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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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Showing posts with label Big Song Music. Show all posts
Showing posts with label Big Song Music. Show all posts

Tuesday, February 21, 2017

Big Song Music artist: Lisa Biales - The Beat of My Heart - New Release Review

I just had the opportunity to review the most recent release, The Beat of My Heart, from Lisa Biales and it's rich. Opening with Mabel Scott track, Disgusted, Biales is swinging right from the start backed by Jim Pugh on piano, Larry Taylor on bass and Tony Braunagel on drums. Darrell Leonard adds solid trumpet work and Joe Subjett really gets the sax working with some hot solo lines. Volt (Stax) record, What A Man, a hot R&B track by Linda Lyndell is up next with just a bit of polish a little more funk in the bottom, cool lead guitar work by Johnny lee Schell and cool backing vocals by Maxayn Lewis and Kudisan Kai. Allen Toussaint's I Don't Wanna Hear It has that primal R&B spirit with Tom Peterson on bari sax lead, Joe Sublett on sax and Darrell Leonard on trumpet. Nina Simone's Be My Husband has a swampy feel boosted by Pugh's Hammond work, cool Kay guitar riffs by Schell and top reinforcements by Braunagel. Meemphis Slim's Messin' Around With the Blues falls square into Biales' pure vocal style and she milks it for each note. Leonard's trumpet highlights and a slick guitar solo by Schell add icing to an already rich cake.  Gospel track, Said I Wasn't Gonna Tell Nobody, really swings with excellent backing vocals by Lewis, Kai, Leslie Smith and Will Wheaton and of course vital Hammond work by Pugh. Written by her mother, Alberta Roberts, Crying Over You has a firm, 40's sound and character. The purity of Biales' vocals backed by the warm sax work of Sublett, smoky piano work by Pugh and a cool trumpet solo by Lee Thornberg gives this track honest authenticity. Henry Glover's, Wild Stage of Life continues in this vein but with a pinch of a New Orleans blues, nicely complimented by Pugh's keyboard work and a really tasty guitar solo by Paul Brown. Carrie Newcomber's I Should Have Known Better is a really cool track with a funky back beat and just a touch of jazz. Nicely blended vocals between Biales and Schell as well as a crisp piano solo by Pugh make this track one of my release favorites. Wrapping the release is Brenda Burn's smooth R&B track, Brotherly Love. This track showcases a totally different quality of Biales' voice, nicely surrounded by Pugh's keyboard work as well as a really tasty guitar solo by Schell and caressingly warm backing vocals by Lewis, Kai,and Smith. This is an excellent closer for a brilliant vocal album.



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Friday, February 14, 2014

Big Song Music artist: Lisa Biales - Belle of the Blues - New Release review

Opening with and easy going blues number, title track Belle of the Blues, Lisa Biales shows why she is know for her clear voice, well complimented by Pat Bergeson on harp and Paul Hornsby on piano. Tommy Talton plays nice acoustic guitar riffs as a compliment but this song is really ready for airplay. Sad Sad Sunday is a slow blues ballad featuring Biales at her best on lead vocals and Tommy Talton on dobro. Bad Things has a "Summertime" feel with a light acoustic guitar backing. Adding instrumentation as it builds, Randall Bramblett adds organ, Ken Wynn guitar, Bill Stewart drums, Tommy Vickery bass and EG Kight backing vocals. Very nice. Mask, a primary 40's style blues ballad shows Biales in the heart of her style. Hornsby plays a "key" role in the backing on this track and Biales leads with very solid vocals. Graveyard Dead Blues has a cool dobro lead by Talton and EG Kight backs him nicely on acoustic. Biales is consistent with her vocals, strong and clear, and establishing a firm spot for herself in the void created by some of those who came before her. Baby Won't You Please Come Home has a really soft feel with early century authenticity. Paul Hornsby plays with certainty and feel. In My Girlish Days is a duet with EG Kight and features a tasty acoustic guitar solo from Talton. Peach Pickin' Mama, another track featuring Kight on vocals and Bergeson on harp features some of the coolest picking by Talton on the release. Black and White Blues has a moderate pace and a Bessie Smith style. Nice musical balance and clear vocals are the ticket. Trouble With A Capital "T" is a easy rocker with the largest group of players including Talton and Biales on acoustic guitar, Johnny Fountain on bass, Bill Stewart on drums, Ken Wynn on slide, Hornsby on piano, Gary Porter on tambourine and Kight on backing vocals. Wrapping the track is Bad Girl, the rockinest track on the release. Bramblett takes a nice B3 solo on the track and Wynn adds a stinging electric guitar solo as well. Duet vocals on this track are nicely complimented making this a nice closer for the release.

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