Wednesday, September 23, 2020

Red’s Blues ~~ BROKE DOWN IN THE FAST LANE

 

Thanks to the current dearth of live music, I’ve become almost completely reliant on publicists and artists themselves to get new music. My local record store is only letting five customers in at a time, so I don’t get to browse their used Blues albums and CDs very often. Fortunately, I’ve made some friends who are always turning me on to groups I don’t know, and this time I hit the jackpot.

In Sacramento, California, there’s a fine band that’s been kicking up their collective heels for a while now. The go by the name of Red’s Blues, a nod to the flaxen locks of their lead singer Beth Grigsby. Just remember that old saying that I just made up, “It’s a brave man who falls in love with a red head, It’s a smart man who lets her win every argument, it’s a lucky man who gets his love returned.”

No mail, please, I’m deliriously happy to be married to a red head.

But I digress. Beth Grigsby is a great singer who along with her husband-bass guitarist RW, make up half of Red’s Blues. The remaining half are Doug Crumpacker on guitar and harmonica, and Tim Wilbur on drums and percussion. Every member of the group writes songs and sing on the album, and I assume in their live performances.

The album that has made me a fan of the group is Broke Down In The Fast Lane, an independent release that has left me wanting more than the 11 songs on it. That will obviously have to wait until I can travel west to catch a live show. Someday soon for all of us, I hope.

Red’s Blues is obviously well respected (as they should be) by the quality of special guests who have joined them for this release. They have two of the hardest working men in the blues business, Johnny Burgin on guitar and Kid Andersen on Wurlitzer Electric Piano, harmony vocals, and producer of the album.

Other guests include John Cocuzzi on piano; Rick Estrin on harmonica; Sid Morris on piano and organ; Kyle Rowland on guitar and harmonica; and Grub Mitchell on piano and harmony vocals.

The album starts off with the title track, Broke Down In The Fast Lane. It’s a slow bluesy story with a distant harmonica adding a plaintive touch. It’s a story many of us can identify with as we try to live fast. Is it worth it if everything collapses around us? Grigsby’s throaty vocals make the song for me. Yeah, I’m looking forward to the rest of this album.

See if you can guess who Flim Flam Man is describing. Could it be a real person? You think? It’s a sly wink but done with a great deal of humor. I probably won’t be playing this one, simply because we tend to avoid political statements, and this one hits close to the bone. I love it, both musically and lyrically, but there are others who have a different sense of humor.

Next up is Road Scholar, which starts out with some good percussion and guitar work that’s as tight as any surf rock song you could want to name. I like the retro 1960’s vibe the song creates and the lyrics are good. For those of us who spent so much of our lives on highways, this one hits us where we live. Solid number.

Howlin’ Winds is a great Joe Turner song that doesn’t get a lot of play these days. Pity. Sid Morris’ piano and Rick Estrin’s harmonica set the mood and Beth Grigsby’s vocals do the rest. This is a beautiful cover of a neglected song, and I will definitely be sharing this one on Time For The Blues. Love this song! I think you will as well.

They follow up with Jackknifed, a strong driving song (no pun intended). Sticking with more automotive metaphors, this song details the derailing of normal life when dealing with life as a musician. Good guitar work from Burgin who seems to have a lot of fun on the break. “You better have some cash if you want to sing the blues.” Have truer words ever been spoken?

Next up is a slower number, Sweet Karma. I could hear this one being performed as a crossover by both country and pop artists. Grigsby’s voice is sweeter than it has been – not that growl that often delivers a blues song. It’s a lovely break and this one will end up on my playlist. The lyrics do contain a nice twist. Enjoy.

Okay, the band cooks on 40 Years Of Trouble. Remember what I said about crossing a red head? Hell, crossing any woman? Never a good idea. This is a story from the woman’s point of you. Once again, Burgin’s guitar work adds punctuation to the song. It’s the kind of song a man should take as a warning. Do Not Give A Woman 40 Years Of Trouble.

Some sweet harmonica opens A Word About Gossip. Here’s another bad habit that needs to be dropped by everyone. This one could be blues, with a few changes could be old school country, as the story is universal. A nice sweet song. It sounds like an upright bass was used for this song.

Here’s a story of a man wondering what he’s going to do now that his woman is G.O.N.E.. It’s another song I could hear as a country or honkytonk crossover. John Cocuzzi’s piano work rocks the number. Don’t worry so much about labels, a good song is a good song! (That’s a reminder more for me than anyone else.)

The next song is a lounge-y Hands Off. It’s a Peggy Lee style song that focuses on bass and percussion and voice. I love the stripped down sound and this one perfectly fits Grigsby’s vocals. This could receive play on jazz shows as well. I really like it and would love to see it live.

The album closes out with Say What!. It’s a fun song with some solid guitar work trading off at the beginning. It’s an instrumental, so everyone gets a chance at the spotlight and makes the most of it.

Red’s Blues is a band that needs to be on your radar. They have a very solid approach to their music, and trade off lead vocals as necessary. The real star of the vocals is Beth Grigsby who adds an element that the guys lack. Don’t get me wrong, they’re not bad, but the best numbers are the one that feature her as the lead.

Broke Down In The Fast Lane is a good album that is sure to satisfy just about everybody. It may be a little tricky to find at your local store – especially know – so be sure to check out their website here.

 

**PLEASE READ**

Just as I was finishing this review, I received word that bassist-vocalist-songwriter-Beth’s husband RW Grigsby has suffered a stroke. You can well imagine the financial hardship that is coming, not just the hospital stay, but the intensive therapy that he will need once he comes home. They’ve already had major setbacks with not being able to play during this pandemic, and this just adds to their situation.

There is a Go Fund Me Page here  and if there is anyway you can help these fine people, please give what you can. It will mean a lot to them.

Thank you.

 

 

 

 

 

 

 

 

 

 

Thursday, August 27, 2020

Vanessa Collier ~~ Heart On The Line


There’s something about a saxophone. Even when I was a skinny youngster, and believe me, that was a LONG time ago, I wanted to play the saxophone. I thought it would be great to wear a black turtleneck, beret, and shades. Being a jazz saxophonist was a dream of mine. It never came true, but I still will go miles for a good sax player.
For Vanessa Collier, I would definitely cross state lines to hear her play.
Fortunately, it won’t come to that as Collier’s latest album, Heart On The Line, just landed on my desk and I can dive right in and listen to it.
While I would listen to Collier’s solo sax tracks, most of her audience would like a little more. She’s added a number of talented musicians to the album aside from her contributions of vocals, background vocals, Alto-Tenor-Soprano-Baritone saxophone, cowbell, and Resonator Guitar on one track. She’s joined by Nick Stevens on drums, percussion, and shuitar; C.C. Elis, Scot Sutherland, and Cornell Williams on bass; Laura Chavez on electric guitar; William Gorman on organ, piano, Wurlitzer, and clarinet; Quinn Carson on trombone; and Doug Woolverton on trumpet.
Collier starts off the album with one of the three songs she didn’t write. Super Bad is a slice of funky soul with the kind of groove that makes one think of bellbottoms and platform shoes. When she finally brings out the sax, it punches the song and if you weren’t up and moving before you certainly would be when she starts playing!
She follows up with a sweet ballad, What Makes You Beautiful. Traditional blues fans might not get into it, but Collier shows she has some sweet pop chops. Still soulful, a sort of throwback to the ‘70’s. This one is going on my late night playlist, the kind of song that is good to relax to.
The next song, Bloodhound, features Collier on the Resonator Guitar. And what a sweet sound it makes. Collier’s an artist with a saxophone but she’s not too shabby on the guitar as well. Of course, when you’ve got Laura Chavez playing lead guitar on your album, you are in good hands. This is a good delta number for the classic fans, and a lot of nice touches for those that prefer their blues on the more modern side. You’ll be hearing this one on Time For The Blues.
The next couple of songs are the remaining songs that were not written by Collier. The first one up is I[JP1]  Don’t Want Anything To Change. It’s another sweet ballad that starts out with a touch of country vibe. Collier’s voice is beautiful and Gorman’s keys add a nice subtle touch to the song.
The last song on the album is a cover of Randy Newman’s Leave Your Hat On. Collier and Company bring the funk with pretty much everything they’ve got. It’s a lot of fun and they put a very distinctive stamp on the song. I’m pretty sure I’ve never heard another version quite like this. If Kool And The Gang ever decide to cover a Randy Newman song, this might be the result. But listen to Laura Chavez’ break, it smokes!
From here on out, Collier is the songwriter for every song. Starting with Take A Chance On Me, she gets that fat Chicago horn section playing. Chavez works her guitar overtime on this number and the rest of the instruments are sharp. It’s not a bad song, I’m not sure I’ll be playing the track, but it’s lively and fun.
Collier drops back into ballad mode for If Only. Her vocal tone is softer, less stressed, the kind of voice that used to dominate the pop airwaves. Gorman adds a little Gospel fervor with the organ in the backroom. Very nice number.
Next up is Weep And Moan, which starts out as a slow dirge. The musicians paint a vivid picture with their playing and Collier sharpens the edge in her voice. It sounds like a big band torch song to me, as each instrument is layered over one another. There is a lot of pain in Collier’s voice and it is matched almost note for note by Chavez’ guitar. Haunting.
Stevens’ drums lead us in to Who’s In Power?. This is an interesting song that gives you a little pause to think. We all wonder about just who is in power, how did they get there, and when can we get rid of them. This one is done in a beat that you can dance to and Collier gives her sax free reign on a nice jazzy riff. I like it even though it’s not strictly speaking a blues song. I think it’s cool and I really enjoy listening to artists expand their approach to music. It’ll be a margin call for each listener, but give it a chance.
The spellcheck on my computer had a fit when I typed in the title of this next song. Seems Freshly Squozen is not in its limited collection of words. Grammatical quibbles aside, this is a lighthearted song that looks at a little girl as she grows up. This one has a lot of life in it and I can see it playing well in front of an audience – that is, as soon as we can gather as an audience again. In the meantime, get squozen. Take that spellcheck!
Collier closes out the album with the title track, Heart On The Line. Her lyrics here are personal, but no morose and soul searching. The song is uplifting, with a melding of light country and Gospel arrangements and some double or triple tracking on the vocals. Collier’s sax break soars and Carson and Woolverton’s acrobatic turns on trombone and trumpet add mightily to the song.
Vanessa Collier is a mighty talent and I count myself lucky to have seen her on more than one occasion. We all hope and pray that we’ll be back to more live shows in the future, but for now we’ll have to be content with new works that are streaming out. I suggest you look for Heart On The Line at your favorite place to buy records, but if you don’t have one of those handy, be sure tocheck out her website here


Friday, July 31, 2020

Kat Riggins ~~ CRY OUT


If the universe were fair, Robert Johnson would have recorded more sides, the great master blues artists would have received their fair share of royalties and Kat Riggins would be mentioned alongside the great voices. Since the universe isn’t, there’s nothing we can do about the first two, but we have plenty of time to rectify the third.

Don’t kick yourself if you’re not familiar with Riggins’ work. I wouldn’t be either if a persistent publicist hadn’t sent me some of her early independent work. Now that Riggins has joined the Gulf Coast family, she’s got a great studio behind her. The studio can give her that certain oomph that will push her higher.

Her new album, Cry Out, produced by Riggins and Mike Zito who co-wrote all the 13 tracks. On a few songs they added Steve Van Der Nat and Andreas Carre.

I wish I had a breakdown of the musicians on the album, although I’m willing to bet that Zito’s guitar is well represented. There are other great moments on other songs, and I would like to give credit where credit is due.

The album kicks things off in high gear with Son Of A Gun. Some sweet drum and guitars set the stage for Riggins to step up to the microphone. Once she lets loose, she pins your ears back with her power. There’s a funky backbeat and there’s no mistaking her take no prisoners attitude. Riggins’ rocks with the best of them and I can’t wait to hear what she has next. (3:31)

What she has next is the title track, Cry Out. I wish I knew who was playing harp and B3 because they help set up the mood. Right now, there are a lot of people who need to cry out for justice, for peace, for basic humanity. Riggins captures that desire beautifully. Don’t be silent, please, cry out. (3:28)

There’s a horn section on Meet Your Maker that gives the song a Chicago style feel. There’s more than a touch of funk in the song that might make you get up and shake your parts for a while. Fun song. (2:37)

If you like your guitars on the heavy side, Catching Up is a song you will like. She’s pushing the energy and attitude and the band is rocking hard. Even when she mixes in elements of other genres – like rock – you can hear the blues in her voice and lyrics. It might not be for the blues purists, but she has a great sound. (3:44)

Riggins drops the tempo down a few notches for Truth. The lyrics tell the story of wanting to know the actual person. Too often, many of us hide behind a mask for relationships. It’s an intense number. (2:51)

Out of nowhere, Riggins drops a short, acapella cover of Ocean’s Hand In The Hand (Interlude). I don’t know how many people remember that song, if you don’t, it’s covered by a few singers, including Elvis Presley. Stripped down to her voice and her emotion, this song has a strong gospel feel. Strike that, it’s much more of a spiritual feel. You can feel her deep connection in this very short song. Delightful. (0:35)

There’s a country feel to Heavy with steel guitars and the way she sings the song. It’s no secret that country and blues are kissing cousins, and she handles this well. The song is more like old school country than the more modern approach and that pleases me very much. Her voice is honey and she does a great job on this one. (5:27)

The funk is back in Wicked Tongue. Along with several other songs, this one is going to appear on Time For The Blues as soon as I can schedule it. Guys, if your lady talks to you this way, turn around and head out that door. Leave the clothes, leave your stuff, and get out quick. And listen to that distorted guitar that underscores the lyrics. (3:09)

Riggins and her band pull out all the stops on Can You See Me Now. This is not a cell phone advertisement. This is a woman who is taking a stand and it makes a perfect connection to the previous song. She’s got the sass, she’s got the attitude, let’s hope she’s doesn’t have a gun. (3:21)

She’s back to rocking on Burn It All Down. The title reminds me of the late sixties, but the lyrics tie in with the previous two songs. This is a trilogy of an angry woman and I hope she keeps these together in concert. In fact, I hope she goes from one to the next without a break. This time the rhythm section gets a workout that lets the guitar soar. (5:01)


Riggins keeps the rocking going on with the next song, On Its Way. She also brings in the horn section to make it even more festive. After the previous three songs, this is an upbeat number. Love the sax break, but I love most sax breaks. Keep ‘em coming, I’m having fun with this one. (2:53)

No Sale starts off with one of the most famous lyrics of the blues. She then heads in an different direction. There’s some cool harmonica to give it a little more flavor. The rhythm section is working overtime and this is a song of great empowerment. Love this one! (3:50)

The album ends up with The Storm. It’s a soulful number and Riggins digs deep to wring out ever piece of emotion she’s got. It’s a powerful song of empowerment, but she’s not using the light approach she uses on the previous song. No, Riggins herself becomes the storm, breaking everything in her path. She's a creature that no one can control or stopped by any man. It’s a chilling way to end the album. A bold choice and one that I applaud. (5:21)

Kat Riggins is getting ready to start climbing the ladder of success. Once we’re able to have shows and festivals again, I expect she will be in demand. I know I can’t wait to catch her live and see how she works a crowd. I hope Gulf Coast will take some of their great talent and send them out on the road to showcase their talents.

Until then, be sure to pick up Cry Out, and check out herwebsite here


Thursday, July 23, 2020

Pete Thelen ~~ Save The Best For Last


If you ask my radio partner, the legendary Henry Cook, he’ll be glad to tell you that my desk is a symphony of chaos. He’s not really wrong, and it stays that way because I respond to visual cues – if I see a good album that I like, I am far more likely to program some of its music into one of our shows.
If I don’t see something, or don’t have something to remind me about its existence, I’m more likely to forget it and thus forget to play anything. However, with the cost of producing CDs, and the cost of mailing them out, I better learn the ways of internet downloads PDQ before all the labels go bankrupt or the Post Office ceases to exist.
All this is my long winded way of coming around to introduce Pete Thelen, a bluesman who has traveled the world in both the business world and the musical world. At 71-years young, Thelen has said this will be his last album, and it is perfectly titled, Save The Best For Last.
The album features six tunes from Thelen and six from other artists. A very generous way to wrap up his recording career. Let’s give it a listen.
The album starts off with the slow low and easy You Make It Easy. It’s a smoky number that would be perfect to close out an evening or to give you an excuse to squeeze that special person a little more. I can’t wait to play this one on Time For The Blues. The horn section is sweet as molasses and as soon as I find the name of the sax player, I’ll let you know. A great way to start an album.
Next up is Some Kind Of Sign that features Annie Dekom on vocals. She has a strong voice, the kind that is perfect for old school blues. The bass and piano carry much of the music, and the drums get a little bit of a workout. I’m assuming Thelen is on guitar (forgive me, I don’t have any notes at this point) and his break is very nice. I really want to hear more of Dekom’s vocals.
They follow that up with Wind Up From Mexico sung by Lester Chambers. The song starts out with some lonesome harp over acoustic guitar and Chambers’ voice is the voice of a dark stranger telling us of his pain. This is the story of the man who has lost his woman and his entire world is shattered. Sometimes all that’s left is that hot wind blowing through you. Love this one and it’s going on my driving playlist right now.
Rena Haus steps behind the microphone for Part Time Love. A bouncy saloon style blues delivered by a beautiful voice makes this one of those songs that just makes you feel good. It’s a good follow up to the previous song, a jaunty little number that makes you smile into your drink, and you just might want to get up and shuffle your bones for a bit.
Thelen’s back on vocals for Getting Down To Business, a quick song, under three minutes and features some wicked accordion to frame his strong vocals. This is a swampy number and just a fine song that cuts through any pretenses and gets down to business. Funny how that title fits the song perfectly…
Thelen sticks around to provide the vocals for the next song, Voodoo King. The tempo gets dark and the congas and phased vocals give the song an otherworldly feel. This one plays like a movie in the mind. Makes me want to pull out my juju bag for protection. If you like your music a little on the psychedelic side, you will definitely gravitate towards this one.
Thelen steps back and Linda Moss takes his place for Storm ‘A Brewing. Oh my great blues goddess, can this woman sing! She possesses an amazing voice and soars over the band that is working hard and loud. The organ and piano set the stage for a solid guitar run and you can just feel the energy coming out in this song!
Taking a small break here as the three women who have sung so far have truly impressed the hell out of me. Annie Dekom, Rena Haus, and Linda Moss – remember their names, because you will be hearing more from them.
Pete Thelen rolls back in for Lost And Found. A slow number with some great sax number that could be right at home in a jazz club as much as a blues joint. It’s the story of a painful parting and the emotion that Thelen puts into the song is heartbreaking. What was it Shakespeare said in Romeo & Juliet, “Parting is such sweet sorrow…”
Thelen stays behind for the next few songs. He may be spent from the previous one, but now he’s singing Move On. This is a more powerful rocking song with some heavy guitar, drum, and bass. It wasn’t the style of song I expected to follow the previous song, but I enjoyed the surprise.
He follows it with a song with one of the strangest titles in the blues, Spiderlake Woman. Again, he creates more of a mood than he does on most of his other, more straightforward songs. This one also plays like a movie in your mind. It’s kind of freaky and just might end up in our Halloween show. It’s funky and leaves you looking over your shoulder on a dark night.
One last special guest, Chico Chism, takes the next to the last song on the album, New Pain. The song is a cool number and brings the listener back to the fun blues stuff after the intensity of the previous song. There’s some good guitar work and Chism’s vocals are good.
The album ends with the song Thought Passing Through and Thelen bookends the album by taking the vocals on this last song. The piano is beautiful and the lyrics are autobiographical as Thelen pours his heart into them. Listen with your heart as well as your ears and you will find depth in this musical stranger. The strings add a nice touch and I’m truly sorry that this album is ending. I would like for Thelen and his friends to keep on going.
I’m sad to have finally heard this wonderful talent on an album he says is his last. Pete Thelen is a great vocalist and songwriter. With the right exposure, we would be talking about him in the same way we talk about some of the greats. He has fulfilled his promise to Save The Best For Last.
For more about Pete Thelen, visit his website here


Thursday, July 16, 2020

Mark May Band ~~ DEEP DARK DEMON


It’s always fun to receive a CD from an artist that I like. Mark May is one of the hottest guitar slingers around and over the years I’ve picked up a couple of CDs from his time with Connor Ray Music. If you’re not familiar with that label, they are out of Texas and have a stellar reputation for fostering talent, but as they are smaller and pretty much a one or two person label, some of that talent they develop move along to other labels.
One of these artists is Ally Venable who released a couple of CDs on Connor Ray and has since been signed to Ruf. Now Mark May has moved on to Gulf Coast and has just dropped his first album, Deep Dark Demon, for them.
By the way, I should mention that the head honcho of Connor Ray is harp master Steve Krase, and he is proud of the work his charges have put out and encourages them to find that next brass ring in order to further their career. Krase is an unusual man in the music business, and I admire him greatly.
Anyway, I digress, but what else is new?
For this album, May had a large contingent of musicians joining him. May handled the vocals as well as lead and rhythm guitars and the other musicians were Billy Wells on lead and rhythm guitars and background vocals; Darrell Lacy on bass and background vocals; Brandon Jackson and Geronimo Calderon on drums; and Barry Seelen and Shawn Allen on B3. Guests include Eric Demmer on saxophone; Al Pagliuso on percussion; and Mike Zito on lead guitar.
May wrote all the songs on the album, collaborating with Charles Darrell Lacy on one song.
The album starts with Harvey's Dirty Side, and the pyrotechnics start right off. The guitars keep it on the greasy side and unfortunately some of the lyrics get lost in the shuffle. However, the music keeps you interested in seeing where the song goes. I love the B3 playing against the guitar. About halfway through the song, May’s guitar work takes on a Progressive sound and the fretboard gets a real workout.
Two of my favorite things in the world are barbecue and blues music. With a title like Barbecue And Blues, I’m already halfway to loving it. May and Company do the rest. It’s a lively song and it evokes many great afternoons and evenings I’ve spent with friends eating fantastic barbecue cooked up by Pitmaster Buz and listening to great classic blues. This one’s not quite a classic, but it’s a lot of fun, and you better believe I’ll be playing it on Time For The Blues!
They follow up with a very cool slightly laid back song, Back. I love the structure of the song and the congas in the mix. This one has a real Latin expression in it and it shows that May can stretch his talent in other directions. The next song is the title track, Deep Dark Demon, and it features Zito on lead guitar. This is a great shouter in the Chicago style and Zito shows why he’s simply one of the best on a guitar. May reaches deep to pull out the vocals and delivers them in a wonderfully expressive manner.
They crank it up hard for Sweet Music. The guitars kick it into high gear, as does the B3 and it adds a little soul to the number. This is one I would really like to see done live as I know the band would have a great time extending it beyond the 6:01 it clocks in on the album. It’s designed for some great solos.
Next up is Rolling Me Down, and features some faux Caribbean rhythms with some gospel tinged vocals. It makes for a very interesting take. Going to have to listen to this one a few more times to figure out where it fits in with May’s style, but it’s fun.
They follow up with some more solid blues with My Last Ride. The guitar work is very good, and once again May infuses his vocals with deeper emotion. There are more congas in the background that gives the song more of a sense of urgency. This is one that grabbed me right away and will definitely end up on my driving around playlist.
May changes things up for the next track, For Your Love. This one is more rhythm and blues complete with a jazzy saxophone in the back. I like this one a lot and wouldn’t be surprised to see it get some crossover airplay. Give this one a shot late at night and see where things lead…
Drums, guitar, and B3 add to the soul of Walking Out That Door. This one kicks more than a little ass and the music drives while the lyrics are pure blues. There’s plenty of funk to get you up and on the dance floor and while it may not be for blues purists, this is one I can definitely get behind. The bass and cowbell get a nice workout.
May moves from funky to slow almost country sounds with Something Good. The song tones down the heavy music in favor of showcasing May’s vocals. It’s a nice touch and makes the song stand out on the album. There’s plenty of room for more experimentation.
The album closes out with the one collaboration between May and Lacy, Invisible Man. It’s another touch of funky blues and an interesting take on the tale of a man who desperately wants to be with the object of his desire but finds that she just looks right through him. It’s a sad story, but one a lot of us can relate to at one time or another.
Mark May displays his versatility on Deep Dark Demon and it’s impressive to see how he smoothly moves from style to style within 11 songs. He’s already proven that he’s a monster guitar player and now he’s going to spread his wings a little bit.
I hope to catch him somewhere on the road sometime in the future to see how he handles a live audience. If you’re interested in checking him out, might I suggest you start with hiswebsite here. 


Time For The Blues ~~ July 18, 2020


For all of you who have followed Time For The Blues at our different times – 1:00 a.m. to 12:00 a.m. to 11:00 p.m. to 10:00 p.m. – were able to find us at our NEW time at 9:00 p.m. If you missed us last week, we hope you will join us this week as we once again raid our piggy banks to bring you the best blues in our price range!
Seriously, VPM has given us this great opportunity to continue to unleash our brand of madness upon the world, and Henry Cook and I sincerely hope you will continue to give us the gift of your listenership as we spread the word of the blues around the world. So, this July 18th, please be sure to set your alarms to join us at 9:00 p.m.
What are we going to play? Well, I’m glad you asked, because we’ve got a fun show lined up for you. First off, we’ve got one of the hardest working blues bands out of the Midwest, The Jimmy’s! We were blown away from their live recording from Dracula’s Castle (not kidding here!) and this latest studio album, Gotta Have It just continued that tradition, minus the fangs of course.
We’ll start the show off with a track from that album, then add a couple of more plus a track from that live album just to remind you of how cool these guys are. Trust me, you ain’t seen nothin’ yet. 
If that wasn’t enough, we’ve got a player so deep in tradition that you could say he was fried in Chicken Grease! See, that’s the name of Biscuit Miller’s new release and we’ve got three sides from it along with one from his previous album, Wishbone. Trust me, you are going to enjoy this guy a lot. 
If you’re still hungry for the blues, we’ve got more for you. How about the next heaping helping of the one and only Howlin’ Wolf? Henry and I have had a great time diving deep into Wolf’s library of classic blues and sharing some of his earlier work with you. This time we’ve tossed in one or two of his better known songs so you can see how everything fits in with how he was recording in the early 1950’s.
Even with all that, we’re still not through! How can they fit all of this goodness into one hour you ask? Simple, we add soundbites and bad jokes that make the hour seem longer so we can fit in songs from Beth Hart from her recent album War In My Mind, Brad Vickers And His Vestpolitans from Twice As Nice, and our pal Bob Margolin from This Guitar And Tonight.
Hopefully this will be enough to entice you to join us on the VPM-Music Network this
Saturday night at 9:00 p.m. either on the web here or on one of these great Stations: 89.1 WCVN, Northern Neck; 90.1 WMVE, Chase City; and the flagships, 93.1 and 107.3 VPM-Music, Richmond, where it’s always Time For The Blues! 

                                                           
                                                 

                                                                               


Thursday, July 2, 2020

Jeff Fetterman ~~ Southern Son


Well well well. Here’s another album from an artist I don’t know. His name is Jeff Fetterman and the title of his CD is Southern Son. Now, the email came from a publicist whom I like and trust, so sure I’m going to give it a listen – but it’s the title that has me intrigued.
See, I’m from the South. Lived here pretty much my entire life. I’ve watched my area of the world grow up and change its attitudes and approaches to its collective soul. Change doesn’t come easy here, but finally, changes are a-coming, and I, for one, am truly happy they are.
Since I don’t have any biographical information about Mr. Fetterman, I’ll have to take him at his word. It may be that he grew up listening to the same southern artists that I listened to. Giants like the Allman Brothers Band and those that came after them. Let’s check it out and see what he’s got.
Drums and B3 open I Don’t Want To and the horns add a slice of funk on the side. Fetterman’s guitar and vocals add a nasty touch to the proceedings and the whole work serves to pull you in quickly. I get the feeling I’m sitting in my favorite dive listening to a group I’ve known for years kicks it into high gear. The actual group may in fact be a stranger to me now, but they are as comfortable as family. Can’t wait to hear the rest.
Fetterman and company keep things cooking while they visit the crossroads in 49-61. If you’re reading this blog, you know all about the legend of what went down there. Turn it into a kick ass tune complete with a great horn section and some wicked devil voices and you’ve got this song. Can’t forget that great bass line. I need to find out the names of the members of Fetterman’s band, they rock. I like this one a lot!
Next up is Memphis Sky and the band mellows out a little bit, painting a picture of a great slice of America. Fetterman’s vocals are softer (slightly) and the growl is gone as he takes a different approach to the song. I like it, and will be adding it to my driving playlist. Memphis is a town of great memories for me – lots of times at lots of shows, fantastic barbecue, and quiet nights by the Mississippi River. This song evokes all those memories for me.
There’s another great town for musicians in Tennessee, and Going Down To Nashville covers it. And trust me, it swings! It’s got that great rockabilly soul and a blues heart. This is one that will most likely pop up on Time For The Blues, and it’s going on my exercise playlist. Love it!
The band slows everything down for Living With The Blues, and really gets into the emotion of the song. Following the previous bouncy number, this seems like a big drop, but oh, my great Blues God, it’s one of those songs that will resonate with just about every blues fan. I’ll definitely be playing this one sooner than later. Listen to the lyrics and then listen to the way Fetterman makes his guitar sing. This guy is the real thing!
Then thew switch gears and drop another kick ass track, Ain’t Got You. If you like your blues mixed with rock, this is the song for you. It reminds me of the great southern rockers I grew up listening to, and I’m sure that Fetterman is influenced by them as well. After all, the title of the album is Southern Son, and he shows a lot of pride in that moniker.
Fetterman then moves into Feels Like Rain, another deep south inspired number. It’s not as hard a rocker as the previous song, but it’s got the ingredients for a memorable tune – good lyrics, a strong hook, and solid music. Rain has always had a special place in blues and rock songs, and this is a good addition to that long list of titles.
The band gets to rocking hard with Tell Me Baby. The rhythm section gets a heavy workout and the guitar hangs back in the mix waiting for a chance to break out big. Definitely one for the blues rock lovers, maybe not so much for the purists. Fetterman seems happy to stay in his own niche, neither straight blues nor straight rock. Why not?
Having said that, he returns with Blues For Charlie, another powerful slow blues burn. The keys have a haunting effect and the horn section adds some spice. Fetterman’s guitar then takes center stage and wails mournfully. It’s a beautiful instrumental and I would love to hear it live just to hear the band jam.
Bob Dylan’s All Along The Watchtower has had so many interpretations from psychedelic to folky. Fetterman uses some different drums, congas I believe, along with some bass and guitar to set the mood. The bass sets the mood and the guitar weaves through the tapestry of the song. Then maybe 1:30 into the song it kicks into high gear and takes a straight on rock approach. Very cool to tease one direction them quickly whip into another. Depending on your thoughts on the song will dictate how you feel about the interpretation.
There are a couple of Bonus Tracks listed on the disc. The first is Voodoo Funk and “funk” is the operational word. This is 6:29 of some funky grooves that would have been at home in the era of bell bottom pants and shiny shirts. In other words, my era. I could very easily picture this song playing out while my high school girlfriend (Hi Anne-Françoise!) and I did the Bump, the Hustle or any of those other dances that I’ve forgotten. Good work guys, and another fun jam song!
The second Bonus Track and final song on the album is Southside Blues, a great slow blues burn with some heavy keyboards taking the opening. His third instrumental (both bonus tracks are instrumentals) showcases all the members of the band and shows just how strong they are.
Southern Son is a very cool album, one that I’m going to enjoy sharing with our audience. Jeff Fetterman has a number of songs on YouTube and I suggest you check him out to see if you feel he’s your cup of tea.
Now that I’ve had a chance to look him up, I find that Fetterman is from Pennsylvania and not the South. Well, he’s got a Southern Spirit and Soul, so we’ll claim him anyway. Check himout at his website. 

Friday, June 19, 2020

Sean Ardoin Reminds Us He CAME THRU PULLIN’


Two-time Grammy © Award nominee Sean Ardoin is a descendent of zydeco royalty. A member of the Ardoin family who claim Amédé Ardoin, the Father of Zydeco as a relative as well as Alphonse “Bois Sec” Ardoin and Lawrence “Black” Ardoin. In fact, Lawrence is Sean’s father and Sean could not have had a better musical education.
As I’ve opined before, each generation takes the music it inherits and makes it their own. No music exists solely to be a museum piece. Music is meant to be played and played with. Blues, country, jazz, rock, and just about every other musical genre you can name evolves, so why shouldn’t zydeco?
If you can keep a secret, I actually love zydeco, even if I don’t get much of a chance to listen to it. I have a handful of albums and I tend to pull them out when I’m thinking about Louisiana, or when it gets near Mardi Gras. The sound of an accordion fires me up, and I bought two washboards to play along when I can.
So, lets’ get to Ardoin’s latest album, Came Thru Pullin’. If that title sounds familiar, it’s because Ardoin has chosen ten songs he’s recorded previously to put a new spin on them with his new band. Grab yourself a Po’ Boy and a café au lait and let’s get to listening.
He starts off the album with the title track, Came Thru Pullin’, and if I thought this was going to not have any blues on it, let me tell you that I was very much mistaken. This song opens up with a hard-edged bark before Ardoin rocks out with his accordion. I was moving all around in my chair bouncing to this song. Yeah, I’m going to slip this one into an episode of Time For The Blues toot suite!
Ardoin follows up with Bounce, and if this song doesn’t make you put down your Po’ Boy and dance, you better check your pulse mon chere! Every note, every syllable gets into your soul and transports themselves into your feet and you can’t help getting up and shaking what you got!
Ardoin’s accordion gets a real workout on the next number, No That Ain’t Right. It’s not quite a mellow song (real understatement), but it’s not quite as raucous as the previous song. Don’t let that stop you, the lyrics could easily make a great blues tune. Another strong song.
If there is such a thing as Psychedelic Zydeco, then Get Right Girl definitely falls into that category. Mix that cool accordion with some electronic whooses, a nasty hook, some processed vocals and a little ‘70’s soul thrown in and you get this song. It’s fun, it’s freaky, and it makes you sit right up.
I’m Not Gonna Wait utilizes keys and strings to open up the song. That’s quickly followed by a haunting melody and more processed vocals. It’s a sad song of lost love and could easily be an R&B number. It’s a little unexpected, but I love to hear artists take chances. My guess is you’ll like this one a lot, or scratch your head wondering what the heck is going on?
With a title like Gumbo Time, I definitely had a style of song in mind and Ardoin took me in a different direction. Yeah, his accordion was there, but it was more hip hop than what I thought it would be. This one’s more for a younger audience than I represent, but he’s really shaken up expectations. Not a bad thing.
A little more R&B Zydeco follows with It’s Love. Ardoin is pushing boundaries on this album and I will confess that while I find his approach interesting, sometimes I have to play a song a couple of times to really get into it. This song has great harmonies, and it’s reminiscent of some of the ‘70’s Soul I used to listen to late at night.
Creole Rock and Soul opens up Kool Rolling, and this is a rocking track that’s going to get you up and moving. The lyrics are alive and delivered in a rapid-fire manner. I think this one is a true crowd pleaser and I hope to catch Ardoin live some day so I can see the audience’s reaction.
Some more keyboards open Nothing Like Our Love, and the song takes a pleading style before picking up the tempo. Ardoin’s accordion is a background instrument, adding just a touch of spice to the song, not taking so much of the spotlight. An interesting choice.
He brings the album to a close with a hard rocking Shut Them Down. The song’s got a lot of energy and makes a great closing number, getting the listener up and moving one more time. I think this one could pop up on Roots Americana Shows easily and I, for one, will enjoy it on my own personal playlist.
I’m not an expert on Zydeco by any means, so please take these opinions for what they are, just my thoughts on a very cool artist whom I want to hear more from. I’ll be looking for some of Sean Ardoin’s earlier albums, but in the meantime, I’m going to enjoy the heck out of Came Thru Pullin’. I hope you will as well.

**HOLD THE PRESSES**
Sean Ardoin has released a beautiful song called What Do You See. Simply put, it’s the most gorgeous and emotional song I have heard all year. If this song doesn’t melt your heart, you really need to examine your beliefs. Please go to the link below and spend four minutes and change listening to his voice and some lovely piano.

Sean Ardoin Discography
1991 Lawrence Ardoin and Lanniappe - Maison de Soul
1994 Chris Ardoin and Double Clutchin "That's the Lick!" (Maison de Soul)
1995 Chris Ardoin and Double Clutchin "Lick it up" (Maison de Soul)
1997 Chris Ardoin and Double Clutchin "Gon be Jus Fine" (Rounder Records)
1998 Chris Ardoin and Double Clutchin "Turn the Page" (Rounder Records)
1999 Sean Ardoin-n-Zydekool (self titled) (Zydekool Records)
2001 Sean Ardoin-n-Zydekool "Pullin" (Tomorrow Records)
2003 Sean Ardoin-n-Zydekool "Home Brew" (Tomorrow Records)
2004 Sean Ardoin-n-Zydekool "Strictly for the Dancers" (Zydekool Records)
2009 Sean Ardoin and R.O.G.K. "How Great is Your Love" (Zydekool Records)
2010 Sean Ardoin-n-Zydekool "Final Chapter: New Beginning" (Zydekool Records)
2013 Sean Ardoin-n-Zydekool "RETURN OF THE KOOL" (Zydekool Records)
2013 Creole United "Non Jamais Fait" (Creole United Records)
2016 Sean Ardoin-n-Zydekool “Live at the Chicken Run”
2018 Creole United “Tu Kekkchause a Korrek”
2018 Sean Ardoin “Kreole Rock and Soul”
2020 Sean Ardoin “Came Thru Pullin’