Ruf Records artist: Tasha Taylor - Honey For The Biscuit - New Release Review

I just received the newest release, Honey For The Biscuit, from Tasha Taylor and it has a super groove. Daughter of Stax giant, Johnnie Taylor, Tasha has some big shoes to fill and this release shows that she's not following on anyone's coattails. Opening with Feel So Good, Tasha Taylor sets the pace with a a super R&B number featuring Taylor on really nicely phrased vocals, guitar and keys, backed by Nathan Watts on bass, Don Wyatt on Wurlitzer and piano, John Notto and Jon Taylor on guitars and tight horn phrasing by Jamelle Williams, Matthew Demerrit & Lamar Buillary on horns. Wedding Bells is a soulful track with some of my favorite vocals on the release. Painterly instrumental arrangements nicely frame the featured vocals of Taylor. Excellent! Family Tree has a much more laid back R&B feel and features nicely phrased guitar work by Keb Mo. Tom Hambridge penned Weatherman, has a cool funky bottom with a real nice drum beat and again, really nicely orchestrated instrumental backing. Wyatt takes a real nice electric piano solo on this track and brassy horns give the track that extra spark. Soul track, One And Only has a super soul feel and Taylor delivers big time. Vocal harmonies and glistening piano work make this another of my favorites on the release. Little Miss Suzie has a revival sound (hand claps and all) with rich organ work and hot lap steel addition by Robert Randolph. I Knew, another sumptuous soul track, just has a special groove. Horns carefully caress Taylor's vocal delivery making this another of my favorites on the release. Another contribution by Hambridge, How Long, has a country rock flavor with a distinct 2 step feel. Laid back R&B feel on That Man should easily make considerable radio play. Catchy melody, warm, easy rhythm and nicely intertwined vocals make this a pop standout. Funky R&B track, Leave That Dog Alone, features the guitar fire of Samantha Fish. Taylor's vocals are always front and center, but Fish's contributions are hot and sweaty. Places I Miss has a light, jazzy sense and Taylor continues to show her versatility. With breezy, coastal like delivery and crisp guitar highlights this track sails. Don't Rush Off continues in that soft and easy feel with extremely nicely done drum work, supporting Taylor's solid vocals. Wrapping the release is Same Old Thing with an almost Al Green feel. Old school R&B with great horn punctuation and Tommy Castro joining on vocal makes this a perfect choice to conclude a very strong outing by Taylor.



  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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Ruf Records artist: Albert Castiglia - Big Dog - New Release review

I just received the newest release, Big Dog, from Albert Castiglia and it's voracious. Opening with Let The Big Dog Eat, Castiglia bursts into flames right out of the chute. With aggressive vocals and powerful guitar work, Castiglia picks up where he left off on his last release, Solid Ground .

Backed by Mike Zito on guitars, Scot Sutherland on bass, Rob Lee on drums and Lewis Stephens on keys, this is a terrific opener. Rolling blues, Don't Let Them Fool Ya has a real solid bass line and stinging guitar answer. This track has a bit of a loose vocal delivery and the guitar exchange between Zito and Castiglia puts me in mind a lot of Elvin Bishop attitude. Excellent! Shuffle track, Get Your Ass In The Van has the Elmore James/Hound Dog Taylor slide feel and Castiglia really rocks it. One of my favorite tracks on the release this track is smokin'! Slow and deliberate, Drowning At The Bottom, is a terrific blues track with excellent trem bends and soulful vocals. Castigli lays down some really expressive guitar lead here so heads up! Easing up on the pace, Let's Make Love In The Morning, would be an easy radio sell with simple, fluid, guitar lead and a cool melodic hook. Two stepper, What I Like About Miami, has cool vocal harmonies with alt country rock style guitar riffs. Easy Distance has a light funk bottom and Sutherland's bass work is hot! Castiglia is really comfortable at vocal on this type of track and with Stephens pushing a nice organ line. Castiglia's guitar work is crisp and nasty. Chicago style blues number, Where Did I Go Wrong, is another of my favorite tracks on the release with loose, gritty vocals and hot harp work from Johnny Sansone. Foot stomper, Where The Devil Makes His Deals, is really driven by Lee's kick drum and iced by Sansone on harp. Castiglia and Zito drive to a fever pitch on guitar but keep it contained under 4 minutes. Boogie woogie track, What The Hell Was I Thinking has a bit of rock n roll with Stephens on piano and a taste of country for a good mover. Really cool double stopped guitar lines and a solid bottom give this track just the right zip. Wrapping the release is R&B ballad, Somehow and Castiglia shows a more serious side of his vocal vocabulary. A hopeful track and a solid closer for a real strong 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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Ruf Records artists: Jane Lee Hooker - No B! - New Release Review

I just received the newest release, No B!, from Jane Lee Hooker and it's a riot!! I got to tell you, when I saw the name I was dubious but one look at the cover I was intrigued. I'm thinking L7 and John Lee Hooker... and I'm thinking... let's get it on! This excellent release opens with powerhouse, Wade In The Water written by John Wesley Work II and he never heard it this way in his head... believe me. This is kick ass from the first note with Dana "Danger" Athens on lead vocal, "Hail Mary" Zadroga on bass, Tracy "High Top" on guitar Melissa "Cool Whip" Houston on drums and Tina "TBone" Gorin on guitar. Rockin excellent! Johnny Winter's Mean Town Blues is up next and it's mind blowing! Zadroga and Houston set a smokin' pace and Athens knows how to steer this runaway locomotive. I really love the raw energy of this band and High Top and TBone's guitar exchanges. Excellent! Ray Charles has got to be sitting back listening to I Believe In My Soul with the hair standing up on the back of his neck. These musicians grab this track by the collar and throw it around like a rag doll. Powerful, soulful and razor edged, this track is over the top. These guys know how to squeeze ever bit of blues out of a track and kick it's butt. The way it was meant to be...not soft smooth and polished but raw, scratchy and dangerous! Excellent! Kansas Joe McCoy's Bumble Bee has the most straightforward blues approach of any track on the release.  With concise guitar soloing from both guitarists and emphasis on more constrained vocals, this track has a more contemporary blues sound. Original track, In The Valley departs from the pure blues for a power pop track with a sweaty edge. With tight rhythms, slashing lead guitar work and a steady beat, this track is cool! Otis Redding's Free Me, holds it's strong soul heart and Athens really works it into a lather. A powerful support from the band gives it a rockier edge but this is pure soul. Very nice! Booker T's, The Hunter, takes on a more modern rock bottom but with it's original hook reinforced by the tandem guitars. Not letting off at all, Gorin, Zadroga and High Top ride high on Houston's solid foundation. What a rocker! OK...Muddy Waters never thought of this, but I bet he would have smiled ear to ear hearing this rendition of Champagne and Reefer. With it's slinky pace, soulful vocals and grinding guitar support to Athen's vocals, this is a great interpretation of an absolute classic. With High Top and Tbone trading lead riffs, this is smoking. Milt Gabler's Didn't It Rain is a super rocker a hot bass line and crisp drums. Holding it's spiritual quality and with a pure rock and roll beat, this track has you jumping. Again returning to the Muddy Waters songbook JLH pulls out a heavily powerful Mannish Boy.. You really got to hear this to appreciate it. Pounding through this Muddy Waters classic this band wields a heavy stick, taking out everything in their path. Very nice! Wrapping the release is Willie Dixon's Shake For Me, with Gorin and High Top playing call and response over Zagroga and Houston's hard rock bottom. Kicking it into high gear the band rocks the blues right up to the finish. This is an impressive band. Looking forward to seeing them in person!



  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 Honey Island Swamp Band Brings A Sledgehammer To Demolition Day - 4/29

The Honey Island Swamp Band Brings A Sledgehammer

To Demolition Day

Out April 29 During Jazz Fest In New Orleans

“They’re irresistible by their name alone…” - Elmore

Think The Band’s Music From Big Pink album and add a splash of hot sauce with “Willin’’ by Little Feat – this group of New Orleans vagabonds nails it.

New Orleans, LA or San Francisco, CA– From the pristine waters of the Honey Island Swamp, to the vibrant streets of New Orleans, to the hazy corner of Haight-Asbury in San Francisco, this band has endured devastation, relocation, and revitalization. A group whose sound has been tagged “Bayou Americana,” the Honey Island Swamp Band takes the hammer to the nail with the help of producer Luther Dickinson, and presents Demolition Day to the world April 29 on Ruf Records.

This album marks the 10-year anniversary of the Honey Island Swamp Band, which formed in San Francisco, CA via New Orleans after Hurricane Katrina displaced the founding members.  With little hope of returning to their beloved city, the band channeled the blues and emotions of their circumstances to develop a soulful style and sound that critics have compared to legendary Blues-Roots-Rock Artists such as The Allman Brothers, Little Feat and The Band.    

Recording at the Parlor Studio in New Orleans, Honey Island Swamp Band teams up with producer/musician Luther Dickinson of the North Mississippi Allstars to capture a rhythm and a feel born straight from the heart of Americana. The album features a host of New Orleans finest musicians, including guest appearances by keyboardist Ivan Neville and Tab Benoit on pedal steel.  

“Their all encompassing sound of blues, roots, country, and soul has been described as “Bayou Americana.” – No Depression

“We’ve always wanted to record to two-inch tape, to get that old analog sound,” says bandleader Aaron Wilkinson, “and this was our first opportunity to make it happen. Luther was the perfect producer to help us nail that old-school, authentic sound. He was great at keeping us focused on the spirit of each performance, not getting bogged down in details and perfectionism. That’s what we were looking for and what we needed.”

After all, polish isn’t necessary when you’re working with songs this strong. Across its eleven cuts, Demolition Day tips a hat to most of the great American genres, while adding the Honey Island Swamp Band’s inimitable thumbprint. There's the spring-heeled slide-blues of “Ain’t No Fun”, the upbeat funk of “Head High Water Blues”, the cat-house piano and country-fried guitars of “How Do You Feel”. But then, on the emotional flipside, there’s also the reflective wah-guitar lilt of “Say It Isn’t True”, the mournful funeral-jazz slow-burn of “No Easy Way” and the heart-in-mouth acoustic confessional of “Katie”.

“We’re diverse and complex people,” explains Chris Mule, the band’s guitarist, “and our audiences are as well. So we try to let our music reflect that.”

Drawing from their diverse backgrounds, the band’s lyrical content is quite colorful. “They really are all over the map,” Aaron explains of the topics explored on Demolition Day. “Some are rooted in reality and personal experience. “Head High Water Blues” is a look back at the Hurricane Katrina experience now that ten years has passed. Much has been rebuilt, but much has not and never will be – and the song is more about the emotional scars that can never be fully erased. Others are just fiction and storytelling. We had the music for “Through Another Day”, and it sounded sort of old and epic and Southern, and that inspired this Civil War-era storyline that became the lyrics. Others are just sort of playful nonsense about life and relationships, like “Watch And Chain.”

Demolition Day is about rebuilding more than tearing down. It's about a renewal of purpose, reflected through powerful lyrics and stories, great slide guitar on top of deep bass and rhythms that continue to move the foundation that the band was built upon. 

New Orleans has a deep well of music, and that well has no rules - the only boundaries are the ones that we place on ourselves.

On Demolition Day, the Honey Island Swamp Band breaks these boundaries to deliver a sound so relevant and honest that even in the darkest of days – like the violent storm that brought this group of musicians together – Demolition Day still shines brightly.

Meet The Honey Island Swamp Band:

Aaron Wilkinson - mandolin, guitar, harmonica, vocals
Chris Mulé - guitar, vocals
Sam Price - bass, vocals
Garland Paul - drums, vocals
Trevor Brooks – keyboards

Tasha Taylor Sings Sweet For Her Fans - CD OUT 3/18

Tasha Taylor Sings Sweet For Her Fans

Honey For The Biscuit Is Soul-Bearing

Out March 18

Daughter of Stax Legend Johnnie Taylor

Carries Family Tradition Proudly

“This record has a lot of relationship heartache, missteps, and some confusion. I think it’s about searching for something via someone.”- Tasha Taylor

Ruf Records recording artist Tasha Taylor has always carried the torch for Soul and Blues. Now, with her dazzling third album, Honey For The Biscuit, set for an March 18 release, the US singer/songwriter/musician unveils thirteen new songs that push her beloved genre into the spotlight. “I’m carrying on the next generation of rhythm, blues, and soul,” says Tasha. “Bridging the gap between one generation and another; it’s my family business – as well as my passion.”         

As the daughter of R&B trailblazer and Stax giant Johnnie Taylor, Tasha’s genealogy is auspicious. And yet, while lesser talents might trade on that hallowed surname, Honey For The Biscuit is a personal statement bearing her unique thumbprint. “I started writing this record three years ago,” recalls the singer/producer, “and I wrote most of the songs on my guitar.

Recorded in LA, Tasha was joined in the studio by a core all-star band. Tasha (Vocals, guitar, percussion), Nathan Watts (bass), John Notto (guitar), Jon Taylor (guitar), Don Wyatt (piano/organ), Munjungo Jackson (percussion) with the following on drums; Gerry Brown, Ronald Bruner, and Stanley Randolph. Then to round it out, a full brass section with Jamelle Williams, Matthew DeMeritt, and Lemar Buillary to make Honey For The Biscuit a thrilling reboot of the great American genres, taking in the soul, funk and every shade of blue.

“I always bring a soul element,” notes Tasha, “and this record also has a touch of Nashville, which was a new thing for me to explore. Three songs were written with Tom Hambridge and Richard Flemming, (“Leave Dog Alone,” “How Long” and “Weatherman”) and overall this record has more of my blues side exposed, from subject matter to musicianship. It also inspires some dancing, so be ready for that!”        

Special songs dovetail with special guests. There are the light-footed guitar lick and gang chants of “Family Tree” (featuring Keb’ Mo’). The handclaps and doo-wop refrain of Little Miss Suzie (Robert Randolph guesting on lap steel). The full-throttle, funky ode to a cheating man on “Leave That Dog Alone” (Samantha Fish supplying fiery guitar/vocals). The brassy belt of “Same Old Thing” (Tommy Castro at the microphone) makes Tasha smile, “I got very lucky and got some great friends to play, nice honey for my record.”        

Even amongst that blues royalty, it’s Tasha’s neck-tingling vocal that demands top billing, her raw delivery digging to the emotional depths. The lyric sheet, meanwhile, opens up her diary from a period of upheaval. “It’s been nice looking back on what is essentially a snapshot of my life,” she admits, “and realizing what you can learn from your experiences. There’s a lot of testimonials about dealing with and searching for stuff, about love, lust, and life. I think I’ve come through a lot of stuff when I hear this record, and I’m glad to have those lessons in my pocket.”      

It’d take more than a broken heart to break her stride. Flick through her backstory and it’s clear that Tasha hasn’t just inherited her father’s talent, but also his tireless work ethic. Though raised in Dallas, Texas, her de facto childhood home was the tour bus. “I didn’t have a lot in common with other kids’ family lives,” she reflects. “On the road, that’s where I grew up. It was a very different job for one’s dad to have, but I learned the most from watching him on stage from the wings.”

For a period, Tasha seemed bound to a different road, as she moved north to study drama at Boston University, before taking featured roles in hit TV shows including “Ugly Betty” and “House”. It’s a parallel career that continues to thrive, but the music in her DNA could not be denied, so Tasha went on to compose original soundtracks for shows like “Men In Trees” and “Lipstick Jungle”, before making ripples with her solo debut, 2008’s Revival.

Three years later, that album was followed up by Taylormade: a whip-smart set of Tasha’s self-penned material that tipped its hat to her late father with a spring-heeled cover of “Who’s Makin’ Love.”

“He was an inspiration and a special talent,” she reflects. “I remember being on the road with my dad and if I was worn-out or sick, he’d say, ‘You don’t have to sing if you don’t feel good – or you can be a trouper.' I guess I always choose to be a trouper.” True to Taylor Snr’s advice and example, Tasha has earned an international reputation for high-velocity shows that leave it all on the stage and lift her audiences above their troubles. “It’s very high-energy and deep emotion,” she explains. “Onstage, I feel the soul of the music, and I put my everything into my performances because of that. I love to see the audience connecting to the emotion of the music.”  In 2016, Tasha hits stages across Europe and America armed with Honey For The Biscuit: the third breakout record that realizes her potential spreads the word about the genre she has always championed and carries that magical surname into a bold new age. “If one person leaves with a new favorite song,” she considers, “then I’m happy…”  

Ruf Records artist: Laurence Jones - What's It Gonna Be - New Release Review

I just received the newest release, What's It Gonna Be, from Laurence Jones, and it has a bluesy, pop rock release. Opening with title track, What's It Gonna Be, Laurence Jones shows poise and polish on a solid radio rocker. Don't Need No Reason has contemporary rock lines but blues roots. Backed by Roger Inniss on bass and Miri Miettinen on drums, Jones plays some flat rock out riffs, then changing to a laid back shuffle rhythm and bluesy ruffs on this cool track. On Evil, the band grinds into a cool blues rock groove and Jones takes a meaty solo showing his patience as well as his explosive nature. Very cool! Touch Your Moonlight has a Eagles of Death Metal pop rock style. I really like the attack and tightness backed by building guitar intensity. Soulful ballad, Don't Look Back features Jones with Sandi Thom on vocals. This is a really simple pop track with nice duet work and straight bluesy guitar riffs for strong radio appeal. All I Need is a straight up pop rocker with warm support from Julian Grudgings on keys. Being Alone has a catchy melody and strong commercial potential with the starch of 38 Special.Led Belly's Good Morning Blues gets a nice redo with a Willie Dixon/Paul Rogers blend. I particularly like Jones' guitar work on this track combined with it's large step rhythm making it my favorite on the release. Bad Company's Can't Get Enough get's a pretty straight up cover with Dana Fuchs joining on lead vocal with Jones. Was a classic hit 40 years ago...why not now? Set It Free is really well constructed with a lead guitar riffs as memorable as Bob Seger's Main Street or Gerry Rafferty's Baker Street and again with a strong melodic nature and backing vocals by SJ Mortimer, making it a solid radio player. Wrapping the release is "country" rocker, Stop Moving The House, with driving piano work from Grundings and mature vocals and guitar slinging from Jones. Solid conclusion to Jones' newest.

 

  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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Ruf Records artists: Blues Harp Women - Various Artists - New Release Review

I just received a super release of women harp players, Blues Harp Women, and it shows talent across opening with Harmonica Girl, Paula Rangell leads a lively shuffle track with crisp harp playing and her band the Pontiacs. Roxy Perry is up next with Roadmaster. Backed by a cool horn section and cool harmonies this track has real punch. Stacy Jones Band grinds down with Heavy Water, a swampy lumbering track. With strong vocals and warm guitar tones, Jones plays a real nice complimentary harp part over the track. Very nice. Big Mama Thornton blows a real nice Down Home Shakedown reinforcing that she was as much a harper as a singer. Lynnann Hyde plays harp and sings, accompanied by acoustic guitar on 30-20 Blues in vert traditional style. Down To The Hollow by Trina Hamlin is really interesting with nice breathing techniques and rich vocals. Tracy K performs Stop! Wait A Minute with a rocky attack on the blues. Her harp techniques are slick and driving. Very cool! Slow ballad, One More Lie, features Teresa "T-Bird" Lynne on vocal and guitar. Lynne plays a real nice solo on harp and her guitar player digs deep as well. Very nice! Octavia has a 70's rock style with guitar, harp and sax all playing hot riffs along with her Grace Slick style vocals. Kat Baloun takes the R&B route with organ driving the pace. With a bit of funk slick guitar solos and harp work carries the track high. Beth Kohnen plays Ain't Easy keeping the blues soft and easy on harp with bass and guitar accompaniment. Fresh! Jane Gillman does a nice vocal duet with acoustic slide guitar and spoons as rhythm. Zola Moon stomps with authority singing Mechanical Beast. With solid guitar work and searing harp tones the band blazes it's path. Mattie Phifer lays down a real nice blues rhythm on Please Call Daddy and sassy vocals. I really like her blues style on this track giving the track an authentic blues rock feel. Wrapping disc one is Dorothy Jane "DJ" Gosper with a slow San Francisco style blues number, Sadder Than Sad. DJ puts everything into it with strong support by organ, blows an incredibly soulful harp to close.

Jenny Kerr opens disc 2 with Cash Is King, a heavy footed rocker and flanging guitar riffs. Kerr's confident vocal style, a rock solid bottom and aggressive guitar styling makes this one of my favorites on the release. Cheryl Arena steps up with Blues Got Me along the lines of King's Hunter. With deft guitar soloing, solid vocals and raw harp riffs this track has a cool blues feel. Annie Raines leads off Lookin' Good with John Mayall like harp work and light guitar rhythm. This track builds steam as it goes and is a very nice instrumental addition to the set. On boogie track, He's Gone, Marion Turner grinds in with harp and vocal. This is a really basic blues track and with few frills hits the nail on the head. Very nice! Terry Leonino's Meet Me Where They Play The Blues is a light and breezy jazz number with warm chords and floating vocals. Nice and easy. Boogie, Crazy Maisie, by Dana Dixon, really grinds in with solid harp work and a driving bottom. Her vocals are real and the harp/guitar interplay creates excitement. Beata Kossowska lays down an interesting track, Everybody's Dancing with a Latin rhythm. With almost Spanish style guitar work and soulful harp soloing, this track is an interesting look at another side of the blues. Jill Fromewick really makes the harp sing on Take The Lead and her vocals are pure and rich. Very nice track. Diana Redlin gets things hopping with a high energy, Never Leave Me Home. With snappy drum work and a guitar mantra, solid sax work and fever pitched harp work this track hits the read running. Classically trained, Christelle Berthon turns in the most beautiful harp rendition of Summertime accompanied by piano. This track is excellent! Judy Rudin does her blues with a country 2 step feel blended with Chicago harp styling on Hit The Road. With steel guitars and country rhythm, Rudin knows how to play the blues. Cecilia Loforti's, Doctor C, has a bit of funk and her vocal styling borders on Blondie's on Rapture. A playful little number, Loforti knows her way around the harp. Maria Coyote's Rikers Island, follows a standard blues format but with a loose worldly San Francisco twist. Interesting. Jackie Merritt takes an easy pace with acoustic backing. Her harp work is nicely complimentary to her vocals on Fast Food Mama. Big Nancy brings the whole package with a great voice and soulful harp work on Bring It On Home (To Me). A casual pace and clever guitar work, this is a real nice track. Wrapping the release is Rhonda Alla Blue, by Rhonda Rucker. A traditional blues number with traditional blues style riffs backed by acoustic guitar, this is a terrific closer for this diversely bluesy 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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Ruf Records artist: Heather Crosse - Grooving At The Crosse Roads - New Release Review

I just received the newest release, Grooving At The Crosse Roads, from Heather Crosse. This is an 11 track release of pure contemporary pop/light jazz music with a twist on R&B/Blues. Backed by Heavy Suga' & The SweetTones,this release has some real bright spots. Crosse plays bass as well as performs on lead vocal and does a real nice job. On opener My Man Called Me,Dan Smith hits a real nice guitar riff and Mark Yacovone sets a perfect stage on piano. On Why Does A Woman Need A Bass Guitar, Crosse really plays heavy bass with a few hot bass riffs in addition to what I'd call lead bass under the melody. Very nice! Clarksdale Shuffle is light and easy and Crosse's vocals are sweet as mama's home made pie. My favorite track, Hurryin' Up To Relax, has a cool R&B feel and warm backing vocals by Sandy Carroll. Nice shuffle track, Walking In Their Shoes finds Smith laysing out some really tasty guitar and slide solos and Yacovone's piano work is stellar. On blues ballad, Damn Your Eyes, Yacovone's piano and keyboard contributions are clearly super. Another R&B track, penned by Crosse, Steppin' Up Strong has a real Curtis Mayfield feel with warm backing vocals by Vicki Atkins and Yacovone's organ work really dresses the track nicely. Funky pop track, Bad Boy Kiss has a strong radio hook and Crosse's bass work, nicely grounds slick soloing from Smith and Vacovone. A tasty lead guitar line opens shuffle track, Call On Me and tight drums by Lee Williams, swinging guitar riffs from Smith, beefy organ by Vacovone and warm backing vocals by Atkins make this one of the top tracks on the release. Latin influenced, You Don't Move Me No More finds Crosse grinding out her vocals with a sassy attitude. I must say that watching a performance of Ms Crosse (disabled on youtube) was quite interesting. She really appears to be having a great time which is contagious. Her bass playing is aggressive and her smile is never ending. This is a artist to keep an eye on.

   

  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”

 

Ruf Records artist: Mike Zito & the Wheel - Keep Coming Back - New Release Review

I just received the newest release (November 6, 2015), Keep Coming Back, from Mike Zito & the Wheel and it's a real rocker! Opeing with title track, Keep Coming Back, Zito is leading the way on vocal and screaming hot slide guitar. Jimmy Carpenter on sax, Scot Sutherland on bass, Rob Lee on drums and Lewis Stephens on keys really rock the house! Excellent opener!! Keeping up the driving rhythm with Chin Up, with a little more country rock twist. Rocking guitar lines and soulful sax work from Carpenter nicely compliment Zito's vocals. Easy country rock track, Get Busy Living has that laid back Dickie Betts Blue Skies feel. A perfect radio track, has cool vocal blending with Carpenter and Suzie Sims. Country rock ballad, Early In The Morning, nicely highlights Zito's vocal work, backed on vocal by Riley Zito. Comfortable track for cross radio play. I Was Drunk is a cool style ballad with a twist of southern blues. This is a really nice gritty track with Anders Osborne sharing vocal and guitar lead. Very nice! Lonely Heart takes a turn toward jazz with a poppy, blues fused funk. This is a quiet, but really nicely executed, track with stylized guitar and percussion by Trina Shoemaker. Zito's vocals are pure and his guitar work seems to float in the mix. Sweet! Girl From Liberty is a pop rocker in the vein of John Cougar. Zito holds this track in the palm of his hand with strong vocals and a really nice guitar solo setting it out nicely. Next up is Bob Seger's, Get Out Of Denver. With all of the enthusiasm of the original, Zito and Carpenter really drive the train and Stephens' piano work is super. Zito rips off a great rockin' guitar solo and the track romps into Carpenter's super sax solo. Excellent! Nothin' But The Truth is a low slung blues rocker and Zito really shows off his signature warm guitar tone. Zito, with Keith Richards like style, and Carpenter, with full sax timbre rock the house. Warm slide guitar opens funky swamp track, Cross The Border. This is my favorite new track on the release with it's perfectly crafted vocal lines, guitar and rhythmic phrases. Real nice! Super ballad, What's On Your Mind, has really nice guitar harmonic overtones sprinkled over Zito's soulful vocals, and warm sax phrasing from Carpenter. Carpenter takes a really smooth melodic sax solo leading into the final stanza as Zito delivers the track home. Very nice. Wrapping the release is a remake of John Fogerty's Bootleg. Zito's own style is really not terribly dissimilar to Fogerty's so this track is a natural. With David Farrell and Riley Zito on backing vocal, expressive sax soloing from Carpenter, driving drum work from Lee and hot riffs from Zito, this is a great party track to end a rocking 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”

 

Ruf Records artist: Kim Simmonds and Savoy Brown - The Devil To Pay - New Release Review

I just received the newest release, The Devil To Pay, from Kim Simmonds and Savoy Brown and I must say it's really hot! I have been a Kim Simmonds/Savoy Brown fan since high school and I've seen band changes both good and bad. Kim's dedication to keep rocking after 50 years and 45 albums is amazing and a testament to someone who loves what they are doing. Opening with Ain't Got Nobody, Simmonds leads right into a masterful guitar intro, the likes which of I haven't heard since his earlier release like Blue Matter and Looking In. This is a "slow blues" track and Simmonds absolutely blows the lid off right off the bat. The guitar phrasing on this track is some of the most beautifully executed work I have heard in years. Kim... excellent! Like I told you when I last saw you... certainly one of the greatest living blues guitarists today. Bad Weather Brewing is a moderate paced shuffle track with pure raw guitar riffs. Complimented by Pat DeSalvo on bass and Garnet Grimm on drums, this band is cooking. On rocker, Grew Up In The Blues, Simmonds shows continued progress in development of new blues rock riffs. I also want to note that I feel that the overall writing on this release is stronger than on most of the releases in recent years. His constant search for new means of expression and maintaining driving rhythm is exceptional. On shuffle track, When Love Goes Wrong, Kim backs off on the throttle a bit, but still playing smooth articulate guitar riffs. On Oh Rosa, Simmonds breaks out the harp giving the track still another dimension. Simmonds isn't Little Walter but he isn't Bob Dylan either. I really like his style and I think this track is a nice addition to the release. Title track, The Devil To Pay, is an upbeat Jimmie Rogers style blues rocker with a raking guitar rhythm and a natural fluid guitar break. Stop Throwing Your Love Around has a bit of a Willie Dixon flavor and Simmonds does some traditional Savoy Brown improvisational riffs against a traditional blues base. Very nice. Freddie King style, Snakin', shows Simmonds in pure shuffle mode. A real nice guitar instrumental, Snakin' is bound to make it's smooth transition into all blues stations play lists. Got An Awful Feeling finds Simmonds back at his best, choking the crap out of his guitar neck. This guy really does know how to get the best from his guitar and it's always nice to see him show it off. Excellent! Most Simmonds fans know that Kim has always been a slide master and this is the track where he whips it out. His best vocal effort on the release and a solid rock and roller, this track is great! Watch My Woman ventures into swing blues, a place that I've rarely seen Kim and I have to admit it's really nice. Stepping out on guitar, Gatemouth style, seems really natural for Simmonds and a cool change up for the Boogie Master! Whiskey Headed Woman slows down a bit with an almost relaxed, T-Bone Walker kind of style. Up beat accents by Grimm cooks this track and again, Simmonds vocals are some of his best. Want to hear Kim just ride along and play fluid guitar riffs against the up beat...here it is. Very cool! Wrapping the release is rocker, Evil Eye, with it's solid blues roots. Simmonds hits the guitar hard with searing string bending notes and the band drives it home, reminiscent of the conclusion of Hell Bound Train. Hot conclusion for a hot new blues rocker.

   

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”

 

MIke Zito - Keep Coming Back - CD out November 6

Mike Zito Digs Deep In His Musical Pockets With Keep Coming Back

Blues Guitar Slinger slides, picks and grooves

on new album

Produced by Trina Shoemaker and Zito –

CD out Nov 6

“He’s a rough-edge sculptor who has the classic masters in mind and then makes a unique modern artist statement.” – Boston Blues Society

Ruf Records award winning artist singer/songwriter/guitarist Mike Zito paints a beautiful imperfect picture with Keep Coming Back. Colorful images of his past, present and future are all set to some of the most powerful melodies of his career. Recorded at Dockside Studios in Louisiana, the album was produced by Grammy Award winning Trina Shoemaker and Zito himself, is set for November 6^th release. Taking cues from his musical collection, live shows and his solid backing band, The Wheel, the guitarist finds himself in a fine place.

“Having fun and playing music you love and believe in; it’s all about the song.” – Mike Zito

This Texas rocker bleeds the words in his songs – “I’m Drunk” (co-written with Anders Osborne) describes his life-long addiction struggles and how many victims he has left behind.  Mike always returns to his founding values of honest, original songs, drawn from the emotional depths, twisting the great American genres into bold new shapes. The Credence Clearwater Revival cover, “Bootleg”, closes out the album with a bang, is most fitting for Zito’s voice. That voice moved a writer enough to call it, “velvet”.

The title cut is a memo to himself of how life runs in circles.  It’s a typical slice of brutal honesty from a man who has always told it straight. Ask Mike for his backstory and he’ll give you warts and all.

"Keep Coming Back; Give your burden to the Blues

Keep Coming Back, Whatta ya got to lose"

Keep Coming Back is home to seven new Zito-penned originals, three co-writes with Anders Osbourne and two covers, Bob Seger’s “Get Out Of Denver” and CCR’s “Bootleg”.  “I love to tell stories,” says the bandleader, “and these songs are stories from my heart, my crazy mind and my life. With the help of Anders, I think I’ve got the best collections of songs I’ve written yet.”

“…his fiery playing elevates each and every song, as do the swallow-your-emotions vocals.” –Vintage Guitar

Working with producer Trina Shoemaker gave Zito a fresh new start. “Trina and I were simpatico in our ideas of what this album would sound and feel like,” recalls Mike, “and she nailed it. This album is raw when it needs to be, subtle, sincere and grooving all the way through. My band is in top form. The musicians gave their all to the songs and brought out the best in me.” This band took the energy from the road to the studio in a hot flash. Top notch players include Jimmy Carpenter (saxophone/vocals), Scot Sutherland (bass), Rob Lee (drums) and Lewis Stephens (keys).

This seasoned musician has a lot to reflect on, solo albums, a Blues Music Award winner, a founding member of Royal Southern Brotherhood, as the wheels keep rolling for him.  There’s a spectrum of genres that can only be called Americana – part-blues – half a cup country and another cup of rock – makes Mike Zito who he is.

Mike and his band, The Wheel will embark on a supporting Keep Coming Back – check his website for updates – www.mikezito.com