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Zac Harmon & The Drive - Live - New Release Review

By Bman -
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 I just had the opportunity to review the most recent release, Live , from Zac Harmon & The Drive and it's super! Opening with soulful, NTRO , Nate Robinson on bass and Gino Iglehart on drums set a solid foundation, with Corey Lacy building on keys and lush guitar work by Zac Harmon and Kingston Livingston really setting the bar. Terrific opener. Blue Pill Thrill has super movement and soulful vocals by Harmon. Lacy on keys works the rhythm with Robinson and Iglehart and Livingston and and Harmon play stinging riffs on guitar really giving this track some kick. Deep blues track, Feet Back On The Ground features Albert King like stinging riffs and super soulful vocals by Harmon. Keeping the music floor low allows Harmon plenty of space to go dynamically from soft to wow quickly adding real emotion to the track. Excellent! Boogie Down is a strong jam with a firm piano base by Lacy giving Harmon plenty of headroom for vocal corralling. Lacy lays in some real tasty keyboar...
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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!


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Walking By Myself - Big Crawford with Jimmy Rogers

By Bman -
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Standing 6'5" and weighing 300-plus, Ernest "Big" Crawford loomed large in Chicago's explosive postwar blues scene. Crawford's slapped upright lines pushed recordings by the likes of Little Walter, Big Bill Broonzy, and Memphis Slim, but his work with former plantation hand Muddy Waters carved Crawford's name for all time in the blues bass hall of fame. In April 1948, fellow South Side denizens Waters and Crawford recorded "I Can't Be Satisfied" for the Chess brothers' Aristocrat label. (Seven years earlier in Mississippi, Waters had recorded the song as "I Be's Troubled" for musicologist Alan Lomax.) On the'48 track, Crawford's slap-bass accompaniment begins with a simple root-5 pattern that hangs on the I chord's G and D notes even when Waters goes to the IV. On the turnaround, Crawford pedals an A under the V chord (and tosses in a non-chord E), and on the IV he introduces a chromatic lick with a syncopation...
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