Artist: Gary Moore
Title: Bad for You Baby
Writer: Rick Galusha
Irish Bluesrocker Gary Moore is no newcomer to the idiom. Before there was a Sebastian Bach, Moore and Phil Lynott formed ‘Skid Row’ in the early 70’s. Shortly after that Lynott would leave to form Thin Lizzy and Moore would maintain a dalliance with Lynott until Phil‘s death in 1986. As a young man Moore took guitar lessons from Peter Green – founder of the Fleetwood Mac Blues Band. When Green opted out of the music industry he bequeathed his famed Les Paul to the young Belfast player. In 1995 Moore would pay homage to Green with the critically acclaimed album, ‘Blues for Greeny’ where Moore covered Green’s music; using the slow blues technique of Green to launch an album of rapid fire solos and meandering wondrous fret work.
While Green’s influence on Moore is apparent, equally obvious is Moore’s fascination with B. B. King and his perchance of holding a single note for numerous measures and making the tones and shadings fill the recording. Over the stretch of his four decades of recording, Moore has sharpened his tasty albeit up-tempo ax slinging that is sure to attract fans of Joe Bonamassa, Mato Nanji or Jeff Beck. And while song writing is historically a short coming for wunder-players, Moore’s vocals compliment his style and his albums historically have included a mix of covers and self-penned tunes with strong melody lines. Moore relies on blues textures and structure as he creates a sound that is easy to embrace and yet full of depth.
Moore’s latest album, Bad for you Baby, is a plain good record. Admittedly, his version of the blues, while widely embraced, is not aligned with most critics and other assorted purists. However, for the Everyman in each of us – this is an album with depth and variance that includes languid ballads like, ‘Trouble Ain’t Far Behind’ and the screaming guitars of ‘Umbrella Man.’ Moore’s covers two Muddy Waters songs, ‘Walkin’ Through the Park’ and ‘Someday Baby.’ He also follows Johnny Winter lead by covering J.B. Lenoir’s, ‘Mojo Boogie’ as well as Al Kooper’s Blood, Sweat & Tears era, ‘I Love You More Than You’ll Ever Know.’ Denver’s Otis Taylor pays back the favour by appearing on Moore’s album by playing his African banjo on the track, ‘Preacher Man Blues.’
Fans of the afore mentioned Joe Bonamassa, Jeff Beck and Mato Nanji(Indigenous) will enjoy Moore’s romp through the blues genre; his tender emoting notes and fiery finger fretted runs. Radio hosts might look at the smokin’ ‘Umbrella Man’ or the slow and emotive, ‘Did You Ever Feel Lonely?’
Friday, November 21, 2008
Thursday, October 23, 2008
Joe Bonamassa - Live from Nowhere
Artist: Joe Bonamassa
Title: Live from Nowhere
Within today’s contemporary blues scene there is an audience that loves a hot guitar player. Some bemoan the act; some adore it. The latest two disc album by Joe Bonamassa is a showcase for the New Yorker axman. There are few players today with the depth in their trick bag that Bonamassa brings to the table. And while simply rolling out impressive lick after lick can make for a tedious listening experience, Bonamassa balances the fine line between serving the song and musical masturbation. Today, it seems the guitar gods of our youth are now either dead or over 60 and matted with gray hair. Clearly Bonamassa has the chops to vie for similar recognition and the poo-poo’s certain to follow such a suggestion are based upon little more than jealousy and a lack of scope.
In addition to being able to write a good song, or at least co-write one, Bonamassa has a well developed history of rock’s finest players and tributes them throughout this latest effort. In the melody ‘Django/Just Got Paid’ Joe throws in licks from a myriad of artists including Peter Frampton and Jimmy Page. On the same disc the live version of his track, ‘Asking Around for You,’ a contemporary blues-rock classic, is instantly recognizable for its ethos of B. B. King; who took the teenage Joe under his wing. So one has to ask, why this rock player is considered by many to be a “blues artist?” For no other reason than that is where his audience can be found and if fans vote with their dollars – Bonamassa is an unheralded upstart that is earning his respect one venue and one fan at a time.
Throughout this live album Bonamassa swings between serving the song and taking off on fret board adventures that may not appeal to all blues fans. Included are some earlier classics including, ‘Woke Up Dreaming’ and a too short version of, ‘If Heartaches were Nickels.” Also included is his now trademark show stopper, “A New Day Yesterday/ Starship Trooper/Wurm’ (covers of songs by Jethro Tull and Yes).
In all this is a radio ready album for shows and fans that derive from a classic rock background and dabble in the blues for sonic familiarity and access to the new artists that, for whatever reason, today’s radio ignores. The track, ‘India/ Mountain Time’ is as strong a blues-rock ballad as rock radio could possibly hope to discover- but in order to discover music one needs to be a leader (and a listener) rather than a pollster and, well, perhaps the absence of Bonamassa of the radio today is a reflection of why pertinent rock radio died in a Wisconsin helicopter crash nearly two decades ago.
So why isn’t this album given a higher rating than eight? ‘Live from Nowhere’ is an album seeped in the blues ala Humble Pie, Led Zeppelin and Rory Gallagher; however, to the “Blues” establishment this is not a “Blues” record…none-the-less it is an easy fit to most ears with soaring solos, tasty keyboard interplay and blistering rushes of bravado. What only time will tell is if this album will cross over into, ‘a dear friend’ that is played for its warmth as much as its songs and solos. “Feel the wind blow, feel the time flow, and I’ll be there when the morning comes.’
Title: Live from Nowhere
Within today’s contemporary blues scene there is an audience that loves a hot guitar player. Some bemoan the act; some adore it. The latest two disc album by Joe Bonamassa is a showcase for the New Yorker axman. There are few players today with the depth in their trick bag that Bonamassa brings to the table. And while simply rolling out impressive lick after lick can make for a tedious listening experience, Bonamassa balances the fine line between serving the song and musical masturbation. Today, it seems the guitar gods of our youth are now either dead or over 60 and matted with gray hair. Clearly Bonamassa has the chops to vie for similar recognition and the poo-poo’s certain to follow such a suggestion are based upon little more than jealousy and a lack of scope.
In addition to being able to write a good song, or at least co-write one, Bonamassa has a well developed history of rock’s finest players and tributes them throughout this latest effort. In the melody ‘Django/Just Got Paid’ Joe throws in licks from a myriad of artists including Peter Frampton and Jimmy Page. On the same disc the live version of his track, ‘Asking Around for You,’ a contemporary blues-rock classic, is instantly recognizable for its ethos of B. B. King; who took the teenage Joe under his wing. So one has to ask, why this rock player is considered by many to be a “blues artist?” For no other reason than that is where his audience can be found and if fans vote with their dollars – Bonamassa is an unheralded upstart that is earning his respect one venue and one fan at a time.
Throughout this live album Bonamassa swings between serving the song and taking off on fret board adventures that may not appeal to all blues fans. Included are some earlier classics including, ‘Woke Up Dreaming’ and a too short version of, ‘If Heartaches were Nickels.” Also included is his now trademark show stopper, “A New Day Yesterday/ Starship Trooper/Wurm’ (covers of songs by Jethro Tull and Yes).
In all this is a radio ready album for shows and fans that derive from a classic rock background and dabble in the blues for sonic familiarity and access to the new artists that, for whatever reason, today’s radio ignores. The track, ‘India/ Mountain Time’ is as strong a blues-rock ballad as rock radio could possibly hope to discover- but in order to discover music one needs to be a leader (and a listener) rather than a pollster and, well, perhaps the absence of Bonamassa of the radio today is a reflection of why pertinent rock radio died in a Wisconsin helicopter crash nearly two decades ago.
So why isn’t this album given a higher rating than eight? ‘Live from Nowhere’ is an album seeped in the blues ala Humble Pie, Led Zeppelin and Rory Gallagher; however, to the “Blues” establishment this is not a “Blues” record…none-the-less it is an easy fit to most ears with soaring solos, tasty keyboard interplay and blistering rushes of bravado. What only time will tell is if this album will cross over into, ‘a dear friend’ that is played for its warmth as much as its songs and solos. “Feel the wind blow, feel the time flow, and I’ll be there when the morning comes.’
Wednesday, August 20, 2008
Indigenous revive career with 'Broken Lands'
INDIGENOUS - “BROKEN LANDS”
While rock music is awash with bands comprised of siblings the South Dakota band Indigenous cut a swath in the bluesrock genre for ethnic bands like Los Lonely Boys and the Homemade Jamz Blues Band. During the past decade Indigenous has struggled to live up to its initial promise; struggling to find a voice since the ’98 release of, ‘Things We Do.’ In the succeeding ten years, through three subsequent albums and two CD-EPs, Mato Nanji, the sole remaining founding member, has parted company with his siblings, changed management and allowed his promising career to nearly fall apart. The fans disappointment has been palatable. With the August release of ‘Broken Lands’ the promise sensed on their 1995 release, ‘Awake’ has been fulfilled.
As the son of noted Indian Rights pioneer Greg Zephier, Mato Nanji has been silent on this legacy…until now. When Zephier died of natural causes in 1999 Jackson Browne played at the memorial Indigenous Jam concert. Zephier honored his son by giving him the native name of America’s first Civic Rights leader Standing Bear. Greg raised his son to be sober, principled and to admire the music of Jimi Hendrix, Santana, Albert King and eventually Stevie Ray Vaughan. All are lessons Nanji took to heart.
The band’s previous album, ‘Chasing the Sun’ dealt with the trauma of breaking up a band comprised of family members. The release of his latest effort, Broken Lands, shows Nanji using the Draconian nightmare of growing up on an impoverished reservation, being invisible to most Americans, to sing the blues…the real blues. On the song, ‘Place I Know’ Mato remembers a community raped by alcoholism and drug abuse when he sings, “I hear a baby crying in the night, with no mother in sight. Walking down the street with no shoes on their feet…You take all you can, in this place I know.” For this writer, contemporary blues have never been more real; more apparent or more genuine. The subsequent instrumental break shows the “ancient art” of guitar weaving between Nanji and the band’s other guitarist Kris Lager that is captivating and panoramic..
On ‘All I Want to See” the band brings back the textures of a prominent acoustic guitar so righteously used on the title track of their ’98 radio embraced album, ‘Things We Do.’ By the seventh track of ‘Broken Lands’ the band has downshifted into the albums most radio friendly track, ‘Just Can’t Hide’ where the band uses crisp melody lines against (more!) cowbell to accelerate the album’s energy a notch above the normative. Gone are the atonal groove tracks of previous records and back are melody lines intertwined with blues textures and subtle but biting lyric lines.
Guitar hackers will relish at the interplay between Nanji and Lager but it is organist Jeremiah Weir’s background playing that seems to push and prod the album with gentle textures and polite nods ala’ the Allman Brothers or The Derek Trucks Band. John Fairchild on drums and A.C. Wright on bass round-out Nanji’s touring band that is road tight and solid on a foundation that was born on the windswept high plains of Nebraska. There are six radio friendly tracks on this album including the jumping, ‘Make a Change,’ a Black Crowes style, “It’s Alright With Me” and the Hendrix textured, ‘Should I Stay.” Not to be confused with an Eric Clapton track of the same name, ‘Let It Rain’ simmers into a full blown rock tune that is comfortable – drawing the listener into the album. Nanji repeatedly leans into the wind with guitar solos that build the song and ends soon enough.
On ‘Eyes of a Child’ Nanji contrasts his childhood to those of his own children when he sings of his home life with wife, co-writer and vocalist Leah Nanji when he says,“You taught me what I need to know. Living with no envy and loving all around, Finding your voice with each little sound. Gaining strength from the arms that embrace you; Never worry about the troubles that may face you. Teaching others life is a gift. With every smile you will get your wish.”
Fans have waiting a long time to hear this album. As with any band there have been disappointments. To those of us that have trudged out to see the band over the past ten difficult years – ‘Broken Lands’ is a masterpiece. Nanji has stepped up with an album of songs that will bind fans back to a band that has finally found its voice…a voice with a message that matters.
Perhaps Nanji is speaking to listeners when he sings, “Still remember all the things we had together…Can you hear me calling you. Can you feel me missing you? I know I was lost before…now you’re all I’m looking for” from the album’s track, ‘Still Remember.’ Broken Lands comes out August 19th on Vanguard Records.
While rock music is awash with bands comprised of siblings the South Dakota band Indigenous cut a swath in the bluesrock genre for ethnic bands like Los Lonely Boys and the Homemade Jamz Blues Band. During the past decade Indigenous has struggled to live up to its initial promise; struggling to find a voice since the ’98 release of, ‘Things We Do.’ In the succeeding ten years, through three subsequent albums and two CD-EPs, Mato Nanji, the sole remaining founding member, has parted company with his siblings, changed management and allowed his promising career to nearly fall apart. The fans disappointment has been palatable. With the August release of ‘Broken Lands’ the promise sensed on their 1995 release, ‘Awake’ has been fulfilled.
As the son of noted Indian Rights pioneer Greg Zephier, Mato Nanji has been silent on this legacy…until now. When Zephier died of natural causes in 1999 Jackson Browne played at the memorial Indigenous Jam concert. Zephier honored his son by giving him the native name of America’s first Civic Rights leader Standing Bear. Greg raised his son to be sober, principled and to admire the music of Jimi Hendrix, Santana, Albert King and eventually Stevie Ray Vaughan. All are lessons Nanji took to heart.
The band’s previous album, ‘Chasing the Sun’ dealt with the trauma of breaking up a band comprised of family members. The release of his latest effort, Broken Lands, shows Nanji using the Draconian nightmare of growing up on an impoverished reservation, being invisible to most Americans, to sing the blues…the real blues. On the song, ‘Place I Know’ Mato remembers a community raped by alcoholism and drug abuse when he sings, “I hear a baby crying in the night, with no mother in sight. Walking down the street with no shoes on their feet…You take all you can, in this place I know.” For this writer, contemporary blues have never been more real; more apparent or more genuine. The subsequent instrumental break shows the “ancient art” of guitar weaving between Nanji and the band’s other guitarist Kris Lager that is captivating and panoramic..
On ‘All I Want to See” the band brings back the textures of a prominent acoustic guitar so righteously used on the title track of their ’98 radio embraced album, ‘Things We Do.’ By the seventh track of ‘Broken Lands’ the band has downshifted into the albums most radio friendly track, ‘Just Can’t Hide’ where the band uses crisp melody lines against (more!) cowbell to accelerate the album’s energy a notch above the normative. Gone are the atonal groove tracks of previous records and back are melody lines intertwined with blues textures and subtle but biting lyric lines.
Guitar hackers will relish at the interplay between Nanji and Lager but it is organist Jeremiah Weir’s background playing that seems to push and prod the album with gentle textures and polite nods ala’ the Allman Brothers or The Derek Trucks Band. John Fairchild on drums and A.C. Wright on bass round-out Nanji’s touring band that is road tight and solid on a foundation that was born on the windswept high plains of Nebraska. There are six radio friendly tracks on this album including the jumping, ‘Make a Change,’ a Black Crowes style, “It’s Alright With Me” and the Hendrix textured, ‘Should I Stay.” Not to be confused with an Eric Clapton track of the same name, ‘Let It Rain’ simmers into a full blown rock tune that is comfortable – drawing the listener into the album. Nanji repeatedly leans into the wind with guitar solos that build the song and ends soon enough.
On ‘Eyes of a Child’ Nanji contrasts his childhood to those of his own children when he sings of his home life with wife, co-writer and vocalist Leah Nanji when he says,“You taught me what I need to know. Living with no envy and loving all around, Finding your voice with each little sound. Gaining strength from the arms that embrace you; Never worry about the troubles that may face you. Teaching others life is a gift. With every smile you will get your wish.”
Fans have waiting a long time to hear this album. As with any band there have been disappointments. To those of us that have trudged out to see the band over the past ten difficult years – ‘Broken Lands’ is a masterpiece. Nanji has stepped up with an album of songs that will bind fans back to a band that has finally found its voice…a voice with a message that matters.
Perhaps Nanji is speaking to listeners when he sings, “Still remember all the things we had together…Can you hear me calling you. Can you feel me missing you? I know I was lost before…now you’re all I’m looking for” from the album’s track, ‘Still Remember.’ Broken Lands comes out August 19th on Vanguard Records.
Monday, June 30, 2008
album review: Kelly Hunt Mercy
Artist: Kelly Hunt
Title: Mercy
Writer: Rick Galusha
Rating: 7
If the South has Marcia Ball – then the Midwest has Kelly Hunt. Originating in Kansas City, Hunt has a storied career built by hard work and seemingly endless touring. While recognized by many, Hunt’s career seems to just shy of the level playing field that many national label artists muster. None-the-less this piano player continues to deliver solid albums.
Kelly Hunt’s piano focused sound blends a rough edged tavern blues with a contemporary melded blues that can initially be indistinct. The sounds and the textures are immediately recognizable, and there are plenty of “blue notes,” brought together with a less evident melody line but a strong groove. Most of the modern blues community will immediately be at ease with Hunt’s sound.
“They told her two girls could not make a life. This is wrong. Get up, find you a man and be a wife. Oh but when their eyes met they knew it was right. They had no choice but to follow this life. And their love was so big, all heaven broke loose. Their love was so big it made it stone truth.” And thus begins the third track, “Love” on Hunt’s album, ‘Mercy.’ While musicians have historically held a liberal bias, one wonders in the day of 24 hour news if music will continue to be a source for intellectual discourse or merely become a clanging gong of politically correct mind numbing. Clearly there are those who advocate the “shut up and sing” mentality while the oft kicked Constitution guarantees the singer a voice in the public square. When an artist chooses to employ a topical political issue in their art, and step into that public discourse, they open themselves up to criticism that can go beyond their art and focus’ on their content.
Personally I am less drawn to random topical issues being thrown amid recordings. Yes, I recognize an artist’s right to compose and preach but I also recognize my lack of appreciation of society’s seemingly endless polar tugs. I also have a personal desire to seek “just” entertainment for my money and my time. There are artists you come to expect political messages from such as Billy Bragg, Steve Earle, Neil Young, Bob Dylan or Bruce Springsteen but at what point can you draw the line? I suppose at the ‘on/off’ button for you CD player. I skipped the last Springsteen tour; not because I necessarily disagreed with his bantering messages but because I didn’t want to have to pay to hear them. Call me a curmudgeon.
On the title track Hunt and band perform a haunting and beautiful ballad focused on a soft piano line emphasized by Hunt’s vocal lines. The singer advocates for personal mercy for herself and others. It is a wonderful and moving piece that should appeal to radio. In all this is a good, not great, album of songs by a hard working Midwestern barroom talent with aspirations to become a national artist. Hunt’s voice varies between Aretha Franklin in her prime and a modern Etta James’. The songs are above average but failed to fully capture this listener’s ear…although most listeners would find varying levels of enjoyment in this collection of songs.
Title: Mercy
Writer: Rick Galusha
Rating: 7
If the South has Marcia Ball – then the Midwest has Kelly Hunt. Originating in Kansas City, Hunt has a storied career built by hard work and seemingly endless touring. While recognized by many, Hunt’s career seems to just shy of the level playing field that many national label artists muster. None-the-less this piano player continues to deliver solid albums.
Kelly Hunt’s piano focused sound blends a rough edged tavern blues with a contemporary melded blues that can initially be indistinct. The sounds and the textures are immediately recognizable, and there are plenty of “blue notes,” brought together with a less evident melody line but a strong groove. Most of the modern blues community will immediately be at ease with Hunt’s sound.
“They told her two girls could not make a life. This is wrong. Get up, find you a man and be a wife. Oh but when their eyes met they knew it was right. They had no choice but to follow this life. And their love was so big, all heaven broke loose. Their love was so big it made it stone truth.” And thus begins the third track, “Love” on Hunt’s album, ‘Mercy.’ While musicians have historically held a liberal bias, one wonders in the day of 24 hour news if music will continue to be a source for intellectual discourse or merely become a clanging gong of politically correct mind numbing. Clearly there are those who advocate the “shut up and sing” mentality while the oft kicked Constitution guarantees the singer a voice in the public square. When an artist chooses to employ a topical political issue in their art, and step into that public discourse, they open themselves up to criticism that can go beyond their art and focus’ on their content.
Personally I am less drawn to random topical issues being thrown amid recordings. Yes, I recognize an artist’s right to compose and preach but I also recognize my lack of appreciation of society’s seemingly endless polar tugs. I also have a personal desire to seek “just” entertainment for my money and my time. There are artists you come to expect political messages from such as Billy Bragg, Steve Earle, Neil Young, Bob Dylan or Bruce Springsteen but at what point can you draw the line? I suppose at the ‘on/off’ button for you CD player. I skipped the last Springsteen tour; not because I necessarily disagreed with his bantering messages but because I didn’t want to have to pay to hear them. Call me a curmudgeon.
On the title track Hunt and band perform a haunting and beautiful ballad focused on a soft piano line emphasized by Hunt’s vocal lines. The singer advocates for personal mercy for herself and others. It is a wonderful and moving piece that should appeal to radio. In all this is a good, not great, album of songs by a hard working Midwestern barroom talent with aspirations to become a national artist. Hunt’s voice varies between Aretha Franklin in her prime and a modern Etta James’. The songs are above average but failed to fully capture this listener’s ear…although most listeners would find varying levels of enjoyment in this collection of songs.
Monday, June 16, 2008
Album Review, Blues Divine, That's What It Takes
Artist: Blues Divine
Title: That’s What It Takes
Writer: Rick Galusha
Kentucky born guitarist Phillip Franchini debuts his blues chops on the 2006 recording, ‘Blues Divine’ (available on CDBaby.com) Now residing in Southern California, according to the net, Franchini has also released the Flamenco/ Classical album, ‘Paleo’ under the moniker Phillipo Franchini after spending numerous years overseas. Regardless of his musical meanderings Franchini is a competent player with a polished pallet for arrangements and smooth vocal lines. His distinctive voice is warm and, wonder of wonders, he can carry a tune.
Throughout the Blues Divine album Franchini displays a wide range of musical styles while maintaining a comfortable sound that most blues fans will immediately warm to. From the up-tempo and radio friendly horn driven Little Milton style, ‘Other Men’s Crimes’ to a more traditional ‘Delta One’ Franchini seems comfortable moving about the blues spectrum with ease. Joined by Albert Lee and David Grishom, Franchini’s band includes a horn section that repeatedly graces with album with strong lines and good arrangements. Back-up vocalists C.C. White and Raquel Allegra add great depth and texture to Franchini’s able vocals.
This is a very smooth and readily digestible album of contemporary blues with strong melody lines and slick arrangements. I have to imagine that Franchini’s blues are right up the alley and in the pocket for non-Purists blues music fans that want to widen their scope to include new and skilled artists. I would speculate Blues Divine is to modern blues what the Doobie Brothers were to rock n’ roll; competent, perhaps too slick for critics but very popular, very skilled song writers that moved easily within the more commercial arenas with his easy to grasp arrangements and emoted lyrics. I would readily recommend this album to those blues fans looking for a bit more melody and a lot less twang-bar driven jamming.
Title: That’s What It Takes
Writer: Rick Galusha
Kentucky born guitarist Phillip Franchini debuts his blues chops on the 2006 recording, ‘Blues Divine’ (available on CDBaby.com) Now residing in Southern California, according to the net, Franchini has also released the Flamenco/ Classical album, ‘Paleo’ under the moniker Phillipo Franchini after spending numerous years overseas. Regardless of his musical meanderings Franchini is a competent player with a polished pallet for arrangements and smooth vocal lines. His distinctive voice is warm and, wonder of wonders, he can carry a tune.
Throughout the Blues Divine album Franchini displays a wide range of musical styles while maintaining a comfortable sound that most blues fans will immediately warm to. From the up-tempo and radio friendly horn driven Little Milton style, ‘Other Men’s Crimes’ to a more traditional ‘Delta One’ Franchini seems comfortable moving about the blues spectrum with ease. Joined by Albert Lee and David Grishom, Franchini’s band includes a horn section that repeatedly graces with album with strong lines and good arrangements. Back-up vocalists C.C. White and Raquel Allegra add great depth and texture to Franchini’s able vocals.
This is a very smooth and readily digestible album of contemporary blues with strong melody lines and slick arrangements. I have to imagine that Franchini’s blues are right up the alley and in the pocket for non-Purists blues music fans that want to widen their scope to include new and skilled artists. I would speculate Blues Divine is to modern blues what the Doobie Brothers were to rock n’ roll; competent, perhaps too slick for critics but very popular, very skilled song writers that moved easily within the more commercial arenas with his easy to grasp arrangements and emoted lyrics. I would readily recommend this album to those blues fans looking for a bit more melody and a lot less twang-bar driven jamming.
Album Review: Ricky Gene Hall and the Goods
Artist: Ricky Gene Hall and The Goods
Title: (self titled)
Writer: Rick Galusha
I love a wailin’ guitar. Sure, there are times with the atonal sledgehammer droning of some players gets beyond the annoying nuisance stage; however, Ricky Gene Hall’s self titled third album is a solid guitar-driven rock blues record. Born in Kentucky Hall’s family drove the “Hillbilly Highway” to Ohio where Hall resides and tours today. A regional artist Hall’s underplayed guitar licks fully support his strong vocals and the power trio backing from bassist Tom Martin and drummer Rocky Evans. This is a strong outing that most contemporary blues fans are going to eat up. The band is adept and plays the song rather than throwing scales and solos at the listener without chance for respite.
While Hall’s chops are perfunctory and his songwriting is more melodic that most of his contemporaries, his playing is perhaps a bit too safe and lacks the gritty flare that often distinguishes art from commerce. A majority of listeners could care less about critical appeasement and this is a very strong record for them- instantly recognizable and easily digested. Hall’s ultra-smooth vocals and the band’s tasty playing is nothing less than wonderful. Hall’s guitar tone is rich and full. Ricky Gene Hall’s album includes appropriate covers such as Little Milton’s, ‘That’s What Love Will Make You Do,’ Taj Mahal’s ‘Blues Ain’t Nothin’ and the old standard, ‘It Hurts Me Too.’ The band writes five of the albums thirteen tracks with the arching ballad, ‘Rather Hear a Lie’ being the record’s radio friendly track. Other songwriters include; Isaac Hayes & David Porter (Stax), Percy Mayfield, and Louis Jordan.
Title: (self titled)
Writer: Rick Galusha
I love a wailin’ guitar. Sure, there are times with the atonal sledgehammer droning of some players gets beyond the annoying nuisance stage; however, Ricky Gene Hall’s self titled third album is a solid guitar-driven rock blues record. Born in Kentucky Hall’s family drove the “Hillbilly Highway” to Ohio where Hall resides and tours today. A regional artist Hall’s underplayed guitar licks fully support his strong vocals and the power trio backing from bassist Tom Martin and drummer Rocky Evans. This is a strong outing that most contemporary blues fans are going to eat up. The band is adept and plays the song rather than throwing scales and solos at the listener without chance for respite.
While Hall’s chops are perfunctory and his songwriting is more melodic that most of his contemporaries, his playing is perhaps a bit too safe and lacks the gritty flare that often distinguishes art from commerce. A majority of listeners could care less about critical appeasement and this is a very strong record for them- instantly recognizable and easily digested. Hall’s ultra-smooth vocals and the band’s tasty playing is nothing less than wonderful. Hall’s guitar tone is rich and full. Ricky Gene Hall’s album includes appropriate covers such as Little Milton’s, ‘That’s What Love Will Make You Do,’ Taj Mahal’s ‘Blues Ain’t Nothin’ and the old standard, ‘It Hurts Me Too.’ The band writes five of the albums thirteen tracks with the arching ballad, ‘Rather Hear a Lie’ being the record’s radio friendly track. Other songwriters include; Isaac Hayes & David Porter (Stax), Percy Mayfield, and Louis Jordan.
Album Review: Mississippi Mudsharks, Train Rolls On
Artist: Mississippi Mudsharks
Title: Train Rolls On
Writer: Rick Galusha
This is a band that cuts from the cloth of Walter Trout and Molly Hatchet. With gruff vocals that nary’ between a bark and a growl ala’ Jim Dandy Mangrum (Black Oak Arkansas) the band crusades through an albums worth of tracks. Guitarist Scotty ‘Mad Dog’ Blinn plays licks reminiscent of Kiss’ Ace Frehley while bass player “Big” Mike Lars hammers away with flair.
With all the gusto of Motorhead behind them the Mississippi Mudsharks wail, twist and turn as the album hits high speed tempos. These guys are the absolute dumpster divers of West Coast blues kitsch…in other words they may not be a band for most listeners. However ‘The Mudsharks’ have repeatedly won the San Diego markets award for Best Blues Album of the Year including three times in the 90’s and again in 2006. With their heavy handed blues that leans towards ZZ Top on Meth ala’ Nashville Pussy, the blues is a genre that seems to welcome all comers, and this is a band that will push even the most lenient of envelopes. So to lift a line from Rod Stewart off the latest Faces boxset album, “God bless [their] socks!”
Title: Train Rolls On
Writer: Rick Galusha
This is a band that cuts from the cloth of Walter Trout and Molly Hatchet. With gruff vocals that nary’ between a bark and a growl ala’ Jim Dandy Mangrum (Black Oak Arkansas) the band crusades through an albums worth of tracks. Guitarist Scotty ‘Mad Dog’ Blinn plays licks reminiscent of Kiss’ Ace Frehley while bass player “Big” Mike Lars hammers away with flair.
With all the gusto of Motorhead behind them the Mississippi Mudsharks wail, twist and turn as the album hits high speed tempos. These guys are the absolute dumpster divers of West Coast blues kitsch…in other words they may not be a band for most listeners. However ‘The Mudsharks’ have repeatedly won the San Diego markets award for Best Blues Album of the Year including three times in the 90’s and again in 2006. With their heavy handed blues that leans towards ZZ Top on Meth ala’ Nashville Pussy, the blues is a genre that seems to welcome all comers, and this is a band that will push even the most lenient of envelopes. So to lift a line from Rod Stewart off the latest Faces boxset album, “God bless [their] socks!”
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