album review: Cindy Bullens, 'Howling Trains and Barking Dogs'

Artist: Cindy Bullens
Title: Howling Trains and Barking Dogs

In the end there are only two kinds of music; good music and bad music. Cindy Bullens’ new album, ‘Howling Trains and Barking Dogs’ is good music. Admittedly it is not a blues album; however, it is roots music and the audience’s crossover. While assigning labels can be off-setting, most listeners would slot New England singer-songwriter Cindy Bullens as an Americana artist. Her new album, ‘Howling Trains and Barking Dogs’ is packed with radio friendly songs including a duet with friend and collaborator Radney Foster on, ‘Labor of Love.’

Bullens career stretches back to singing in Elton John’s band. Her two Grammy nominations came early in her recording career including a nod as one of three singers for the soundtrack, ‘Grease.’ Throughout her career Bullens has attracted high caliber partnerships including work with; Bonnie Raitt, Delbert McClinton, John Hiatt, Lucinda Williams and Rodney Crowell. Her songs have been recorded by numerous acts including; The Dixie Chicks, Irma Thomas and Sarah Brown.

Guests on Bullens new album include Al Anderson(NRBQ), Radney Foster and Wendy Waldman. Noted songwriter Bill Lloyd (whose new reunion album with Radney Foster is also excellent) co-wrote the track, ‘In a Perfect World.’

Whereas many albums have a few good songs, Howling Trains unfolds with strong melodies, tactful playing which serves the song and meaningful lyrics. For blues programmers the track, ‘I Didn’t Know,’ with the strong piano playing of Bob Colwell should fit most shows. The ballad, ‘Everywhere and Nowhere’ with its strong Rosanne Cash sound, is heartfelt and makes a nice tonal color break. It is hard to imagine that any listener with, “wide-tastes” would not thoroughly enjoy this release.

album review: Hadden Sayers, 'Hard Dollar'

Artist: Hadden Sayers
Title: Hard Dollar

In the words of uber-rock band manager Derek Sutton (Styx, Robin Trower), “98% of people listen to music with their eyes.” When it comes to music today and slotting a new release, the targeted audience demographic trumps the music in the grooves. So while this album by Hadden Sayers’ may not be strictly “blues,” albeit using blues textures and instrumentation, the album is marketed, in part, to the blues-roots audience and THAT makes it a ‘blues record.’ Now, don’t get me wrong, there are blues tracks including a strong contender for any legitimate ‘blues duet of the year’ list; however, Sayers uses the breadth of styles found in Texas to fully explore his muse. I suppose a proactive music fans knows that there are two kinds of music; good music and bad music. ‘Hard Dollar’ is good music.

It’s a considerable accolade when the daily newspaper of Texas’ live music hub, The Austin Statesman’ refers to Hadden Sayers’ as, “Houston’s best all-round guitarist.” But it wasn’t always that way. After a stretch of good records culminating is the superb, ‘Supersonic ,’ Sayers’ career nose-dived amid a move to Ohio, the death of a family member, record deals gone awry and a dearth in the music industry. However when noted blues artist and fellow Texan Ruthie Foster called looking for a guitarist, it was the spark that Sayers’ career needed. Since that call he has been building momentum.

Sayers’ latest album, ‘Hard Dollar’ opens with a travelogue track ala’ the standard, “Route 66” or the Rolling Stones “Rip This Joint.” While there is more than six months left in the year, Sayers’ duet with Ruthie Foster is a solid contender for any critics “Blues Duet of the Year” lists. This song is brilliant.

This is an album ripe with radio friendly blues tracks including, “Lap of Luxury” which is an excursion into minimalism. “All I Want is You” will ‘sell’ to a more traditional blues listenership. Sayers’ YouTube video of the album’s focus track, “Sweet Texas Girl” can be seen at; http://www.youtube.com/watch?v=HIJNU_-VXmw . (It is so nice to see a video that features real women.) There is also a remake of the track, ‘Flat Black Automobile’ which debuted acoustically on the ‘Supersonic ‘album. “Ain’t Comin’ Round No More” has a Willie Dixon composition feel that will strike a chord between Chicago’s Chess Records and contemporary blues. This is a solid comeback album for one of the genre’s finest songwriters. This record will appeal to roots music fans and broadminded blues fans as well as trad-rock and Texas-Jimmie Vaughan fans.

Album Review: Etta James, 'Essential Modern Recordings'

Artist: Etta James
Title: Essential Modern Records Collection

Few would argue that Etta James is less than one of the most significant singers in the blues idiom. Her litany of hits include some of the blues best melody lines including; ‘At Last,’ ‘A Sunday Kind of Love’ and ‘Fool That I Am.’ Within the classic rock format legendary Beaumont belter Janis Joplin includes James’ hit, ‘Tell Mama’ in her repertoire. Born in 1938 in Los Angles to a 14 year old mother and a mix raced couple, Jamesetta Hawkins would begin her career when ‘race records’ or rhythm & blues was giving way to ‘rock n’ roll.’ In 1954 James, as a member of a female singing trio, would respond to the hit, ‘Work with Me Annie’ by Hank Ballard & the Midnighter’s with the track, and subsequent career launching hit, ‘Roll with Me, Henry’ (which was later re-titled, ‘The Wallflower’ in order to “tone down” an overt sexual connotation that “rock and roll” originally referred to.)

On this package, “The Essential Modern Records Collection” predates James Chess Records blues period. Instead, “Miss Peaches” is heard singing rhythm & blues; indicating a clear road map of a sound that would become rock n’ roll. Her embracement of strong melody lines would follow James throughout her career. In many ways this package is an insight that “today’s blues legends” were perhaps more interest in a viable career than the proliferation of the artform we revere today.

This is a wonderful historical package that may exist outside of the interest of most traditional blues fans; however, musicologists will derive great pleasure by hearing the sound that first brought Etta James to the attention of the music listening audience. The track, ‘Tough Lover’ includes the obligator “woooooo” made famous by then label-mate Richard Penniman a/k/a Little Richard. ‘Good Rockin’ Daddy’ is a classic track based upon a post-War jump-blues derivative sound that fellow L.A. based musicians such as Louis Jordan were recording. ‘The Pick Up’ is a track screaming out to be covered in a modern setting. Long known as an instrument that closely resembles the human voice, James interplays with the saxophone stands out as a short recording trend in the mid-50’s.

Programmers might want to use the song, ‘Market Place’ for airplay. Like Chuck Berry’s ‘Havana Moon, ‘ ‘Market Place’ experiments with a Cuban or Samba beat that evolves into a rock n’ roll song including a blistering guitar solo.

This is a fun, brilliant albeit archival album. It’s full fifteen tracks may not be for all listeners; however, this is a credible artist and offers an opportunity to better understand how some come to the blues. The album breaks-up textures, tempos and melody lines that will add to the depth of a wide-reaching radio program.

Album Review: Joe Pitts, Ten Shades of Blue

Artist: Joe Pitts
Title: Ten Shades of Blue

Like most blues fans today, Joe Pitts crew up on a Classic Rock diet of Eric Clapton, Duane Allman and others. If you can say one thing about John Mayall, Cyril Davis and Alexis Korner, it is that their mission to prolong the blues, and serve it back stateside, was successful. Pitt’s album, ‘Ten Shades of Blue’ is an example of one man’s musical journey that would likely never have launched had England not sheltered the art form in the late 50’s and 60’s.

Neither demonstrative not dismissive, Pitts shows he can growl with the best of contemporary blues artists. As the album title suggests, Pitts covers ten artist that were influential to his musical journey. With an overt background in Classic Rock, there are some songs that play more to a rock audience than a blues audience. Water Trout’s heavy handed, ‘Clouds on the Horizon’ is a prime example of Pitts strapping on the electric guitar mantel. Pitts’ cover of Luther Allison’s, “Pain in the Streets” or Eric Gales’, “Freedom from My Demon’s” are showcases for Pitt to expand on this otherwise laconic styling’s.

Arkansas denizen Joe Pitts has traveled the world playing the blues. It is a journey that most listeners will be able to easily connect with: covers on this album include songs by Peter Green, Elmore James and Muddy Waters. On the tenth track, John Mayall’s, “The World Keeps on Turning” Pitts uses a resonator; adding texture to the album. The album is an above average full band electric sound in performance and arrangement.

Programmers can pick a cover and rest assured that Pitt’s authentic blues delivery will satiate a blues listenership.

Album Review: The Kilborn Alley Blues Band, Better Off

Artist: Kilborn Alley Blues Band
Title: Better Off Now

This is the quintessential contemporary blues band; white, Middle-American and offering a wide spectrum of tastes and talents. The new album by The Kilborn Alley Blues Band, ‘Better Off Now’ effectively uses historical blues textures, sounds, instruments and themes to deliver a modern blues sound that is familiar, fresh and nearly at once, comfortable.

Nurtured in the traditional a ‘50’s blues environment of Champaign-Urbana, Illinois; KABB cherry picks influences from among the genres finest including; Buddy Guy, B. B. King, Denise LaSalle and others. While the references may not be apparent, what is clear is this band understands the difference between playing a twelve bar and playing some blues. They are seeped and authentic.

While the opening track, “Nothin’ Left to Stimulate” will draw nods of approval and a smirk in a country bitten by a downturn in economics and opportunity, programmers will want to wade much deeper into the albums track listing to find gold. The albums title track, “Better Off” has a Stax R n’ B sensibility. Eric Michaels organ playing on the track, “Tonight” harkens to those halcyon days when blues and R n’ B were played side-by-side in jukeboxes and juke joints across the nation. Joe Asselin’s harmonica on “Keep Me Hangin’ ” provides a traditional Chicago blues track to round out an already strong record.

This is an exceptionally tasty album that opens slowly but is worth the wait. Singer Andrew Duncanson uses a straight-forward style with an appropriate hint of rasp that is especially effective in ballads and extended notes. KABB has been frequently nominated for awards and national recognition; with albums like, ‘Better Off’ it is apparent why critics, radio hosts and venue are paying close attention.

Album Review: Carolina Chocolate Drops, 'Genuine Negro Jig'

Artist: Carolina Chocolate Drops
Title: Genuine Negro Jig


I must’a been living under a rock… In January of this year the Carolina Chocolate Drops (CCD) earned a Grammy Award for their album, ‘Genuine Negro Jig.’ Shortly after winning their Grammy founding member Justin Robinson was replaced by Adam Matta and Hubby Jenkins. The remaining founding members are; Rhiannon Giddens (vocals, banjo, violin) and Dom Flemons (guitar, banjo, vocals). This Durham, North Caroline black string band met through an online community, ‘Black Banjo: Then and Now.’ As a three piece they committed to learning at the knee of 80-something Joe Thompson and his ‘short bow style.’

While an aspect of the blues community is the demand by some to honor the traditional artform, CCD platforms their sound in a pre-electric Piedmont style but updated to a contemporary setting. The result if a wonderful, credible mix of old and new; engaging the listeners of traditional styles yet opening the door to younger, contemporary music fans too. It is simply, brilliant.

Of the albums twelve tracks, half are traditional songs. The band covers Tom Waits, “Trampled Rose.” Singer Rhiannon Giddens echo of Scottish singer Annie Briggs A-Capella version of the British folk

standard ‘Reynadine” is captivating in its depth and simultaneous simplicity. To quote a You-Tube comment, “This is real soul music.” While the album lacks an overt blues track the band relies on Etta Baker, Papa Charlie Jackson, Blu Cantrell, and Ike & Tina Turner for sources. The use of ‘Who Don’t You Do Right’ is credited to ‘Weed Smokers Dream’ by Harlem Hamfats; which many programmers may have recently received on the ‘Rhythm & Blues’ label’s four CD compilation entitled, ‘Rhythm & Blues, 1925 – 1942.

For programmers this album provides a tasty textural break for listeners yet clings to an authentic root in a fashion similar to the explorations of Chris Thomas King, Taj Mahal or Eric Bibb. This album also makes a good transition between an archival acoustic track (Yazoo, Smithsonian, Lomax) and the renderings of a contemporary artist such as Rory Block.

album review: Eric Johnson, Up Close

Artist: Eric Johnson
Title: Up Close

Guitarist Eric Johnson’s first major label debut, ‘Tones’ was release in 1986. Garnering merely a Grammy nomination on his debut in ‘86, Johnson would take home the Grammy in ’91 for his next release, ‘Ah Via Musicom.’ Long recognized by critics, Johnson’s career seems plagued with failed “breaks” that would have launched others into the upper stratosphere of the music industry. His seemingly inability to connect with a larger audience remains an unsolved mystery. None-the-less, he continues to sporadically release high quality albums that center on instrumentals tracks with tasty albeit grit-free vocals. Reputed to be a perfectionist, one wonders whether this inability to ‘let go’ is the cause of Johnson’s limited market reach. As the “Jeff Beck of the Southern Plains,” Johnson’s ability to write, perform and arrange is beyond reproach.

On ‘Up Close’ Johnson employs his distinct approach to the guitar. Predictably he uses instrumentals to showcase this unique technique; a style that employs traditional blues textures; arcs and bends, but is simultaneously smooth with a near Stanley Jordan-like qualities.

On the cut, “Brilliant Room” Johnson once again teams up with Austin vocalist Malford Milligan to deliver an excellent radio-friendly, up-tempo song. Johnson’s use of ‘hammer down’ techniques behind Milligan’s vocals adds a delicate touch to an already enjoyable tune.

On the fourth track, “Texas” Johnson covers the Buddy Miles/ Mike Bloomfield (Electric Flag) track which is the only straight-ahead blues song.

The track “Gem” uses the guitar sounds to mimic light breaking through a diamond. It is a level of creativity that is seldom heard. “A Change Has Come to Me” harkens the acoustic song style of a previous, late and great, Austin player.

This is a brilliant album that players will immediately gravitate towards. Casual listeners will find the soundscape not only relaxing but full of depth and textures. Programmers will find the album to have long legs with plenty of tracks for broadcast. Traditional blues fans will find little

that appeals to their limited scope in musical stylings.