Blues CD Reviews 110
Curtis Salgado
Legacy Rewind: Live In '25
Nola Blue Records
By Peter "Blewzzman" Lauro © Apr 2026
The story as to how this recording came together is so interesting that I'd like to share every word of how Curtis described it in the liner notes. That, of course, would be too lengthy, so I'll just give kudos to a huge Curtis Salgado fan named Randy Maag for being the catalyst and let you read the rest, once you get a copy of Legacy Rewind: Live In '25 for yourself.
Legacy Rewind: Live In '25 is a collection of R&B, funk, soul, and rock 'n' roll tunes that were recorded live at The Triple Door during two same-day performances - a matinee show and and evening show. For the project, Curtis - on lead vocals and harmonica - assembled a fifteen piece band of his favorite musicians who have worked with him over the years. They are: Keashaun Jones, Margaret Linn and Lindsey Reynolds on backing vocals; Alan Hager and Ben Rice on lead & rhythm guitar; Kenny Meriedeth on rhythm guitar; John Linn and John Wolcott on bass; Gary Harris on alto & tenor sax; Timothy Bryson on tenor & baritone sax; Dave Mills on trumpet; Lars Campbell on trombone; Brady Goss on piano; Brian Harris on B-3 organ; and Ron Tuttle and Patrick Seals on drums & percussion. Of the album's thirteen tracks - many of which Curtis has never performed live - ten are Curtis' originals.
On this track, like many of us, Curtis is tired of politicians making promises they'll never keep and conversations with people who know nothing and got nothing to say (does social media come to mind?), it's time for him to take a long vacation and make a "Clean Getaway". So he sold everything that wasn't nailed down, closed his eyes and put a finger on a map, and got his butt out of town. Musically it's a funk filled smoker with fiery horn led rhythm and fierce keyboard and guitar leads.
On "My Girlfriend", Curtis lays down some very clear and strong ground rules pertaining to a relationship that may - or more likely, may not - take place . Just a few of his many unflattering comments include "You manage my weekend, but not my life" and "You're my girlfriend, but not my wife." Musically, this dance floor filler has the same funky vibe going on and vocally, Curtis is his usual soulful and powerful self.
I have heard so many different phrases used as a way of describing how broke someone may be, and I've probably used a few of them myself. However, with "Money Must Think I'm Dead", Curtis takes the cake. This rhythm fueled rocker is highlighted by smoking guitar and organ leads and it is the only track on which you'll hear Curtis blowing hot harmonica leads.
Be it from the hands of Alan or Ben, the slide guitar work on "Precious Time" is absolutely masterful. On the other hand, so is the drumming and bass work coming from the hands of Patrick Seals and John Wolcott, respectively; and so are the vocals being belted out by Curtis.
Are you ready to go to church? Your answer best be yes 'cause on "A Woman Or the Blues", Pastor Salgado is ready to take ya. From start to finish, this one will have you on your feet, clapping your hands, and lively singing along to the chorus line of "A woman or the blues". Technically, that line should have a question mark attached because according to Curtis, it's is something he'll ultimately have to choose between - a woman or the blues? With everyone at disc's best here, especially the lead and backing vocals, this is easily my favorite track. Excuse me, I'll be back after another listen or two....
Because of it's lyrics, I've liked all of the covers I've heard of "20 Years of B.B. King" (David Duncan), but no one can own it like Curtis does. Listening to him so soulfully and realistically singing the line "I've learned more about the blues in in two weeks with you than twenty years of B.B. King", seem to make you think he definitely lived it and wrote. Being one of the disc's more traditional blues songs, it features some of the disc's best stinging guitar leads.
On "Fine By Me", the title track off of his last release, Curtis reminisces of the times he had lunch with Jackie O; shook hands with Muhammed Ali; watched Iggy Pop from the front row; and had coffee with Malcolm X. Incidentally, all of those instances are followed with "Then suddenly I was awake, and it was all a dream" - which as the song title suggests, was fine with him. Driven by an intense rhythm, this one is good ol' rock 'n' roll at it's best.
Other tracks on Legacy Rewind: Live In '25 include: "Sing My Song"; "Wiggle Outta This"; "Sweet Jesus Buddah the Doctor"; "Count Of Three"; "Nobody But You"; and "I Don't Want To Discuss It".
Should you have not yet received your copy of Legacy Rewind: Live In '25 for airplay, contact Michelle Castiglia at - macradiopromo@gmail.com - and if you don't already know enough about Curtis Salgado, check him out at - www.curtissalgado.com. As usual, whomever you contact, please tell them their friend the Blewzzman sent you.
If it's true that 'time flies when you are having fun', then I must be having a big ol' ball. After looking back to my review of World's Gone Crazy - CD Woodbury's last release - I almost fell off my chair when I saw that it is sneaking up on six years since then. Whoa!
Many years back, long before I even became aware of Clint "CD" Woodbury, there was a period where I was receiving so much good music from this area that in 2010, I opened a review with this line: "The amount of good blues music coming out of the top left corner of the United States is unfathomable. It's getting to the point that when I get a CD in the mail, if the return address has a zip code with the first three numbers anywhere between 970 and 979, I've already started liking it". Pretty much most of those Pacific Northwest artists were honored by the several blues societies in the area, entered and won the International Blues Challenges, as well as many going on to be nominees and winners of the different blues awards' platforms. Currently, it's CD Woodbury garnering those same blues societies' accolades, and I have no doubt that nominations from those same awards platforms will not be far behind.
On Bulldog, The CD Woodbury Trio consists of: CD on vocals, and electric, acoustic, slide, & glass neck guitars; Robert Baker on electric & upright bass, and sound effects; and Bill Ray on drums. Additional musicians include: Joel Astley and Bill Davis on harmonica; Mike Marinig on flute; and Jonathan Sayre on drums. The album's eleven tracks feature three originals and eight covers.
Probably because Albert King - who made the Booker T. Jones/William Bell composition a big hit - is my favorite bluesman of all time, "Born Under A Bad Sign" is one of my favorite tracks on the disc. With Robert and Bill in a profound rhythm groove behind him, CD's vocals and masterful blues guitar licks more than give the song the justice it is due.
If you go back and listen to Elvis Presley's original recording of "Little Sister" (Pomus, Shuman) recorded in 1961 and pay close attention to the lead guitar of Hank Garland, you'll realize just how blues oriented the song was. What you'll also notice is that the song did not feature a harmonica. Fast forward sixty-five years and this slowed down rendition from CD and the guys, featuring the fine harmonica work of Bill Davis, totally turn the rock 'n' roll song into an all-out blues number.
One of the things I'm finding most impressive about The CD Woodbury Trio is that unlike most blues trios, they haven't felt the need to fall into that "power trio groove" which usually encompasses over the top guitar leads. The guys are indeed staying true to the blues and that continues to be evident on Bobby Blue Bland's "I Wouldn't Treat A Dog (The Way You Treated Me)" (Barri, Omartian, Price, Walsh) which again features tight rhythm grooves, great vocals and strong blues guitar runs.
If there was ever a song I can relate to it's this original from CD and Michele D'Amour McDanel titled "Dollar Store Readers". Like CD, "I buy my reading glasses down at the dollar store". Although he risks being called a cheapskate, CD's take is "I'll never break twenty sets as fast as the department store pair in my pocket, when I sat down and broke that sucker right in two - twenty bucks right down the drain .......got me them cheap plastic throw away's, I buy them by the dozen". A cleverly written story, cleverly told by CD, while masterfully pickin' his acoustic guitar.
Hands down, and not just because the song is a classic from Willie Dixon, but because of the arranging, production and performance of it as well, "Spoonful" is by far the best track on the disc. This seven minute version features CD at disc's best on guitar; same for Robert and Bill on the intense rhythm groove; and a totally surprising and absolutely masterful performance by Mike Marinig on the flute. This is the kind of song that should it exist, would win the "Quasi-Original Song" category. Easily the disc's replay special.
How many times have you said, or heard someone say "There's a song In there somewhere"? Countless! Well, Mark Dufresne (Roomful Of Blues) wrote one that describes a situation where there is indeed "A Song In There". As you might expect, a song of Mark's will most likely feature a killer harmonica player, and on this one, Joel Astley is more than up to the task.
Other tracks on this excellent album include: "Wicked Grin" (Pickett, Nicholson); "Politician" (Brown, Bruce); "I Got You (I Feel Good)" (Brown); and two more originals titled "Gaslight Road" and "(Call Me The) Bulldog".
To find out more about CD Woodbury just go to www.blindraccoon.com and should you have not yet received your copy of "Bulldog" for airplay, just contact Betsie Brown at www.cdwoodbury.com. As usual, wherever you go and whomever you speak with, please tell them that the Blewzzman sent you.
After reviewing Blues Vol 1 by Jay Lang, I recall hoping that subsequent volumes would be imminent. That said, just eighteen months later, Jay is back with Blues Vol 2, and I now find myself hoping this becomes an ongoing series.
With the same ensemble from Vol 1, Jay - on vocals, guitar, and bass - is again joined by: Nate Robbins on bass; Brad Porter on drums; Eric Carlton on piano, keyboards and accordion; and Harold Tremblay on harmonica. Unlike Vol 1, which included mostly original music from Jay, Vol 2 mostly focuses on artists of the Delta and Piedmont blues arenas. Since that is also Jay's area of expertise, it's most likely that he's paying homage to some of his early influencers.
Long before Steve Miller 'loved her peaches and wanted to shake her tree', back in 1935 on "Squeeze Your Lemon", Bo Carter had a different take...
"Now listen here sweet baby, I never have been down;
But I can roll your lemon better than any man in this town.
Baby please let me roll your lemon;
And squeeze it the whole night long.
Oh let me squeeze and roll your lemon;
Oh baby until your good juice come".
Leaving that to your interpretation, I'll just move on to the music part of the track. Sounding like he stepped right out of the era, Jay's vocals and geetar picken' skills will put you right on a porch somewhere in Greenwood, MS; while Eric's masterful barrelhouse piano playing may just take you a few hundred miles to the south and drop you off in some funky dive bar in the French Quarter. Fabulous track!
"Stagolee" (Traditional) is one of many different title variations of a song that Lloyd Price had a number one hit with in 1959 called "Stagger Lee". Keeping the variation thing going, pretty much making the song his own, Jay's musical arrangement is nothing like any rendition I've ever heard. On a song which has been said to be sung as field hollers, to a hit making it to the top of the R&B and Pop Charts, the duo of Jay on vocals, bass and guitar; and Brad on drums; turn it into a cool Delta Blues thing.
As I'm listening to one of Jay's originals titled "One More Day", I can't help but think that with his deep and raspy vocals; his skillful acoustic guitar playing; and Nates amazing walking bass lines; that this duo would be a natural in the International Blues Challenge.
This paragraph really took some time to write. After hearing the song I decided I needed to hear the original version of "Last Kind Word" by Geeshie Wiley. Once I heard her sing it my curiosity got the best of me and now I needed to find out more about this woman I have never heard of. To my dismay, the only thing I discovered was that everyone else knew as little as I did. According to the Internet, "Little is known about Wiley, and the few details of her life provided by various sources are inconsistent". Perhaps that has something to do with the songs mysterious lyrics and dark, eerie presentation. That said, since I had fun doing all this, I'm going to suggest you do the same......enjoy!
In Jay's own words "Keep On Gwine" is "A deconstruction of the James Booker standard with New Orleans flair". Where as the original version featured the 'Piano Legend' leading the way on the piano, Jay's version features Harold Tremblay using killer harmonica skills to almost run away with this instrumental. Notice I said almost? That's because Jay could very well be at disc's best right here on guitar. Indeed, another of the disc's many highlights.
Some fifty plus years after Canned Heat had a hit with it, the lyrics to "Let's Work Together" (Wilbert Harrison) still ring true. Who, along with me, remembers singing along to:
"Together we stand, divided we fall,
C'mon now people, let's get on the ball...and work together.
C'mon, c'mon, let's wok together. Yeah people! Together we will stand every boy, girl, woman, every man"?
Musically, bouncing back and forth from the piano to the organ, Eric's all over the keys; and vocally, although he looks nothing like him at all, Jay's vocals on this one did sound reminiscent of Bob "The Bear" Hite.
The disc closes with a masterful rendition of "Statesboro Blues", Jay's arrangement of a Blind Willie McTell composition. Doing double duty on guitars - Jay on the bass, along with Brad on the drums - are in the perfect down home rhythm groove; while Jay on the acoustic guitar and Eric on the piano go toe to toe pickin' and ticklin'. Vocally, showcasing his expertise of the southern roots blues, Jay nails this one.
Other tracks on Blues Vol 2 include: "Movin' On" and "Holes In My Shoes", two more of Jay's originals; "I Got Mine" (Frank Stokes), and "Bourgeois Blues" (Leadbelly).
If you've not yet received a copy of Blues Vol 2 for airplay, please contact Jay Lang at - jhlang@gmail.com - and should like to find out more about Jay just go to - www.jaylangmusic.com. Remember, when you contact Jay, please tell him the Blewzzman sent you and that I'm looking forward to "Blues Vol 3".
If you've ever been to Nashville I'd be willing to bet that you have had the absolute pleasure of seeing one or more of Stacy Mitchhart's live shows at Bourbon Street Blues. I sure have! On the other hand, should I lose that bet, then I'd also be willing to bet that simply said, you're just not into the blues.
For his seventeenth release, No Rhyme Or Reason, Stacy has pulled out all the stops. In addition to having multi Grammy Award winner Tom Hambridge produce and play on the album, Stacy brought in a few heavy hitters - most of whom are Grammy winners as well - as band-mates, and as guests.
Those joining Stacy - on lead & background vocals, and lead & rhythm guitar - are: Tom Hambridge on drums, percussion and background vocals; Kenny Greenberg on guitars; Kevin McKendree on keyboards; Rob Cureton and Tommy MacDonald on bass; Kyla Jade and Rachel Hambridge on background vocals; Max Abrams on saxophone; and Julio Diaz on trumpet. His guests include: Gretchen Wilson on co-lead vocals; Charlie Musselwhite on harmonica; and Kenny Neal on co-lead vocals, guitar and harmonica. Of the album's twelve tracks, eleven are original collaborations from a mix of Tom Hambridge, Stacy Mitchhart, Richard Flerming and Kenneth Wright.
The disc opens with a smoker titled "Good One Time". It features Stacy using lines like "If you need a driver, I'm the driving kind", and "If your heart needs stealing, I can rob you blind", while attempting to persuade a woman to allow him to treat her good one time. From the gritty guitar work, to the profound horn and keyboard enhanced rhythm, to the powerful and enticing lyrics, this one has it all going on.
"Bad As You" is a clever track that addresses the constant finger pointing that goes on between a habitually bickering couple. As it usually is the case in this type of a relationship, they happen to be as bad as each other. As it turns out, they actually like each other's bad company. Musically, with the band in a great rhythm groove behind him, Stacy showcases his killer guitar skills - those same skills that over twenty years ago earned him the Blues Foundation's "Most Promising Guitarist" Award.
This track is a vocal duet that features the handsome Stacy Mitchhart and the beautiful Gretchen Wilson very appropriately taking turns telling each other, "You Sure Look Good To Me". As Stacy tells it, "I almost spilled my whiskey across the barroom floor, when I saw what looked like heaven walking in the door"; while Gretchen's take is "From the second I walked in, your blue eyes burned right through me. I'm smelling what you're cooking boy, you know exactly what you're doing to me". Lyrically, musically, and especially vocally, this country blues number was by far my favorite track on the disc. Clearly, their thirty year friendship had a lot to do with their chemistry on this one. If "You Sure Look Good To Me" gets released as a single, I'm thinking it could go right to the top of the country charts.
"Once You Leave" tells the somber tale of trying to return to a relationship that you've walked out on. Sadly, most of the time the end result of that is "Once you leave, you can't come back". It's a soulful, old-school ballad that Stacy and Kyla absolutely shine on vocally. In Stacy's words, "The background vocals that my friend Kyla Jade put on raised the song to a whole other level". Well said!
Logically, if a pancake's burning from being over fried, you've got to "Flip It To The Other Side". That said, as weird as that, and some of the song's other lyrics are, Stacy puts on a masterful performance singing them. On the other hand, with Tom and Rob laying down a rumbling rhythm; Charlie doing that Charlie Musselwhite thing he does on the harmonica; and Stacy having a grand ol' time sliding up and down the neck of his guitar; it's the music that makes this one cook.
The title track centers around Stacy being baffled as to why his woman treats him so mean. In his mind there's just "No Rhyme Or Reason". Isn't that what all us men think? Musically, Tom reaches deep into his creativity skills and with his genius use of percussion and mixing, produced a totally different and interesting sound on this one. Bordering on eerie, the way the instrumentation melds with the background vocals and horns, is quite mesmerizing.
"Mean Bad Wrong" features Stacy and recent Blues Hall of Fame inductee, Kenny Neal, performing a duo on vocals, as well as sharing guitar duty with Stacy doing the slide and Kenny on the rhythm. Throw in the always excellent rhythm; Kevin's outstanding piano runs; Kenny's sharp harmonica leads; and this is another of the disc's many highlights.
On the notes included with the album, Stacy describes "She's Just Right For Me" as "A song that reflects what made me love the blues to begin with". It's a hot blues shuffle that I think would have most of us agreeing with him. Musically and vocally, this one features everyone on top of their game.
The disc closes with a serious slow blues burner titled "On My Dying Day". The first two times I listened to it I just had to back away from the keyboard and soak it all in. To use a point Stacy made about the previous song, this is the kind of stuff that made me fall in love with the blues. With Stacy singing his heart out and laying down his best slow blues licks, and the rhythm section in that killer slow blues groove, this is indeed slow blues at its very best. Although they rarely win, when I was on several blues nominating committees, these were the kind of songs that were always on my "Song of the Year" ballot.
Other tracks on No Rhyme Or Reason - which I think may be Stacy's best release - include: "We Blew It"; "It's A Long Way Down" (J. Rainer, K. Brandt); and "Never Gonna Get Me Back".
To find out more about Stacy Mitchhart, just visit his website at - www.stacymitchhart.com - and should you have not yet received your copy of No Rhyme Or Reason, contact Michelle Castiglia at macradiopromotions@gmail.com. As usual, whomever you contact, please tell them their friend the Blewzzman sent you.
As soon as I opened the envelope containing this CD I not only recognized the name Charlie Barath, but I also felt that I had written something about him in the past. After searching the archives of www.Mary4Music.com I discovered that he appeared on a compilation CD I reviewed for the Blues Society of Western PA titled Blues From The Burgh 5 - a CD Compilation Celebrating The Music Of Western PA - back in May of 2019. On that disc, Charlie played killer harmonica on two tracks - one with a band called The Delta Struts, and another with a band called The Aces.
Issaquena Getaway is Charlie Barath's second release under his own name and on it, Charlie - on vocals, harmonica and percussion - is joined by: special guest Johnny Burgin on guitars; Andrew Sherer on guitars; Mark Yacovone on piano and organ; Mike Law on bass; Danny Banks on drums; and Shari Richards on vocals. The album contains fourteen mostly traditional blues tracks of which twelve were written and arranged by Charlie.
Within ten seconds of the first track, I knew that how ever long this disc was, that it was indeed going to be very well spent time. The track is titled "I Gets Around" and as with most of the music on Issaquena Getaway, it's traditional blues at its best. With lines that start off with:
"Well I ain't got no money, but I got a lot of friends.....";
"Well I ain't got no job, but I stay busy all night long.....";
"Well I ain't got no Cadillac, but man I gets around.....";
"Well I ain't got no woman, but man I ain't never alone.....";
Charlie exudes positivity and seems to be quite content with what he "ain't got". Musically, with Mike, Danny and Mark in a perfect foot tappin', knee tappin, body swayin' groove behind them, Charlie and Johnny take turns showcasing their masterful harmonica blowin' and guitar playin' skills. Also, since Charlie didn't sing on that compilation CD, I'm very impressed with my first exposure to his very cool and smooth vocal style. Excellent track!
Things seemed to have changed for Charlie on a swinger titled "The Weekend Song". Although he now has a job that he likes, he also "loves it when it's done". As most people in the workforce will agree, Charlie's thought is that "A nice long weekend is sure good for your health". With Mike (bass) and Danny (drums) laying down the thumping rhythm, this dance floor filler features several musical interludes that highlight fabulous chromatic harmonica leads from Charlie, lively piano runs by Mark, and quite skillful guitar leads by Andrew.
Showcasing his creative storytelling style of singing, this one tells a story of a poker game in which Charlie is "Waitin' For The Queen". Holding an Ace, King, Jack and Ten, Charlie eventually hits 'Broadway' when his "Queen had finally come around". It's a slow number led by profound rhythm with more tandem harmonica and guitar leads from Charlie and Johnny.
One of the disc's two covers is an instrumental titled "Cuban Getaway" (I. Turner & J. Josea). Whatever your Latin dance of choice is, this is the one you'll want to do it to. It features 'I gotta get up and dance to this one' type rhythm and percussion by Mike, Danny and Charlie; scintillating piano leads from Mark; alternating titillating guitar leads from Johnny and Andrew; and magical harmonica work by Charlie, that will have you looking at the credits to see who is on the squeezebox.
On "I Might Fall In Love", by listing a whole lot of things he's not going to do out of fear of it happening, Charlie really sets up a hard line of defense - which may or may not work. This one kind of reminds me of when I told the Blewzzlady not to fall in love with me 'cause I'm never getting married again. That was forty-three years ago, so be careful Charlie.
"The Best Thing You Can Do'" features Charlie offering some very sound advice: "It ain't never right to do the wrong thing"; Ain't never wrong to do the right thing"; and "It ain't a bad thing being good"; are indeed words to pay attention to. With that being said, here is some good advice from me - since this is the disc's sixth track and I've loved every one so far, grabbing a copy of it are also words you should pay attention to.
So it sounds to me like "That Wasn't Me" should be added to that list of the world's biggest lies that includes 'The check is in the mail'. This one has Charlie denying compromising accusations. As with every track on the album, all musicianship is stellar.
If "Renee" was the person Charlie pleaded his innocence to in the above track, she apparently didn't believe him. Ya see, he's been so lost and lonely ever since Renee drove away. With its jumping groove and barrelhouse piano vibe, this one will have all the fast dancers on their feet.
As you might expect, being a song from Stanley Turrentine, "Sugar" is one for the jazz loving side of us blues lovers. With the bass, drums and piano - the nucleus of any great jazz band - shining on this one, Charlie does a fabulous job of replacing the saxophone with his harmonica.
Other excellent tracks on this must have release include: "Brass Monkey"; "Just Wanna Walk With You"; "Can I Have This Dance?"; "I'm Gonna Let You"; and "Honey I Got No Money".
If you've not yet received a copy of Issaquena Getaway for airplay, please contact Betsie Brown at - www.blindraccoon.com - and should you like to find out more about Charlie Barath, check him out on Facebook at - www.facebook.com/charlie.barath. Remember, wherever you go and whomever you speak with, please tell them their friend The Blewzzman sent you.
As I do with every album I receive for review, I listened to This Idea Of Humanity in full, before reading the accompanying one-sheet. Once I did get around to reading it, I knew exactly why I kept thinking that I was listening to a Hammond organ god. The more I read, the clearer it became. In addition to playing the instrument since he was five years of age, Ed went on to earn a degree in Classical Organ Performance from Westminster Choir College in Princeton, NJ. In addition to having gone on to work with Bette Midler, Chuck Berry, Leonard Bernstein, Herbie Hancock, Odetta, Dion and others of varied genres of music, Ed has been playing the organ for the New York Yankees weekend home games for over twenty years.
By his own admission, Ed says that with all his Hammond mastery it was only natural that he'd become a bluesman, and for that, us fans of the genre are grateful. On his second blues release, Ed - on vocals, organs, pianos, melodica, clavinet, synthesizer, Suzuki Andes, basses, percussion and drums; Jimmy Vivino on vocals and guitar; Ula Hedwig and Maxine Alstrom on background vocals; Meridith Greenberg on ethereal vocals and djembe; and Don Gunita on drums. All of the albums fourteen tracks are Ed Alstrom compositions.
On the opening track, titled "Put You First", Ed immediately showcases his church and choir roots. Right out of the gate, he - along with heavenly help from Ula - put on a powerful and heartfelt vocal performance of the songs uplifting lyrics.
Here's just a small sampling of this Gospel infused love song:
"I want you to love me, the way I love you.
And I want you to feel it, the way I feel it too.
Our love is deep and wide, our love is strong and vast.
I'm gonna put you first, So I can make it last."
Musically, with all that's going on, the track is actually a solo. It features Ed, and only Ed, putting on a one man instrumental show. Wow! What a great way to kick things off.
"All I'm Gonna Do" seems to be Ed's idea of the anti-personal ad. If you want a husband who: "Ain't gonna paint the house or wash the car; and instead of moving things for you, he'll leave them where they are; who'll make you take the kids to ballet, and will let you handle the teachers conference and the meeting with PTA; and doesn't want any part of 'honey dos', 'cause all he wants to do is play the blues"; amongst countless other things; then Ed is surely the man for you. Musically it's another smoker that features the orchestra called Ed.
For all intents and purposes, a track titled "Humans" is kind of the title track. If for nothing else, the song's melancholic, yet humorous lyrics - yes, that is indeed a thing - make it worthy of mention. Here are some of Ed's sentiments:
"See, I love this idea of humanity; it's these humans I can't tolerate.....";
"It's said friends are as dangerous as enemies, and we judge by the company we keep.....";
"They say we can unravel in a second, what it took five million years to create.....";
"They say this world is coming to an end soon; and I myself can hardly stand the wait.....";
"They say this word is coming to an end soon, and I myself can hardly stand the wait.....";
"See, I love this idea of humanity, it's these humans I can't tolerate".
Right about here I'm tempted to go back to the credits paragraph and add sarcasm and pessimism to Ed's. All kidding aside, this was one heck of a tongue-in-cheek (I hope) presentation.
Sounding like something out of Muddy Waters' songbook, a shuffle titled "Nothing Good To Say" is the disc's most traditional blues track. Unlike the track above, Ed seems to have turned over a new leaf by stating "If you got nothing good to say, don't say nothing at all". Interestingly, four tracks in and all of the music is coming from the hands and brains of Ed. This one featured such a monster synthesizer performance that it had me scouring the credits to see if I missed the harmonica player.
Struggling with his social shortcomings, Ed has no problem admitting that he just doesn't "Understand". On the other hand, he does have hope that maybe someday he'll stare down his fears and realize that people dig him more than it appears. Wearing his heart on his sleeve, Ed's heartfelt and soulful vocal presentation on this slow and melancholic ballad are absolutely masterful, as well as is all of his instrumentation - especially his tickling of the ivories. Excellently done track!
As this track begins, if you want to start singing 'I like bread and butter, I like toast and jam', then just "Go Ahead". That's exactly what came to my mind on this up-tempo dance floor filler.
"The Way Back", is another slow blues track with Ed once again all over the slow blues rhythm groove; once again killing it on piano; and once again nailing it on the vocals; and Jimmy Vivino, on his first and only instrumental appearance, tearing it up on slide guitar.
From busboys, to waitresses, to maids, to valet parkers, to cooks, to sewer workers, to many other unglamorous lines of work - including dollar musicians, Ed pays tribute to all of those blue-collar workers who work "So Hard". With its Chuck Berry meets Jerry Lee Lewis vibe this one totally rocks.
Other tracks on this very well-done album include "Bridesmaid"; "Party Planner"; "Blues Keep Coming Back"; "Inquiring Minds"; "Got To Stop"; and "Worry".
If you've not yet received a copy of This Idea Of Humanity for airplay, please contact Betsie Brown at - www.blindraccoon.com - and should you like to find out more about Ed Alstrom, check out his website - www.edalstrom.com.
Remember, wherever you go and whomever you speak with, please tell them their friend The Blewzzman sent you.
Blast Off is Duke Robillard's thirty-eighth release and his first on KBA recipient Sallie Bengtson's Nola Blue Records. That said, if you were to figure in the number of recordings he's produced and/or appeared on, that number just might be countless.
For the project, Duke - on guitar and lead & background vocals - is joined by many recognizable names: Chris Cote on vocals and lead guitar; Bruce Bears on piano, organ and background vocals; Marty Ballou on electric & acoustic bass, and background vocals; Mark Teixeira on drums, percussion and background vocals; Doug James on baritone and tenor sax; Mark Earley on tenor sax; Billy Novick on clarinet; and Doc Chanonhouse on trumpet. Collectively Duke calls them his All Star Band. Of the disc's twelve tracks, three - of which two are instrumentals - are Duke's originals.
Similar to my favorite Duke Robillard song, "Blues A Rama" - where Duke expertly mimics the styles of many of his guitar influencers - for this recording, Duke assembled many of the styles of music he's known for: blues; swing; jazz; and R&B.
The opening track is a swinging rendition of Floyd Dixon's "When I Get Lucky". As with most of the other tracks, the smooth vocals being belted out on this one come from the outstanding voice of Chris Cote. Musically, as with many of Duke's recordings, horns and rhythm rule, and Doug, Mark (Earley), Billy, Marty, Mark (Teixiera), and Bruce are indeed making that happen here. And then there's Duke, being his masterful self on jump blues guitar.
With a title like "I'll Be Glad When You're Dead (You Rascal You)", Sam Theard definitely did not care for the person he wrote this one about. This duet between Duke and Chris is the only track that features Duke singing. The sass they exude on the humorous lines of:
"I'll be glad when you're dead you rascal you,
I'll be glad when you're dead you rascal you.
Well I brought you into my home,
You wouldn't leave my wife alone.....
I'll be glad when you're dead you rascal you,
I'll be glad when you're dead you rascal you.
When you're laying six feet deep,
No more fried chicken will you eat".....;
..most certainly take the edge off the severity of the lyrics.
Musically, the Dixieland Jazz vibe created by the horn section - now with Doc on trumpet and Billy on the clarinet - will surely transcend you straight to the French Quarter.
Most young musicians form garage bands right out of high school, but that's when Duke started Roomful of Blues. Wow! As a matter of fact, when he wrote this song - "Feel My Cares", he was just seventeen years old. Lyrically and musically, this is good ol' traditional blues at its finest with Duke at his finest on blues guitar.
Having never heard this song, and having never heard of the Rocking Brothers - which Bill Dahl mentions on the disc's liner notes as "a mid-50s obscurity" - I just had to go to YouTube and listen to their original recording of "Play Boy Hop" (A.M. Bruner). With no apparent deviation from the Rocking Brothers performance, Duke and the band totally nail this instrumental. As it did back when some of these players performed it in the early years of Roomful, the track features a standout performance by Doug on baritone sax.
The original and title track is a collaboration of Duke, Marty and Mark T. it's one of those songs that from time to time arises from a few band members fooling around with their instruments while waiting for the others to show up. Dukes take on it was "This is Really cool! I don't know what I'm going to do with it, but we'll see!". Well now you not only see what he did with it, you can listen to it as well, because it became a fabulous instrumental titled "Blast Off".
Being a big fan of his, Duke pays homage to Count Basie on a rendition of his "The King". Something Duke said about Basie's music: "The sound of the band, the sound of the rhythm section, and the soloists just blew my mind". Simply said, that same statement can be made about this ensemble. Jazz and big band fans, as well as the swing dancers, are going to absolutely love this one.
Using a "You had me at" reference, on "Warm And Tender Love" (B Robinson & I Berger) Chris had me at "Let Me Wrap You In My Warm And Tender Love", on the opening of this soulful ballad. A reference Duke made in the liner notes was that Chris can sing any kind of music. That said, not being all too familiar with him, after hearing him on this one, I'm his newest fan. Easily one of the disc's best tracks.
Like that earlier reference I made to "Blues A Rama", this original instrumental titled "Galactic Grease" is all about guitar style - Duke's, that is. With the rhythm section in that killer groove of theirs, Duke takes this one and runs with it. Great stuff!
Other tracks on Blast Off - what I'm saying will be an oft mentioned CD come various awards times - include: "Lowdown" (T. Waits & K Brennan); "Confusion" (A. Toussaint); "Stand By Me" (E. Jones); and "Look A There Look A There" (H. Whitaker).
Should you have not yet received your copy of Blast Off for airplay, contact Michelle Castiglia at - macradiopromo@gmail.com - and if you don't already know enough about Duke, check him out at - www.dukerobillard.com. As usual, whomever you contact, please tell them their friend the Blewzzman sent you.
Good Soul is the title of Charles Tiner's second release, but if you take the time to read his bio, I think you'll agree with me that it could very well be a term to describe Charles, as well. For this project, Charles - on lead & background vocals, piano, organ, horn & string arrangements, and percussions - is joined by: John Virgin on lead guitar; Jamahl Patterson, Mark Sanders, Keagan Cunningham and Mike Wallace on drums; Charles Fox, William "Chilly" Bryant and the late Conrad Lee on bass; Theodore "Theo" Fisher on sax/arrangements; Clipton Smith on lead, solo and rhythm guitar; "Ready" Eddie Smith on lead and rhythm guitar; Travis Aldridge on lead & rhythm guitar; Chris Camp on harmonica and washboard; with Sandra Chappel, Regina Stewart-Byrd, and Johnetta Jay Williams on background vocals. Of the disc's twelve tracks, eleven are written, composed and arranged by Charles.
Having nurtured his musical roots in the Baptist church where his father was a pastor, I'm going to put my money on "Bad Woman" having never been performed in that environment. Ya see, Charles wants his woman to be bad and if not, he won't spend one dime 'cause she'd just be a waste of his time. Amongst other things, "She's gotta put food on the table, sweep the floor with a good broom, run his bath water, and put it down in the bedroom......". Vocally, with his compelling presentation of this song's forthright lyrics, Charles' sincerity is never in doubt. Musical highlights include, Theo's fiery sax solos; Clipton and John's toe-to-toe smoking guitar leads; and a powerful rhythm led by Charles' intense organ runs. Great track!
Travis' killer blues guitar intro - and throughout the track, as well - pretty much sets the mood for a good ol' downhome blues track called Blue Moon. Speaking of blues, with lyrics like: "We didn't wear name brand clothes like Louis Vuitton, we wore hand me downs from the body of someone; No Michael Jordan's or Stacy Adams', we had plain leather shoes with Holy bottoms; We didn't drive BMWs, we didn't drive Cadillacs, we had to walk to school with our heavy back packs; I can't miss having a silver spoon, I was born under a Blue Moon"; Charles is belting the hell out of them vocally. With the band in a killer blues groove behind them, Charles - with outstanding help from Sandra and Regina - just takes the lyrics and runs with them on this one.
Unlike a previous song I mentioned, this one would surely be welcomed to be performed at any spiritual gathering. As a matter of fact, Charles' Gospel roots are quite evident on "Peace By The River". From Theo's opening sax intro; to Charles' range roving emotional vocals; to the accompanying backing vocals; to the lead and rhythm guitar work; to the drum and bass playing; to the song's lyrics; the word powerful is the common denominator. This one reeks of "Song Of The Year" potential.
This is a song about something that many of us are working hard at to make happen, and all of us are hoping does - making sure the blues "Stick Around". As Charles soulfully professes his love for the music his thoughts are:
"There’s something about my love of blues,
A love I’ve ever known.
I CAN'T hardly figured It out
But one thing I do know
My love has grown
The blues Has been consistent,
The blues have been real sound
That’s why I gotta keep it real
You know what.
The blues will always stick around."
"Don't Let The Devil Ride" is the band's reconstructed rendition of the 1968 original by Rev. Oris Mays. This take is a funky rocker featuring the whole band pretty much laying down a Gospel style jam while Charles offers the sound advice of: "Don't let the devil ride, if you let him ride, he'll want to drive....." and "Don't let him be your friend, if you let him be your friend he'll take you to the end."
The album closes with a joyful and jazzy tune titled "Put Your Money On Me. The laid-back vibe of just Charles Tiner on piano, Chris Camp on harmonica, and Charles Fox on standup bass, is the perfect vehicle for the boss man to showcase his extraordinary vocal skills. Putting that another way, let me just say "THIS GUY CAN SING!".
Other tracks on Good Soul - an album I believe will make some noise during the blues award nomination processes - include: "Be A Man"; "Don't Bau Me Nun"; "Night Rider"; "She Made A Move On Me"; "Two Wrongs Don't Make It Right"; and "Don't Be A Fool Too Long".
If you've not yet received a copy of Good Soul for airplay, please contact Betsie Brown at - www.blindraccoon.com - and should like to find out more about Charles Tiner, check out his website - www.charlestinermusic.com. Remember, wherever you go and whomever you speak with, please tell them their friend The Blewzzman sent you.
