2004 Reviews

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Aerosmith-Honkin’ On Bobo-Columbia
Aerosmith was rooted in blues from the very beginning. In their 1973 debut, the band used blues progressions on such ditties as “Mama Kin”, “Movin’ Out”, and an amphetamine-pumped version of “Walking The Dog”. As the drugs got harder, so did the music, but they never strayed too far from their original format. After a cocaine-fueled implosion is the late ’70s, Aerosmith seemed to lose direction and even though their comeback was embraced by fans and critics, the music strayed further away from the blues. Appealing to the MTV generation, they released less gritty and more pop conscious singles like “Love In An Elevator” and “Janie's Got a Gun”. Finally the band returns to their foundation with the release of Honkin’ On Bobo. Stripping down their usual over-the-top production, this album feels like a live performance. Tyler and Perry rip through standards like “Eyesight To The Blind” and “Baby Please Don’t Go” and “I’m Ready” with the energy of the Toys In The Attic sessions. With a Hound Dog Taylor vibe, Perry showcases his slide skills on “Shame, Shame, Shame” only making room for Steven’s swaggering vocals and Sonny Boy-esque harp. Rather than going with only well-known songs, the band digs deep into the vaults and pays homage to blues man Mississippi Fred McDowell on three tracks. As Joe Perry picks on dobro, Tyler steps away from the microphone on “Back Back Train’” letting Hurdy Gurdy bask in the spotlight while Tracey Bonham sings backup. Aerosmith performs a version of “You Gotta Move” which rivals the Rolling Stones’ 1972 version of this McDowell classic. They end the disc with a traditional roots version of “Jesus Is On The Mainline”. Aerosmith’s Honkin’ On Bobo may not please blues traditionalists but it will definitely introduce baby boomers to the music—if they have not already discovered it. Thanks guys!
-Tony Engelhart

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Clarence Gatemouth Brown- Okie Dokie Stomp- Bullseye

Clarence Gatemouth Brown is a living legend and at 80 years old, he is still electrifying audiences with his unique brand of Texas Blues. However, to pigeonhole Gatemouth a blues artist would be deceitful as he easily transitions into country, Cajun and jazz. A multi-instrumentalist Clarence plays guitar, bass, drums, mandolin, violin and harmonica each with equal brilliance. Okie Dokie Stomp is a compilation of work concentrating mainly on the legendary performer’s blues recordings. With fat horn sections, Clarence grooves his way through such ‘Stranded’, ‘I Feel Alright Again’, ‘One More Mile To Go’ and the ten minute live version ‘Drifter’ on which his impeccable harp capabilities are showcased. Big band swing is another aspect of Clarence’s repertoire and ‘Gate Walks To Board’ and the title track are fine examples of how accomplished he is as a jazz guitarist. Okie Dokie Stomp may not satisfy the Clarence connoisseur but would be a great introduction to the apprentice listener. Clarence’s most recent disc, Timeless on Hightone, is naturally receiving fantastic reviews as he continues to chart a course into wider musical horizons.
- Tony Engelhart

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Junior Brown: Down Home Chrome - Telarc
A really fun zoom thru some classic Nashville themes-love songs, ballads, disaster songs, and that hot rod thang [insert lots of twang] and ends with 2 noticable blues tunes. The nice twist is you get to hear a nailed down review of classic Nashville markee voices from Jr. Brown's versitile voice box. The vaguely familiar Ernest Tubbs [remember Cowtown Jamboree?] Waylon Jennings, Bob Wills, Commander Cody, Jimi Hendricks, & Jimmy Cochran - listen and you will hear the hybrid.  The 12 song disc, his first on Telarc, marks the sixth release. Cube Records was his previous label. His git-steel; a combination of an electric guitar and an eight-string lap steel guitar that he plays on a stand in front of his vocals microphone also seperates him from the Nashville singer-songwriter crowd.

The 92 octane “Little Rivi-Airhead,” is a less than politically correct [sic] tune about a dragster girl who is not too bright but hotter than a two dollar pistol. “Hill Country Hotrod Man” erupts like a volcano, with Brown singing of the racing life, showing off all his chops with a complete horn section. “Jimmy Jones” is a sorrowful ballad, mostly spoken-word--in the grand tradition of Johnny Cash-- about a favorite son whose homecoming is a tragic one. “Two Rons Don't Make It Right” is a great play on a mistaken identity.  Brown loses his baritone (but not his swagger) on a recognizable “Foxy Lady” and lays guitar waste wherever he goes on this song.  My favorite is a ten-minute “Monkey Wrench Blues” that allows him to trace blues guitar playing from Lowell Fulsom and Buddy Guy to Stevie Ray Vaughan and Kenny Wayne Shepherd.  Brown can sound like Waylon Jennings one minute and Merle Haggard the next. A good party disc, for an outside BBQ or sunning on the deck.
-Clancy Dunigan

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Lisa Kay Deeter: NW Release
It’s not often you find a guitar-slinging chick that puts as much heart into her playing as Lisa Kay Deeter. While shades of Stevie Ray Vaughn, Albert King, and Freddie King are all present and accounted for, Deeter is herself. Her 4-track debut of instrumentals is a nice introduction to this Northwest newcomer. Check her band, Reckless Abandon, at local events and a weekly jam session in Redmond. - Tony Engelhart

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Ronnie Earl & The Broadcasters: Now My Soul - Stony Plain Records
This magnificent guitar player and his crew have done it again—another fine release. From the jazzy opening tune to the heartfelt “Thank You” at the end, it is packed with great tunes. As with his last, there is a real mix of styles from jazz to harp shuffles, full-on guitar blues, and one gospel song featuring the Silver Leaf Gospel Singers. Songs with the organ work of Dave Limina taking the lead and Ronnie adding brilliant-but-reserved flashes from his axe and four songs featuring Kim Wilson on harp and vocals make this one a keeper. - Malcolm Kennedy

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Kirk Fletcher: Shades Of Blue - Delta Groove
This is a very talented young man who has a great future ahead of him. It’s hard to believe he’s in his twenties.

You can hear the influences of B. B. King in his playing and the liner notes confirm that B. B. was and is an inspiration. Make no mistake; this is no mere copycat. Kirk has learned from the masters – including Elmore James (check out “Worried Man Blues”) – but he is definitely his own man.

The album is titled Shades of Blue--and these shades range from songs written by Jimmy Dawkins, Junior Wells, Magic Sam, and Percy Mayfield. However, these are not the usual covers. Someone certainly gave these choices some thought. There are also a couple of originals showing his additional talent as a songwriter. On “Blues for Boo Boo” (his daughter – and I’d love to hear the story behind that nickname) we get a hint that he may also have some Jazz in his repertoire. That hint shows up again in “Hip Hug Her.”

The vocals are shared by Kim Wilson (along with his oh-so-fine harp), Janiva Magness, and Finis Tasby, and they give Kirk plenty of room to show his stuff. I particularly enjoyed the vocals of Finis Tasby, whose voice and style seem to mesh especially well with Kirk’s. I would have liked to have heard a couple more instrumentals. Maybe next time. Meanwhile, I highly recommend this CD and I hope there is more to come soon. Am I raving? Yes, I am. One last note to Riley: Your blues are in good hands!
. - Ruth Williams

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Ruthie Foster- Stages- Blue Corn
Ruthie Foster is one of those artists who defy classification. With a blend of blues, folk, gospel and country, the singer/songwriter has been embraced by many audiences. Foster isn’t as abrasive as Ani Difranco or as political as Traci Chapman but her message is just as powerful. Stages is a compilation of live track recorded between 2003 and 2004. While the disc is comprised of mostly new material, Ruthie includes favorites ‘Real Love’ and ‘Crossover’. She pays homage to jazz great Billie Holiday with to the tasteful rendition of ‘God Bless the Child’. While there is very little ‘blues’ represented on her third release, Stages is filled with heartfelt performances and beautifully penned songs.
-Tony Engelhart

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Paul Green and Straight Shot-Live at the Sunbanks Blues Festival-NW Release
Paul Green took home two B.B. Awards this year and if you’ve ever seen the man play, you know why. Green is a seasoned harmonica player, gifted vocalist, and a great performer. This disc captures the band doing what they do best: playing live. With 2004 B.B. award winner Howard Hooper on bass, and drummer Conrad Ormsby, the rhythm section couldn’t be tighter. Tim Sherman’s guitar work is not overbearing but is executed with grace and taste.
Green and company groove their way through some well-chosen covers such as “Don’t Start Me Talking” and “Leaving Trunk”, putting their personal stamp on each. Paul Green and Straight Shot have stepped in to fill some of the void left by the absence of The Dick Powell Band, by offering up some of the highest energy harp-driven blues in the Northwest.
-Tony Engelhart

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John Lee Hooker: Come See About Me - DVD - Eagle Rock
In the three years since his death, various record companies have released a number of John Lee Hooker compilations for the legion of novice fans just discovering the legendary bluesman. However, for Hooker enthusiast, it has been torturous.  Finally, there is relief.  Come See About me is a collection of live performances spanning the ‘Boogie King’s’ entire career.  From a rendition of ‘Maudie’ at the New Port Jazz Festival in 1960 to performances with Santana, Foghat, Van Morrison, Bonnie Raitt, Eric Clapton and the Rolling Stones, this DVD not only showcases the dynamic performer on stage but also exemplifies his influence.  Charlie Musslewhite, Carlos Santana, Bonnie Raitt and daughter Zakiya Hooker offer their valuable insights on the mythological Hooker as well as revealing interviews with the man himself.  Comprehensive, enlightening, and just plain fun, Come See About Me is a must have for all blues connoisseurs. 
- Tony Engelhart

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E.G. Kight: Takin’ It Easy - Blue South
This CD starts with a great track, “I’ll Believe It When I Feel It,” and just gets better from there. There isn’t a bad cut on this album and it’s hard to pick a best – so I’ll just hit the highlights. Eight are originals. The second tune, “Nothin’ Ever Hurt Me” is a gritty, bluesy, good riddance number. She also ventures into jazz with Duke Ellington’s “I Ain’t Got Nothin’ But The Blues” and her own “I Don’t Wanna Start Over”, with special guest Ann Rabson (Saffire – Uppity Blues Women) on piano. “When You Were Mine” evokes a sad, romantic, thirties feel a la Django Reinhardt, with Greg Piccolo on tenor sax. Then there’s the gospel sounding “Can’t Blame Nobody But Me” and the 12 bar, Delta Blues of “Peach Pickin’ Mama”. Two songs aren’t originals but E.G.’s interpretation is a lot of fun – “Southbound” and “I Ain’t Got No Business Doing Business Today.” The latter, as the song suggests, will make you want to stay home and play. E.G. Kight not only has a terrific voice, she’s also a great song writer. She has a way with lyrics that really get you where you live, such as “I’ve been sit up just to be laid down” and “everywhere I go is where I’ve already been”. What else can I say. The more I hear this album the more I like it. Great songs, great musicians, great E.G. Kight. 4 stars. - Ruth Williams

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Harry Manx: West Eats Meet - Dog My Cat
Not your typical bluesman, Harry Manx employs Japanese and East India influences. In 1990 while in Japan, he heard the Mohan Veena for the first time through a recording made by Vishwa Mohan Bhatt, who created the 20-stringed instrument. In 2000 Harry Manx unleashed his Mohan Veesa as well as lap steel skills to unsuspecting blues audiences on Dog My Cat. On his fourth release, West Eats Meet, he continues with his laid back acoustic style of country-blues. The album is comprised of mainly original material, Manx pens tunes of spirituality, love and life in a story telling style. Like a poet, he utilizes abstract metaphors leaving the meaning of each song open for interruption. While there is very little straight blues on this release, Manx does cover the Williamson classic “Help Me” with traditional harp riffs and slow moving groove style.- Tony Engelhart

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Keb Mo-Keep It Simple-Epic
From Delta, jazz, soul, folk, bluegrass and even gospel, consummate bluesman Keb Mo has always diversified—creating his own curious brand of the blues. Mo continues to unite his many musical influences on Keep It Simple. The merging of styles begins with the mid-tempo shuffle “France” in which this idiosyncratic artist interrupts a laid-back groove with sophisticated swing on the bridge. Even though the production on the disc is “user friendly”, Keb’s take is almost anachronistic: he is clearly not fearful of dabbling in the antiquated style that dates back to Robert Johnson and Skip James. “Prosperity Blues” updates the Delta sound with light jazz piano and the gentle brush of a snare drum. Robben Ford co-wrote and plays on the homage to BB King, “Riley B. King”, which features Robert Cray and Ford in a guitar solo showdown. With the jangle of a banjo, country roots take center stage on “House In California” highlighted by Vince Gill, Amy Grant on backing vocals, and bluegrass fiddle player Andrea Zonn. Keep It Simple is refreshing in its combination of contemporary and traditional textures with an agreeable balance that does not overwhelm in either direction. -Tony Engelhart

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Maria Muldaur: I’m A Woman - Shout!
To call Maria Muldaur’s career eclectic would be an understatement as she has gone from pop-diva to take a swipe at everything from country, gospel, jazz, blues, jazz, folk, R&B and beyond. Finally there is a comprehensive compilation, 30 Years of Maria Muldaur – I’m A Women, which packs together samples from this her vast collection of work. Naturally her biggest hit is present, ‘Midnight At The Oasis’ but the anthology digs deeper into some of her more obscure outings. Her collaborations with Dr. John by way of ‘Don’t You Make Me High (Don’t You Feel My Leg’ ‘Best of Me’ and ‘Three Dollar Bill’ shed light on her fascination of New Orleans ‘fonk’. Muldaur probably has enough material to release a ‘duets’ album. She teamed up with Roy Rogers on ‘Me & My Chauffeur Blues’, Charles Brown on ‘Gee Baby, Aint I Good To You’, Taj Mahal on ‘Soul Of A Man’ and longtime friend Bonnie Raitt on ‘Somebody Was Watching Over Me’ and ‘It’s A Blessing’. Maria has chosen to cover some great songs throughout her career while stamping her signature mark on each. Interpretations of Dylan/O’Keefe’s ‘Well, Well, Well’ and John Hiatt’s ‘Feels Like Rain’ are diamonds in the rough that might not have seen the light of day but for this album. While Maria Muldaur aficionados might scoff at the idea of trying to package her work, for the inquisitive newcomer this disc would be an excellent introduction to the diverse work of this gifted vocalist. - Tony Engelhart

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Kenny Neal & Billy Branch-Double Take-Alligator
Alligator’s reissue of Easy Meeting (recorded in France in 1998) brings this rather obscure recording to a wider audience then it might have found on its first home, indie label Isabel. Two worlds collide on the summit meeting of swamp blues veteran Kenny Neal and Chicago bluesman Billy Branch. With only the duo recording live in the studio, the disc has a down home feel which is refreshing in these days of over-production. For the most part, Double Take is acoustic based with no overdubs. Neal and Brach blend a tasteful mix of original material with some well chosen standards including, ‘Going Down Slow’ and ‘My Babe’. Kenny plugs in for Williamson’s ‘Don’t Start Me Talking’ and Muddy’s ‘Manish Boy’. Billy Branch plays an old school style of blues harp which is akin to the great Junior Wells. Double Take is Delta inspired with a Chicago flare which will satisfy either liking
-Tony Engelhart.

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Pinetop Perkins: Ladies Man - Telarc
By all accounts, 91-year-old blues piano master Pinetop Perkins is surely considered blues royalty; and, in the years I’ve known him, is also considered a true ladies’ man. That is why this new CD, “Pinetop Perkins-Ladies Man,” on MC Records is such a great idea. The twelve tracks on this album feature Mr. Perkins either showing his famous piano licks or singing with a wide array of some of the world’s finest female blues performers. This collection, consisting of both new songs and songs that are familiar to anyone who has seen Pinetop perform, includes “Since I Lost My Baby” with Susan Tedeschi, ”Kansas City” and Pinetop’s own “Big Fat Mama,” with Lisa Otey on piano. Other interesting cuts on this album include “Chains of Love” with Ruth Brown, ”Trouble In Mind” with Odetta, and Muddy Waters’ “Meanest Woman” with Deborah Coleman. There are two great piano duets, “Careless Love” with Ann Rabson and the truly inspired “Pinetop’s New Boogie Woogie” with Marcia Ball. Pinetop is also backed by his former Muddy Waters Band rhythm section, with Bob Stroger on bass and Willie “Big Eyes” Smith on both drums and harp. Helping out on guitar are Jimmy Vivino on four cuts and Elvin Bishop on one. Full of both legendary blues talent and some of the finest from the next generation, ”Ladies Man” definitely fits into anyone’s blues CD collection. After over 70 years of playing the blues, Pinetop Perkins’ star shines brighter than ever.
- Phil Chesnut

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Guitar Shorty: Watch Your Back - Alligator
While Watch Your Back is only the 6th release from this guitar legend, if you listen to Stevie Ray Vaughan or Jimi Hendrix, you can easily spot some Guitar Shorty’s chops. This latest release is another amazing example of Shorty’s notorious bar room brawl style blues. Chock full of savagely slashing licks and locked and loaded vocal, the resilient bluesman rips through funk ditties such as ‘Old School’ and ‘What She Don’t Know’. He revamps the Van Morison classic ‘I’ve Been Working’ into a slow burning groove with piercing fills and unperturbed solos. Reaching into his bag of tricks, Shorty offers up some old school Texas blues on ‘Get Busy’ only to slide into a Bo Diddley shuffle on ‘Let My Guitar Do The Talking’. David Kearney aka Guitar Shorty may be old enough to collect his Social Security but he’s still kickin’ it and sounding as good as ever. - Tony Engelhart

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