. Clocking in at over 11 minutes, this track is stimulating from end to end. Excellent! R&B track made popular by Gladys Knight, Imagination, has a definite funky drive with a tight bass line and excellent vocals from Blue. Earl brings the pace down again on Blues for David Maxwell. Limina takes a long lush stroll on the piano leading up to Earl's incredibly soulful solo giving this track air for more than 8 minutes. Wow! On Eddy Arnold's jazz ballad, You Don't Know Me, Blue takes front and center again with strong support from Limina and Earl. There's plenty of room here for both Earl and Limina to take brief expressive solos of their own but this track is really all about Blue. Very nice! Kicking it up to a strong loping shuffle on Brojoe, Earl is back, front and center, with Limina on B3 pushing him all the way. Entress' tight drum work and walking bass work from Mouradian frame the work nicely with Earl shooting riff after riff. Smooth. Wrapping the release is Don Roby's ultra soulful, As The Years Go Passing By. This track has been given up by a lot of the best including Otis Rush, Albert King and Elvin Bishop and Earl's entry will certainly not go unnoticed. Blue handles the vocal lead with authority and Earl would be a certain candidate for top blues player today. This is an excellent closer for an excellent release!
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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