The Reverend Shawn Amos review…October 18, 2015…

THE REVEREND SHAWN AMOS

LOVES YOU

PUT TOGETHER RECORDS

DAYS OF DEPRESSION (WITH THE BLIND BOYS OF ALABAMA)–BRAND NEW MAN–BOOGIE (WITH MISSY ANDERSEN)–BROTHER’S KEEPER–YOU’RE GONNA MISS ME (WHEN I GET HOME)–JOLIET BOUND–WILL YOU BE MINE–THE OUTLAW–BRIGHT LIGHTS, BIG CITY (WITH MINDI ABAIR)–HOLLYWOOD BLUES–PUT TOGETHER–LAST DAY I’M LOVING YOU

Shawn Amos, indeed an ordained minister with the Universal Life Church, is also the son of Wally Amos (he of Famous Amos cookie fame), and singer Shir-Lee May Ellis.  He’s also one of the premier artists in contemporary blues today.  His latest release, “The Reverend Shawn Amos Loves You,” is as eclectic and diverse as it is entertaining.  There are twelve cuts, ten of them originals, and the set is produced by Mindi Abair, without a doubt the “sax-iest” woman on the planet!

Shawn grew up in the Seventies, surrounded by the Sunset Strip scene,  good, bad, and ugly as it may have been.  Many of the sounds on this album were borne of that era, and Shawn mixes it all together with his unique looks at the blues.

Kicking off is “Days Of Depression,” where Shawn, aided by the Blind Boys Of Alabama, takes a gospel trip down to the pre-WWII deep South, longing to “go where the wind blows” and “go with the Lord.”  Things take a 180-degree turn with the next cut, a slab of JB’s-inspired funk, “Baby gonna make me a Brand New Man.”  That funky vein resurfaces a bit later as Shawn extolls the virtues of a well-proportioned lady, who is sho’ nuff “Put Together!”  Shawn and Missey Andersen give in to their carnal desires, too, over the infectious beat of “Boogie.”

Shawn calls out a no-good lover over the stomping beat of “You’re Gonna Miss Me (When I Get Home), and Mindi adds her sax to a song she and Shawn co-wrote, about life on the “other side of Tinsel Town,” “Hollywood Blues.”

We had two favorites, too.  Shawn and Mindi do a sweet duet on “Bright Lights, Big City,” his harp and her sax blowing in sweet accord.  And, Shawn makes a call for peace, wanting to “chase hate with love” in the poignant “Be My Brother’s Keeper.”

“The Reverend Shawn Amos Loves You,” and offers up twelve good reasons why on this most excellent set!  Until next time..Sheryl and Don Crow, The Nashville Blues Society.

Dave Weld and the Imperial Flames review… October 17, 2015…

DAVE WELD AND THE IMPERIAL FLAMES

SLIP INTO A DREAM

DELMARK RECORDS  DE 842

SLIP INTO A DREAM–SWEET ROCKIN’ SOUL–LOOKING FOR A MAN–TAKE ME BACK–MAY BE RIGHT, MAY BE WRONG–SWEET LOVE (DULCE AMOR)–LOUISE –TREMBLE–WALK ON DOWN–DOROTHY MAE–TOO BAD, SO SAD–20% ALCOHOL–SLIP INTO A DREAM (REPRISE)

Dave Weld is an extraordinarily-talented slide guitar player from Chicago.  His band, The Imperial Flames, have appeared in twenty-six states at last count, and show no signs of slowing down.  In fact, their latest set for Delmark, “Slip Into A Dream,’ is one of their most varied and exciting sets to date!

Dave got bandleader advice and life advice from mentor, J. B. Hutto, himself a Chicago slide legend.  And, when J. B.’s nephews formed Li’l Ed and the Blues Imperials, Dave was a part of it all, on rhythm guitar.  On this set, virtually  all the players get a vocal, and there are several special guests as well.  The set starts with the deep, West-Side flavor of the title cut, with fine duet vocals from Dave’s writing and life partner, Monica Myhre.  She has a lot of fun with the rowdy “Looking For A Man,” and who shows up on harp is none other than Bobby Rush!  There are a couple of rockin’ Fifties-styled cuts, too–the frenetic pace of “Sweet Rockin’ Soul,” and another good one from Monica, “Louise.”  She gets her sultry groove on with the sweet-and-sassy “Walk On Down,” a good slow-blues workout for Dave’s slide as she convinces him to “walk down to Room 293 for some real fun!”  And, Buddy’s son, Greg Guy, adds guitar on a tale of love gone waaay wrong, “Too Bad, So Sad.”

We had two favorites, too.  Bobby’s on harp again as Dave pays tribute to “uncle J. B.” on the set’s sole cover, the raucous “20% Alcohol.”  And, “May Be Right, May Be Wrong” is a fine, blue-collar, stop-time tale of Dave “workin’ hard all day long, just to get back to you!”

How far back do we go with Dave Weld?  Well, on Friday night,  June 17, 1994, O. J. Simpson was all over the news with that “freeway chase,” but all the cool kids  were at the Boardwalk Cafe in South Nashville to see Li’l Ed And The Blues Imperials, and Dave was on rhythm that night.  Still strokin’, Dave is back and better than ever with “Slip Into A Dream!”  Until next time…Sheryl and Don Crow.

Sam Butler review…October 16, 2015…

SAM BUTLER

RAISE YOUR HANDS!

SEVERN RECORDS  CD 0066

Sam Butler has worked as the guitarist for  acclaimed gospel group The Blind Boys Of Alabama for over twenty years, literally learning at the feet of his father, Samuel Butler, Sr., as a child.  Producer Brian Brinkerhoff wanted to expose Sam to a broader audience by releasing an album of Sam’s guitar stylings on spiritually-themed songs written by predominantly-secular artists.  The splendid result is his latest release for Severn Records, “Raise Your Hands!”  Sam plays twelve cuts from writers such as Johnny Cash, Van Morrison, Bruce Springsteen, and several others.

Joining Sam are lap steel master Roosevelt Collier, bassist Viktor Kraus, and drummer Marco Giovino.  Sam’s guitar tone is pure and strong throughout, breathing life into this gospel-inflected material.  Check out the rolling riff that drives the leadoff cut, Springsteen’s tale of Biblical miracles spelled out in “Heaven’s Wall.”  Brothers Maurice and Robin Gibb wrote the next cut, as Sam exhorts that “you can believe what you wanna–I’m gonna believe in The Lord.”

Several of the cuts have a decidedly-bluesy feel to them.  Roosevelt’s lap steel adds to the vibe of a cool Tom Waits song, where “there ain’t no smokers on this Gospel Train,” and “there’s never a sign that says No Vacancies Any More at God’s Hotel,” from Nick Cave.

Sam’s love for contemporary gospel is on full display thru more traditional cuts such as Curtis Mayfield’s “Wherever You Leadeth, I will follow,” and he closes the set with the quiet solitude of “Sanctuary,” where, no matter what, “Thou art with me.”

We had two favorites, too.  Sam gives a subdued, reverential vocal read of Clapton’s “Presence Of The Lord,” before it gives way to its bombastic, Armageddon-like instrumental climax.  And, another bluesy cut is the story of that last ride, the one taken in that “Long Black Cadillac,” where Sam recounts his life as “God’s messenger,” who “sings to ease pain.”

No amount of accolades can begin to express the contributions Sam Butler has made to the field of gospel music.  If your soul is in need of some musical manna, “Raise Your Hands!” is filling fare, indeed!  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

Little Boys Blue review…October 15, 2015…

LITTLE BOYS BLUE

BAD LOVE

JAXON RECORDS

BAD LOVE–SHE PUT ME DOWN–TREAT ME LIKE YOU USED TO DO–DEATH LETTER BLUES–FORGET THESE BLUES–HOWLING AT YOUR DOOR–CAJUN GIRL–YOU AND I–GO BACK HOME–AIN’T NO USE IN CRYING–CAN’T BE SATISFIED

Little Boys Blue were formed back in 1993, by lead vocalist and harp man J. D. Taylor, and guitarist Steve Patterson.  They have played all the major festivals, and finished third in the 1997 IBC.  Their third album, recorded in Jackson, TN, for Jimmy Exum’s Jaxon label, is entitled “Bad Love,” a cool collection of nine originals and two covers that combine blues, Sun rockabilly, soul, and good ole roots-rock.  Fans, if you like your blues fueled by solid harp and killer guitar, it just don’t get much better than this!

The party starts with the minor-key title tune, as J. D. laments that “two and two is four, but somethin’ just don’t add up,” as he knows his lover is two-timin’ him.  A sweet horn section punctuates “why don’t you Treat Me Like You Used To Do,” and shows up again on the soulful strut of “You And I.”  Both of these have that good ole Delbert feel to them.   The covers are mighty impressive, too.  Known for their incendiary live shows, the fellows present a great read of Son House’s “Death Letter Blues,” as J. D.’s harp and Steve’s slide add the deep feeling to those lyrics of “takin’ that girl down to the burying ground.”  And, the set closes with one of Muddy’s classics, as they give a country-blues feel to “Can’t Be Satisfied,” differing somewhat in this version thanks to drummer Mark Brooks driving a freight train beat throughout.

We had two favorites, too.  A swingin’ shuffle with fine B-3 from Dave Thomas has J. D. singing that he did all he could do to please his woman, but, still, “She Put Me Down.”  And, the fellows break it on down with some deep, pulsating slow blues in the form of “Ain’t No Use In Crying,” where J. D. confronts his cheatin’ lover.  This one has all the players giving impeccable solos with cool call-and-response interplay.

Little Boys Blue are another great reason why the South is sho’ nuff the sweet homeland of the blues.  We had a lot of fun listening to “Bad Love,” and we know the fans will, too!  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

The Beat Daddys review…October 13, 2015…

THE BEAT DADDYS

HOODOO THAT WE DO

MELROSE HILL RECORDS  MHR 001

THESE CHAINS–SORRY–YOU MADE ME CRY–THE MOMENT–PIE OR CAKE–HOODOO WOMAN–D. U. I LOVE–BEEN THINKIN’–LUCK’S GOT TO CHANGE–THE BLUES CAN HEAL YA–I NEED A WOMAN

The Beat Daddys consist of core members Larry Grisham (a relative of Merle Travis) and Tommy Stillwell.  As childhood friends, they bonded over their love of music and started this band in 1986.  Early on, they recorded under the Malaco/Waldoxy umbrella, but creative differences led to their dissolution, and both parties moved south.  Larry Grisham ended up in the Gulf Coast region, and the aftermath of Hurricane Katrina led to both men reconnecting as a band.  Their creative fires spiked, and the result is their latest set, “Hoodoo That We Do.”

The liner notes indicate that this CD was recorded at the Twin Lakes Sound Studios in Owensboro, KY, but, fans, for all intents and purposes, it could’ve easily been done at midnight on the last full moon down at the intersection of Mississippi highways 61 and 49.  Yep, this one is full of dark, brooding, pounding,  grooves that would make Robert Johnson proud.

Fueled by Larry’s vocals and harp, and Tommy’s crying guitars, this one is a Delta-fied blues lover’s dream.  Creaking chains kick things off, as Larry is begging for redemption “down at the river” because “These Chains are killing me,” with Tommy’s hellhound slide adding to the Crossroads vibe.  A no-good lover has Larry telling her “You Made Me Cry in the morning, you drove me crazy every night,” before finally giving up on her.  That vibe continues with the minor-key ode to a man who’s finally “over” her, “The Moment.”  It features fine organ from Patrick Preston, also.

We had three favorites, too.  Larry gets stopped by the cops, and admits that “I was driving under the influence of love,” aptly-titled “D. U. I. Love.”  A raucous, stop-time romper is “Pie Or Cake,” as Larry’s harp gets a workout as he spins the tale of the “skills” of his latest lover!  And, another upbeat shuffle is done in tribute to B. B., where the fellows make a statement that is sho’ nuff true–“The Blues Can Heal Ya!”

The Beat Daddys sum it all up by saying, “sometimes, you have to step outside yourself to see who you really are.”  That’s a great lyric, and it fits these guys perfectly–fate brought ’em back together, and “Hoodoo That We Do” is the fine result!  Until next time…Sheryl and Don Crow.

The Jimmys review…October 12, 2015….

THE JIMMYS

HOT DISH

BROWN COW PRODUCTIONS  BCP 003

LOSE THAT WOMAN–YOU SAY YOU WILL–FREIGHT TRAIN–I WONDER–FUNK SCHWAY–WHAT GIVES–JACQUI JUICE–WHAT CHUR DOIN–WRECKING BALL–SADDEST MAN–WHAT MY BABY WANTS–SHE’S WILD–FREIGHT TRAIN (REPRISE)

Vocalist and keyboard Jimmy Voegeli (think “vaguely”), heads up Wisconsin-based swing/jump-blues band The Jimmys, and, on their latest release they serve up a sho’ nuff “Hot Dish.”  Thirteen originals built around a cool “big band” sound, it is no wonder these guys are so popular in clubs and at festivals.  They have a unique, R & B-driven, jump-blues attack that gets your feet movin’ at the drop of a note!

Check out the Ray Charles-inspired rhumba of the leadoff “I got to Lose That Woman before I lose my mind,” with killer piano from Jimmy.  “Freight Train” details a man who just can’t seem to get things right with a lover, set over a greasy Memphis groove.  The reprise of this tune that closes the set features a bit more extended jamming from the band.  Peterson Ross’ clarinet gives a ragtime feel to “What My Baby Wants, she gets,” while “What Chur Doin’ details a lover who “ain’t doin’ nothin’ for me,” set over a stone funky backbeat.  There are two very danceable instrumentals, too.  “Jacqui Juice” and “Funk Schway” (think “Feng Shui!”) positively drip with the same soul you’d find down at 926 E. McLemore in Memphis.

We had two favorites, too.  With its guitar work and rolling horn arrangement, “I Wonder” has Jimmy pondering his choice in a lover, who “takes my money, and takes my soul.”  And, “She’s Wild” is as frenetic as any of Little Richard’s Specialty sides, and is the tale of a girl who’s truly  a “real wild child!”

The Jimmys have won numerous Wisconsin-area awards, and never fail to bring the heat wherever they play.  Roll back the rug and dance ’til you drop whilst diggin’ this “Hot Dish!”  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

Angels Sing The Blues review….October 10, 2015…

LIZ MANDEVILLE, MARY LANE, SHIRLEY JOHNSON,

WITH JOHNNY DRUMMER AND THE STARLITERS

ANGELS SING THE BLUES

EARWIG MUSIC CD  4972

A REAL MOTHER FOR YA–COLD WOMEN WITH WARM HEARTS–GONNA SELL MY CADILLAC AND BUY MYSELF A MULE–BORN IN THE DELTA–GET YOUR LOVIN’ WHERE YOU SPEND YOUR TIME–JUST AS GROWN AS YOU–RIDE IN YOUR AUTOMOBILE–ROCKIN’ IN THE JUKE JOINT–I’M GOING TO FIND ME A LOVER–UNCHAIN MY HEART–PLEASE DON’T MESS WITH MY MAN–JOHNNY DRUMMER INTRODUCES LIZ MANDEVILLE–USE WHAT YOU GOT–JUST WANT TO MAKE LOVE TO YOU–ANGEL FROM MONTGOMERY–OH PLEASE DON’T KILL US–RUN A RED LIGHT

A live recording from 2007 in the Taste Entertainment Center in Chicago mixed in with some cool studio tracks make up Earwig Music’s latest release, “Angels Sing The Blues.”  It is done up just like an old-school R & B revue, and shows off the talents of some of the most soulful women in all of blues.  There’s Shirley Johnson, Mary Lane, and Liz Mandeville, with Johnny Drummer leading the Starliters backing band.

The set starts the same way those good ole “package shows” used to–with a couple of cool jams from the band to get everyone in the mood.  Al “Guitar” Short kicks off with “A Real Mother For You,” followed by “Cold Women With Warm Hearts” from Danny O’ Connor.  Johnny Drummer is up next, to tell us that “I’m gonna sell my Cadillac, and buy myself a mule” to save money, and comes back with a strong, emotion-packed autobiography, “Born In The Delta.”

The women come out strutting, and hittin’ with their best shots.  Mary Lane shines on “Ride In Your Automobile,” and closes the set with a funky original co-written by Jeff Labon, “Run A Red Light.”  Shirley Johnson steps up and grabs the audience with a rousing “Unchain My Heart,” and then slows things down for a hilariously-risque’ tale of “the differences between a husband an a man,” “Please Don’t Mess With My Man.”

Liz Mandeville has a lot of fun, too, with a sultry, harp-fueled medley of “Just Want To Make Love To You/Hoochie Coochie Woman,” and one of our favorites, a “shout-out to all the fellows in the house,” as she bumps and grinds thru the Chicago blues classic, “You got to Use What You Got to please your man!”  Our other favorite combined the talents of all three ladies, as each traded verses on a soulful rendition of John Prine’s “Angel From Montgomery.”

“Angels Sing The Blues” brings together three queens of the blues.  Mary Lane, Shirley Johnson, and Liz Mandeville testify and tell it like it is on this fine, fine set!  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

D. L. Duncan review…October 9, 2015…

D. L. DUNCAN

D. L. DUNCAN

15 SOUTH RECORDS

I AIN’T THE SHARPEST MARBLE–DICKERSON ROAD–YOU JUST DON’T NEVER KNOW–YOUR OWN BEST FRIEND–I KNOW A GOOD THING–SENDING ME ANGELS–ORANGE BEACH BLUES–ST. VALENTINES DAY BLUES–SWEET MAGNOLIA LOVE–ALL I HAVE TO OFFER YOU IS LOVE

To borrow from the Bard–you know, that ol’ boy that lived down at Stratford-on-Avon–a Duncan by any other name would rock just as hard.  So, whether you know him under his current moniker, D. L., or Dave, as we’ve known him for some twenty years, he’s still one of the best bluesmen on the planet.

His latest set for 15 South Records is self-titled, “D. L. Duncan.”  Ten originals either written in whole or in part by D. L., this set is full of his blistering guitar work and lyrics that will make you laugh, make you cry, and most assuredly make you think, often over the course of a single song.  He looks at life and how to cope thru the eyes of all of us, and that’s what makes him special.

There are great musicians backing D. L. on this one, too.  David Hood is on bass, Vince Santoro and Lynn Williams are on drums and percussion, Kevin McKendree is on keys, Sonny Landreth is on slide guitar, Guthrie Trapp is on electric guitar and mandolin, David Pinkston is on pedal steel, and the guy that showed John Lennon how to blow a harp, ol’ Delbert hisself, is on harp.

Kicking off, Dave tells the story of a classic underachiever—“if you’re lookin’ for a man with ambition, might as well count me out, ’cause I ain’t the sharpest marble in the drawer!  Sonny’s slide and Delbert’s harp add a visceral backdrop to D. L.’s tribute to B. B. King, “You Just Don’t Never Know.”  D. L, “said goodbye to my ex-wife” and moved to “L. A.” (that’s Lower Alabama to those uninitiated) “to play these Orange Beach Blues.”  That smooth groove rocks steady on another good one, the breezy ode to youth and its passions, full of that “Sweet Magnolia Love.”

We had two favorites, too.  “I Know A Good Thing” has cool slide guitar over a percussive, stompin’, Hill Country beat, as D. L. sings of the virtues of his lover, “a mighty fine woman and a real bad girl!”  And, the minor-key ode to life in one of the rough-and-tumble areas of North Nashville is “Dickerson Road,” where “life is cold, and there ain’t no silver and there ain’t no gold.”

If you asked D. L. about his career as a bluesman, he’d probably look you in the eye and say, “I don’t know if it’s true, but it happened to me!”  Still bluesin’ after all these years, “D. L. Duncan” is dedicated to the late, iconic sax man, Dennis Taylor.  D. L., we love you, brother!  until next time…Sheryl and Don Crow, The Nashville Blues Society.

Reverend Freakchild review…October 8, 2015…

REVEREND FREAKCHILD

HILLBILLY ZEN-PUNK BLUES

TREATED AND RELEASED RECORDS  TR 006

ALL I GOT IS NOW–ANGEL$ OF MERCY–IT’S GONNA BE ALRIGHT–KEEP ON TRUCKING–LULLABY–MOONLIGHT MESSAGES–SHE WANTS MY NAME–SOUL TRANSFORMING REALIZATION–TEARS OF FIRE–WISH I WAS IN HEAVEN SITTING DOWN

Whether Reverend Freakchild is ordained or not, he has a firm grasp on vintage pre-war blues masters mixed with today’s contemporary sounds.  His latest set, “Hillbilly Zen-Punk Blues,” is ten cuts of traditional-sounding blues mixed with a touch of jam-band sensibility and the Reverend’s philosophical looks at life.

Reverend Freakchild is on vocals and guitars, with Hugh Pool on harp and lap steel, and Chris Parker on drums.  His life mantra is chronicled in the leadoff cut, which offers sage advice over a Zen-like, trippy guitar, where we realize we should yield to the present, because “yesterday is history, and tomorrow is a mystery, and All I Got Is Now.”

The Reverend covers another famous Reverend, Gary Davis, with “It’s Gonna Be Alright,” the gospel backing chorus courtesy of Hugh Pool and John Ragusa (appearing as Mulebone).  They add more vocals on “Keep On Trucking,” as the Reverend gives a shout-out to the Dead with his mention of “the doo-dah man!”

There are three cool instrumentals herein, also.  There’s the harp-driven “Angel$ Of Mercy,” the ethereal “Lullaby,” and a stone-country-blues-meets-the-Allmans jam, “Soul Transforming Revitalization.”  The set closes with our favorite, as the Reverend gets in a North Mississippi Hill Country mood with a spooky, slide-fueled “I Wish I Was In Heaven Sitting Down.”

The Reverend Freakchild takers listeners on a fine trip down to the Delta, infused with terrific gospel overtones done with a jam-band soul.  Getcha some “Hillbilly Zen-Punk Blues” today!  Until next time…Sheryl and Don Crow.

Andy Hackbarth review…October 7, 2015…

ANDY HACKBARTH

PANORAMA MOTEL

SELF-RELEASED

MOUNTAINS–ISN’T THAT ENOUGH–DON’T SAY–STEAL YOU AWAY–PANORAMA MOTEL–WHAT I’M DOING HERE—OCEANS

Andy Hackbarth was raised in the Colorado Rockies region, and his earliest influences leaned toward traditional folk and classical music.  He studied classical guitar at the Aspen Music School, and has used his skills and knowledge of folk to experiment with electrified folk music.  The result is his latest set, “Panorama Motel,” a seven-cut affair that shows his versatility as a writer and musician.

Adding to the mix is the fact that these cuts were written following a difficult break-up, and one can feel what he was going through as you listen.  Andy is on vocals, guitar, and keys, and uses dobro, violin, and upright bass from other band members to achieve the desired sounds.

As with most relationships, this one starts out full of youthful passion and eternal hope, and the opening cut finds Andy’s “got the Mountains, and I got the girl” for a cool weekend getaway.  He continues in this vein with “I good a good, pretty woman by my side,” and “Isn’t That Enough.”  The first sign that things are about to falter is when Andy begs of her, “Don’t Say you’re running down a dead-end road with me.”

Pretty soon, he’s got a room down at the “Panorama Motel,” and is “missing you like Hell.”  Seems that his only friends are “the whores in the hall” and “this ole guitar,” which breaks off a lengthy, snarling solo at the bridge.  The set closes with the shimmering, haunting “Oceans,” punctuated by unique, multi-layered vocals and sparse instrumentation.

Sometimes it takes some pain to spawn a period of fine creativity from an artist.  Such is the case with Andy Hackbarth down at the “Panorama Motel.”  Until next time…Sheryl and Don Crow, The Nashville Blues Society.