Jon Zeeman review…August 26, 2013…

JON ZEEMAN

DOWN ON MY LUCK

MEMBRANE RECORDS

YOU’RE RIGHT, I’M WRONG–DOWN ON MY LUCK–HANGMAN’S BRIDGE–I LOVE EVERYBODY–WAITIN’ FOR THE STORM–I GOT NEWS–MONEY–GOT THE GUN–CAN’T YOU HEAR ME–SO BAD–BETTER OFF DEAD

     It didn’t take long for a young Jon Zeeman to realize that being a typical “nine-to-fiver” wasn’t for him.  Already trained in classical piano as a teen, he turned his passion for the music of Johnny Winter and B. B. King into his life’s work.  He studied music for two years at Ithaca University before returning to the club scene in NYC and also to concentrate on session work, producing, and songwriting. 

     Now splitting his time between Martha’s Vineyard and West Palm Beach, FL, Jon has just released “Down On My Luck,” featuring ten of Jon’s blues-rock-inspired originals and one cool cover.  Jon is a monster guitarist and vocalist, and is ably backed on this project by George Lilly on drums, Tom Regis and Bob Taylor on keys, and Phil McArthur and Jon’s daughter, Zoe, on the bass.  Jon’s tunes deal with everyday life, love, and just trying to hang on in today’s world.  He’s crafted some good “social commentary” cuts that really hit home, too.  He wears his heart on his sleeve and lets his emotions run free on several songs, too.  Take the opening shuffle, for example.  It takes a real man to admit “You’re Right, I’m Wrong,” but she’s just been gone waay too  long.  He’s also been in enough relationships to see the writing on the wall, too, as evidenced by the slash and slow-burn of a man “just Waitin’ On The Storm.”  And, in “I Got News,” the lover in question is told “I’d rather be alone!”  This one has a funky, danceable groove, too.  “Hangman’s Bridge” has a dark, brooding, voodoo-ish vibe, and Jon closes the set with some very intricate, jazzy lead lines in the tale of a man who feels he’d be “Better Off Dead” than alone. 

     We had three favorites, too.  We are always partial to an artists’ social commentaries, and, on the minor-key blues of the title cut, Jon feels overwhelmed by the sorry state of today’s economy.  In the rapid-fire rock of “Money,” that’s exactly what he needs a ton of to cover his debts!  It features not only some fine guitar, but also some notable acoustic piano as well.  On “Got The Gun,” Jon tells an autobiographical tale of some bad choices regarding lovers during his youth, with some absolutely brilliant guitar work, that proves our theory that every guitar-slingin’ bluesman has a little of Chuck Berry’s DNA in him.

     In one of Jon Zeeman’s website photos, there is a pic of him jammin’ away with the Allman Brothers Band at the legendary Beacon Theater, proving that he has the respect of  his peers.  With a set as good as “Down On My Luck” in his resume’, he’s carved out a sweet niche’ for himself in the world of contemporary blues!  Until next time…Sheryl and Don Crow.

John Ginty review…August 24, 2013…

JOHN GINTY

BAD NEWS TRAVELS

AMERICAN SHOWPLACE MUSIC  ASM  3008

THE QUIRK–BLACK CAT–PEANUT BUTTER–SEVEN AND THE SPIRIT–MIRRORS–SWITCH–DAMAGE CONTROL–ROCK RIDGE–ELVIS PRESLEY–TRINITY

 

New Jersey native John Ginty’s colorful keyboard stylings have graced the grooves of albums by Jewel, The Dixie Chicks, The Court Yard Hounds, Todd Wolfe, and Santana, just to scratch the surface.  And, he received two Grammy nominations as an original member of Robert Randolph’s Family Band.  Many of John’s musical friends have joined him on his latest CD for American Showplace Music, entitled “Bad News Travels,” which consists of ten of John’s originals that showcase his genre’-bending, unique sounds on all types of keyboards.

The cuts also show the eclectic nature of John’s talents.  As we listened, there is the obvious Allman Brothers influence, but one can also hear elements of Chuck Leavell, Reese Wynans, Ray Charles, and jazz giant Jimmy Smith in John’s playing.  The set opens with old friend Albert Castiglia adding guitar to “The Quirk,” a fine, bluesy jam.  A sweet, acoustic piano intro gives way to a fiery organ assault in “Mirrors,” with Warren Haynes of Gov’t Mule adding the guitar that gives this jam a cool, Santana-esque vibe throughout.  Brooklyn’s Alecia Chakour turns in a very soulful vocal on “Seven And The Spirit,” and, coupled with John’s spirited playing, turns the whole thing into an old-school, Southern-rock throwdown.  Martie Maguire adds a jazzy fiddle to the tripped-out hoedown that is “Rock Ridge,” while John closes the set with a sanctified, soul-stirring return to his Family Band days with the rousing “Trinity,” featuring guitar from Cris Jacobs.

Our favorite was easy.  Albert Castiglia is on vocal and guitar on the sly, mythical tale of “Elvis Presley,” who’s seen “washing the windows of a neighborhood liquor store,” and who “thinks all the kids today could use some style.”  The greasy groove on this one is as smooth as a peanut butter-and-banana sandwich, and shows an ultra-funky, Booker T side of John’s talents.

John Ginty is not only one of the premier keyboard players of his generation, but he is raising the bar for players to come.  With a set as strong as “Bad News Travels,” he is definitely a player to watch!  Until next time…Sheryl and Don Crow, Nashville Blues Society.

 

Hank Mowery review…August 21, 2013…

HANK MOWERY

ACCOUNT TO ME

OLD PAL RECORDS 102

SPEND A LITTLE TIME–ACCOUNT TO ME–PUT THE HAMMER DOWN–IF I KNEW WHAT I KNOW–BANANA OIL–TRICKY GAME–MY HOME–PRAY FOR A CLOUDY DAY–TARGET–THAT’S NO WAY TO GET ALONG

Harp virtuoso Hank Mowery was a great friend to another outstanding harp man, Gary Primich, who, sadly, passed away in 2007.  Hank operated a club in Grand Rapids, MI, and Gary guested at the club any time he was in town, and their friendship flourished right up until Gary’s death.  When Gary’s sister, Darsha, discovered some of Gary’s lyrics that had never been recorded, she contacted Hank to set them to music.  So, for his latest album,, Hank Mowery has just released “Account To Me.” It is not done as a tribute album, but rather as a celebration of the late harpman’s life, and his contributions to the world of contemporary blues.

 

Hank puts his own spin on five of Gary’s tunes, a few of his own, and a couple of choice covers.  Hank also surrounded himself with backing musicians who either knew Gary or realized the scope of this undertaking.  As a result, there are barroom rockers, slow burners, and even a jazzy instrumental.

The set kicks off with one of those blistering stompers, the rocked-up Hank and bassist Patrick Recob original, “Spend A Little Time.”  It features a cool, fuzz-toned Wurlitzer over an acoustic piano that gives this one a double-barreled punch.  A unique guitar riff from Troy Amaro fuels one of Gary’s originals, the tale of a bluesman headin’ home after a too-long stint on the road, “Put The Hammer Down.’  “Banana Oil” is what you’d have if Gary had played with the Mar-Keys, as Hank blows some jazzy swing in this trippy instrumental, over a rhumba-fied beat.  “Tricky Game” is another of Gary’s originals, this one taking a tongue-in-cheek lpok at love, comparing it to, among other things, a course in calculus.  The set closes with Jimmie Stagger’s vocal and National steel on “That’s No Way To Get Along,” with Hank blowing a sweet, country-blues harp in accompaniment.

We had two favorites, too.  The title cut is one of Gary’s also, a Fifties-styled ballad where Hank encourages a lover to be open and honest with him in their relationship, and, to “Account To Me.”  The dark, brooding, “If I Knew What I Know” asks the rhetorical question, “If I had known, could I have perhaps made a difference?” whenever tragedy strikes a friend.  It is characterized by Hank’s mournful harp over a booming, if somewhat verboten, bass drum.

Gary Primich was not only a great player, but an astute student of the harp as well.  And, on “Account To Me,” Hank Mowery has captured the essence of Gary’s style thru his own originals and those that Gary has left behind.   Until next time…Sheryl and Don Crow

JC CRossfire review…August 18, 2013….

JC CROSSFIRE

WHEN IT COMES TO THE BLUES

BLUZPIK MEDIA GROUP

WHEN IT COMES TO THE BLUES–DELIZA–GRAND OLE GIRL–BLUES BLUES BLUES–TELL ME WHY–ONE MORE TIME–AMERICAN WAY–CHOSEN ONE–I WONDER

 

JC Crossfire and his band hail from the Ft. Lauderdale, FL, area, and their latest release is entitled “When It Comes To The Blues,” and consists of nine strong originals, either written wholly by JC or Bernie Rose and Tony Calabria.  JC handles the guitars and vocals, Bernie is on keys and vocals, Tony is on bass and vocals, with Guido Marciano on drums and Niles Blaize on the harp.

JC and the fellows lay down some serious, roadhouse-rockin, good-time blues on this set.  It kicks off with the loping, acoustic “biography” of sorts for JC, name-checking all his likes and many of his guitar heroes in “When It Comes To The Blues,” which features a cool, ‘lectrified solo at the bridge.  “Deliza” and “Grand Ole Girl” are both fine exampleas of rockin’ blues, while JC closes the set with another acoustic-electric hybrid, entitled “I Wonder.”  It weaves a tale of a love affair compared to “stormy weather, and follows a sweet, mid-tempo groove, but, sadly, ends just as it starts gettin’ good .

We had two favorites, too.  “One More Time” is a piano-and-harp-driven rocker that’s geared for JC’s fans to heat up the dance floor.  And, an extended intro that gets everyone involved then kicks into high gear with JC’s vocals over a funky beat is a rather stinging piece of social commentary, “American Way.”  With its tales of “television politicians” and “everybody I know is broke,” the “American Way has become a big joke!”  This one oughta be required listening for all the powers-that-be on Capitol Hill!

JC Crossfire is a soulful vocalist and a proven guitarist who has surrounded himself with some top-notch talent as his backing crew.  And, “When It Comes To The Blues,” he sho’ nuff knows what he’s talking about!  Until next time…Sheryl and Don Crow, Nashville Blues Society.

Phil Gates Live review…August 16, 2013…

PHIL GATES

LIVE AT THE HERMOSA SALOON

DCT BPRODUCTIONS   PGCD BBY7

ADDICTED TO THE BLUES–MESSIN WITH THE KID–AWAY I GO–USED ME UP–OLD SCHOOL–SUMMER IN THE CITY–END OF TIME–EVENING TRAIN–TAKE IT OUT–I’M LOST–GET AROUND TO ME

 

Phil Gates is a very well-respected, Los Angeles-based bluesman, who is one of a select few performers who have not only played in the IBC’s, but judged the competition as well.  For his eighth release, he uses the “home court advantage” to its fullest for “Phil Gates Live At The Hermosa Saloon” in Hermosa Beach, CA.  The crowd was up for an evening of rockin’ blues, and this Chicago-born guitar-slinger did not disappoint.  He also had Ron Battle on bass, Keith Williams on drums, and keyboard whiz Morris Beeks to back him up.

Phil kicked off the show in high gear, telling everyone he is Addicted To The Blues,” but his “Jones” is a healthy one, indeed–he “gets higher than a whole fifth of booze” just by bringing the fans the best blues he can, night in and night out.  Ron holds down the funky bottom while Phil runs a rap about a red-hot lover in “Away I Go.”  He conjures up some vintage soul sounds on “Take It Out” and the Motown-Philly sweetness of “Old School,” while giving a reggae tinge to the Lovin’ Spoonful classic, “Summer In The City.”  It also features a great solo by Morris on the B-3.

That was another cool thing about the songs on this set.  Whether intentional or not, at times when Phil and Morris get locked in on an extended jam, you can hear a definite Allman Brothers vibe goin’ on.

We had two favorites, too.  “Evening Train” spotlights the interplay between all three musicians, with Keith’s locomotive beat riding over Phil’s tale of using that mode of transportation to get to and from “another day working on the factory line.”  And, a song “for everyone who’s ever been used in a relationship” is the theme of the loping, 8-bar blues of “Used Me Up,” and features Phil’s crying slide at its searing, absolute, most intense.

Phil Gates writes ’em from the heart and plays ’em from the soul, and he’s handled a bluesman’s greatest challenge–satisfying a hometown crowd hungry for some of the best in contemporary blues with “Live At The Hermosa Saloon.”  Until next time…Sheryl and Don Crow.

Jeff Jensen review…August 14, 2013…

JEFF JENSEN

ROAD WORN AND RAGGD

SWINGSUIT RECORDS

BRUNETTE WOMAN–GOOD BYE PORTLAND–HEART ATTACK AND VINE–PEPPER–GEE BABY–LITTLE RED ROOSTER–CROSSEYED CAT–RAGGEDY ANN–RIVER RUNS DRY–THANKFUL

 

Jeff Jensen had already recorded two albums while living in Portland, Oregon, when, in 2011, he up and moved to Memphis.  As soon as he got to Tennessee, he teamed up with Beale Street harp master Brandon Santini.  Add in the help of composer and 2013 BMA winner for piano, Victor Wainwright, and Jeff’s latest release, “Road Worn And Ragged,” is a sure-fire winner, indeed!  It consists of ten cuts that combine Jeff’s love for blues, jazz, and roots music.

Jeff handles the guitars and vocals, and the “road worn and ragged band” features Victor on piano, Brandon on harp, Bill Ruffino on bass, James Cunningham on drums, and Chris Stephenson on B-3 and Wurlitzer.  Recorded at Ardent tudios, the fellows kick things off with the mojo-fied boogie of the “Brunette Woman” who seems fine until “the preacher said we were one,” leaving Jeff with “heartache for a full-time career!”  The Rev. Billy C. Wirtz co-wrote the ragtimey lope of Jeff’s “autobiography” of sorts, “Good Bye Portland,” while the sparse, understated arrangement of “Gee Baby, Ain’t I Good To You” has a strong, soulful vocal.  Brandon channels his inner James Cotton to blow that funky riff that defines Muddy’s “Crosseyed Cat,” and Jeff creates the album’s centerpiece with the sweet ballad, “River Runs Dry.”

We had three favorites, too.  Jeff’s version of “Little Red Rooster” is totally different from the Wolf’s original, presented herein as an amped-up, West-Coast-style, jump blues.  Fans of “The Andy Griffith Show” will recall Jim Lindsay, the mythical guitarist who was supposedly the hottest picker Mayberry ever produced.  Well, if ol’ Jim had a theme song, it would no doubt be Jeff’s rockabilly-tinged instrumental, “Pepper.”  And, we’ve always been fans of Tom Waits, and the fellows get their midnight creep on, headin’ down to “Heart Attack And Vine.”  Chris’ organ work is the perfect foil for the late-night walk thru the cemetery that this song brings to mind.

Jeff Jensen has certainly used his time in Tennessee to stimulate his creative juices, as the material in “Road Worn And Ragged” will attest to.  His A-list of band mates is another positive, and we look forward to hearing more from Jeff in the future!  Until next time…Sheryl and Don Crow.

 

 

J. T. Lauritsen review…August 11, 2013…

J. T. LAURITSEN AND FRIENDS

PLAY BY THE RULES

HUNTERS RECORDS  HRC  0012013

EVERY DAY WILL BE LIKE A HOLIDAY–NEXT TIME–PLAY BY THE RULES–NEED MY BABE–MEMPHIS BOOGIE–I’LL NEVER GET OVER YOU–EVER SINCE THE WORLD BEGAN–MATHILDA–FIND MY LITTLE GIRL–VALLEY OF TEARS–EYE CANDY–THE BLUES GOT ME

 

J. T. Lauritsen has been a vital part of the bustling Scandinavian blues scene for some twenty years.  But, for his seventh album, he trekked to Memphis to the legendary Ardent Studios to lay down five tracks.  He returned home to Oslo, Norway to finish the remaining seven tracks, and the result is a tremendous mixed bag of goodies entitled “Play By The Rules,” which touches on J. T.’s deep affinity for blues, zydeco, rock, and soul.  He is a very soulful, captivating vocalist, and also shines throughout the set on harp, accordion, and B-3.  The Oslo cuts feature his regular band, The Buckshot Hunters, while the Memphis cuts feature several of the Bluff City’s finest in guest spots.

The party starts with a beautiful rendition of William Bell’s “Every Day Will Be Like A Holiday,” and has Larry McCray and Kelly Clarke on backing vocals, all of them helping to capture that elusive “Memphis feel” of this ballad.  “Ever Since The World Began” and “Next Time” follow a sweet, swingin’ New Orleans second-line pattern, and both have Reba Russel and Debbie Jamison on harmony vocals.  There is also impressive guitar work on each of these as well.   “Mathilda” is a down-home, old-school zydeco love song, and guest Victor Wainwright pounds the 88’s in the amped-up instrumental, “Memphis Boogie,” with J. T. on the squeeze box.   J. T. gets down to the blues of the matter in a red-hot take of Big Walter’s “Need My Babe.”  This one features a spirited harp “duel” between J. T. and Billy Gibson, a fine young man we have known since waaay before he won the Blues Award for Best Harp Player a few years back.  The set closes with another rockin’ shuffle, “The Blues Got Me,” with the backing chorus of the “Memphis Misfits.”

We had two favorites, too.  Josh Roberts’ crying slide helps J. T. paint the picture of a “two-timin’ fool” who could never win at love due to his inability to “Play By The Rules.”  And, “Find My Little Girl” has got a backbeat that you just can’t resist, and a blistering guitar solo from Anson Funderburgh.

Add “Play By The Rules” from J. T. Lauritsen and friends to that list of albums you wish could last about another hour longer.  The good times roll all over this one from start to finish!  Until next time….Sheryl and Don Crow.

 

 

Lazer Lloyd review…August 10, 2013…

LAZER LLOYD

LOST ON THE HIGHWAY

SOLO RECORDINGS

BLUESLEAF RECORDS   BL 9852

LOST ON THE HIGHWAY–HIGHER GROUND–BEEN TRYING–WORLD FALLEN–SWAMP MEDITATION–MIRROR–POLITICIAN–TALK–TO LOVE–MAN–LANDLORD BLUES–BACK PORCH–RIVERSIDE

 

Lazer Lloyd was born in Connecticut, and started playing guitar at the age of fifteen.  He studied at Skidmore College at the urging of his mother, eventually returning to Connecticut and playing with his group called The Last Mavericks.  He created enough of a buzz that he was indeed headed to Nashville to work with E Street bassist and producer Gary Tallent, until fate intervened.   A request to play with Shlomo Carlebach, better known perhaps as the “Singing Rabbi,” was enough to persuade Lloyd to relocate to Israel, where he has resided since 1994, marrying his wife Elena and raising their five children in Beit Shemesh.

A staunch fixture in the Israeli Blues Society, he has just released “Lost On The Highway : The Solo Recordings,” for the BluesLeaf label.  It is rather a “book-end” follow-up to his critically-acclaimed all-electric affair, “My Own Blues,” from 2012.  This solo set is  thirteen originals that feature only Lloyd on vocals, his acoustic guitar, and occasional harp.

Lloyd’s guitar skills are impeccable, with a rich, deep vocal delivery that really unleashes the power of these songs.  Many of the characters in Lloyd’s songs do indeed seem to be lost, misguided souls who seek inner peace, forgiveness, and redemption.  The hero of the opening title cut has repented from his life of excesses, and is “goin’ down to the station to buy my ticket home.”  It features a brilliant extended fingerpicking solo towards the song’s climax.  “Been Trying” is a sweet, Fifties-inspired ode to our constant struggle to do what’s right.  “World Fallen” is Lloyd’s plea to the Lord for help in coping with life, again with some deep, resonant picking sequences.  “Now is the time To Love” encourages peace and harmony, while the set closes with the inspiration of gathering “down by the Riverside” for one’s ultimate reward.

We had two favorites, too.  “Back Porch” is a unique instrumental that successfully melds the sounds of the Delta with Lloyd’s newfound homeland.  And, as you listen to “Politician,” you’ll see why it would be easier for that proverbial camel to pass thru the eye of a needle than for one of them to make it into the kingdom of Heaven.  Lloyd utilizes a cool, stop-time rhythm pattern and some fine harp as backup.

Lazer Lloyd has expanded his horizons with this fine acoustic set, capturing the feel of the old-time Delta masters.  A consummate musician, writer, and storyteller, his “Lost On The Highway” shows the power one man can wield thru just his guitar and his voice.   Until next time….Sheryl and Don Crow.

 

 

Little Mike And The Tornadoes review…August 7, 2013…

LITTLE MIKE AND THE TORNADOES

FORGIVE ME

ELROB RECORDS  ER 13231

OPELOUSAS RAIN–WAIT A MINUTE BABY–NOTHIN’ I WOULDN’T DO–TELL ME BABY–WALKED ALL THE WAY–FOOL TOO LONG–YOU DON’T LOVE ME–FORGIVE ME BABY–MY LITTLE THERESE–THE HIT–TRAVELING BLUES

 

The blues has always been about the hard times and good times of the working class.  Little Mike and the Tornadoes have always maintained that ethic, as each of the band members are from working-class families and neighborhoods, and many of their fans are those same blue-collar working stiffs that appreciate tough, honest, no-frills blues.

Such is what you will find on their latest album, “Forgive Me,” eleven Little Mike or band originals that keep alive their tradition of good-time blues that they’ve been playing over the last twenty-five or so years.  Yep, this ain’t Little Mike’s first rodeo, by any means.  He played on and produced Pinetop’s  debut for Blind Pig, “After Hours,” back in 1988, and did the same for Hubert Sumlin on “Heart And Soul” a year later.  (Trust us–these two albums, still in print, are classics, and well worth checking out!)

Little Mike handles the harp and vocals, and is backed by Troy Nahumko on guitar, Cam Robb on drums, Chris Brzezicki on bass, Jim McKaba on keys, and Sonny Landreth on lap steel.  They get things started with a breezy, loping instrumental, “Oopelousas Rain,” which gets everyone involved.  Then, a little later, they get downright funky and nasty on “The Hit,” another instrumental that recalls the glory days of the Excello label, so much so that one halfway expects ol’ Slim Harpo himself to jump up and holler, “Baby, scrastch my back” during this one.

“Tell Me Baby” utilizes Sonny Landreth’s considerable slide skills, and Ace Moreland backs up Mike’s vocals on this dance floor burner, reminiscent of Hound Dog Taylor’s best sides.  Mike tells a lover that he’s had it, and been a “Fool Too Long” in this uptempo rocker with fine piano from Jim.  Mike gets into a soulful groove with the help of the horn section and Warren King’s subtle guitar on “Nothin’ I Wouldn’t Do.”

As much as we like Mike and the fellows at their houserockin’ best, our favorite cut was a slow blues.  “My Little Therese” is an eleven-minute, classic slow-burner in the vein of Junior Wells, and it features some serious piano and harp interplay between Mike and Jim, and shows Mike’s deep love for the tradition of the guys he grew up listening to, and he’s obviously havin’ fun throughout this set.

Little Mike And The Tornadoes will always carry the torch for the workin’ man, and will always bring the best in down-home, Chicago-style blues, which is something we can never get enough of!  “Forgive Me” is a sho’ nuff hit from a bona fide blues master!   Until next time…Sheryl and Don Crow

Snarky Dave review…August 3, 2013….

SNARKY DAVE AND THE PRICKLY BLUESMEN

BIG SNARK

SELF-RELEASED

SNARKYDAVE.COM

CAUCASIAN BLUES–BITCHIN’–BIG GIRL–MOTHER AND I–DOGGONE FOOL–PICK IT UP–MIKE SULLY’S BOOGIE–MAKES NO SENSE–CAUCOUSTIC BLUES

When we got this CD for review, we were intrigued by the man who considers himself a “true snarky-ass.”  However, after repeated listenings to his latest CD, “Big Snark,” we found Delaware’s David Brenton to be a thoughtful, crafty songwriter who writes about events in his life as well as the ups and downs of life that the average Joe can relate to.

Davi is also a fantastic singer and picker, with a substantial collection of Taylor guitars, hand-crafted by Bob Taylor.  He’s surrounded by an A-list of backing players, too.  The Prickly Bluesmen are Rick Beck on the B-3, Bobby Barr on bass, Chris Foltz on percussion,  Tony Robinson on drums, and Jay Heath on sax.

The set kicks off with the ‘lectrified licks of “Caucasian Blues,” and tells the tale of “an old guy who is white, sinngin’ blues.”  He’s the middle-aged victim of corporate downsizing, and is left “drinkin’ whisky out of old Mason jars.’  On top of that, his Material Girl up and leaves him when the bucks run out!  This song is reprised in acoustic form to close the set, cleverly done as “Caucoustic Blues.”  For us, we preferred the latter version, simply because there is nothing stronger than a man, his guitar, his voice, and a backing sax to bring the meaning of this song to life.  He does have some snark in him, tho, and it is directed to the powers that be.  In “Makes No Sense,’ Dave cuts loose on all the game-playing and finger-pointing going on in society these days, making the truth impossible to discern.  “Big Girl” has a rockin’ roadhouse feel, and is an ode to those women who are “plump, cuddly, and soft.”  On a related note is another rocker, “Mike Sully’s Boogie,’ dedicated to one of Dave’s  childhood friends, and deals with the nightly “hit it and quit it” scene in virtually every bar anywhere you go.

We had two favorites, too.  Dave gets downright poignant on a song that obviously had a deep, personal meaning to him, trying to explain away a broken home to an inquisitive youngster and make him understand why Mommy won’t be home tonight.  It’s called “Mother And I,” and it might even bring a tear to your eyes.  At the total polar opposite is our other favorite, and it is full of snark.  But, the snark doesn’t come from Dave–it comes from the three females (Tina Werner, Diane Kendrick, and Justine Huey) and they belabor poor Dave on everything he says and does if it’s not to their liking.  This one is a REAL hoot, and damn near every man on this earth can say he’s been in Dave’s shoes.

Dave sings about drinkin’ out of Mason jars, but there’s something down to earth and inherently cool about that.  That’s what you’ll hear from Snarky Dave And The Prickly Bluesmen on “Big Snark”—strong, down-home blues written from the heart and soul!  Until next time….Sheryl and Don Crow.