Tag Archives: Blues

Hollis Brown: Ride on the Train

HollisBrown_RideOnTheTrain

The sophomore release from this Queens quartet continues to mine the intersection of angsty guitar pop, twangy Americana and Stonesish rock they debuted in 2009. Vocalist (and songwriter) Mike Montali also continues to charm with a voice that takes in the quivering vulnerability of Robin Wilson, the keening alto of Neil Young and the bluesy tint of Chris Robinson. Four years from their first album, the band has been road-honed into a tight, powerful outfit, but the arrangements have the extemporaneous feel of musicians are reacting to their singer’s story telling. The title track takes listeners on a thematic ride that starts slowly with the push of a hollow bass drum, gains speed with growling electric guitar chords, breaks down in contemplative depression and finally regains its locomotive traction.

Montali’s songs of second chances are accompanied by guitars that are tentative with their force, backing lyrics perched between asking, suggesting and telling. The music turns hopeful with the expectant possibilities of “Faith & Love” and melancholy for the introspective “If It Ain’t Me.” Lead guitarist Jon Bonilla shows off his chops with solos on the workingman’s lament “Doghouse Blues” and the driving blues-rocker “Walk on Water.” Tracks 1, 4, 6 and 8 are drawn from a 2012 EP that added Michael Hesslein’s keyboards, but given that set’s limited circulation, it’s great to have these tunes available again. Hollis Brown seemed fully formed back in 2009, but the extra years of playing out and writing has more deeply assimilated their influences and tightened the resonance between lyrics, vocals and instruments. [©2013 Hyperbolium]

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Bobby Rush: Down in Louisiana

BobbyRush_DownInLouisianaSwamp-tinged, soul-grooved electric blues

Singer/guitarist Bobby Rush has traveled an interesting road as a musician. Born in Louisiana, his family relocated to Chicago in the early ‘50s, where Rush was schooled by Muddy Waters, Howlin’ Wolf and other giants of the Windy City’s iconic blues scene. He developed his own sound in the ‘60s, equally fueled by blues, funk and soul, and then in 1971 he moved back to the South and made it his home base for extensive roadwork. He’s traveled the remnants of the chitlin’ circuit, played nightclubs, auditoriums and Las Vegas showrooms, and at the age of 77 remains terrifically vital as a singer, songwriter, guitarist and harmonica player. His latest album blends electric blues with the soul of his native Louisiana, rendered by a stripped-down quintet of guitar, keyboards, harmonica, bass and drums. The results range from twelve bar blues to swamp-funk to the ‘70s styled groove “Rock This House.” Rush and co-producer/keyboardist Paul Brown add a few contemporary touches to the vocals, but the music never strays far from the sounds that are deeply rooted in Rush’s musical soul. [©2013 Hyperbolium]

Paul Sikes: Craft

PaulSikes_CraftSkillfully crafted debut from a Nashville-born singer-songwriter

Paul Sikes is a rarity among Nashville country artists – a hometown boy. There are many Tennesseans in the industry, but those actually born in MusicCity, such as Deana Carter, Hank Williams III and Matraca Berg, are surprisingly rare. Sikes goes one step farther, in that he’s not the child of a professional musician; though both his parents are musical, he moved from childhood piano lessons to guitar to songwriting, and eventually to a college education in both performance and the music business. He’s worked as a publishing house songwriter (landing cuts with Emerson Drive, Billy Dean and others), but his background as both a performer and producer has led to this charming self-produced release.

Sikes sings with a sweetness that may remind you of Vince Gill, and like Gill, he’s also an accomplished picker. He’s quite soulful, as shown in the shuffling beat of the Little Feat-influenced opener, “Show You Now,” and as a writer, he finds original twists on well-worn themes. His fish-out-of-water story, “Swear I’m in a Small Town,” views big city experiences through the hometown memories he shares with his mate, and “A Seed” is sung from the perspective of a tree whose humble beginnings provides inspirational stories of possibilities. He couches the breakup of “Tin Man” in self depreciation, and sings the love song “Me, You and Malibu” as easy, supper-club jazz.

Sikes is a meticulous producer and engineer, giving the album’s title meaning beyond the songwriting. There are a few modern instrumental touches and some strings, but the clarity of the voices and guitars is the album’s calling card. The variety of styles plays like a songwriter’s demo reel, with acoustic country and blues, electric country-rock, inspirational melodies and swinging rhythms all sharing space. The CD (currently only available at Sikes’ shows) closes with a hidden bluegrass track written by Sikes’ proud Tennessean grandmother, Mildred Joyce. “My Home Tennessee” provides a sweet, home-spun ending to this finely crafted album of original Nashville song. [©2013 Hyperbolium]

Paul Sikes’ Home Page

Johnny Cole Unlimited: Hang on Sloopy

JohnnyColeUnlimited_HangOnSloopyMysterious ‘60s mélange of blues-rock, spy jazz and garage-folk

Originally issued in 1969 on the obscure Condor label out of Burnaby, B.C., this album is quite an enigma. Is there really a Johnny Cole (as he was listed on the original record’s label) or maybe a Jimmy Cole (as he was listed on the original album cover), and what’s with the mélange of spy jazz, pop, blues-rock and Sonny & Cher-styled garage-folk? The dribs-and-drabs of information that can be found suggest this was the product of the Los Angeles-based Johnny Kitchen (nee Jack Millman), and includes vocals from the Millman’s Russian-born then-wife Ludmilla. Most likely this album was assembled from a variety of sessions that Millman leased to Condor, which would account for the lack of musical continuity. The audio quality of this reproduction is all over the place, including a few tracks that sound like they passed through a few generations of cassette copies and others that are surprisingly full fidelity. This has long been a hard-to-find and expensive vinyl-only collectible, but it’s now available to all for digital download. [©2013 Hyperbolium]

Billy Gibbons and the Moving Sidewalks Reunite!

ZZ Top guitarist Billy Gibbons and his pre-ZZ Top bandmates from the Moving Sidewalks will reunite for a show on March 30th – the first time the original quartet has played live in 45 years! Performing as part of the Cavestomp garage rock festacular, the Moving Sidewalks will play B.B. King’s Blues Club & Grill in New York City. Advanced tickets are already on sale. Also check out the recently released complete anthology of the Moving Sidewalks’ recordings.

The Moving Sidewalks’ Facebook Page

 

Various Artists: Alive at the Deep Blues Fest

A selection of live two- and three-man blues

The Deep Blues Festival is a Minnesota celebration of alternative blues music, originally run from 2007 to 2010. After spin-offs in Cleveland and Ortin, WA, festival organizer (and BBQ restaurateur) Chris Johnson brought the original festival back to life at Bayport BBQ for a long weekend of shows leading into 2012’s fourth of July. Threaded through the festival were the seven acts collected here, all of whom record for the Alive label. The majority of these bands hail from the Midwest –Iowa,Indiana,Ohio and Pennsylvania – with fellow travelers Lee Bains arriving from Alabama, and Henry’s Funeral Shoe hopping over the pond from the UK. It’s a testament to Alive’s A&R department that they’ve fostered a stable of bands with similar roots but individual flavors.

At the blunter end of the spectrum are Radio Moscow, with Parker Griggs opening “Hold on Me” with stinging psychedlic wah wah atop a percussion section that takes no prisoners. Henry’s Funeral Shoe has often echoed the British blues-rock giants of the 1970s, but here they are more rough-and-ready, like the Live at Leeds-era Who. Philadelphia’s John the Conqueror is the sort of power trio you’d expect to hear in the run-down ballrooms of Almost Famous, forceful and melodic. Left Lane Cruiser sticks most closely to the classic blues progressions on “24 Hour Blues,” with Freddy J IV’s guitar a ragged, driving machine and Brenn Beck a one-man rhythm section on drums and cymbals. Mark Holder adds his harp to the band’s cover of Robert Johnson’s “Rambling on My Mind.”

More nuanced is Lee Bains III’s mix of sanctified soul and the aggressive electric aesthetic that is Alive’s hallmark. Similarly, Brian Olive’s take has the same core energy, but filled out less abrasively with keyboard, drums and bass lines that glide, roll and rumble in a powerful wall of sound. The Buffalo Killers, who often suggest James Gang-era Joe Walsh, expand on a nine-minute jam of “It’s a Shame” with harmonica player Mark Holder sitting in. It’s great to hear these bands together (even if only through the magic of editing), offering the numerous shades of two- and three-man blues that is their label’s stock-in-trade. [©2012 Hyperbolium]

Alive Records’ Home Page

The Moving Sidewalks: The Complete Collection

Deluxe reissue of infamous 1960s Texas psych-blues

The Moving Sidewalks first came to wide attention outside of Texas with the inclusion of their incendiary 1967 single “99th Floor” on the second volume of the garage rock anthology, Pebbles. Tantalized by a liner note reference to “Bill” Gibbons and ZZ Top, fans tracked down the group’s album, Flash, and found – no doubt disappointingly to some – that the bulk of the band’s oeuvre favored heavy psychedelic blues-rock, rather than the organ, guitar and harmonica punk of “99th Floor.” Though part of the Texas scene, the Sidewalks leaned more to the electric blues of Jimi Hendrix (to which “Pluto – Sept 31st” clearly tips its cap) and Savoy Brown, than to the punk rock or Mouse and the Traps or the psychedelia of the 13th Floor Elevators.

The album’s been reissued before [1 2], including a few of the bonus tracks heard on this set’s second disc. What sets this reissue apart, aside from the crisp audio (mono on 1, 3 and 5 of Flash) and the involvement of Billy Gibbons, are non-LP singles, demos and alternate takes that provide the bridge from “99th Floor” to Flash. The three singles include “99th Floor” (also heard twice more in earlier form by the Moving Sidewalks’ predecessor, The Coachmen) and its B-side “What Are You Going To Do.” The band continued to flirt with garage even as it turned more heavily to the blues with the guitar-and-organ instrumental “Headin’ Out,” and their single for Wand (the bluesy “Need Me”) features the punkier “Every Night a New Surprise” on the flip. Their last single, a cover of the Beatles’ “I Want to Hold Your Hand,” is either magnificent or Spinal Tapian, depending on your perspective.

The earlier tracks from the Coachmen (featuring future Moving Sidewalks Gibbons, drummer Dan Mitchell and organist Kelly Parker) include two earlier takes of “99th Floor” and three (including one instrumental backing) of the otherwise unrecorded “Stay Away.” The strummed guitar of the early “99th Floor” take gives it a hint of folk-revival, though the harmonica solo still has the sting of the garage. “Stay Away” is a tidy rocker with a surf influence, particularly in Gibbons’ tasty guitar breaks. The set’s packaging is top-notch, with mini-LP sleeves, disc graphics that reproduce the Tantara and Wand labels, and a thick 52-page booklet that’s stuffed with photos ephemera and liner notes. It’s all housed in a heavy cardboard box fronted by a period photo, wrapping a colorful bow around a real gift to fans of the Moving Sidewalks and Billy Gibbons. [©2012 Hyperbolium]

Holly Golightly and the Brokeoffs: Sunday Run Me Over

Lo-fi country blues

It’s been a productive year for Holly Golightly and her bandmate Laywer Dave, reworking material from earlier in Golightly’s career on Long Distance, and now this autumn follow-up of new material. In addition to nine originals, the Brokeoffs cover Cecil Null’s country hit for the Davis Sisters, “I Forgot More,” Wayne Rainey’s “We Need a Lot More Jesus” and Mac Davis’ 1980 novelty, “Hard to be Humble.” The former is sung sweetly, befitting its mid-50s origin, the latter more broadly and fitting with the goodtime boozy mood of “One for the Road.” Rainey’s 1960 revival tune is reworked from its original sentiment of more Jesus and less rock ‘n’ roll to it’s Bible Belt-challenging inverse. The productions are stripped down, but not entirely lo-fi. The droning low notes of “They Say” provide a languorous bottom end for Lawyer Dave’s slide work, and the combination of guitar reverb and second-line rhythm on “Tank” suggests Bo Diddley inNew Orleans. The Brokeoffs continue to work the field of country blues as if they’re riding a vintage tractor fresh out of the garage. [©2012 Hyperbolium]

Holly Golightly and the Brokeoff’s Home Page
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Dion: The Complete Laurie Singles

Dion’s teen-idol and comeback solo sides for Laurie

Dion DiMucci is one of the few first-generation rock ‘n’ rollers to fruitfully navigate the cultural twists and turns of succeeding decades. He had doo-wop hits fronting the Belmonts in the late ‘50s, teen idol solo hits in the early ‘60s, a resurgence in the ‘70s, and a string of albums running through 2008’s Giants of Early Guitar Rock and this year’s Tank Full of Blues that still find him making vital music. Real Gone’s 2-CD set reaches back to Dion’s breakout as a solo artist on the Laurie label, and catalogs all thirty-six of the sides he released as singles. He hit as a solo in 1960 with “Lonely Teenager,” and scored a 1-2 punch the following year with “Runaround Sue” and “The Wanderer.” He reached the Top 10 with  “Lovers Who Wander,” “Little Diane” and “Love Came to Me,” but in late 1962 departed for Columbia. Laurie had enough material in the vault to issue singles into 1964, charting with the originals “Sandy” and “Lonely World,” and covers of “Come Go with Me” and “Shout.”

He returned to Laurie in 1968, and at the label’s suggestion recorded “Abraham, Martin & John,” a song that resounded strongly amid the year’s social upheaval and the assassinations of Martin Luther King Jr. and Robert Kennedy. The record’s forlorn mood was just right for the times, and the single charted to #4 in the U.S. Dion’s stay at Laurie proved short-lived, as he moved to Warner Brothers the following year, but before going he released several more singles, including covers of Fred Neil’s “The Dolphins,” Joni Mitchell’s “From Both Sides Now,” a nearly unrecognizable folk-rock arrangement of “Purple Haze,” and a soulful take on the Four Tops’ “Loving You is Sweeter Than Ever.” He also recorded a few originals, including the heavy “Daddy Rollin’ (In Your Arms)” and socially charged “He Looks A Lot Like Me.” Dion’s songwriting had clicked as early as “Runaround Sue,” and it continued to sustain him through the rest of his career.

The thirty-six sides collected here represent nineteen singles released by Dion as a solo act for Laurie (two of the singles shared B-sides with other singles, hence the disparity between the number of sides and number of singles). All thirty-six sides are remastered from the original single mixes. Missing are Dion’s earlier releases with the Belmonts, as well as his sides on Columbia (which included the hits “Ruby Baby,” “Donna the Prima Donna” and “Drip Drop”). Lining up all the A’s and B’s, listeners will hear the tug-of-war between the label’s belief in pop songs, Dion’s love of gutsier blues and rock, the fast pace at which the music scene changed in the 1960s, and an artist’s ability to expand and reinvent himself. The 20-page booklet includes photos, picture sleeve reproductions, and extensive liner notes by Ed Osborne that feature generous quotes from Dion. [©2012 Hyperbolium]

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Alvin Lee: Still on the Road to Freedom

Forty years after, Alvin Lee is still picking up a storm

It’s been five years since Alvin Lee’s last album, Saguitar, but it’s been nearly forty years since he shucked off the arena-level fame of Ten Years After and recorded 1973’s country-rock On the Road to Freedom with Mylon LeFevre, George Harrison, Steve Winwood and others. His latest collects songs written and recorded over a four-year period, mixing rock, blues, rockabilly, folk and country. Lee still sings well, but it’s his guitar – both electric and acoustic – that will raise the hairs on the back of your neck. Whether he’s blistering through a hard-rocker, playing a shuffle or Bo Diddley beat, riffing on the blues, or fingerpicking folk-country, Lee’s playing shines in both rhythm and extended solos. Lee closes the album by revisiting “Love Like a Man” in a style that leans more to NRBQ than Ten Years After. A sweet acoustic bonus track is hidden at disc’s end, providing a restful capstone to an album full of energy. [©2012 Hyperbolium]

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