Album Review: Robin Trower, The Playful Heart

Artist: Robin Trower
Title: the playful heart

By the time Jimi Hendrix got done with the blues – there was a whole new branch in the artform. Yes, he honored the past but he is as significant to contemporary blues as Muddy Waters was to the ‘electric blues.’ With the advent of Hendrix’s influence the door was open to “rock” players using blues textures to emote beyond three chords and a cloud of dust. When the gates finally fell, the hackneyed as well as the credible came in: as it is with all artforms. Since his well received 1974 release, ‘Bridge of Signs’ Britain’s Robin Trower has struggled to focus his interpretation of Jimi’s muse against an unfriendly field of music critics. While there have been peaks over the past 37 years – much of the catalogue is resigned to an adamant niche of disciples. The sense that greatness is within reach resides on many of Trower’s outings is a scab that lingers; unitchable and annoying.

With the release of ‘the playful heart’ former Procol Harem (Lighter Shade of Pale) member Robin Trower has arrived with the finest release of his career.

In 1974, as a 14 year I began my official life long dalliance with Trower’s career by taking the Greyhound to attend his concert in Lincoln, Nebraska. Unrecognized until recently, Tommy Bolin’s edition of the band Moxy opened the show. And like a fetid marriage – the love affair with Trower’s music was arduous, hopeful and frustrating. When vocalist (and original bass player) Jimmy Dewer left the band there were many times when it was more out of routine allegiance than affection that the romance continued…

On the first listen of, ‘Find Me’ to realize that it is that rare, perfect, moment when an artist fully realizes his muse and is able to share it.

Trower’s guitar playing has been consistent; under-playing and highly textured. However the vocals for the band have been its weakest link. When Davey Pattison joined Trower as a vocalist, the magic was back. ‘The Playful Heart’ was recorded with his touring band: vocalist Pattison, drummer Pete Thompson and bassist Glenn Letsch. The album was produced by Livingston Brown (Tina Turner, Bryan Ferry and Sting).

‘The Playful Heart’ is a balanced album where vocals, song writing, performances and arrangements fit together with a synergy that has been missing. Programmers will find that the fifth track, ‘Find Me’ opens up the album. It is a languid tune where the band slips into a groove that allows Trower’s guitar playing to arc and bend above the lyric lines. ‘The Tuning’ is a high energy echo of ‘Too Rolling Stoned.’ The use of whispers in the chorus gives a haunted feel much as it did for The Doors song, ‘Riders on the Storm.’ Like ‘Too Rolling Stoned,’ ‘The Turning’ slows tempo at the three minute mark giving the listener a sense of a panoramic soundscape. Other strong songs include a rockin’, ‘Song for Those While Fell’ and the ballad, ‘Maybe I Can Be a Friend.’ And while I would not say it is jazz, the ninth track, ‘Camille’ uses jazz chords and a light touch to give a late night, candle-lit lounge feel.

Whether an established bluesrock fans that missed Trower’s ‘70’s heyday, or a former fan, this is an excellent album that you will find comfortable and familiar. For die-hard blues purists, unless you choose to follow the thread from Albert King to Jimi Hendrix and beyond, this is probably not an album you will enjoy. For existing fans, this album justifies Trower’s persistence. It is his second “great” record. Young listeners repeatedly demonstrate a fondness for the ‘60’s golden period of Rock, this album cements that bridge between the bygone era of “rock stars” to contemporary electric blues.

Album Review: Russ Tippins Electrickery

Artist: Russ Tippins Electric Band
Title: electrickery

Like America’s rust-belt, Newcastle Upon Tyne, located in the industrial northeast of England, is a hard rock area much like Detroit, Cleveland or Omaha. The area is also largely an unrecognized breeding grounds for world class music talent including; Sting, Bryan Ferry (Roxy Music), The Animals, Mark Knopfler (Dire Straits) and Brian Johnson (AC/DC). Newcastle’s Russ Tippins looks like Pat Travers, sings like a cross between Steve Marriott & Geddy Lee and is heavily influenced by Jimi Hendrix and Jimmy Page. His album, ‘electrickery’ has all the makings for a heavier rock milestone yet heavily influenced by blues textures … this is not a blues record.

Critically, Tippins brings little new to the party but his sound and smooth playing puts the hammer to the anvil and should appeal to blues rock fans; a significant slice of the today’s blues market. The album opens with a fiery cover Hendrix’s ‘Freedom’ and closes with a hidden cover of ‘Lemon Song’ by Led Zepplin (via’s Robert Johnson and Willie Dixon).

In a genre lead by Joe Bonamassa with support from Aynsley Lister and Mato Nanji ; Tippins has strong commercial promise which will expand as his song writing skills develop. Bass player John Dawson and drummer Ian Halford set up a solid platform for Tippins to solo and soar. The track, ‘She’s Gone’ is a powerful ballad that makes easy entry for radio hosts which harkens strongly to late period Humble Pie. The “hit” on this record is the fast-moving panoramic title track, ‘electrickery,’ where Tippins and Dawson whipsaw the fretboard with manic energy.

Christmas Gifts Blues CDs

Looking at the Blues in 2010.
Writer: Rick Galusha

There was a time when Christmas was a religious break; a time of hope and aspiration. But those days seem far away as today December 25th seems little more than a Hallmark pause of retail exuberance. Meanwhile the blues melds into a homogenized exercise that bets on the next ‘horse’ in the endless race of commercial popularity. It would be dishonest to pretend that I hadn’t spent the last twenty years at the ‘racetrack’ and, except for this brief moment of clarity, won’t soon be back with, “a handle in my hand.”

A by-product of the music industry continued meltdown in that this “creative destruction” presents opportunities. Overall, 2010 has been a good year for music. As ‘twas last year, inexpensive technology lowers costs and the market is flooded with homemade projects; thereby, confusing the consumers with choices. This mountain of selection has created an opportunity for voices that try to help discern honorable hobby from recommendation. This subsequent ramble is hardly the tradition “best of list” as few are able to fully imbibe the breadth of blues releases today.

• That said, my favorite independent release this year was, ‘Still the Rain’ by Karen Lovely. This is a luscious taste that simmers on low as Lovely’s vocals emotes modern vocal blues that breed authenticity over mimicry and clichés.

• Perhaps the wider industries ‘pick to win’ this year was former Fabulous Thunderbird guitarist Jimmie Vaughan’s release, ‘Plays Blues Ballads and Favorites.’ Vaughan’s understated guitar styling’s are ever-vogue and often tasty. His safe choice of songs indicates a lack of risk as the heir-apparent is positioned to define cool in today’s blues scene. It’s clear that Vaughan is neither hungry nor compelled to earn accolades. This record could have been better but is none-the-less, quite good. That said, the former dominance of the Austin sound has ebbed.

• The blues continues to be a guitar players market. This year’s ‘ax-man cometh’ disc is ‘Spread the Love’ by the ever tasty love supreme of Ronnie Earl and the Broadcasters. An instrumental record, Earl’s venture are endlessly textured and under-stated in a genre that leans toward two-by-four wielding mercenaries. If this guy ever put out a bad album, I haven’t heard it yet.

• Speaking of “great” guitar albums, ‘3 Hours Past Midnight’ (complied 1986) by Johnny ‘Guitar’ Watson is the definitive blues guitar album. A musical chameleon that served tutelage under fellow Houston players Albert Collins and Johnny Copeland, Watson’s catalogue is spotty ranging from the touted ‘Gangster of Love’ to the vapid, ‘’I Cried for You.’ Dying in Japan in ’96, Watson’s legacy is, for me, unexplored and beckoning with the subtly of a coastal foghorn.
There are three releases by ‘major artists’ that should appeal to the majority of blues fans;

• Eric Clapton’s self titled release, Clapton, came out late in the year. While some will kvetch that the former Patrick Clapham is not a blues artist, such standards are irrelevant. This is a solid record by the genre’s most impactful artist.

• Carlos Santana’s, ‘Guitar Heaven – The Greatest Guitar Classics of All Time’ is clearly targeted to baby boomer rock music fans that know this artist, and know the songs and are thus predisposed to hearing Santana cover songs they already know. Is it art? No. Is it commercially viable? Yes. This is a low risk, low cost gift that is artistically harmless but little more than a calculated cash grab. So don’t gift this to your serious music listener but a casual listener will likely be appreciative.

• ‘The Union’ by Elton John and Leon Russell is another speculative venture designed to salvage two careers. Media spin poses this as John’s rescue of Russell’s career. “Ellie” stands to gain artistic credibility from the presence of Russell as well as guest spots from Neil Young, Booker T. Jones, Brian Wilson, Robert Randolph and producer T Bone Burnett. This is a nice album that unfolds slowly. While not appropriate for a blues purist, most blues fans should be curious.

• Speaking of Classic Rock artists, the entire John Lennon catalogue has been re-released. As everyone’s ‘big brother,’ peace activist John Lennon’s death thirty years ago still pangs. Public Broadcasting’s documentary, LennoNYC’ attempted to re-define Yoko Ono’s role as Lennon artistic peer. Perhaps side-kick would have been a more believable as ‘Double Fantasy’ showcases the wide gap between their respective talents.

Vocally there are two other albums that stood out for me…

• The industry has donned John Nemeth’s ‘Name the Day’ as a front runner. Any critical perspective on this disc is roundly rapped but suffice it to say that while artful, Nemeth is the beneficiary of marketing as much as music…but then which successful artist is not? A rather predictable bent on the blues, this album is warmly received.

• Former Mavericks front man Raul Malo is this generations Roy Orbison. Long considered among the finest recorded vocalists, Orbison’s Texas roots align well with Malo’s Hispanic background to create an album, ‘Sinners & Saints.’ Malo swoon his way through a variety of styles but it all comes back to a beautiful voice and rich arrangements. No, this is not something for everyone but true music fans should find Malo’s cross-genre pollination interesting, new and unexpected.

• The ‘up & comer’ for t2010 is Ruf Record’s release, ‘Diamonds in the Dirt’ by England’s Joanne Shaw Taylor. Young enough to have impact, Shaw Taylor explores enough to make the release interesting. Her strength is minor ballads which lend themselves to airplay; however, she wisely pushes into other sounds and this exploration piques my interest. Occasionally she mistakes ‘shouting’ for emotive singing which I enjoy less. The mentoring of Dave Stewart (Eurthymics) – lead to connection with uber-producer Jim Gaines (Allman Brothers, Bonamassa) – which lead to endorsement by Joe Bonamassa – all feeds into a short cut to success…so perhaps it is who you know. The proof will be in the pudding and the pudding is still coagulating.

• For those that venture outside of the blues, Richard Thompson (Fairport Convention) has released an album that is an ocean of intrigue, ‘Dream Attic.’ Thompson’s guitar playing is unpredictable and second to none. His understatement and use of off-keys is ever interesting. Thompson is a niche artist Stateside but worth the exploration as he exemplifies among a minor handful that did not ‘sell out’ when the opportunity came knocking.

• Finally, Otis Taylor remains the genre’s most pressing artist. More than any other, to my mind, Taylor uses his music to credibly push the blues into crevices and passageways that are simultaneously intriguing and captivating. A crusty bastard, Taylor’s music uses hypnotic layering of blues textures to help a seemingly near stagnant artform expand beyond established confines (IMO). His new album, ‘Clovis People, Volume 3’ is an audible adventure that requires rapt attention from listeners and yet, somehow, Taylor is able to keep the focus on the industry. Taylor seems uncompromising, thankfully.

Album Review: Chris James & Patrick Rynn, 'Gonna Boogie Anyway'

Artist: Chris James, Patrick Rynn
Title: Gonna Boogie Anyway

When guitarist Chris James and bass player Patrick Rynn collaborated as the ‘C – Notes’ behind vocalist and harmonica player Rob Stone, it was my “pure blues” album of the year. With the release of their new album, ‘Gonna Boogie Anyway’ James and Rynn are back with a gritty honest electric Chicago blues sound. Out on the Chicago based Earwig Records this album includes a stellar line-up of accomplices including; David Maxwell (piano), Sam Lay (drums), and Henry Gray (piano). Blues harmonica player and noted radio host Bob Corritore guests on the tracks, ‘H.M. Stomp’ (instrumental) and the Bo Diddley cover, ‘Little Girl.’

An interesting aspect to this album is a study in how drums and drumming styles affect the sound of a band. As a guitar and bass (vocal) duo, James and Rynn often have to rely on guest drummers. In addition to Sam Lay, other drummers on the disc include; Willie Hayes and Eddie Kobeck. There are three ‘drumless’ tracks on the album; which adds to a listeners learning experience; ‘You Can’t Trust Nobody,’ ‘Headed Out West,’ and ‘Black Spider Blues.’ Admittedly, either the music “moves You” or it doesn’t; however, as we listen, we also learn.

This is a straight forward electric pure blues record; no flashy bells and whistles.

Purists will love this album for its honesty, historical root and direct approach. “Modern blues” listeners may initially find this album too traditional although repeated listening will push open the door to a greater appreciation that often, ‘simpler is better.’ As a radio host, I found, ‘Dearest Darling,’ a second Bo Diddley cover to be my focus track. All listeners should focus in on the pure sounding instruments as they juxtapose to James’ vocals. In addition to the great albums from days gone by, this is a very good foundation album of modern purist blues that fans can build a library upon.

Album Review: Piano Red, 'The Lost Atlanta Tapes'

Artist: Piano Red
Title: The Lost Atlanta Tapes

Long before Wilko Johnson (John Wilkinson) commandeered the name for his noted English pub rock band, Piano Red was playing barrel house blues and using the moniker ‘Dr. Feelgood.’ Piano Red successfully cut sides for RCA Victor including hits such as ‘Red’s Boogie,’ ‘Just Right Bounce’ and ‘Laying the Boogie.’ His songs have been covered by some of rock n’ rolls greats including; Little Richard, re-titled as ‘She Knows How to Rock’; Carl Perkins, ‘The Wrong Yo-Yo’; and the Beatles, ‘Mister Moonlight.’ While Piano Red (a/k/a Willie Perryman) has earned his place in music history – he is not a household name for most listeners. Perryman died of cancer in 1985.

This album, ‘The Lost Atlanta Tapes’ were recorded in 1984, shortly before Red’s death. With 18 songs in all, this album is a gentile rollick through a collection of standards and originals including; ‘That’s My Desire,’ ‘C.C. Rider,’ ‘Baby Please Don’t Go,’ and ‘Corinna, Corinna.’ This is not a raucous affair as the 73 year old meanders and talks through a set of music to an appreciative audience. The ‘Lost Atlanta Tapes’ is a highly niched release which will evade most blues listeners. Yes, Piano Red deserves our respect for his contribution to the lexicon of modern blues and rock music; however, other than for its historical perspective, this is an album best left to true aficionados and serious collectors. It is not a bad record per se’ – it is simply a peripheral recording few modern blues listeners will fully enjoy.

Album Review: Jim Byrnes Everywhere West

Artist: Jim Byrnes
Title: Everywhere West

The music industry has had its share of actors poising as musicians including; Eddie Murphy, Don Johnson, Kevin Bacon, Bruce ‘Bruno’ Willis and Jeff Daniels. Now we can add St. Louis born Jim Byrnes to that distinguished list. Of course this list goes both ways; musicians that have tried acting include; Mick Jagger, David Bowie, Kris Kristofferson, Johnny Cash, Willie Nelson, “Ice Cube” and “Queen Latifah.”
Brynes’ latest album, ‘Everywhere West’ is a credible outing of blues based roots music that wanders among numerous influences and sound including a bluegrass textured, ‘Bootleggers Blues’ and the horn driven blues, ‘Black Nights.’ Like many progenitors, Byrnes travels the lore of being among the few white guy in the bar watching some of the blues genres greatest including Howlin’ Wolf performing ‘Red Rooster.’ Of the twelve tracks on the album Byrnes wrote three but included covers of Lowell Folsom, ‘Black Night,’ Robert Johnson ‘From Four Until Late’ (Also covered by Cream), Louis Jordan ‘You Can’t Get That Stuff No More’ and Jimmy Reed, ‘Take Out Some Insurance on Me.’

This album has a nice suburban blues sound and textures. It is well performed and arranged. While Byrnes’ is not a “star” per se in the acting field, his accomplishments as an actor and now a musician are inarguable. This is not an album that is going to rewrite the course of the blues genre; however, it is well above the hobbyist level and has entertainment value. While all the songs are ready for radio, programmers might focus on Byrnes’ cover of ‘He Was a Friend of Mine,’ a traditional song, which was also recorded by Willie Nelson, Bob Dylan and The Byrds.

Album Review: Leon Russell, Elton John / The Union

Artist: Elton John and Leon Russell
Title: The Union

While it would be a stretch to say this is a rock n’ roll album, it would be an even greater stretch to say this is a blues album. However, undoubtedly Oklahoma’s Leon Russell’s career is based upon many a blues flavor and if, as he purports it, Russell is John’s biggest icon, perhaps there is sufficient room for Elton John to rest awhile under the big tent of blues music. That being said, this is an album which could fit nicely in some roots music radio playlists… so perhaps Blueswax readers will already familiar with this album.

In the late ‘80’s and into the 1990’s rock hierarchies of performers were coupling up to energize flagging careers. As radio melted down into the gloppy, highly niched audio conundrum that we hear today, artists that had sold millions of albums were being dropped by labels no longer interested in artist development. These labels needed sales and anything on the cusp soon found itself sans label in an industry that was being nullified by advancing technology. So artists like Santana recorded with Rob Thomas and gandered the massive album, ‘Supernatural.’ Usually these all star outings were big on glimmer and low on critical content. They were crap. Around the change of the millennium Elton John teamed up with a very soused Billy Joel and together they toured the world keeping alive a flame that seemed to be rapidly diminishing. Times seemed dire. Today “Ellie” has used his slightly tarnished career to team up with an idol from his youth, Leon Russell, whose career had seen better days. Together they have compiled an album that is fated to earn hills of accolades while invigorating each individual career.

If the quality of art is compounded by its complication, as noted thinker and PBS commentator Mortimer Adler suggests it is, then this really could have been a beautiful outing. While the roles between saved and savior blur, together Leon Russell and Elton John’s album, produced by today’s soup d’jour uber-producer T-Bone Burnett is okay. The album’s 14 songs are four songs too many and would have made two very nice ‘solo w/guest records.’ However, for reasons that defy overt simplicity, this is near arduous length of oblique yet interesting collection of over-produced songs. Said simply, it’s good but it is not great. Will these songs ripen? Only time will tell.

The opening track, “If It Wasn’t for Bad” is a classic piece of Elton John arranging that harkens to his noted ‘Goodbye Yellow Brick Road’ period. This song feature Stax star Booker T. Jones and was written by Russell. ‘Eight Hundred Dollar Shoes’ features Taupin’s somewhat vapid temporal lyrics disguised as meaningful. I mean, really, a song using $800 shoes as a metaphor; yawn. On ‘Hey Ahab’ John gives his go at being guttural, giving the listener his best blues growl. It is not until the album’s fourth track, the Civil War expedition, ‘Gone to Shiloh’ that the music nears honesty in its roots and feel. Neil Young lends his vocals and sings the second verse of this ballad. The vocals of Russell and Young mix well. When John’s vocals sing the 3rd verse the listener is set in a wonderful audio landscape. Each man’s vocal adding a depth and contrast that works quite well. ‘Monkey Suit’ is an up tempo ‘Rod Stewart’ boogie that provides a level of energy to the album while giving it an obligatory sing-along.

This is a nice Sunday morning album by mature songwriters that are beyond looking for success while relying a bit too hard on sentimental clichés. For some listeners this is going to be a touchstone of pure brilliance; an audio landscape that ties together nostalgia with the contemporary. Like many musical outings the listener has to agree to believe. Roots radio might consider ‘A Dream Come True’ for airplay. Once again though, what starts out as promising eventually gives way to over-layered production that all but smites the song amid background vocals, cowbells and tap-dancing percussion and a regretful tempo shift. Ugh. It is an album you want to enjoy, badly, but Sir Elton is like an enabling spouse that sickens the music by forcing his presence into each and every crevice. Perhaps Sir George Martin could de-Spector this album someday.

You can take the boy out of Vegas but…