John Long review…May 19, 2016….

JOHN LONG

STAND YOUR GROUND

DELTA GROOVE MUSIC  DGPCD  173

BABY PLEASE SET A DATE–RED HAWK–THINGS CAN’T BE DOWN ALWAYS–STAND YOUR GROUND–WELCOME MAT–NO FLOWERS FOR ME–ONE EARTH, MANY COLORS–HEALIN’ TOUCH–I KNOW HIS BLOOD CAN MAKE ME WHOLE–MOP, BUCKET, AND A BROOM–CLIMBING HIGH MOUNTAINS–PRECIOUS LORD, TAKE MY HAND–SUITCASE STOMP

Born in 1950 in St. Louis, John Long was influenced by his brother, Claude, already an established blues guitar player.  John soon followed in his brother’s footsteps and took his guitar and headed to Chicago in the Seventies.  There, he was mentored by Homesick James (Williamson) and enamored by Muddy.   Fast-forward to 2006, when John Long was nominated for a Blues Award for his first Delta Groove release, “Lost And Found.”  The oft-reclusive and vastly-under-recorded Long returns on May 20 with “Stand Your Ground,” an album of eight originals and five covers that show why many revere Long as a “national treasure.”

In the traditions of Son House, Bukka White, and the ole deal-maker himself, Robert Johnson, Long’s playing and singing evokes memories of the legends while forging a sound that is pleasantly and uniquely his own.  For this set, he bends the rules slightly, using an amplified acoustic as well as a wooden Resonator.  Bill Stuve is on bass for five cuts, as is Fred Kaplan on piano, and jazz drummer Washington Rucker.  That amplified action leads off, with that unmistakable riff that rides over “Baby Please Set A Date,” with Rucker’s trademark brush-stroked drums and Kaplan’s barrelhouse piano adding the flavor.

John takes a tough stance with some low-down, dirty women, too.  He busts out the neck-rack harp on “Tings Can’t Be Down Always,” and warns another one that she’s “on thin ice” after “she took advantage of my kindness,” titled “Welcome Mat.”  The title cut, done in a modified rhumba pattern, reminds us that “when the Devil comes ’round in sheep’s clothing,” always “Stand Your Ground.”  John begs those who love him not to buy “No Flowers For Me when I’m gone,” but, rather, donate to find a cure for Parkinson’s disease.

As good as John Long is as a blues player, we loved his gospel tunes.  That Resonator slide tells the story of a lost soul “touching the hem of His garment, and I Know His Blood Can Make Me Whole.”  Poignant harp lines and Rucker’s brush work paint the whole picture as John begs, “Precious Lord, Take My Hand,” and, our favorite, takes a  look at the state of the world today, pleading for us to “open up your heart and mind” and realize there’s “One Earth, Many Colors, one humankind.”

This music is timeless, and John Long is a staunch purveyor in the preservation of classic, pre-WWII blues in the style in which they were originally written and meant to be heard.  “Stand Your Ground” shows just what a powerful player he is, and this set is highly recommended!  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

Clint Morgan review…May 17, 2016….

CLINT MORGAN

SCOFFLAW

LOST CAUSE RECORDS  LC130

THIS LITTLE LIGHT OF MINE–WACO–WILD ONE–I GOT A GUN–I DON’T KNOW WHERE TO TURN (WITH DIUNNA GREENLEAF)–EASTHAM FARM (WITH DIUNNA GREENLEAF)–D. B. COOPER BLUES–I LOVE ROBBING BANKS–BAD MAN BLUES–THIEF IN THE NIGHT–WANTED MAN–THE FACE IN THE MIRROR–A SACKFUL OF CASH–SEND ME TO THE ‘LECTRIC CHAIR (WITH DIUNNA GREENLEAF)–SOFTLY AND TENDERLY JESUS IS CALLING (WITH MARIA MULDAUR)–I REMEMBERED YOU–I DONE MADE UP MY MIND (WITH MARIA MULDAUR)–THIS LITTLE LIGHT OF MINE–I GOT A GUN (ALTERNATE TAKE)

Clint Morgan is an accomplished pianist/vocalist/composer from Washington state, whose day job is as an attorney.  Undoubtedly, he’s seen his share of lawbreakers, and his latest album, aptly-titled “Scofflaw,” uses music to take a look at what makes these folks turn bad.  The cuts range from blues to folk to gospel, and Clint brings in some stellar players to round out this set.  They include Kenny Vaughn on guitar, Dave Roe on bass, and guest vocals from Diunna Greenleaf and Maria Muldaur.

We divided the set into four parts–the first part deals with the Old West outlaws, the second with the Depression-Era baddies, and the third with those of the modern day.  The fourth division features a couple of gospel tunes, as these desperate men seek salvation before Judgement Day.  The set begins with Clint’s ominous original, “Waco,” and “bein’ baptized in that muddy water.”  Fiddle from Jonathan Yudkins adds fire to the story of a man who puts a “.44 slug in the gut” of his boss, “I Got A Gun.”  Jim Hoke is on the harp on a swingin’ duet with Diunna Greenleaf, “I Don’t Know Where To Turn,” and all return on the next cut, a mournful ode to “five long years on Eastham Farm.”

One can easily picture John Dillinger driving down the road from job to job singing the Berry-fied punch of “I Love Robbing Banks!”  Clint gives a classic, droning read of Dylan’s “Wanted Man,” with stripped-down, echo-effect vocals and hand claps.  The set closes with a gospel intonation, featuring a sweet duet of redemption with Maria Muldaur on “Softly And Tenderly Jesus Is Calling.”

We had two favorites, too.  Diunna plays the lover who gets her throat cut, as both she and Clint plea for the judge to “Send Me To The “Lectric Chair.”  Hoke’s clarinet gives this morbidly-humorous Bessie Smith chestnut a ragtime feel.  And, Clint reworks the Blue Yodeler’s “California Blues” as the story of the hijacking parachutist who’s never been found, “D. B. Cooper Blues.”

Clint Morgan, thru the material contained in “Scofflaw,” looks at the psyche’ of the American criminal and makes a strong musical case for why they do what they do.  Excellent musicianship makes this one blues history lesson we know you’ll enjoy!  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

 

Janiva Magness review…May 15, 2016…

JANIVA MAGNESS

LOVE WINS AGAIN

BLUE ELAN’ RECORDS BER 1017

LOVE WINS AGAIN–REAL SLOW–WHEN YOU HOLD ME–SAY YOU WILL–DOORWAY–MOTH TO A FLAME–YOUR HOUSE IS BURNIN’–JUST ANOTHER LESSON–RAIN DOWN–LONG AS I CAN SEE THE LIGHT–WHO WILL COME FOR ME

Take just a moment to savor these stats—a seven-time Blues Music Award winner, five of ’em for Best Contemporary Female Blues Artist, and one of them is the biggest prize of all–Entertainer of the Year, only the second female to bring it home.    Of course, we are talking about Janiva Magness, possessor of one of the most powerful, evocative voices in all of contemporary blues.  She has just released her latest set, “Love Wins Again,” and that voice rings out the truth on ten originals and one dynamite cover.

This set marks her fifth collaboration with producer Dave Darling, and he takes her performances to new heights throughout these cuts, and love in all its glories and many permutations is the underlying theme.  After a long day, where it seems as if time goes at breakneck speed,  Janiva appreciates that special lover who’ll “take your time, Real Slow,” and, especially, “When You Hold Me it makes everything feel right.”  Both of these utilize a horn section, adding to the overall seductiveness Janiva brings to the table.

Acoustic guitar adds to the story of redemption in a relationship, as Janiva vows to “stand in your Doorway until all the fear is gone.”  A punchy, James Brown-ish horn arrangement lights the gospel fire beneath “Your House Is Burnin,” as she warns us all to “get to work, before it’s too late” to make the world a better place.

The set closes with our two favorites.  Janiva turns in an exemplary read of John Fogerty’s tale of that ol’ “travelin’ bone,” “Long As I Can See The Light.”  Then, she gives a bittersweet read into a poignant glimpse of our own mortality, as she ponders, “when all my youth is spent/I can’t see where it went/Who Will Come For Me?”

“Love Wins Again” further solidifies Janiva Magness as the standard-bearer for female vocalists in contemporary blues.  Her voice is as strong as ever, and these songs are sure to soothe your spirit and satisfy your soul!  Until next time…Sheryl and Don Crow.

The Hitman Blues Band review…May 12, 2016…

THE HITMAN BLUES BAND

THE WORLD MOVES ON

NERUS RECORDS  NR 4491

BAD BAD MAN–THAT’S WHAT IT’S LIKE TO BE A MAN–DON’T YOU TEMPT ME–MOVING ON–TWO-MINUTE WARNING–THE WORLD MOVES ON–HAMMER DOWN–TWO TRAINS RUNNING–CATCH-22 BLUES–ANGEL IN THE SHADOWS–JENNY GOODBYE–I’M ALL ABOUT YOU–HOOCHIE COOCHIE MAN

The Hitman Blues Band, based out of New York, play what they like to call “modern blues,” and they certainly do come at you with an abundance of energy.  We particularly like the way they meld the traditional sounds of the Delta with the uptown Stax sound thru the addition of a horn section.

That’s the story on their latest set, “The World Moves On.”  Russell “Hitman” Alexander is on guitar (a monster slide man, indeed!) and vocals, and wrote or co-wrote all the cuts ‘cept one.  Five tunes are originals that have been remixed and remastered, and now feature the Hitnan Horns.  “Bad Bad Man” leads off, with the Hitman’s hellhound slide hammereing out the blues ’bout a man with a lifetime of poor choices following him.  “Moving On” features drums from Bernard “Pretty” Purdie and a fine keys solo from Bobby Forrester.

Hitman takes a few unique looks at love and coping with and without it.  The minor-key story of a sad affair on the skids has just reached the “Two-Minute Warning before goodbye.”  The horns give this one a vintage soul feel, and do so again on the poignant look at the ultimate loss, where “The World Moves On, but my center is gone.”

There are timely touches of humor, too, to balance things out.  Hitman uses the analogies of chocolate, champagne, and even a mattress to describe to all the ladies just “What It’s Like To Be A Man,” on this slyly-sexy midtempo groover.  And, a man who dreams of being with a lover involved with another man is the twisted tale of those “Catch-22 Blues,” featuring a cool touch of jazz, courtesy of Ray Alexander on the vibes!

Our favorite was a chooglin’ harp-fueled (from Neil Alexander) endless-boogie journey straight down to the corner of Mississippi Hwy. 49 and 61.  It’s called “Two Trains Running,” and, just like Robert Johnson, you KNOW what’s gonna happen–one train “pulls into the station, the other ain’t never comin’ back.”  Which one will YOU be on?

The Hitman Blues Band has brought the blues into the 21ST Century by combining its base elements that are most appealing to the fans–the Delta-meets-Stax sound is alive and well on “The World Moves On.”  Until next time…Sheryl and Don Crow.

Gus Spenos review…May 12, 2016…

GUS SPENOS

IF YOU WERE GOLD BABY

SELF-RELEASED

IF YOU WERE GOLD, BABY–IVY LEAGUE–I WANT YOUR LOVING–CAN’T HELP MYSELF–TEQUILA–WALKIN WITH MR LEE–CRY HARD LUCK–ROCK WITH IT BABY–MONEY’S GETTIN’ CHEAPER–STRICTLY CASH–96 POUNDS–GIN GIN GIN–HOT BOX

Gus Spenos is a killer sax man who fronts a monster big band outta the Indianapolis area.  He’s one of those guys that has a velvety-smooth vocal delivery  reminiscent of Louis Jordan and Louis Prima.  His outfit plays a mean potion of jump-blues and boogie woogie, and he’s rarin’ to go with the May 20 release of his debut, “If You Were Gold, Baby.”  It’s a sweet mix of originals and covers all done in that swingin’ style tailor-made for the dance floor.

That;s another one of the many cool things about this set.  Award-winning trombonist Wycliffe Gordon handles most of the horn arrangements,, and gives everyone ample room to stretch out a little on every cut.  Leading off is the blues-driven title cut, where, “If You Were Gold, Baby, I’d never trade you in for money!”  Guest vocalist Charanee Wade duets with Gus on “that crazy way of lovin,” Jimmy Preston’s “Rock With It Baby!”

The instrumentals are just as much fun.  Everyone gets a solo in “Tequila,” and Brandon McCune adds some mighty tasty keys work on “Ivy League.”

We had a spate of favorites.  Gus and his sax lead the charge on the R & B classic, “Walkin’ With Mr. Lee,” with great call-and-response from Brandon on the keys.  The rarely-heard Jimmy “T-99” Nelson chestnut, “Cry Hard Luck,” gets a jumpin’ treatment here, talkin’ about “ridin’ in my brand-new Oldsmobile!!”  And, we’ve always loved Jimmy Witherspoon’s humorous tale of hard times everywhere, “Money’s Gettin’ Cheaper,” with a fine guitar solo from Brad Williams and another one from Brandon on keys.

When he’s not blowin’ his @@@ off on the bandstand, Gus Spenos improves the quality of life for many, many others, as he is a top Indianapolis neurologist.  He and his band sho’ nuff bring the heat on “If You Were Gold, Baby,” and, when you listen, be prepared to dance!!  Until next time…Sheryl and Don Crow.

The Mike Eldred Trio review…May 10, 2016…

THE MIKE ELDRED TRIO

BAPTIST TOWN

GREAT WESTERN RECORDING COMPANY  GWRC 001

HUNDER DOLLAR BILL–PAPA LEGBA–SOMEBODY BEEN RUNNIN–RUN DEVIL RUN–ROADSIDE SHRINE–BESS–BLACK ANNIE–HOODOO MAN–SUGAR SHAKE–KILL MY WOMAN–BAPTIST TOWN–CAN’T BUY ME LOVE–YOU’RE ALWAYS THERE

While on a road trip with his daughter thru the South, bluesman Mike Eldred was searching for the grave of Robert Johnson near Greenwood, MS, and sought the place where that last deal went down.  Surrounded by the myths and truths that go along with that region, his creative juices began to flow, and the result is “Baptist Town,” a collection of originals and one cover that take the listener along for that journey where characters like Black Annie and the Hoodoo Man and their ghosts are everywhere.

This set was recorded at 706 Union in Memphis, at the legendary Sun Studios.  Mike recalls in the liner notes that “Howlin’ Wolf stood here,” and that mystical vibe permeates these grooves.  Mike is on guitar and vocals, with one-half of The Blasters on rhythm—John Bazz on bass, and Jerry Angel on drums.

This set covers everything fans expect from the blues.  There’s the constant pull of good vs. evil, illicit love, lust, greed, and murder.  There are also samples of what really puts the “blue” in the blues—poverty, racism, and hate.  This becomes a great history lesson about Baptist Town, which still exists today, and is the alleged place where that last fair deal went down.

Starting off is the freight-train boogie of “Hunder Dollar Bill,” and its tale of “gittin’ lit up with plenty of money and a night to kill.”  “Somebody Been Runnin” is done field-holler style, with hand claps and foot stomps, to convey the moral lesson that “you can’t run from the dealings that you made.”  “Bess” is a gospel-styled tribute to Bessie Smith, with David Hidalgo on accordion and backing vocals.  John Mayer adds lap steel on the quiet, even pastoral, story of memories noted only by a “Roadside Shrine.”  The set closes with a unique, stripped-down version of The Beatles’ “Can’t Buy Me Love,” and then a flat-out Sunday morning plea for salvation, as we all “go to church” on “Lord, You’re Always There.”

Our favorite was the title cut.  Robert Cray adds guitar on the poignant tale of “Baptist Town,” a dead-end place where “The Devil made a home at the corner of Anger and Fear.”

The blues is as much about one’s favorite myths as well as the true stories of hard times and good times.  The Mike Eldred Trio captured it all thru the grooves of “Baptist Town.”  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

Albert Castiglia review…May 4th, 2016…

ALBERT CASTIGLIA

BIG DOG

RUF RECORDS 1233

LET THE BIG DOG EAT–DON’T LET THEM FOOL YOU–GET YOUR ASS IN THE VAN–DROWNING AT THE BOTTOM–LET’S MAKE LOVE IN THE MORNING–WHAT I LIKE ABOUT MIAMI–EASY DISTANCE–WHERE DID I GO WRONG–WHERE THE DEVIL MAKES HIS DEALS–WHAT THE HELL WAS I THINKING–SOMEHOW

New York-born and Miami-raised bluesman Albert Castiglia got his first big break playing guitar in Junior Wells’ band in the Nineties.  He honed his craft alongside the master, and has five albums of his own on his resume’.  On his latest set for Ruf Records, “Big Dog,” Albert makes the record he’s always wanted to make.  It’s raw, powerful, punch-in-the-soul blues, and follows Albert’s credo of his live shows of going all in on the bandstand  every night.

This one is full of roadhouse boogie shuffles, both original songs and covers, and a few unique cuts that show a more poignant side of Albert.  But, the boogie woogie rolls all over this one, starting off with the title cut, as Albert comes out with six strings blazing to “Let The Big Dog Eat!”  Fellows, be wary of women with agendas, those who’ll “love you all night long, then do you wrong,” “Don’t Let Them Fool You.”  Mike Zito, also the set’s producer, is on second guitar here, and makes it a wall-to-wall scorcher.

Albert gets down to some serious slow blues on the sad story of a lover who turns to alcohol for solace, “Drowning At The Bottom,” written by Luther Allison and James Solberg.  Another killer slow blues features harp from Jumpin’ Johnny Sansone and piano from Lewis Stephens over Albert’s slashing lead lines and stop-time vocals on “Where Did I Go Wrong.”  He closes the set with a socially-conscious cut co-written by Cyril Neville.  “Somehow”  asks society to take a long look in the mirror when it comes to the plight of the poor and homeless, looking for us all to “spread a little more love seeds.”

We had two favorites, too, both at opposite ends of the Crossroads.  First up is Albert’s ode to the road, the Elmore James-inspired slidin’ boogie of “Get Your Ass In The Van,” because playing the blues “ain’t no American Idol.”  And, a downright spooky tale co-written by Graham Wood Drout is the story of ole Bloodshot Red, who “sings the blues on Tuesdays in a bar in Mobile,” after goin’ down to that place “Where The Devil Makes His Deals!”

“Big Dog” is perhaps Albert Castiglia’s best, most well-rounded set thus far.  He and Zito and the other musicians involved got in that proverbial “zone” and have turned out one sho’ nuff sweet set of contemporary blues!  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

John Mayall review…May 3, 2016…

JOHN MAYALL’S BLUESBREAKERS

LIVE IN 1967–VOLUME 2

FORTY BELOW RECORDS  FBR 013

TEARS IN MY EYES–YOUR FUNERAL AND MY TRIAL–SO MANY ROADS–BYE BYE BIRD–PLEASE DON’T TELL–SWEET LITTLE ANGEL–TALK TO YOUR DAUGHTER–BAD BOY–STORMY MONDAY–GREENY–RIDIN’ ON THE L & N–CHICAGO LINE–DOUBLE TROUBLE

‘Bout a year ago, John Mayall put out a set of yet-unheard performances from a Bluesbreakers lineup that featured Peter Green on guitar, John McVie on bass, and Mick Fleetwood on drums a few months before they’d write a chapter in blues and rock history by forming Fleetwood Mac.  But, in 1967, a resourceful fan, Tom Huissen, smuggled a one-reel tape recorder (we would love to know how he managed!) into various London clubs such as Kleek’s Klook, Bromley, and others, and recorded these blues titans right from the bandstand.  Almost fifty years further on up the road, he shared these tapes with John Mayall, and, thru the tireless efforts of John and Forty Below Records’ Eric Corne,  “Live In 1967–Volume One”  was released.

Now, from those same raw recordings, comes the second and final volume of vintage Bluesbreakers.  “Live In 1967–Volume 2” features thirteen more tracks of some of the world’s finest bluesmen in intimate club settings, just lettin’ loose and lettin’ the blues flow freely.  On this set, we thought many of the cuts, even tho the tapes were fifty years old, were surprisingly pristine and vibrant.  These versions also give Peter Green a chance to stretch out and jam, showing a glimpse of the powerhouse he was about to become.

Leading off is a Mayall original, a slow-blues done in the vein of Ray Charles, “Tears In My Eyes,” followed by a couple of tributes to Sonny Boy Williamson II (Rice Miller).  We learned from John at his March  City Winery show that he was a huge fan of Sonny Boy, and struts his harp chops on “Your Funeral And My Trial, ” and the instrumental, “Bye Bye Bird.”

Another artist John enjoyed was J. B. Lenoir, represented here by a boisterous version of “Mama, Talk To Your Daughter,” featuring some gritty, Chicago-blues-styled licks from Peter.

We had three favorites, too.  A song John played at the City Winery, “Chicago Line,” is presented herein as an instrumental, with a blistering bass solo from McVie.  “Ridin’ On The L & N” is a flat-out houserocker, and this version of “Stormy Monday” has vocals from a frequent guest of John on the stage, Ronnie Jones.

Blues fans can rejoice once more.  John stated to us in March that the cuts presented on these two sets pretty much summed up the Bluesbreakers repertoire from the mid-Sixties, and “Live In 1967–Volume 2” brings it all full-circle!  Until next time…Sheryl and Don Crow, The Nashville Blues Society.

Otis Clay single review…May 2, 2016…

OTIS CLAY

MISSISSIPPI POOR BOY (SINGLE)

CATFOOD RECORDS

In 2014, Otis Clay and Johnny Rawls got together and recorded “Soul Brothers” for Catfood Records, and it was very well-received by fans and bloggers alike.  During those sessions, Otis laid down a raw vocals-only track of “Mississippi Poor Boy,” intended to be released on a future solo album.  Sadly, Otis Clay passed on January 8, 2016, at the age of 73, leaving this as his last recorded legacy.

Catfood executive Bob Trenchard, on bass, Johnny McGhee on guitar, and  Johnny Rawls and Janelle Thompson on backing vocals, went into the studio and took this raw recording and turned it into a gospel-fired soul classic.  The song fits in perfectly with Otis’ background as a gospel singer, and the backing musicians bring this one into vivid focus.  It might as well be Otis’ autobiography, as his deep baritone rings with resonance as he sings of  growing up poor, but realizes, as he looks over his life, that “The Lord’s been good to me.”

“Mississippi Poor Boy” is a fitting tribute to the man who first gave us “Trying To Live My Life Without You,” and who was equally at home with a gospel song as he was singing deep Southern soul.  Otis, we’ll miss you, friend.   Until next time…Sheryl and Don Crow, The Nashville Blues Society.

Jared Hard review…May 1, 2016….

JARED HARD

10000 HYDROGEN BOMBS

RIGHT WHERE YOU’RE AT–BROTHER–WAIT FOR THE SUN–SINGLE MOUNTAIN FIDDLE–MUSIC MAN–10000 HYDROGEN BOMBS

Jared Hard picked up his first guitar about age eight, and began writing his own material by eleven, drawing from the rich musical heritage of his Oklahoma home.  Several years ago, he made the career move here to Music City, and fit right in with the guitarist-singer-composer community, sitting in frequently on stage at the Bluebird Cafe and other venues.

Jared has teamed up with fellow Okie composer Jason Hargrove, who’s also moved here, and, along with producer Jeff Anderson, Jared has released his debut EP, “10000 Hydrogen Bombs,” six cuts written by himself or in collaboration with Jason, Jeff, and Karleen Watt.

Jared, on vocals and guitar, takes a poignant look at the rigors of everyday life, love, and facing our own mortality, and this material will really grab your attention.  Leading off is the tale of finding love in the most unusual places, mostly “Right Where You’re At,” which chronicles the tale of a couple who meet on the Greyhound from Memphis to Birmingham.  The wages of war come due in a poignant look at “my Brother, who’s “not different, he’s just changed,” since returning home from battle.  A tune about life on the road and being in “Wichita, down from Tulsa tonite” is “Music Man,” while the set closes with the title cut, Jared’s recollection of what it’s like to REALLY fall in love–like “10000 Hydrogen Bombs all exploding at once!”

Our favorite was a song dealing with one’s mortality.  Jared begs his survivors for  “no fanfare, no parade,” and a “Single Mountain Fiddle” with perhaps a snippet of “Mama’s favorite, Sweet Hour Of Prayer.”  Fiddle from Kenzie Wetz is the perfect complement on this cut.

Jared Hard writes songs for all of us, with the daily trials and tribulations of life as a backdrop.  “10000 Hydrogen Bombs” is an excellent debut from an up-and-coming talent!  Until next time…Sheryl and Don Crow, The Nashville Blues Society.