Bman's Blues Report

Friday, June 10, 2016

OUT NOW: THE KAT KINGS SWINGIN' IN THE SWAMP

Following in the traditions of rock 'n' roll, rockabilly, country and rhythm & blues, Toronto's The Kat Kings deliver their sophomore album on June 10, 2016

Available on iTunes and Radio Submit

Listen to "Juke Joint Jimmy" on Soundcloud

"A high octane record that has nothing to offer other than the message that the party better keep going, this jump blues/rockabilly roots flavored set was made for good times." - The Midwest Record

Led by vocalist and guitarist Kevin McQuade, The Kat Kings released their debut album The Winning Hand in 2011 to critical acclaim and quickly became a favourite among DJs in Canada. A cross-country tour was underway when McQuade was sidelined with news of his daughter’s near-fatal traffic accident. Plans for gigs and promo for the album came to a grinding halt and the devoted family man headed home. "All of a sudden touring to support a new record didn't seem that important”, McQuade recalls.

In this story of second chances, McQuade and The Kat Kings have outdone themselves on the 13 original songs that make up Swingin’ In The Swamp. With swing being the tie that binds jump blues, rock ‘n’ roll, country and rockabilly music together, The Kat Kings deliver what can be described as “bluesabilly” on Swingin’ In The Swamp. The album opens with the danceable numbers “When I Say Jump” and “Poppin’ At Party Time”. “B Flat Kat” is a rockabilly gem complete with doghouse bass. The love song “I Work For You” was inspired by Wilson Pickett. “I wrote this song for my wife”, says McQuade. “You have to work hard to keep the home fires burning!” The rollicking “Juke Joint Jimmy” is the true story of a sharkskin-suited patron of the legendary Toronto watering hole Grossman’s Tavern. On the swampy, gospel-infused “Before I Found Him” McQuade takes a darker turn. “I wrote this song about a guy on death row. They interviewed him on TV before his execution and asked him if he had found God. He said he wished God would have found him before he found God”.

The upbeat “Ridin’ In Style” follows the familiar theme of hot cars, hot women and a fistful of money to enjoy it with. “I’m Just A Shadow” is a soulful ballad of love lost. Gritty and dark, “It Came From The Swamp” was written in about 20 minutes while McQuade was sitting vigil in the hospital with his daughter. “Til It Feels Alright” is about the things that folks sometimes do that feel wrong and yet oh so right at the same time, is followed by the bluesy “I Got The Fuse”. A straight-ahead New Orleans style rumba, “Late Night Thing” details a man in love who can't get a handle on the girl he loves until it's late in the night. The final track is the rockin’ “Baby You Can't Drink”.

In addition to the exceptional vocals and guitar playing from bandleader Kevin McQuade, The Kat Kings are comprised of an award-winning cast and “who’s who” on the Canadian blues and roots scene including the album’s producer Teddy Leonard (Fathead, The Maple Blues All Stars) on additional guitars, John Dymond (Blackie and the Rodeo Kings, Bruce Cockburn, k.d lang) on bass, Chuck Keeping (Big Wreck, Fathead, Suzie McNeil) on drums, and Wayne Dagenais (Joel Johnson) on keys. The album also features Fathead’s singer John Mays on three tracks.

Swingin’ In The Swamp is an unparalleled album filled with originality, thought-provoking lyrics and outright good times destined to elevate the band to wider acclaim and recognition among fans of rockabilly, blues and soul.

thekatkings.com

Earwig Music Company artist: Andy Cohen - Road Be Kind - New Release Review

I just had the opportunity to review the newest release, Road Be Kind, from Andy Cohen and it's quite interesting. Opening with Five and Ten Cent Blues, Andy Cohen shows when he get his impeccable reputation as a blues man and finger picker. Rich acoustic guitar tones and fluid picking makes this a great opener. Seldom Seen Slim is a cool country ballad written by Luke Baldwin. Short and sweet, a cool pictoral ballad. Sonny Terry's Spread The News Around is another terrific display of Cohen's finger work. Title track, Road Be Kind, is a solid ballad by Scott Alarik. A nice balance between vocal and guitar accompaniment. John D Loudermilk's instrumental, Windy and Warm is playful and rich. Cohen's guitar work is well structured and nicely executed. More Wood is one of my favorite tracks on the release with a happy little melody and deep acoustic guitar feel. Steve Fromholtz's High Country Caravan is a solemn ballad with Cohen laying it all out there vocally. Weems Doyle's Mysterious Mose is a wild ride '30's track with all of the playfulness of the original. Catch Cohen tickling the fretboard as he makes all of the sound effects of this crazy track. Cool! Fort Sumner Dance has a blend of jig and bluegrass with some real nice acoustic riffs. The Goodnight-Loving Trail by Utah Phillips is an easy paced country waltz with a pictorial melody of the rugged road. Brownie McGhee's Seaboard Train is a hot country blues with snappy riffs. Talkin' Hard Luck is a David Bromberg/Bob Dylan like rant that was played by Chris Bouchillion and Peg Leg Sam among others with a super acoustic guitar run carrying it. Blarney Pilgrim/Jig McCoy is a really interesting acoustic number in the manner of Irish folk tunes. Really well executed and with beautiful guitar tones ... excellent! Bill Ellis' John Ate The Locust and the Honey is a nicely crafted folk hymn with tight guitar riffs. The release is wrapped by classic rock ballad Blackbird. Very much an experience in acoustic guitar exploration, a fitting conclusion to a very crafty release.

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Thursday, June 9, 2016

Cali Bee Music artist: Brad Wilson - Power Blues Guitar Live - New Release Review

I just received the newest release, Power Blues Guitar Live, from Brad Wilson and it's captures him at his best. Opening with Muddy Waters' Got My Mojo Working, Wilson springs to life with a high energy cover of this classic track with a more modern, blues rock take. Aggressive guitar riffs and backing by Oscar Huguet on bass and Thaxter Drums gives this track an almost Cream like feel. Super opener. On Freddie King's I'm Tore Down, Wilson keeps the energy high and Kirk Nelson adds a nice slice of keyboard. Giving the track legitimate swing on a Pat Travers like guitar attack, this track moves. Willie Dixon/Otis Rush track, I Can't Quit You Baby, develops a really nice blues groove with warm jazz chords under the melody. One of the nicest tracks on the release, Wilson stretches it out for 8+ minutes. Driving jazz track, All Kinds Of A Fool, is up next and Wilson's vocals and Nelson's key lines give it nice burn. Kofi Baker (Ginger Baker's son) winds it up and Wilson's guitar lines are clean and deliberate. Albert King's Born Under A Bad Sign gets a funky rework and it's got Wilson's fingerprint on it. It still sounds like King's track but it is all Wilson styling. His guitar breaks are hot and gripping. Robert Johnson's Sweet Home Chicago is a driving shuffle with modified Elmore James riffs and plenty of spunk. Very nice! Slide On Over has a contemporary blues rock sound with Robin Trower like riffs. Willie Dixon's, I Just Want To Make Love To You, has a heavy, lumbering, blues rock sound with solid bass thump. Pulling out a bit of pyrotechnics on this one, Wilson blends contemporary riffs from a broad background and fuses them into a solid blues boogie. She Moves Me is up next keeping a low key on the track but with explosive blues rock riffs taking up a good part of the nearly 6 minute track. Another Muddy Waters track, Standin' Around Cryin', opens with a real nice blues guitar intro over a solid bass line. Wilson really has the guitar opened up on this 8 plus minute track, one of my favorite tracks on the release. Country swing flavored rocker, Black Coffee At Sunrise, has a great bass line and Wilson sets up some of the coolest vocals on the release. His snappy guitar riffs bounce nicely on the knee of this peppy track. T Bone Walker's Stormy Monday sets Wilson up for a real screamer with Nelson keeping the basic melody on keys. Nellson takes a real nice organ solo on this one balancing out what is really a guitar heavy release. Very cool. Wrapping the release is I'm Still Breathing, a more contemporary blues based ballad with nice keyboard work and some sweet sax work by Joe Robb. A cool closer to a cool live release.

Wednesday, June 8, 2016

Kalo - Dear John - Release Review

I just received the most recent release, Dear John, from Kalo and it's quite interesting. Opening with title track, Dear John, Israeli born, Bat-Or Kalo leads this blues rock power band with solid driving guitar riffs and her own vocals. Backed by Mack McKinney on bass and Erin Nelson on drums these guys mean business. Treat Me Bad has a light funky beat, joined by John Knudson on keys. With a catchy melody and even balance, this is a cool radio track. March To The Light has a lighter European folk sound with Knudson on Banjo and with light acoustic accompaniment backing Kalo's vocals. Marie is an easy paced radio ballad with a sweet melody. Heartbreak is a rich sensuous pop track with a soothing melody. Kalo's guitar soloing is quite slick and tasty. Boogie track, Oh Father, has a real nice bottom with Nelson and McKinney leading the way. Todd Clark joins on harp and Kalo drives the vocal harmonies and ultimately frenzied guitar soloing. Very cool. Down, Down, Down is a funky pop track with a lot of polish. Blue Chevy has a nice blend of rock, pop and country with Kalo controlling the tension on guitar with smooth vocals. Looking For Me has a bluegrass undertone with banjo and fiddle by Knudson and Nelson on drums. Once I Had A Heart has a really cool flanged bass part diving it a darkness and with crisp drums from Nelson and strong organ attack from Knudson. Kalo lays down solid guitar/vocal duet work giving the track a real interesting sound. Goodbye is a really nicely written and performed ballad. Structured over a simple arpeggio and with clean vocal and guitar work, this is a definite standout track. Like It Or Not is an updated boogie track with nice reverb laden chords and a nice bass line. Very cool. Tender Love is a nicely written ballad where Kalo's vocals are supported by piano. The richness of her voice against the clarity of the piano is really strong. Tension is raised by the addition of drums and guitar before bringing the track back to quiet. Very nicely done. Can't Sleep At Night is a simple folk track with Kalo singing tandem lead vocals. Nicely blended vocals over acoustic guitar and the addition of violin provides a simple clean statement as a conclusion.

Delta Groove Music artists: Big Jon Atkinson & Bob Corritore - House Party at Big Jon's - New Release Review

I just received the newest release, House Party at Big Jon's, from Big Jon Atkinson & Bob Corritore and it's a huge side of Chicago blues. Opening with Goin' Back To Tennessee, Big Jon Atkinson is on lead vocal and guitar with Bob Corritore accenting his vocal. Nicely stylized, almost John Mayall/British Blues feel, these guys have a great opener joined by Danny Michael on guitar, Troy Sandow on bass and Brian Fahey on drums. On shuffle track, Here Comes My Baby, Big Jon and Corritore step up the instrumental a bit with a real nice line of instrumental soloing and Malachi Johnson on drums adds a fine snap to the track. Taking the tempo down a bit, It Wasn't Easy, gives Corritore a bit more breathing space and his warm chops fill nicely. Jon has a great singing style which resonates "old style blues" throughout the release and his guitar work on this track is understated but effective. Stepping up with She's My Crazy Little Baby, Jon really delivers on vocal. This is a real cool track and Corritore takes a real nice harp solo working nicely with Jon's lead. On At The Meeting, long time friend of Corritore, Dave Riley, takes the lead on vocal and guitar. With it's laid back feel and cradled by Corritore's harp work, this track has a bluesy, spiritual feel. Mojo Hand is a nicely paced shuffle with cool rim shot drive by Johnson. I really like Alabama Mike's vocal lead on this track and Big Jon's vocals paired with Corritore's harp work on this track make it one of my favorites on the release. Tomcat Courtney has lead vocal and guitar on Mojo In My Bread, and his vocals are rich and refreshing. With it's easy pace and Corritore harp interplay with Courtney, this track is really nice. Mad About It springs to life with a blast and Big Jon is back on lead vocal. The quality of these recordings is really cool with a minimum of processing giving them a real authentic feel. Slide work by Jon and bass work by Sandow really gives the track an edge. Empty Bedroom has a bit of a R&B feel and with Elmore James like swing, this track is another of my favorites. I'm Gonna Miss You Like The Devil has a real super feel with Corritore taking a straightforward harp lead and tight rhythm by Brian Fahey. Willie Buck takes the lead on You Want Me To Trust You, and I love his phrasing. Jon takes a real nice walk on the fretboard on this track and Corritore's harp work adds great punctuation. Riley is back on lead vocal on Mississippi Plow, a track with a healthy Muddy Waters feel. Corritore steps up with a harp solo followed by on by Jon. Very nice. Latin influence on El Centro sets it apart from the rest of the release with it being a clean instrumental. Jon guitar work is cool and Fahey's drums have a 60's beach party feel. Very nice. On shuffle track, I'm A King Bee, Willie Buck is back on lead vocal and he's perfect for the job. With just the right amount of swing, this is another of my favorites on the release. A tight bottom and Corritore's harp work compliment Jon's guitar lead perfectly. Alabama Mike is back on lead vocal for and emotional, Somebody Done Changed The Lock On My Door. His vocals are exceptional and paired with Jon's guitar work, make this another of my favorites on the release. Wrapping the release is My Feelings Won't Be Hurt with a stiff swat from Johnson and some of Jon's best vocals on the release. Corritore takes a real nice solo on this track and Jon's guitar work is tight and cool. This release isn't flashy but it is cool and real blues. Enjoy!

Sunday, June 5, 2016

Walklate & Fuschi - Kicking Up The Dust - New Release Review

I just received the newest release, Kicking Up The Dust, from Walklate & Fuschi and it's solid Chicago style blues. Mat Walklate and Paolo Fuschi play old style blues through old style equipment capturing a unique quality now mostly lost to modern recording techniques. On opener, Ain't No Big Deal On You, W&F bring a train style rhythm with rich vocals, rhythm guitar and charging harp soloing throughout. Excellent start. Going Sown Slow has a cool Latin beat courtesy of Fuschi on guitar with Walklate leading the way on lead vocal and harp. With fine instinctual harp playing and solid vocals, Walklate carries the lead and Fuschi's blues riffs surface for a fine solo of his own on this track. Very nice. One of my favorite tracks on the release, As Long As I Have You, shows Walklate's most expressive vocals and super harp work. With a soulful melody and a more sophisticated guitar approach, this track is super. Shuffle track, Nothing But Love, has strong Chicago roots giving the duo a super opportunity to show their chops. Walklate's harp work on this track is clean and precise with solid balance. W&F's take on Trouble No More is super with driving blues riffs by Fuschi giving the stage to Walklate for a thick vocal / harp lead. Very nice. Fat Man is an excellent showcase for Walktake's harp work with Fuschi carrying the load on rhythm guitar. Don't You Know Me has a simple R&B feel with each partner taking healthy solos. Fuschi's guitar work is clever and clear. Cool. With a 30's sound and an almost French cafe feel, Black Cat Bone is another of my favorites on the release. With some of Walklate's best vocals and nicely figured guitar work from Fuschi leading to a stylized harp solo, this track is super. Oh Babe (Sick and Tired) / Man uses basic blues fundamentals blended with Ska rhythms to create a cool take on blues classics. Wrapping the release is Money (That's What I Want). With a nice rockin' beat and Ray Charles like vocals, and modern, british bllues style guitar soloing, this is a super closer for a real cool release.

Saturday, June 4, 2016

Nevermore Records artist: Reverend Raven & The Chain Smokin' Altar Boys - Live @ The Big Bull - New Release Review

I just received the newest release, Live at The Big Bull, by Reverend Raven & The Chain Smokin' Altar Boys and it's terrific! Opening with R&B style formal opening track, Hot and Heavy, Reverend Raven is crankin' with PT Pedersen on bass, Robert Lee Sellers Jr. on drums and Danny Moore on keys. Raven is screaming on guitar and Westside Andy Linderman blows it out hot on harp. Excellent opener! Shuffle track, Walking To Chicago, is up next and Raven leading the way on vocals and lead guitar. His vocals are electrifying, complimented nicely by Linderman who again does a super job on harp and Moore who's piano work is crisp. Extended lead guitar work by Raven riding on organ by Moore makes this track a terrific track. Two stepping, You Didn't Even Say Goodbye, settles into the groove with a bit more vocal and composure. Moore rides the keys nicely followed by Linderman on harp and Raven on guitar. This band settles down near top speed of most bands. Very nice! Hawaiian Boogie #3 is a super boogie with a lot of Hound Dog Taylor feel. Raven is hip on slide and with just a taste of Hawaiian sound blended in, this is a rip roarin', rockin boogie! Moore's piano work is excellent and you all know good piano boogie. Benny Rickun holds the crowd in the palm of his hands with his hot harp work and leads to a sliding finale. Wow! Giving a classic, Diving Duck Blues, a R&B feel with slide, Booker T style organ, hot harp and guitar and a snappy bottom is a super combo to keep this concert rolling high. Elmore James style, Stomping and Shouting, really showcases Raven's slide work and Rickun's and Moore more than pull their weight. Very nice! On classic Morganfield track, She's Nineteen Years Old, the Chain Smokin' Altar Boys (love that name) really settle down in a deep blues groove. Linderman really hits the harp hard with excellent results and Sellers Jr. takes the mic on lead vocal. With well crafted piano inserts throughout and a beautiful solo, Moore is worth his weight in gold. Possibly my favorite track on the release, this band is hot! On funky, Chicken Heads, Rickun is back on harp sharing much of the floor with Moore on organ. Big Al Groth steps up with a monster funky sax solo closing the track. Chicago style, My Life, features Linderman on harp and Moore on keys. This is a really tight band and keeping this kind of cohesion in a live environment is super. Wrapping the release is blues rocker with a light Latin flavor on Looking For Love. Rickun responds on harp to Ravens vocals and Moore lays out a monster piano solo. I really like Pedersen's bass work on this track giving the track extra oomph. With some of his best harp work on the release, Rickum blows it up and Raven closes the door with nicely crafted guitar riffs traded with Moore. This is an excellent live release and one that you should check out today!

JCP Records artist: Jeff Chaz - Sounds Like The Blues To Me - New Release Review

I just received the newest release, Sounds Like The Blues To Me, from Jeff Chaz and it's got an interesting sound. Opening with title track, Sounds Like The Blues To Me, Chaz creates an bluesy, boogaloo feel with his free wheelin guitar style, Doug Therrien on bass, Doug Belote on drums and John Autin on keys. Wild! Make Love To You In The Sand has a bikini beach sound with rhythmic muffled guitar strums, BB King riffs, and dramatic singing style. A cool track with horn backing by AJ Pittman on trumpet and Ward Smith on sax. Hitchhiking In The Rain, shows a smooth blend of BB King and T-Bone Walker styling with very nice piano work by Autin. Chaz really hits it vocally on this one and his guitar work is tasty as well. R&B track, I Am The Blues has a Mustang Sally chug a lug and BB King flavored blues riffs with cool horn backing. Nice! You Look So Good To Me sounds like it's right out of the Louis Jordan songbook. A rockin' blues with smokin' riffs. Nice! Soul track, Mysterious, Exotic Lady has a definite radio styling with a cool rhythm and jazzy guitar riffs. I'm Goin' After Moby Dick In A Rowboat has a heavy bottom with outrageous guitar riffs and wild vocals. Very different... and cool... think Sam the Shamm. Another R&B style track, Four In The Morning, has a mix of Screamin' Jay Hawkins and Wilson Pickett. Never letting down the fence, Chaz is a big time showman with a big personality and cool guitar riffs. Soul track, Will You Be Mine is the best show of Chaz's serious side with solid vocals and a tight rhythm section. Walkin' With My Baby is a cool shuffle with a great beat. Tight little guitar riffs carry the track and pinched harmonic laden guitar soloing gives the track extra punch. The Mt. Vernon Blues is a cool instrumental with a blues rock flare. Machine gun guitar riffs and nice bass and drum solos by Therrien and Doug Belote tie this one up. Wrapping the release is You're Bound to Get Us Both Hung a log, slow blues number giving Chaz an opportunity to take his guitar for a long walk. His riffs are unconventional and expressive making this track a perfect closer for a different take on the blues.

Friday, June 3, 2016

Ivor S.K. - Delta Pines - New Release Review

I just received the newest release, Delta Pines, from Ivor S.K. (Ivor Simpson-Kennedy) and its relaxing and quite tasty. Opening with Help Poor Me, Ivor accompanies his own unique with acoustic guitar. A modern, simple blues style track, Ivor has a clean guitar style and a slightly gravelly voice. Cool! Missus Green has a cool country blues style and may be my favorite track on the release. With light foot tap for percussion, this track has it all with a great melody and perfectly complimented guitar soloing. Pelican is a sweet instrumental with a perfect blend of picked and slide guitar melody lines. Very nice! A modern blues, I Like The Way is smooth and clear with Ivor's vocals and guitar blending perfectly. Wrapping the release is title track, Delta Pines, with Ivor's gravelly voice over a tight guitar riff and steady foot tap. Clean and seductive slide work brings an additional dimension and Ivor's acoustic solo is tight and precise. A very nice closer to this first release by Ivor.

Busted Flat Records artist: Ginger St. James - One For The Money - New Release Review

I just received the newest release, One For The Money, from Ginger St. James and it's a hoot! Opening with Pour Me, Ginger makes no bones about it. Shes a serious country singer, old style, and it's great to know there are artists out there making "non pop" country. With a super voice and a whole lotta twang, St. James is backed by SnowHeel Slim on guitar, Greg Brisco on piano and organ, Chris Altmann on pedal steel and banjo, Justine Fischer and Rob Foreman on bass and Andre Teller on drums. Super start. Like a runaway train, Slim and Brisco start off Train Whistle and St. James is high on the rail. Slim throws down some super Chicken Pickin and Altmann follows with a real nice pedal steel solo. This is a lot of fun. On ballad, Honeymoon Stage, St. James continues to show that she has no flaws in her vocal delivery and Altmann caresses the track with warm steel licks. Justine Fischer adds warm backing vocals leading up to a shimmery, reverb laden guitar solo from Slim. Very nice! A real instrumental crap kicker, Slim's Jig features some real fancy picking by Slim matched by Brisco on piano and Altmann on steel. Excellent! With a cool Latin flavor, Somebody Shot Me, adds another dimension to this already wild ride. With excellent rhythm work from Tellier and slick steel work from Altmann St. James tells the story as Slim adds a western flavor. One of my release favorites. Simple and straightforward, Best Of Me And You, keeps St. James high in the spot light and she delivers. Following the prime female country singers of the past, Patsy Cline, Wanda Jackson, Loretta Lynn and Brenda Lee, St. James adds her own personal signature to a simple country melody. A hot country rocker, Hair Of The Blackdog, is bound to get you shuffling your feet. With solid JL Lewis like piano style and Slim winding out his guitar this track is on fire! You Were Mine is a real nice track that could have just as easily done by Dolly and Porter. Cool riffs by Slim and Brisco and solid underpinning by Altmann give this track an extra kick. Wrapping the release is Merry Go Round with clear and clean vocals by St. James over nicely articulated guitar work by Slim and Altmann. This is an excellent closer for a surprisingly excellent release. Check it out.

CD/Video Review - Instructions and expectations

6/1/2016

Please submit your CD and information to:
Bman's Blues Report
PO Box 3786

Carefree, AZ 85377

Notice:

I routinely get 15-30 professionally produced CD's each week. These come from record companies, professional promoters and independent artists. I try to review each and every CD that I receive on a first in first out basis and try to review them in a timely manner. Occasionally I am unable to keep up with the expectations of some artists in turning their CD's quickly.

Yesterday I was confronted by an independent artist regarding my "blatant disregard" of their CD which had not been reviewed after weeks of waiting. The said CD is in the queue with 40 other CD's.

If you want "your" CD to go to the front of the line, please include US currency in the envelope with your CD. I will gladly "expedite" a review more quickly dependent upon the amount of currency included.

The amount of US currency included in the envelope will help me to determine how badly you want to go to the front of the line. Otherwise, you will have to wait your turn with all of the other artists.

PLEASE UNDERSTAND THAT THIS IS BY NO MEANS TO DETER YOU FROM ASKING THE STATUS OF YOUR SUBMISSION. THAT IS PERFECTLY FINE. IT IS TO DETER ABUSE OF MY TIME.

INDEPENDENT RAMSEUR RECORDS HONORS BLUES HERO JOSH WHITE WITH VINYL REISSUE OF HIS SEMINAL 1956 LP

Reclaiming a lost blues classic…

INDEPENDENT RAMSEUR RECORDS HONORS
BLUES HERO JOSH WHITE
WITH VINYL REISSUE OF HIS SEMINAL 1956 LP JOSH AT MIDNIGHT ON AUGUST 19
Album celebrating 60^th anniversary

“The incredible Josh White, at the absolute peak of his powers! Universally acclaimed as Josh's very finest album (Elektra 102)”
—Jac Holzman, Founder and President of Elektra Records 1950 - 1974

Josh White at Cafe Society, 1947
Courtesy of the Estate of Josh White, Sr.

CONCORD, N.C.. — In a massively influential career that spanned several decades, South Carolina-bred singer-guitarist Josh White (1914-1969) established himself as a pioneering musical force, a uniquely charismatic performer and a popular entertainer whose appeal transcended the racial and social barriers of the time.

At a time when African-American blues artists were routinely marginalized, White performed successfully on Broadway and in nightclubs, film and radio. He also emerged as a respected civil rights crusader and a trusted confidant of President Franklin D. Roosevelt, who in 1941 invited White to be the first African-American artist to give a White House Command Performance.

Despite the fame and success that he achieved during his lifetime, and his influence upon a diverse array of artists ranging from Nat “King” Cole to Bob Dylan, White has largely been forgotten by contemporary audiences. The roots-savvy North Carolina-based independent label Ramseur Records plans to return White and his music to spotlight with its vinyl reissue of the vintage LP Josh at Midnight, originally released in 1956 on the then-fledgling Elektra label. The album will be re-released in a deluxe vinyl edition on August 19, 2016.

Recorded with a single microphone by Elektra founder Jac Holzman over two nights in a converted Manhattan church in late 1955, Josh at Midnight finds White delivering spare, impassioned performances of a dozen spirituals and blues numbers. The artist is accompanied throughout the sessions by noted jazz bassist Al Hall and baritone vocalist Sam Gary.

By the time Josh at Midnight was recorded, White had been blacklisted for his social activism and his career was in decline. This situation prevented him from recording for larger record companies, but the idealistic Holzman (who was a staunch admirer of White’s music) was willing to take a chance. His faith was rewarded when White’s Elektra recordings became some of the struggling label's biggest sellers, helping to revive the artist’s career and propel Elektra’s evolution from tiny indie imprint to successful industry force. Josh at Midnight remained one of Elektra’s top-selling titles for years, and became a fixture in many an album collection at the time.

As Holzman writes in his liner notes, “Josh at Midnight is probably the finest Josh White recording ever made. Sixty years later it still dazzles with the radiance of a great artist, thoughtfully recorded, whose contribution is unchallenged and firmly set in the bedrock of American vernacular music.”

The Josh at Midnight reissue is a labor of love for Ramseur Records founder Dolphus Ramseur, who’s been a committed White fan since childhood, when he first heard Josh at Midnight's lead track “St. James Infirmary” on a local radio station's blues show. White’s music has remained a touchstone in Ramseur’s life ever since. After meeting Jac Holzman through their mutual association with the Carolina Chocolate Drops, Ramseur became determined to restore Josh at Midnight to the vinyl marketplace with the same attention to quality and detail for which Ramseur Records has become known.

The Josh at Midnight reissue was mastered with the participation of original producer Holzman, as well as legendary engineer Bruce Botnick and fabled mastering engineer Bernie Grundman.

“Josh was a special artist and this is a special record,” Ramseur comments. “It wasn’t about making money — I just felt like this music should be available. Josh was such an important artist and a unique voice and he was a really big star at one point. I want more people to know about him, and this is a good place to start.”

All photos must credit: Courtesy of the Estate of Josh White, Sr.

Wednesday, June 1, 2016

Dylan Wickens & The Grand Naturals - Hi Lo-Fi - New Release review

I just received the newest release, Hi Lo-Fi from Dylan Wickens & the Grand Naturals and it's gritty, funky, explosive and real. Opening with Foolish Heart, a solid blues rocker, Dylan Wickens leads the way on vocal and slide guitar. With it's gritty sound and driving beat, these guys mean business. Al Webster on drums and Dennis Pinhorn on bass round out this tight threesome. Next up is Love & Lust, a real cool R&B style track, almost a take on Mustang Sally, with an infectious groove. This track is a real mover and bound to get you moving in your seat. I really dig Wickens' loose guitar flow and blues riffs paired against the ultra tight rhythm section. Very cool. Ultra funky blues number, Run Sister really has it going with it's bad ass bottom and featuring Tortoise Blue on harp. I gotta tell you this is one of those releases that keeps you tuned up by having one constant and that's driving rock. There's a new surprise around every corner to keep you looking. Lo slung blues number, Calamity Jane, has nicely stylized vocals paired with some of the best guitar riffs on the release. Tortoise Blue adds cool organ backing adding even more dimension to this understated blues rocker. Another funky blues number, Fall Apart, shows a whole different side of Wickens as a vocalist and his guitar riffs show influences from all corners. Very cool. She's Back In Town has a shimmery iridescence as Wickens delivers his vocal groove over a rock solid beat. This track conjures influences of George Clinton meets Jimi? Yeah...really. This is some cool stuff! Your Other Man has a solid thumping bass line and cool double stop guitar phrasing. I like Wickens' vocal delivery on this track and he seals it every time with clean guitar riffs. Handling the soloing as a part rather than as the feature gives each track firm balance. Opening with a grimy guitar riff, Rock Bottom is a solid rocker with a bluesy anchor. The grittiest guitar riffs on the release appear here and a cool return shows smart writing. Wrapping the release is a live version of In My Time Of Dying with a distinct feel of Cream and Spoonful. Wickens winds out his slide again and shows he's really up to the task of taking on the big boys. Excellent closer!

Announcing the Blind Lemon Peel Pop-Up Blues Festival

ANNOUNCING THE...

BLIND LEMON PEEL "POP-UP BLUES FESTIVAL"

DEBUTING AT HARVELLE'S IN LONG BEACH, CALIF.

Thursday, June 9 - Doors 8pm/Showtime: 9 pm

(LONG BEACH, CA) - Announcing the Blind Lemon Peel "Pop-Up Blues Festival," making it's debut on Thursday, June 9 at Harvelles Blues Club, 201 E. Broadway. Showtime: 9 pm. $10. Info: (562)

239-3700, or http://longbeach.harvelles.com/; also https://www.facebook.com/The-Blind-Lemon-Peel-Pop-Up-Blues-Festival. In addition to the bands, there will be a variety of vendors selling arts and crafts, music memorabilia, etc. at each Pop-Up Festival.

Rising Long Beach r&b/blues/soul vocalist-singer-songwriter Shy But Flyy (pictured) performs at the first Blind Lemon Peel Pop-Up Blues Festival on Thursday, June 9.

Performing on June 9: Long Beach-based music acts, Shy But Flyy (r&b/blues/soul vocalist); The Regular Guys (blues); and the Blind Lemon Peel Blues All-Stars.

Subsequent Pop-Up Blues Festivals are scheduled for Harvelle's/Long Beach (July 21, August 18, September 15, October 20, November 17, December 15); Rusty's Surf Ranch in Santa Monica (July 8); and the Blue Beet in Newport Beach (July 7, August 4, September 1, October 6, November 3, December 1).

"The Pop-Up Blues Festival is to promote, feature, and give exposure to local artists. We had been offered to do a monthly third-Thursday at Harvelle's in Long Beach, which I didn't want to be just about (our band), explains Blind Lemon Peel front-man David Hale, on how the Pop-Up Blues Festival concept was conceived. "I saw it as an opportunity to really reach and focus on local musicians and give them the opportunity to play on that stage. That, to me, was my dream come true. When I mentioned it to my publicist, he said, "why don't you position it as a pop-up blues festival? You can tweak it around and it can pop up in different places." Confirmed to perform at upcoming Pop-Up Blues Festivals: New Blues Revolution; Bluespower; SoCal Blues Club; Betty Rose; Mark Wein; The Hurricanes; BullDawg Band; Celso Salim; Shure Thing Band; and more.

Blind Lemon Peel All-Stars put on a high-octane blues show second to none.

Blind Lemon Peel All-Stars: Some Background

"This ain't no sittin' around cryin in your beer blues band", insists front-man/lead vocalist, Blind Lemon Peel. "We're a kick-a**, funky, get up and shake your love thang, boogie-woogie blues machine". Blind Lemon Peel All-Stars have recently headlined some of the top blues rooms in L.A., including Harvelle's, Catalina Jazz Club, and The Mint.

The sextet consists of the aforementioned Blind Lemon Peel, self-described as "an old black man trapped in an ever older white man's body", a brawny-voiced blues shouter in the same tradition as his heroes, Big Joe Turner and Howlin' Wolf. Bassist Ray Brundidge toured for eight years with the legendary James Brown and, says Peel, "is the glue that holds it all together. He puts the bass in its place and the jump start in your soul". Guitarist Lucky Lloyd plays a Detroit/Chicago style of blues, with a taste of Mississippi thrown in. Lloyd attributes his music style to the influences of Albert king, Stevie Ray Vaughn, and BB King, among others. "His live performances and killer vocals are authentic and energized", says Peel. "Lucky is an All-Star among All-Stars". Renowned drummer Craig Kimbrough "brews up his own blend of magic while keeping the beat with his fatback grooves", asserts Peel. Kimbrough has played with greats including Solomon Burke, Swamp Dogg, Jimmy McCracken, and Lowell Fulson, to name a few. Lead guitarist D.J. Ison is "the masters of guitar stylings - some Stevie Ray Vaughn here, a little Billy Gibbons there, a pinch of BB King for spicin' and a whole lotta his bad old self all over the place", explains Peel. "You never heard nuthin' like D.J. before; doubt you ever will again". Regarding vocalist Alyssa Baron, Peel says, "this little fireball brings the stage to life, embodying influences such as Etta James and Janis Joplin. Don't let her size fool you - she may be petite, but her voice is like a hard right jab to your solar plexus".

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Los Angeles Beat - Pop-Up Blues Festival Preview