Dani Wilde - Heal My Blues   This is the debut CD from one of the UK’s brightest young female blues guitarist/vocalists. She is an accomplished guitarist but what really hits you is the strength of her vocal and at only 21 years old, this could just be the beginning of an astounding future in the blues. Guests Ian Parker and his keyboard player Morg Morgan, contribute some fine guitar and organ respectively.

The opening track, ‘Bring Your Loving Home’, is a strong opener and supplemented with Ian Parker taking the guitar solo. Dani’s voice from the off, is confident and powerful and she takes her voice to another level on the second track, ‘Heal My Blues’. The CD is guitar based blues with nearly as much harp, courtesy of Dani’s brother Will, as guitar but the CD still has a fresh feel. Dynamics are used to good effect and no more evident than on the slow ballad  ‘I Love You More Than I Hate Myself’. Back to up tempo with  ‘I Want Your Lovin’ and once again featuring Ian Parker and some nice underlying organ from Morg Morgan. There are some good original songs on this album and ‘Testify’ is as good as any. There are also some covers; Junior Wells song ‘Little By Little’ with a soaring harp solo and Dani turns to acoustic guitar for a version of John Lee Hooker’s ‘In The Mood’. Acoustic guitar is also used on ‘Slow Coach’ and ‘People Like You’. This an extremely good album, especially as a debut and if Dani Wilde is part of the future of British Blues, then we have no worries.

BluesMix - Bidding My Time BluesMix are four London based musicians who produce quality blues, mixing blues with a little soul, funk and jazz. ‘Feel So Strong’ is a shuffle which from the start shows the talents of these fine musicians including multi instrumentalist Bob Morgan playing keyboards and sax on this first track. The club feel on  ‘Got My Eye On You’ is very funky and once again the sax shines on this number.

The band show diversity on the slow soulful, jazzy ballad ‘All Gone’ but bring back the funky feel on ‘Do You Know Me’ which weaves in and out of the blues. The remaining 6 tracks are of equal quality and style and you feel the sound of this excellent CD would translate onto the club circuit. I get the feeling, it would be a real treat to see these musicians perform live.

The Dirty Aces – One Good Reason  - Mini Album CD

The Dirty Aces are based in Jersey and have produced this 5 track mini album as a taster of what they have to offer to the world of blues. Their approach is to grind out harp and guitar led blues and they do this straight from the start of this CD with ‘Dollar & A Quarter’, which thumps in with some mean blues harp from Giles Robson. A drum intro brings in the funky blues, self penned, title track ‘One Good Reason and once again the harp is let lose on Been Mistreated. On the fourth track, The Dirty Aces arrange a Sonny Boy Williamson song, ‘You Might Do Without Me’ and guitarist Filip Kozlowski gets a chance to really shine on this slower blues. The last track ‘One Day Soon’, is a foot tappin’ straight forward blues, well played, attempting to create an older feel with retro harp. This CD is approximately 30 minutes of real blues and although not ground breaking, it is very well executed. If you like your blues a little more traditional than blues/rock this may be right up your street.

Buddy Whittington solo CD There are good CDs, there are excellent CDs in either, style, songs, playing etc. and then there are CDs of quality throughout.  Whether or not you like the songs or style there’s no denying Buddy Whittington’s first solo CD oozing quality and class. In the blues/rock vein, this CD proves you don’t have to be a full on guitar hero type to produce the goods.  The CD starts with ‘Young & Dumb’, a lively number with a nice riff and slide guitar.

The lead guitar lines are a little ZZ Topish in places without being heavy. ‘Pay The Band’ is a slower number grinding along and once again some fine guitar work from Buddy. This song, like several on the album, has lyrics on the humorous side. Another example is ‘Second Banana’, an obvious reference to playing sideman, as Buddy has done with John Mayall for the last 15 years and the clever lyrics in ‘Every Goodbye Ain’t Gone’, a little funky number with Buddy’s voice at full strength. In fact unlike many sidemen that produce a CD and feel they have to do the vocals, Buddy has a great voice and this makes CD even more of an enjoyable listen. We don’t give marks out of 10 but if we did it would have to be a 9.

Chris Barber Presents The Blues Legacy ‘Lost & Found’ Series Vol 1/Vol 2/Vol 3 This series of three volumes is a superb document of some of the earliest recordings from US blues artists playing in the UK. Chris Barber and his band, a bluesman court up in a jazz band, backs an array of artists from Howlin’ Wolf  to Muddy Waters,  Jimmy Witherspoon to Sister Rosetta Tharpe and Sonny Terry & Brownie McGhee to Louis Jordan.

Also making appearances are Otis Spann, Champion Jack Dupree, Hubert Sumlin, Ottilie Patterson, Ronnie Scott and Humphrey Lyttelton. There are some interesting introductions by Chris Barber setting the scene and although the sound is sometimes more New Orleans than Chicago, there is no doubt that these recordings are a piece of British ‘Live’ Blues history. Coupled with detailed liner notes and pictures, this makes this series a must have, if you are a serious blues collector.

However, The Chris Barber Band did not back the blues artists on all of the tracks. For example, on Volume 1, Sonny Terry & Brownie McGhee play 12 tracks on their own and this is an absolute peach of its time. On this same CD, Sister Rosetta Tharpe plays solo on several tracks with her haunting strong vocal. On Volume 2 Muddy Waters plays with Otis Spann, playing some of his ‘hits’, for example ‘Hoochie Coochie Man’ and ‘Baby Please Don’t Go’. Also on this CD Champion Jack Dupree makes an appearance on three tracks and as Record Collector says about ‘Mother-In-Law Blues’, “brilliantly mischievous”.

Volume 3 features Sonny Boy Williamson with a jazzy version of ‘Help Me’ and on ‘C-Jam Blues’, the blues harp interacts with the horns and it works well. This volume also features Jimmy Witherspoon with his powerful vocals commanding a version of ‘Everyday I Have The Blues’ and there’s a fine trombone solo on the slow blues ‘When I’ve Been Drinking’. One of the many highlights on this volume is Howlin Wolf with his menacing big man vocal and ‘Dust My Broom’ with authentic guitar lines played by Hubert Sumlin.

The recordings are from various live gigs including the Free Trade Hall Manchester in the late 1950s and early 60s and some studio recordings.  The sound quality varies but considering how some of the recordings were originally made, the results are remarkable and full of character. Record Collector recently gave the series a maximum 5 stars and you can’t argue with that.

Storm Warning - Something Real    Distinctive blues rockers Storm Warning are carving out a solid reputation on the UK and European blues circuits. Something Real, the band’s second studio set, builds on the ambitious and fresh approach established on Breaking Out, revealing influences ranging from classic blues, to ZZ Top, Gary Moore and even Pink Floyd. Son Maxwell’s harmonica roots the music firmly in the blues, while drummer Roger Willis and bassman Derek White lend a rock-conscious power to the mix. Bob Moore’s inventive guitar and Ian Salisbury’s sensitive and subtle keyboards complete the band’s dynamic sound.

The eight original tracks include ‘On The Road’ with it’s atmospheric beginning and Pink Floyd style slide guitar; the rocky ‘Hard To Be A Man’; ‘Charlie’s Blues’ with Latin feel, strong harmonica/guitar riff and subtle harmonica solo; and the epic title track, think Gary Moore blues ballad with a touch more class and a little jazz influence in the guitar. All these and the remaining original tracks, demonstrates the critically acclaimed strength of the band’s songwriting. The one featured cover is a dramatic take on Lucky Peterson’s ‘Nothing But Smoke’. A welcome new offering from a band committed to carrying the blues into exciting new territory.

 

Larry Miller - Outlaw Blues For those of you who know Larry Miller, you have a good idea of what to expect but   those of you who are new to his music and like guitar driven blues rock, you will not be disappointed. The opening track ‘Shame On You’ starts with a solo guitar riff as if  played through a small speaker but wait for it! Out of nowhere comes the band and full on guitar announcing in musical terms this is Larry Miller. This first track is a Strat infused rocker. There’s no let up on the second track ‘Writing’s On The Wall’, apart for the solo guitar and vocal intro. Another foot stompin’ blues rocker but this number steps up the game, with some impressive lead guitar.

But hey, Larry Miller has a soft side to him. ‘Calling All The Angels’ is a slow number with picking guitar and then welcome Matt Empson on the organ. Eventually drums come in with a lazy feel giving Larry the chance to play subtle guitar with feeling and vibrato. Track four Rebekah, is another good foot tappin’ rocking number followed by Storm Comin’, a Hoochie Coochie style riff with slide guitar and keyboard player Matt Empson taking to the blues harp.

The most unpredictable song on the CD is Professor Casanova which although relatively poppy, is catchy and a good song. You can hear several influences in Larry Miller’s playing and song writing from the Rolling Stones on ‘Only One Woman I Want’ to ZZ Top on the wonderful title track ‘Outlaw Blues’. Just when you thought this album will rock out to the end comes ‘Blues Forever’, a slow blues ballad which Larry gives his best vocal performance and once again plays some nice guitar with feeling. Larry Miller is often associated with the passion and the style of Rory Gallagher. He is obviously a big influence and maybe fitting that the last track is an acoustic slide guitar blues called Klondike which would be perfect in a Rory Gallagher set.

This is a well made album of great blues rocking with versatility. Larry Miller has a good band behind him and the addition of keyboards and harmonica embellishes the songs. He is already a popular figure on the live circuit and this album, probably his best to date, can only increase his following and standing. Rock on Larry!    

The Blues Experience with Cash McCall – The Vintage Room  This CD has the legacy of Willie Dixon behind it as ‘The Vintage Room’ features Alex Dixon, the grandson of Willie. Alex not only plays piano on the CD but also wrote some of the songs and produced the album. The sleeve notes say Alex Dixon thanks his grandfather for teaching him the formula to create blues and this is evident in the final product, a most enjoyable blues CD. Steeped in tradition and the Chicago side of the blues, this CD has feel.

From the opening track ‘Helluva Time’ Cash McCall’s wonderful vocals are rich in the blues and a constant throughout the album along with his traditional blues style of guitar. No over cooked solos just interspersed guitar lines fitting the moment. Another strong feature of the CD is the harmonica playing by Steve Bell which plays a big part on the opening track and with particular strong solos on ‘Slice of Pie’ and ‘Catch Me Before I Go’.

How could the grandson of Willie Dixon not pay homage to his grandfather and here you will find good versions of ‘I Just Wanna Make Love To You’, ‘Bring It On Home’ and ‘I’m Ready’. From track 8 ‘Mama’, the feel of the CD changes with the introduction of upright bass courtesy of Dylan Cooper and drummer Vinnie Threats preferring the brushes. Although a lighter feel is produced this is by no way detrimental to the CD and shows the band can play both styles well. A customer who bought this CD emailed to say ‘Cash McCall CD is a killer!’. Sounds like a good recommendation.

Fred Chapellier & Friends – A Tribute To Roy Buchanan Roy Buchanan is one of those guitarists that probably never got the recognition he deserved. French guitarist Fred Chapellier was convinced by his incredible guitar skills from an early age and thus has been a big influence on his playing. The CD fuses some great blues guitar work with songs by Roy Bucanhan, Fred Chappelier and other blues standards. Not many could make a telecaster sing the way Roy Buchanan did.

For this tribute Fred Chapellier explores the guitar legend’s repertoire with the help of some ace musicians.  These include Billy Price, former vocalist with The Buchanan Band and Tom Principato, one of Roy’s jamming buddies plus US guitarist Neal Black.  Jean Alain Roussel, producer of Roy's final album, played keyboards and was in charge of production A sizzling set with blistering guitar solos and some gentler moments that will get accolades from Roy Buchanan buffs of all continents. If you have never listened to Roy Buchanan, here is a good place to start and then work back through Roy’s catalogue of CDs to hear what made Fred Chapellier say  “ The sound of a guitar that grabbed my soul and pieced my heart like nothing I had ever heard before.”

Buck 69 – When She Whispers Your Name Like Bob Seger meeting Jonny Lang in a juke joint to talk about Eric Clapton. A father and son blues rock band mixing together the old and the new with a bang. With three members over the age of 45 and 5 members under the age of 30, Buck69 is influenced by more than three generations of music.

The use of lead and rhythm guitar is done to a classic drumbeat and vocals that rock the house. This band is there for the music and it's that transparency that makes them uniquely refreshing. If you like to dance, sing and shout, I have a feeling that Buck69 is for you. I danced around my office when I was checking this band out, I could hardly imagine how much fun it would be to see them live. I highly recommend this band to anyone who enjoys rock or blues. Very impressive licks mixed in with a great drumbeat that makes a groove you can't help but listen to. – Guitar Tips

 

LIVE REVIEW

The Hoax at The Chiddingfold Club 5/5/08

 

You never say never in rock and roll. And so it came to pass that after nearly 9 years away from it all The Hoax made an unexpected reunion on the occasion of the 10^th anniversary of the release of their 'Humdinger' album and the final night of the Chiddingfold Club.

 

In fact it wasn't quite The Hoax as bass player Robin Davey was missing apparently stuck in the States and his place was admirably taken by the former Melt and current Scott McKeon bass man Tom Latham who formed a formidable partnership alongside the redoubtable Mark Barrett on drums.

 

On they strode looking like the most disparate bunch of musicians imaginable. The startling contrast between the white figure of Jesse Davey with his de rigueur LA attire of long hair, goatee beard and flamboyant sunglasses, with the Dr Feelgood style smart suite and tie of fellow guitarist Jon Amor was almost incongruous while the fully bearded mop top of Hugh Coltman looked for all the world like a left bank Parisian poet. Perhaps the three fiercely independent characters had something to prove to each other, because musically they returned at the very peak of their abilities.

 

Much has changed since The Hoax called it a day. SRV may not quite be the same God he was back in the mid 90's and rock has long since been levered into the nether regions of a niche market. But let's not forget that The Hoax had already matured and grown of age with their superb suitably titled 'Humdinger' album before they called it a day. And it was this album that featured heavily on the night being re-issued as a CD with bonus tracks and a DVD apparently charting its creation.

 

Perhaps the biggest surprise was that Hugh played very little harp and spent most of the evening growing in stature as a mighty vocalist. So while messieurs Davey and Amor spent a good deal of the evening embellishing some mighty shuffles with all manner of deep toned accompaniment, Coltman's voice remained steadfast, leading the band through the full range of dynamics and wringing every last nuance from the songs.

Opening with the up tempo 'High Expectations' and the riff driven 'Fistful of Dirt the Hoax quickly upped the ante on Groovebreaker' which actually started in a languid vein before the rhythm section pushed the groove to the limit and the guitars broke through the tension with a mighty Jesse solo followed by Amor in a cooler jazzier mode.

 

In fact it took little more than the opening handful of songs for the band to reach the heights that made them so unique back in the 90's. If anything Hugh seemed reticent to play his harp, finally succumbing on '20 Ton Weight' and then kicking into top gear on the show stopping Lester Butler song 'Automatic'. It may have escaped people's notice but it's also ten years since the Red Devils harp man died. He influenced a generation and especially it seems The Hoax who continue to share the same adulation as the great man did in Holland.

 

A guitar frenzy followed on Stevie Wonder's 'Superstition' on which Hugh added a startling banshee like wail, while on the edgy 'Feeding Time' he crouched at the front to sing a verse through his harp mic. Perhaps most impressive of all was the band's reading of their own slow blues 'Don't Shake My Hand' which featured both a guitar cameo from Jesse Davey who leapt into the crowd while the unflappable Amor teased out the most delicate vibrato imaginable despite an amp problem.  But above all this deep blues outing featured Cotlman at his expressive best, confidently giving full range to some emotive phrasing of the highest order.

 

He further impressed with his use of elongated vowels and an ability to hold a note effortlessly as well as taking centre stage to sing a verse without the aid of his mic.

 

If anything this show simply restated The Hoax's collective brilliance. They still sound like the most contemporary blues outfit on the planet and they always seem to be playing within themselves building up numbers incrementally, never wasting notes and always eagerly pursuing fresh possibilities. By the time of the closing monumental shuffle Jon Amor and Jesse Davey dusted down their party piece of each playing the others guitar neck, but even this little piece of theatre was merely a conduit to a climactic outro. The crowd exploded, Amor sent his tie into the front row and the band had just ridden rough shot over the old adage that you should never come back.

 

***** (5/5)

© Review by Pete Feenstra www.getreadytorock.com