Just to make the rocking theme clear, Jennifer Lyn kicks off this fine little album with the title track, a bluesy rock ‘n’ roll song that would be right at home in any roadhouse worthy of the name. It’s filled with fierce guitar licks, some hot piano, and best of all, Lyn’s tough vocals.
I use the word “little” here not in a musical sense, since the music is actually quite large, but in the sense that this is a five-song EP, a throwback to those olden times when four songs on a 45 made up a mini-album called — an EP.
“Gypsy Soul” is a follow to the band’s Independent Blues Music Award nominated Best Blues Rock Album “Nothing Holding Me Down.”
Lyn and fellow guitar-wielder Richard Torrance, who together wrote and produced, create a rich, rocking texture, very ably complemented by Jim Anderson (drums), Chris Addison (bass), and Barb Jiskra (keys).
Another rocker, “Low Down Dirty Shame” follows, with some fine harmony on the vocals and dance-floor-friendly beat. “Going Round in Circles” takes a soulful vocal turn wrapped in torchy blues guitar that stings in just the right places. “Give Me All of Your Lovin’” rocks hard again with Lyn’s vocal focused on a guy who might well be hanging at the jukebox in the corner.
The all-too-soon closer is “You Can Take It All,” shifting into sweet, sensuous harmonies and liquid guitar notes. A beautiful ending.
This is a fine “little” gem of an album. The music is a masterful blend of style, substance and songwriting. Lyn’s vocals come alive in front of these crackling musicians. They rock hard in and out of the blues and turn up the heat on the soulful end.
Maybe size doesn’t matter, but I wish there had been a lot more of what is truly a Groove Revival on this session. I guess I’ll just have to play it again.
Here’s a video of the album’s “Low Down Dirty Shame”:
William Bell — “One Day Closer to Home” — Wilbe Records
William Bell is one of the original soul men. One of the last standing. Still creating that sweetly satisfying soul music — and more.
On his latest and 15th album, Bell turns loose his still-smooth 83-year-old pipes on a dozen finely crafted and perfectly executed songs that stretch the boundaries of soul music into a broader picture of American music.
Those varied skills are why, in 2017, Bell was awarded a Grammy for Best Americana Album for “This Is Where I Live.” He performed on the show as well, offering a reprise of his “Born Under a Bad Sign” (yes, I know it’s usually associated with Albert King, but Bell created it).
“One Day Closer to Home” offers a touch of all his creative powers. There are funky moments, R&B flavors, soulful interludes and even a little countrified honk.
“I Still Go To Parties” is the opener, slyly letting you know he’s still ready with a touch of funkiness, even if a bit subdued. “I Will Remember Tonight” is sweetly sexy and soulful, but with a lyrical fiddle echoing his vocals.
The magical soul continues through “In A Moment Of Weakness,” “Brag About You,” “Human Touch,” and “I’ve Got Feet,” all driving with echoes of the Stax/Volt sound, where Bell was a major contributor in the 1960s. “Let’s Make Loving Great Again” is simply a beautiful sentiment, gorgeously expressed. And that pretty much describes all the great tracks I haven’t even mentioned.
The closer, “Georgia Peach,” picks up the tempo, adds a touch of Otis Redding toughness, and leaves you wanting more of everything. So, play it again, and then dig deep into Bell’s recordings. Soul music doesn’t get much sweeter.
Learn more about William Bell and his vast musical experience at his web site bio.
Here’s “Let’s Make Loving Great Again”:
Tracklist:
01 – I Still Go To Parties 02 – I Will Remember Tonight 03 – In A Moment Of Weakness 04 – Brag About You 05 – Human Touch 06 – I’ve Got Feet 07 – Let’s Make Loving Great Again 08 – We Can Never Go Back 09 – One Day Closer To Home 10 – When I Stop Loving You 11 – Ain’t Gon’ Let It Bother Me 12 – Georgia Peach
Big Harp George — “Cut My Spirit Loose” — Blues Mountain Records
The San Francisco Bay Area’s Big Harp George (Bisharat) makes his chromatic harmonica sound like he belongs in a big band full of swinging jazz and blues — which of course, he does. And on his latest album, “Cut My Spirit Loose,” he is.
The band is an impressive group, including guitarist Kid Andersen, bassist Joe Kyle Jr., drummers June Core and Derrick D’Mar Martin, Chris Burns on keys, Jeff Lewis and Ed Morrison on trumpet, Michael Peloquin and Doug Rowan on sax, Mike Rinta on trombone and tuba, and Ben Torres on flute.
Add Lisa Leuchner Andersen, Lulu Bisharat, Loralee Christensen, and the Sons of the Soul Revivers (James Dwayne and Walter Morgan), and you’ve got a choir of backup singers.
That’s quite a list, but it’s worth mentioning in detail, since the music here romps easily behind Bisharat’s supersonic harp work and clever songwriting. Twelve sprightly Bisharat originals grace this session, along with a cover of the Lennon-McCartney song, “She’s a Woman.”
The album kicks off with a swinging “It’s Tuesday,” an ode to the memories of Covid lockdowns; “Pile Driving Sam” is a bouncy little ditty that doubles down on double-entendre; “Give Me The Dark” argues that the night time is indeed the right time with a bluesy little tune that made me feel like I could do a soft-shoe routine; “Bustin’ Out” is a New Orleans-themed instrumental that stretches out the harp work; “She’s a Woman” gets remade with Latinesque leanings; “My Dog Is Better Than You” unleashes more Bisharat wit, begging for more canine values in a cruel human world.
“Jump Abu Lula!” is another canine tribute to his dog that’s a rollicking jump blues instrumental (except for a chorus that periodically chants the title); “Prince Of Downward Mobility” exclaims a reverse success story; “Ranty Town,” with a fine harp intro, expresses rhythmic disdain for rants of conspiracy; “Behind The Eight Ball” is a slow and bluesy examination of a bluesman’s troubles; “Take A Knee” is a back-porch-flavored down home blues with a country feel tackling that controversial NFL issue with the Soul Revivers on the gospel-like call and response; a gorgeous little instrumental, “Sunrise Stroll,” features the melodic virtues of the chromatic harp; “Captain Jack” closes with the dirge-like account of the fate of Kintpuash, Captain Jack, the chief of the indigenous Modoc people.
“Cut My Spirit Loose” is a fine effort by Big Harp George and his multi-talented backers, smartly pulling together his skills as a singer, songwriter and chromatic harp master for this swinging session.
Here’s “It’s Tuesday,” from “Cut My Spirit Loose”:
Tracks & Credits:
01. It’s Tuesday 02. Pile Driving Sam 03. Give Me the Dark 04. Bustin’ Out 05. She’s a Woman 06. My Dog Is Better Than You 07. Jump Abu Lula! 08. Prince of Downward Mobility 09. Rantytown 10. Behind the Eight Ball 11. Take a Knee 12. Sunrise Stroll 13. Captain Jack
Big Harp George: vocals, harmonics June Core: drums, percussion Derrick D’Mar Martin: drums, percussion Joe Kyle, Jr.: bass Jeff Lewis: trumpet Ed Morrison: trumpet Michael Peloquin: tenor and baritone sax Mike Rinta: trombone, tuba Doug Rowan: baritone sax Ben Torres: flute Lisa Leuchner Andersen, Lulu Bisharat, Loralee Christensen, Sons of the Soul Revivers (James Dwayne and Walter Morgan): backing vocals
Since he released his first two albums in 1967-68, Henry St. Claire Fredericks Jr. has not only recorded roughly 50 more, he’s also helped to define the face of Americana and roots music, world music, and a huge amount of great blues music.
By then, Fredericks was already calling himself Taj Mahal, having left behind his animal husbandry, veterinary science and agronomy studies at the University of Massachusetts Amherst, where he also led an R&B band called Taj Mahal & The Elektras. The Elektras turned out to be the correct prescription.
(In October 2018, Taj returned to UMass Amherst for the 100th Anniversary of the Stockbridge School of Agriculture. In this video, he reminisces about his early life and career.)
A big leap in time, space and mood later, Taj and longtime friend and producer John Simon have put together a tribute to the music that worked its way into Taj’s consciousness as a child in his parents’ home.
That is essentially the music of “Savoy,” standards from the great American songbook, written by some of the great names in American music, a throwback to the sounds of the swing jazz big band era. “Savoy is just pure fun for me and a chance to display my jazz vocal chops,” Taj explains. And Harlem’s Savoy Ballroom is where his parents met during an Ella Fitzgerald show. Talk about predestination.
The “fun” that Taj mentions is a great description of the results here. The music swings easily but with an insistent groove from the fine band assembled for the occasion — a rhythm section of Danny Caron – guitar; Ruth Davies – bass; John Simon – piano; and Leon Joyce, Jr. – drums; with background vocals by Carla Holbrook, Leesa Humphrey and Charlotte McKinnon. Evan Price’s violin graces two cuts. There’s also a special group of horn players, including Erik Jekabson — trumpet; Mike Rinta — trombone; Sheldon Brown — clarinet, tenor sax; Charles McNeal — tenor sax; Andrew Stephens — trumpet; Kristen Strom — flute, tenor sax; Lincoln Adler — tenor sax.
All those players deserve special mention because the music they so effortlessly create moves the album into an irresistible groove that provides the perfect background for Mahal’s easy vocals that flow smoothly through his vintage, soon to be 81-year-old pipes, with a gruff elegance.
My photo of Taj from a Legendary Rhythm & Blues cruise a few years ago.
The classic songs? “Stompin’ At The Savoy” with a spoken intro on how his parents met; “I’m Just A Lucky So-And-So,” the fine and mellow “Gee Baby Ain’t I Good To You,” and easy-living “Summertime,” the classic Duke Ellington “Mood Indigo,” the bouncy “Is You Is Or Is You Ain’t My Baby,” the soulful alto sax intro on “Do Nothin’ Till You Hear From Me.”
Then there’s “Sweet Georgia Brown” with fiddle romping, a sensuous duet with Maria Muldaur on “Baby It’s Cold Outside,” the horn-powered opening to “Lady Be Good,” “Baby Won’t You Please Come Home” with sweet fiddle, a swinging “Caldonia,” “Killer Joe,” a mostly instrumental that’s a more recent tune, and the heartfelt eight minutes of “One For My Baby (And One More For The Road).”
This is a thoroughly enjoyable album, in which Taj Mahal stretches his many musical talents in yet another direction. The results sparkle with a fresh and swinging look at classic American music.
“Among the Insanity” is such a great name for a song, for an album, and for the thematic intensity that pervades this excellent musical session.
And it all works so well because it’s based on the vocal magic of Skylar Rogers on her third album, paired with the impressive emotional songwriting of Rogers and producer Terry Wilson on 12 new songs. In that vein, Rogers says that she “hopes the listener feels connected to the emotions that were put into these songs….”
The power of that emotional content begins with the opening cut, the sensuous “Love in the Left Lane,” as Rogers immediately takes charge with intense vocals and lyrics that define an independent woman’s perspective on love and life.
The pulsating “Among the Insanity” comes next, a hard-driving vocal on the R&B-laced philosophy of the broken relationship — “…ain’t no heroes here, we’re goin’ down in villainy….”
“One Last Kiss” is a beautifully sung, sadly gentle reminiscence of lost love. “Ride That Lightning” strikes with passion — “…ain’t no shelter from me baby, I’m as bad as they get…” Next, “Blame It On Rock & Roll” picks up the beat and rocks the lyric.
“When It’s Broken,” is a lyrical gem of romance over a lilting piano. “Step It Up” rocks hard again with a honky-tonk flavor and a tough message for a potential suitor. “Both Sides Of The Tale” means just what it says in life, and “Between Friends” is a soft lesson on a love triangle. “Femininity” proclaims a bluesy sensibility for its title, while the island-themed “The Water” provides an escape from all that’s gone before.
“Apology Not Accepted,” with just a stirring piano backing, is a fitting final dramatic statement of independence among the myriad insanities of life and love and the turmoil they bring.
The band that creates the framework here includes Bennett Salvay (keys), Billy Watts (guitar), Brannen Temple (percussion), Snuffy Walden (guitar), Darrell Leonard (horns), and Teresa James (background vocals).
This fine album is a life-affirming, soul-satisfying session rich with the imagery of life and love, powered by a sharp backing band, and brought to life by Rogers’ deeply soulful vocals. Her personal background, detailed in her bio, has brought this all into focus, but mainly, her music speaks eloquently for itself. An excellent album.
The title track, “Among the Insanity”:
Track List:
01. Love In The Left Lane 02. Among The Insanity 03. One Last Kiss 04. Ride That Lightning 05. Blame It On Rock & Roll 06. When It’s Broken 07. Step It Up 08. Both Sides Of The Tale 09. Between Friends 10. Femininity 11. The Water 12. Apology Not Accepted
Big Shoes is a band. I mention that mainly because, 1) it doesn’t sound like the name of a band, and 2) I had never heard them (my loss), and 3) you should definitely hear them.
Big Shoes describes itself as an “Americana Roots SuperGroup,” and it was formed as a tribute project to recreate the early music of that great American band, Little Feat. Big Shoes released its first album, “Shoes Blues” in 2015, and Step On It!” 2018. I’m not certain, but it’s worth assuming that the name “Big Shoes” may have been related to the “Little Feat” project. That would only be fitting.
The supergroup tag also turns out to be very fitting, as this criminally talented group of musicians creates a sparkling blend of country and blues, of Nashville and Memphis, of musicians eloquently in tune with their music.
Lead singer and guitarist Rick Huckaby gives smart, laid-back voice to songs that he’s mostly written or co-written, in front of a band that lopes along behind him, managing to make their crisp, tight backing sound effortless.
The rest of the Shoes include Mark T. Jordan on piano, B3 and background vocals; Will McFarlane on guitar and slide guitar; Kenne Cramer on guitar; Tom Szell on bass; Lynn Williams on drums; and Bryan Brock on percussion. Additional guests include: Shaun Murphy and Vickie Carrico on background vocals; Dana Robbins on horn arrangements and saxophones; and Quentin Ware on trumpet.
As a very, very brief example of their background: Big Shoes members have played and recorded with: Bonnie Raitt, Van Morrison, Delbert McClinton, Taj Mahal, Etta James, Bobby “Blue” Bland and more. Keyboardist Jordan played on Van Morrison’s classic “Tupelo Honey” album, and Bonnie Raitt’s “Road Tested.” Guitarist McFarlane has worked on albums by Levon Helm, Joss Stone, Bonnie Raitt and Bobby “Blue” Bland. He lives in Muscle Shoals, and works with the Muscle Shoals rhythm section, “The Swampers.” Huckaby is a session singer on Nashville’s Music Row.
The Shoes kick off the album with the relaxed rhythms of “I Got You Covered” carrying Huckaby’s expressive vocals; “Hole in the Sky” is a tightly driven bluesy shuffle that gently swings; “If the Blues Was Green” is clever wordplay with a country two-step feel.
“You Can’t Love Me Like That” turns the music soft and thoughtful; “Roses Are Blue” continues the mood with lovely background harmonies; “Permanent Midnight” is a gorgeous ode to lost love, with the title an elegant description of the subject; “I’ve Seen the Light” offers a rocking duet with former Little Feat vocalist Shaun Murphy; “There Ain’t Nothing You Can Do” is a percussive Latinesque playground.
“Drunk on Love” opens with a discordant barroom flavor that compliments the title; “Tell Me I’m Wrong” gives Huckaby a lilting melody to float above; “That’s What I Get (For Lovin’ You)” is more bluesy country with delicious backup vocals; “Dreaming Again” wraps it all up with a hopeful love song.
One of the best things about this album is the quality of the music, and the sheer musical pleasure that it generates. The band creates a groove that runs through the entire session, no matter what style or tempo. They create just the right feel for Huckaby’s considerable vocal skills.
It all makes for great music that gets better with each listening. Try on these Big Shoes. Walk a musical mile in them. You’ll feel better.
I really didn’t want to say that Big Shoes makes some sweet sole music, but I just couldn’t help myself.
You want some tough, old-school-feel Chicago-style blues, but with a contemporary vibe?
Then you should check out the latest album from the Cash Box Kings, featuring the massive voice of Oscar Wilson, and the massive talents of everyone else involved.
Harp man, vocalist, songwriter and band founder Joe Nosek has brought together a razor-sharp ensemble of Wilson on lead vocals, Billy Flynn on lead and baritone guitar, Kenny “Beedy Eyes” Smith on drums, John W. Lauler on upright and electric bass, and Lee Kanehira on piano and organ. There is also a handful of special guests who add just the right amount of icing on the blues cake.
Special guests include vocalists Deitra Farr, Cameron Webb, and John Nemeth, guitarists Shoji Naito, Andrew Diehl, Xavier Lynn, and Jon McDonald, drummer Derek Hendrickson, and The C-Note Horns.
Most of the music on their eleventh album is original, with Wilson and Nosek sharing the writing and creating new blues in the same tough spirit as their spiritual predecessors. They also add rugged covers of a pair of blues chestnuts.
The session kicks off with the title track (imagine that, the title track comes first!), featuring Wilson’s gritty vocals, a little reminiscent of Howlin’ Wolf, in front of Nosek’s wicked harp, all shuffling in classic blues harmony. Next, “Down on the South Side” creates an image of a Chicago filled with the characters of the blues, plus one of the special guests, the C-Note horns, adding their own vivid color.
“Please Have Mercy” downshifts the mood, with a mournful harp intro fueling Wilson’s slow-burning vocal turn on the Muddy Waters song. “I Can’t Stand You” is a light-hearted pairing of the heavy-duty voices of Wilson and guest vocalist Deitra Farr. “Hot Little Mess” is pure Nosek, from the lyrics to the harp to the vocals.
The soulful Cameron Webb shares the vocals on the history lesson in “Nobody Called It the Blues,” and then Wilson relives the urgent driving rhythms of “Pontiac Blues,” the remaining cover track on the album (a footnote about the original below). “Trying So Hard” is another scorching slow blues, fueled by Nosek’s harp and Wilson’s potent pipes, with a stinging guitar adding fuel to the fire. “She Dropped The Axe On Me” is another solo Nosek effort. John Németh adds his considerable vocal chops and wry sensibilities to the envious “I Want What Chaz Has.”
The closer is a surprisingly out-of-season “Ride Santa Ride,” but a rocking good way to giftwrap the package.
“Oscar’s Motel” is the latest in a long run of outstanding music from the Cash Box Kings, who continue to create new music that remains faithful to its roots in style and substance. And it sounds great, too.
A “Pontiac Blues” footnote and a blues pet peeve: This song is credited here to “Williamson,” presumably meaning the man who wrote and recorded it, usually known as Sonny Boy Williamson II, but who was actually Alex or Aleck “Rice” Miller (or Ford, his mother’s name). In the early 1940s, a radio sponsor began referring to Miller as Sonny Boy Williamson to take advantage of the fame of the already well-known blues harpist, John Lee “Sonny Boy” Williamson, and the name stuck. For a long while, Miller was referred to as Sonny Boy Williamson II, but now even that small distinction seems to have become less used.
There’s no question that Miller had an extraordinary career as an artist. His talent was immense.
But so did John Lee Williamson, and I think it’s important that the blues record remembers that.
Here’s the album’s title track:
Track List:
1 Oscar’s Motel 2:46 (Wilson/Nosek, Eyeball Music, BMI) 2 Down On The South Side 3:41 (Nosek/Wilson, Eyeball Music, BMI) 3 Please Have Mercy 4:00 (Morganfield, Watertoons Music, BMI) 4 I Can’t Stand You 4:20 (Nosek/Wilson/Farr, Eyeball Music, BMI) 5 Hot Little Mess 3:29 (Nosek, Eyeball Music, BMI) 6 Nobody Called It The Blues 3:33 (Abrahamson/Procell/Nosek/Wilson, Throw Your Voice Music, Saw Rite Music, Eyeball Music, BMI) 7 Pontiac Blues 1:57 (Williamson, Arc Music, BMI) 8 Trying So Hard 5:17 (Flynn, Easy Baby Music, BMI) 9 She Dropped The Axe On Me 3:43 (Nosek, Eyeball Music, BMI) 10 I Want What Chaz Has 3:43 (Nosek/Wilson/Flynn, Eyeball Music, BMI) 11 Ride Santa Ride 3:15 (Nosek/Nosek/Wilson, Eyeball Music, BMI)
The Cash Box Kings are:
Joe Nosek: Harmonica, Vocals (5,9), Acoustic Guitar (9) Oscar Wilson: Vocals Billy Flynn: Lead Guitar, Baritone Guitar (5) Kenny “Beedy Eyes” Smith: Drums (1,4,7,8) John W. Lauler: Upright and Electric Bass Lee Kanehira: Piano, Organ
Various Artists — “Women In Blues Showcase — VizzTone
Blues harpmeister and archivist Bob Corritore seems to have everything in his musical vaults except Jimmy Hoffa.
He never seems to have any trouble finding enough fine music from his archives to put together an enjoyable album filled with outstanding blues by some of its best practitioners.
This time, it’s a very special “Women In Blues Showcase,” with a special variety of singers whose voices and songs cover a range of blues styles.
The eight women who contribute the 12 tracks are: Barbara Lynn, Carol Fran, Koko Taylor, Francine Reed, Diunna Greenleaf, Valerie June, Shy Perry, and Aliya Primer (John Primer’s daughter, 17, with her first recording).
The musicians on these songs are multitudinous (see the credits below) as well as magical. Corritore has a knack for capturing some of the best blues performers as they’ve passed through his Rhythm Room club in Phoenix since it opened in 1991. Those recordings make up the archives for his ambitious “From the Vaults” series.
The musicians, songs and styles in the archives are varied, but the constant musical theme is Chicago blues, underlined by Corritore’s tough, versatile harmonica work throughout. He manages to stand out musically, and at the same time, blend into a perfect background for each individual artist.
Those artists, and their songs here, are: Barbara Lynn, “You’re Gonna Be Sorry” — Carol Fran, “I Just Need A Friend” — Valerie June, “Crawdad Hole” — Koko Taylor, “What Kind Of Man Is This” — Shy Perry, “Wang Dang Doodle” — Diunna Greenleaf, “Be For Me” — Aliya Primer, “Te Ni Nee Ni Nu'” — Carol Fran, “I Needs To Be Be’d With” — Diunna Greenleaf, “Don’t Mess With The Messer” — Barbara Lynn, “You Don’t Have To Go” — Carol Fran, “Walkin’ Slipping’ And Slidin'” — Francine Reed, “Why Am I Treated So Bad.”
Each artist offers a unique style, and each song shows off that style, making for a terrific collection of good old-fashioned blues, leaning heavily on its Chicago roots.
Except for Aliya Primer, who is just 17 and making a sparkling recording debut with “Te Ni Nee Ni Nu,” the others are, or were, veteran performers. Sadly, Koko Taylor and Carol Fran are no longer with us, but their voices linger as testimony to their greatness. It’s not clear when each of these recordings was made, but the vocals are powerful blues statements.
In an interesting twist, Shy Perry shines on the raucous “Wang Dang Doodle,” which had become a signature song for Taylor, and Taylor makes her own powerful statement with “What Kind Of Man Is This.”
Diunna Greenleaf and Francine Reed are two big-voiced blueswomen and their traditionally tough vocals stand out here. Valerie June, a singer who is equally at home in folk and country, gives “Crawdad Hole” a delicious old-timey feel.
If I may digress for just a minute, I want to offer my own experiences with Taylor and Reed. Koko Taylor turned up at Pittsburgh-area clubs way back when, and you could always count on her to lift you out of your seats. My photo at left is from her 2008 Chicago Blues Festival appearance, about a year before her death.
I saw Francine Reed, once, in the summer of 1999 at Atlanta’s gorgeous Chastain Park amphitheater, when she was featured with Lyle Lovett’s Large Band. Her performance of the 1924 Ida Cox song, “Wild Women Don’t Get the Blues,” was one of those unforgettably hair-raising, spine-tingling musical moments that never quite dissolve in time.
But back to work. This is a thoughtfully produced, highly enjoyable selection of songs from a handful of great blues singers, some of whom may not have had the recognition that equals their talents. Put this on your playlist, and check out more of the great music from these women.
Here’s the track by Koko Taylor, “What Kind of Man Is This”
Here’s a nice big image of the album’s back cover, so you can find all the credits for these excellent songs.
It’s one thing to wait until your 42nd year to begin a musical career. It’s still another to wait a dozen more years to cut your first album. And yet another to have it all sound thoroughly polished and professional — and best of all, have it sound so wondrously full of such passionate music.
Harrod, a native of Johnstown, Pa., but a Baltimorean since age 7, has spent those last dozen years sharpening her musical edge in a variety of bands and performances.
She began her public singing career in 2011 with the soul-blues band Triple Shot, then with classic rock-blues band Blues Deluxe, and the blues-R&B band Shakedown, before forming The Gayle Harrod Band.
The result of that lengthy woodshedding for Harrod is this dynamic album of 12 original songs that flow from rhythmic soul to fiery blues with a stylish ease that defies expectation for a debut effort.
Harrod boasts a powerful voice that commands your attention, whether she’s belting or pleading, and there’s plenty of both on this rousing session.
The driving rhythms of “Sweet Memphis Man” kick it all off to introduce the sweet toughness of Harrod’s vocals. “Come On People” punches out with Harrod urging us to “work to make things better.” “Baby We’re Through” is a scorching statement emphasizing its title theme with percussive urgency and fiery guitar.
The title track, “Temptation,” is a dark tale of devils and angels, told with Harrod’s brooding vocals. “In The Deep Dark Night,” is a bright romp that contradicts its title, including raucous horn work bringing some New Orleans flavor. “Bring Me Along” soars with gospel call and response, heavenly organ and rock-steady drumming.
Then Harrod shifts style and mood, with the plaintive blues, “Waiting In The Shadows,” sung with an eloquent vocal touch against elegant acoustic backing that’s just plain down-home gorgeous. A sparkling “Break” turns the mood around again with a jazzy Motown-infused ode to personal independence. “You’re Gonna Miss Me” is a tough rocker, followed by the gently lyrical “The In Between,” and then turned around into the sprightly “God Laughed.” The closer, “Beautiful Friend,” is another gorgeously introspective ballad, pulled from Harrod’s magic well of songwriting.
There are many excellent, enjoyable moments here, but the one element that stands out all the way through, no matter what the style or mood — Harrod’s voice. She swings, she rocks, she shouts, she whispers. There’s bluesy grit, smoldering soul and folksy innocence. She wears her musical heart on her sleeve. And all of it is surrounded with the riches of a remarkably versatile musical aggregation (see the full list below the video).
If this is just Gayle Harrod’s first album, I can’t wait to hear the next one.
Tracklist: Sweet Memphis Man (3:05) Come On People (3:53) Baby We’re Through (4:01) Temptation (4:57) In The Deep Dark Night (2:53) Bring Me Along (3:44) Waiting in the Shadows (3:55) Break (4:03) You’re Gonna Miss Me (3:37) The In Between (4:55) God Laughed (4:10) Beautiful Friend (5:02)
The musicians: The basic Gayle Harrod Band is guitarist Stan Turk and drummer Chuck Ferrell. Guest performers on the album include guitarists Jonathan Sloane, Sol Roots, and Bobby Thompson; bassist Christopher Brown; Rachelle Danto on harmonica, and Brian Simms on piano and organ. Producer Buddy Speir adds guitar, slide, organ, and Wurlitzer. The Beltway Horns are Greg Boyer on trombone, Brad Clements on trumpet, and Brent Birckhead on tenor sax. Background vocals are by Mary Ann Redmond, Dusty Rose, and The Voices of Faith of the First Baptist Church of Baltimore Choir.
Jeff Pitchell — “Playin’ With My Friends” — Deguello Records
Jeff Pitchell is a Connecticut-based guitar slinger, songwriter, vocalist and, based on his ninth and latest album, damned good at all of them.
And, as if he needed any help, he’s picked a handful of capable friends to pitch in here, both on vocals and as bandmates.
Included among those friends on duets and guest spots are Duane Betts, Charles Neville, Claudette King (B.B. King’s daughter, J. Geils, Rick Derringer, Christine Ohlman, and Tyrone Vaughan (Jimmie Vaughan’s son). His backers are, as they say, too numerous to mention, but a user-friendly chart at the end of this post will help you keep score.
The album shuffles joyfully into earshot with an original, the easy loping shuffle of “Eye For An Eye,” followed hard with a tough, rocking “Prisoner of Love,” highlighted by stinging guitar work from J. Geils. These two songs alone would send me home happy, showing off a sparkling blend of lyrical and musical chops.
But there’s a lot more, some of them reworked rom earlier sessions. “So Into You” turns down the tempo but not the mood, adding a sensual sax to the mix. Another original, “Your Magic Eyes” rocks with gentle fierceness highlighting the poetic imagery of the title. “Out In The Cold” is thoughtfully soulful, featuring Tyrone Vaughan on vocals and a guitar solo that speak the same language.
Duane Betts adds his guitar to “All Night Long,” a raucous boogie with raunchy sax that would rock any roadhouse (See what I did there?). Rick Derringer joins Pitchell in the swinging vocal and guitar duet, “Unsung Hero Of The Blues.” Lucky Peterson’s “Not Guilty” turns up with a little Latin flavor, followed with the rocky roughness “Blinded By Desire.”
“Fat Cigars,” the title track to Pitchell’s 1997 debut album that lit up his career, comes out smoking, and reminds me of one of my favorite personal vices. The R&B tinged “I Like The Rut” features Christine Ohlman (The lead vocalist for the Saturday Night Live Band from 1991 to 2022.).
Claudette King unleashes a tough vocal turn on the rocking blues of the title track, and Pitchell turns the soulful Bobby Bland lament, “I Wouldn’t Treat A Dog,” into a soul-stretching closer.
Pitchell has brought together a stellar cast for “Playin’ With My Friends,” and the results speak, or rather sing, well of themselves. There’s a big bunch of thoroughly enjoyable music here, on all levels, from the splendidly varied vocals, to the wicked guitar and sax work, to the entire musical effort.
Well played, Jeff and friends, well played.
Here’s a video medley of some of the music on “Playin’ With My Friends”:
Tracklist and credits:
Eye for an Eye Prisoner of Love So into You Your Magic Eyes Out in the Cold All Night Long Unsung Hero of the Blues Not Guilty Blinded by Desire Fat Cigars I Like the Rut Playin’ with My Friends I Wouldn’t Treat a Dog
Blues Roadhouse 