On Sat., March 12, Blast Furnace Blues welcomes dynamic funk and soul group Robert Randolph & the Family Band. Named one of the “100 Greatest Guitarists of All Time” by Rolling Stone, Robert Randolph and his band first gained national attention with the release of the album Live at the Wetlands in 2002. The group has performed at festivals ranging from Bonnaroo and Austin City Limits, to Gathering of the Vibes and the New Orleans Jazz and Heritage Festival, while Randolph’s guitar work has resulted in collaborations with icons such as Eric Clapton and Carlos Santana.
Prior to Robert Randolph’s set, guests will enjoy a scorchin’ performance by the Royal Southern Brotherhood featuring Cyril Neville of The Neville Brothers. Also performing is Coco Montoya, a former member of John Mayall’s Bluesbreakers who’s been called “the hottest southpaw in the blues” by Guitar One Magazine.
Headlining the festival on Sun., March 13, is the one and only Charlie Musselwhite. A Blues Hall of Famer and a 2013 GRAMMY winner for Get Up!, his collaboration with Ben Harper, Musselwhite has been recording and performing for more than five decades. During his career, the legendary harmonica player has recorded and shared the stage with a who’s who of the music world including blues legends like Muddy Waters and Howling Wolf, as well as Mick Jagger, INXS, Tom Waits and the Blind Boys of Alabama.
Earlier in the day, attendees will also enjoy a special tribute to Johnny Winter as the Johnny Winter All Star Band rocks the ArtsQuest Center. This high-energy ensemble features former Johnny Winter Band members Paul Nelson on guitar and James Montgomery on vocals, performing the music of the late blues-rock guitarist. Among the other artists who will take the stage March 13 is Janiva Magness, the 2009 Blues Foundation B.B. King Entertainer of the Year and 2015 Contemporary Female Artist of the Year.
”Highmark Blue Shield is proud to once again sponsor the Blast Furnace Blues Festival, a wonderful musical event that draws blues-lovers far beyond the Lehigh Valley,” says Susan Hubley, director of community affairs at Highmark. “This year’s lineup of musicians looks as incredible as the setting at SteelStacks. We’re grateful for the opportunity to show our support for this showcase of blues talent.”
The 2016 Blast Furnace Blues Festival kicks off Fri., March 11, with an incredible night of music by some of the region’s top blues acts. Set to take the stage are Friar’s Point, Sarah Ayers Band and the Craig Thatcher Band. The festival will also offer a special blues brunch, with music by the BC Combo, March 13 at 11 a.m.
Looking for the ultimate experience at Blast Furnace Blues? The festival offers three-day VIP Packages, which include admission to the entire festival, as well as a Sunday Blues Brunch ticket, meet & greets with select headliners, commemorative poster, valet parking and more. VIP Packages, which are available in limited quantities, are only $199.
BLAST FURNACE BLUES PRESENTED BY HIGHMARK BLUE SHIELD LINEUP: March 11 Musikfest Café presented by Yuengling
6:30 p.m. Friar’s Point
8:00 p.m. Sarah Ayers Band
9:45 p.m. Craig Thatcher Band
March 12 Musikfest Café presented by Yuengling
12:30 p.m. Ursula Ricks
1:45 p.m. Darrell Nulisch
3:15 p.m. James Armstrong
5:00 p.m. Coco Montoya
6:45 p.m. Royal Southern Brotherhood
8:30 p.m. Robert Randolph & the Family Band Fowler Blast Furnace Room Stage
1:00 p.m. Maria Woodford Band
2:30 p.m. Toby Walker
4:15 p.m. Ursula Ricks
6:00 p.m. Darrell Nulisch
7:45 p.m. James Armstrong
March 13 Musikfest Café presented by Yuengling
11:00 a.m. The BC Combo
1:15 p.m. The Revelers
2:30 p.m. Janiva Magness
4:15 p.m. Johnny Winter All Star Band
6:00 p.m. Charlie Musselwhite Fowler Blast Furnace Room Stage
12:30 p.m. Matt Anderson
2:00 p.m. James Supra
3:45 p.m. Matt Anderson
5:15 p.m. The Revelers
It’s time for another new releases round up. New blues every week! It always happens. There is new blues out there for us every single week and we let you know the who and what so you can spend more time listening to the Blues.
This week we have the long awaited new release from Royal Southern Brotherhood. The band has seen the departure of Devon Allman and Mike Zito but they have added equally powerful elements with Bart Walker and Tyrone Vaughan. Guiding light Cyril Neville is still front and center and the engine room is still manned by Yonrico Scott on drums and Charlie Wooten on bass. At the bottom of this post we have an RSB video for you so you can get a taste of the new lineup.
Sonny Landreth has a new disc out called Bound By The Blues. If you’ve heard Sonny before or have seen him live, you know he’s not really bound by anything. His technical skills are unsurpassed but he plays with heart and makes every note count. He’s a damned fine songwriter too. Don’t let this one slip by you.
Lucky Peterson has released a new live set which for the moment seem to be a European only release – however, it is available through Amazon.com. We have a lot of Blues fans here in the US but we’re spread out. There are tons of Blues fans in Europe but not as far between as here. Blues bands and acts can make a great living and pack venues all across Europe. It’s a wonderful thing but it’s a damned shame it’s so hard to make it happen here. This set has Lucky treating one of those crowds to an electrifying set of Blues.
And last but not least, we have the return of Barry Levenson with The Visit. The Visit is not yet available at retail. It hits the streets in July but right now you can order the CD from Rip Cat Records and Barry’s proceeds from the sales will go to MS research. We have a preview of a the disc for you below that Barry posted on YouTube a while back. Barry is an expressive player who follows the less-is-more approach and his rhythm chops are impeccable. Listening to his playing like getting a lesson in subtlety from a true master musician. Take advantage of this opportunity to get the new CD before it hits retail.
Sonny Landreth Bound By The Blues
Royal Southern Brotherhood Don’t Look Back
Lucky Peterson Live In Marciac 2014
Barry Levenson The Visit
Royal Southern Brotherhood live at LMF JazzFest 2015
This week, Devon Allman announced he’ll be leaving Royal Southern Brotherhood. RSB is one of my favorite bands of the last few years and the second to crumble after a few short years (Black Country Communion was the other). RSB will be continuing to make music, adding Tyrone Vaughan – son of Jimmie Vaughan – to the lineup. The front line will now feature founding member Cyril Neville, Tyrone Vaughan, and Mike Zito’s replacement, Bart Walker. In light of these developments we decided to take a look at the most recent Royal Southern Brotherhood album, and the Ruf Records debut of new member Bart Walker.
Royal Southern Brotherhood was put together by Thomas Ruff of Ruf Records. His idea was to bring together members of two of the most respected musical families in the South and see if they could revive the spirit and soul of Southern music in the modern era. The main players were Cyril Neville of the Neville Brothers, Devon Allman – son of Gregg Allman and leader of Honeytribe, and bluesman Mike Zito who is an old friend of Allman’s from their days working in bands and at Guitar Center in St. Louis. The rhythm section features musical titans as well. Drummer Yonrico Scott is from Derek Trucks Band, and bassist Charlie Wooton is a veteran of the Louisiana music scene and started out playing with Zydeco icon Chubby Carrier. Their debut record, the self-titled Royal Southern Brotherhood, garnered rave reviews and their following road work turned them into a formidable live band. Earlier this year Mike Zito announced his departure from RSB to focus on his solo career. This week, Devon Allman announced the same. Thus their second studio album as a unit has become this line-up’s swansong.
heartsoulblood is the name of the recent disc and it also describes the vibe of the album. It’s almost like they knew this would be it for them and they poured everything into it. The record opens with “World Blues” which is a bayou stomping, greased lightning slide-guitargasm celebrating the universality of Blues. World Blues seems to be the music they are creating as a band as well. The percussive elements are drawn all around the world. Neville and Scott are percussionistas. They weave and their parts together and their inner clocks merge into one heart that beats under all the music Royal Southern Brotherhood creates. This is clear especially in “Here It Is” which showcases Cyrille Neville’s stripped down funk. The focus is dialed in on the rhythm section and Neville’s hypnotic vocal. Bassist Charlie Wooton and drummer Yonrico Scott lock into a zesty groove and sparse guitars give the tune a lot of room to breathe.
“Rock And Roll” is a barnstorming Rock and Roll song about Rhythm & Blues. The guitar tandem of Zito & Allman blow the roof off every Chitlin circuit joint left standing from Memphis to Macon, Georgia. Devon Allman leads the group through a beautiful wall of sound called “Groove On.” The dense arrangement is so unobtrusive you almost don’t realize how much you’re hearing. This effect is expertly achieved and is a testament to the talent of the band and producer Jim Gaines. “Callous” tells how a hard life will leave a callous on your soul, over an echo drenched, clean-tone riff that sounds like a mix of Cream’s “Crossroads,” Beatles’ “Come Together” and Albert King’s “Born Under A Bad Sign,” but mostly “Come Together.”
“Ritual” is a Hoodoos-and-Voodoo-on-the-bayou bit of nasty business involving a whip and a snake. This must be some kind of fertility ritual. The tune is dense as a Bitches Brew and twice as creepy, unless your motto is “Sticks and stones may break my bones but whips and snakes excite me.” “Let’s Ride” is an ode to bikers but it seems way too mellow for a Harley Rally. If you’re looking for a tune to help you relax while you’re parked at the Crazy Horse monument whilst taking a break from your trip to Sturgis, this is the one. “She’s My Lady” has some sweet soul vocals. It’s a mellow love song, with a Detroit via Nawlins vibe and some Grant Green style guitar playing. It sublimely showcases the vocal skills of the band and the signature harmonies that may be lost without Allman and Zito. Album closer “Love And Peace” seems to express the band’s motto. Even the guys who quit have proclaimed their love for the band and the individuals therein. There’s no acrimony, just well-wishing to all involved.
Like the South itself, the band has a beguiling laid back charm that draws you in with its warmth, salt water breezes, home cooking, and hospitality. Their music has a natural flow to it. It feels good to listen to this kind of music. I only hope the loss of Allman and Zito won’t change the dynamic too much. Allman provides the classic rock grit and soaring Les Pauls, and Mike Zito brings the swampy blues and fiery slide work. Both will be missed as vocalists, and if you’ve seen them live, you know their friendship and musical brotherhood ratchets up their stage presence considerably. We wish them both the best in their solo careers and we hope the Royal Southern Brotherhood continues to make engaging, positive music for years to come. We’ll always have their heartsoulblood and that alone might be enough.
In 2012 Bart Walker represented Nashville at the Blues Foundation’s annual International Blues Challenge in Memphis. Bart and his band came in second overall and he won the top guitar title. The ES-335 Gibson Custom guitar he won for his efforts appears on his latest album, Waiting On Daylight. Waiting On Daylight may not have happened if Ruf Records owner Thomas Ruff wasn’t in the audience at the IBC. Ruff signed Walker to a contract and brought him together in the studio with the legendary Jim Gaines who has produced a long line of terrific albums for musicians like Stevie Ray Vaughan, Buddy Guy, Santana, and John Lee Hooker. Armed with a slew of songs and the guidance of a veteran like Gaines, Bart Walker has made a blistering record. This is tough, loud, gritty blues mixed with a little Nashville inflection, some hard rock drive, and down home storytelling.
“It’s All Good” opens the record in a hopeful way. The singer is content with his lot in life – maybe because he such a damned good slide player. The licks are so clean I had to rewind and see if I heard fretting in there. His intonation is sure-handed and he effortlessly mixes it up with fretted notes, not just in this song but in several on Waiting On Daylight. For instance, his slide power is all over J.B. Hutto’s “Hipshake It” which boasts a relentless riff and soaring slide licks giving the ladies all the incentive they need to shake what mama gave ‘em. “99%” is a fiery populist tune about the disparity between the haves and have-nots in our society. Walker’s playing matches the intensity of the anger and disgust felt in his vocals. “Waiting On Daylight” has soaring leads accenting Walker’s heartfelt vocals. Bart Walker is a guitar slinger and a hell of a player, but he can sing too. And not just the “somebody had to do it vocals” a lot of guitarists slip past us. Bart is a bonafide vocalist. It is an instrument he skillfully uses to present his songs.
Closing the album, Bart delivers a clever revision of The Allman Brothers Band’s “Whipping Post.” Gone is the bombastic bass rumble and quick stepping rhythm. In their places are a quarter time feel with guitars playing arpeggios instead of chords under the verses. Gregg Allman did a similar reworking on his solo album Searching For Simplicity, which is an arrangement his solo band still plays. Bart Walker took it a few steps further by removing any kind of signature riff, instead focusing on the voice and the rip roaring solos he fires off seemingly effortlessly. If you’re going to cover a classic song, this is the way to do it.
In many ways, Bart Walker’s approach to “Whipping Post” is apropos of his entire approach to making music. He mixes classic ingredients from tones and lyrical themes, to song structure and guitar licks, but he makes his own recipes. His sense of dynamics, powerful but friendly voice, and endless guitar chops fortify each tune making them something more than a random mash of influences. Clocking in around 48 minutes, Waiting On Daylight leaves the scraps on the cutting room floor and delivers 100% lean and mean blues.
Well friends, I managed to get back on track with the five reviews for this week even though I missed Hump Day. Somehow the Fast Five turned in to a guitar love-fest. We’ve got Devon Allman, Joe Bonamassa, Gary Moore, and Gary Clark Jr. We also have Mississippi Heat whose new disc has plenty of terrific guitar playing too.
This edition also marks the first time most of the reviews feature albums released during the same week. How do you like that? Fresh biscuits indeed! As always, I hope you find something new and interesting for your ears…
Devon Allman has been a busy man for the last few years. He wound down Honeytribe with Space Age Blues, recorded two studio albums and a live set with Royal Southern Brotherhood, and released Turquoise, the first disc under his own name. In October Devon will release his second solo album Ragged & Dirty. Devon chose to record the new album in Chicago and brought in Blues Producer Extraordinaire Tom Hambridge work on the disc. Hambridge pulls triple duty adding drummer and songwriter to his credits on the album. The core band on the project is rounded out by Felton Crews on bass, Giles Cory on guitar and Marty Sammon on keyboards. Together they put together a moody, surging disc that rivals anything out there today.
Ragged & Dirty is a bit of a misnomer though. I was a little disappointed at first. To me a ragged and dirty Chicago blues album is Hound Dog Taylor and the HouseRockers. That’s ragged and dirty and oh so glorious. Devon Allman’s Ragged & Dirty is syrupy sweet by comparison. But the songs are so damned good! While Turquoise was a solid effort, it was more of a singer/songwriter album. Ragged & Dirty is a fully realized blues rock record and plays to all of Devon Allman’s strengths. Gritty stomper “Half The Truth” opens the disc with a forceful punch. Your appetite for R&B gets a feast on a tremendous cover of “The Spinners’ I’ll Be Around” and Otis Taylor’s “Ten Million Slaves” seems Taylor-made for Allman’s powerful voice, which seems even more emotive with female background accompaniment.
The centerpiece of Ragged & Dirty is a sprawling nine and a half minute instrumental called “Midnight Lake Michigan.” It burns with intensity hot enough to light Lake Shore Drive from dusk ‘til dawn. Devon also tips his hat to Windy City blues heritage with the title track, Luther Allison’s “Ragged & Dirty.” Allman’s own songs fit perfectly into the mix especially the funky “Blackjack Heartattack” which Devon delivers with a menacing vocal and snarling guitar licks. It segues into his smoldering blues called “Back To You.” His guitar chops have been honed by years of touring and dueling with Mike Zito in Royal Southern Brotherhood and it shows. He’s in great voice on Ragged & Dirty also, and delivers “Back To You” with a heavy weariness lesser singers could never conjure.
After about 45 minutes of intense blues rock, Devon closes the disc with an acoustic based balled reminiscent of “Left My Heart In Memphis” and “Turn Off The World.” It’s a great way to come down from what sounds like a high energy club set at Kingston Mines. Devon Allman has had the talent but recently he has honed his abilities and sensibilities and has come up with the best music of his already long career. I guess I’ll have to forgive him for it not being as ragged and dirty as I expected. I love it anyway.
Joe Bonamassa kicked off his solo career in 2000 with A New Day Yesterday. The title of his first album, in hindsight, reveals not just a tribute to Jethro Tull, but a mission statement for a career that continuously looks backward while firmly staking territory in the future. The music is not the only old-school influence on Joe Bonamassa. The old work ethic of making records frequently has rubbed off on him and he has compiled a lengthy discography in the last 14 years. In the liner notes Joe mentions that it’s been two years since his last solo studio album and that much has happened. He says he’s closed the first book of his career and Different Shades Of Blue is the first chapter in the new book. Maybe he’ll be taking it slower. He hints at enjoying the fruits of his intense labors and avoiding the blur.
Different Shades Of Blue opens with a short instrumental tribute to Jimi Hendrix’ with “Hey Baby (New Rising Sun).” Joe lists the gear used on the album but leaves you to figure which vintage Strat he used for this short but sweet tip ‘o the hat. “Oh Beautiful!” follows, with a heavy riff that would have made a perfect Black Country Communion track. As it is, Joe and the band tear into with gusto and leave you wondering Black what? The recent single, “I Gave Up Everything For You, ‘Cept The Blues” is a blues rock interpretation of the classic Elmore James shuffle. From the title it seems like it might not sing well, but Joe has become quite a vocalist and put the emphasis in exactly the right spots and they seem so obvious, you’ll be singing along in no time. The title track opens with a melancholy, descending acoustic riff with mournful electric wailing over it. The chorus has harmony vocals that elevate the spirit of the song with a brave defiance that sees you through the “Different Shades Of Blue.” The song is capped by a full on Bonamassa solo full of strings bent to Hell and rapid fire notes raining down like Armageddon.
You don’t get a lot of surprises with Different Shades Of Blue but that’s not a bad thing. The songs are well developed, keep you interested, and sound crisp. There are meaty riffs and blinding solos. Joe Bonamassa has never denied his love of 70’s Blues Rock and he carries the torch with pride. Why not? He plays the bejesus out of it and sings it more and more like Paul Rodgers as the years go by. Joe is not a one trick pony however, and this album showcases all his loves from Chicago Blues to electric folk tunes and smoky jazz piano balladry. Bonamassa has his share of detractors and I think a lot of them just don’t want to like his music. I think they see him as generic, but they just aren’t going deep enough. Joe Bonamassa is a lasting talent who has conducted himself with professionalism missing from many people his age, he has an enthusiasm for music that is tangible and the will to share Different Shades Of Blues with the masses.
Gary Clark Jr. seemed to come out of nowhere around 2011 with his EP on Warner Brothers but as is often the case, no one arrives fully formed. The 30 year old Clark got his start, like many Texas blues players, with some help from Austin legend Clifford Antone. He’s had some independent releases and made his major label debut on Warner Brothers late in 2010 with The Bright Lights EP. His Blak And Blu album really put him on the map and he’s been riding a wave of big name recognition ever since. His live shows with his powerhouse band are not to be missed but in case you haven’t made it, or just want to relive it, there’s the new album Gary Clark Jr. Live.
The set opens with a dense, murky take on “Catfish Blues.” This fish is swimming in filthy pond of Robin Trower residue from 1973. It’s terrific. Clark even sounds a little bit like James Dewar, Trower’s vocalist from long ago. There’s all sorts of garage blues on this Live set though, from the stomp of “Next Door Neighbor Blues,” Memphis late nite “3 O’Clock Blues,” and a pair of Albert Collins jams including “If Trouble Was Money” and “If You Love Me Like You Say.” Little Johnny Taylor probably never expected his tune to be bookended by “Third Stone From The Sun” but it works pretty well. Let’s call it a glorious juxtaposition!
We’re covering some intense guitar playing this week and Gary Clark Jr. Live may be the most intense. Second guitarist King Zapata and Gary Clark Jr. send each other soaring higher with shocking regularity. The guitar tones are angry, and aggressive, and sweet, and soothing. There’s a density of sound that two guitars, bass, and drums rarely achieve without sacrificing clarity. Yet, they do it and they do it well. “Third Stone From The Sun” has the sound of a bulldozer gleefully destroying your house and “Bright Lights” is the dance they do around the fire they just started with its remains. It’s malevolently magnificent music making.
Gary Clark Jr. Live transcends blues, roots, soul, and rock. Gary Clark Jr. says it’s all soul music. He certainly seems to pour his soul into making it and the band, featuring Zapata, bassist Johnny Bradley, and drummer Johnny Radelat, are right there with him, giving their all for the higher power of music. Together they leave it all on the stage. With the energy level captured on this live disc, I don’t know how they do it night after night but I’m glad they do.
Led by harmonica master Pierre Lacocque and fronted by vocalist Inetta Visor, Mississippi Heat has become one of the most consistently excellent bands in recent memory. Based in Chicago, they have their finger on the pulse of Big City Blues. They deftly handle all styles of Blues and do so with integrity, honesty, and a convincing authority. Warning Shot, on Delmark, is the band’s latest release. It’s out now on CD and will soon be available on vinyl.
Pierre Lacocque blows a mean harp and his flourishes are all over the disc. He’s also the principal songwriter for the band and he has conjured several excellent tunes for the new disc. Warning Shot kicks into high gear immediately with an Elmore James style boogie called “Sweet Poison.” I like the lyrical touches in ‘Sweet Poison” and duality of enjoying the thing that’s dangerous to you. It’s not an entirely new way to phrase it, but it flows in the song and it’s a sentiment everyone can relate to. In many ways, the song encapsulates what’s great about Mississippi Heat. They play familiar music with new twists and remain approachable to listeners. “Come To Mama” has Latin percussion and a Cuban beat, conjuring images of the band leading a dancing audience up and down Rush Street. “Swingy Dingy” is a rockin’ Chicago shuffle, “Too Sad To Wipe My Tears” is a dose of low down back porch blues, and the title track “Warning Shot” is an uptown swing number complete with big background vocals, a horn section, and some hot guitar playing from Carl Weathersby.
Michael Dotson, formerly of Magic Slim & The Teardrops, provides plenty of stellar guitar licks and keeps the band grounded in Chicago Blues territory. He takes lead vocal on a few tracks including the Mississippi Hill Country via Chicago heart-pounder “Yeah Now Baby.” He also rips it up in festive style on the Latin-style “Happy Birthday” which also features percussionist Ruben Alvarez. Vocalist Inetta Visor is a consummate singer and puts her stamp on every song, as if she wrote them herself, which is a testament to her talent and vision as part of Mississippi Heat.
Mississippi Heat have a dedicated following in the Blues community and Warning Shot is might be the one that breaks them open to a wider audience. They captured the raucous spirit of a live show and showcased their ability to meld their influences into a cohesive sound of their own. The mix of instruments and shared lead vocals keep everything from sounding the same and holds your interest over the course of 64 minutes. Warning Shot is an impressive album with something for just about any blues fan.
When the world lost Gary Moore on February 6, 2011 it lost a major musical force. Gary was one of the much maligned Rock & Roll ex-patriots the Blues purists love to hate, but Gary was accepted by two Kings of the Blues and the Master of the Telecaster, all of whom were guests on his records, and stages around the world. Gary truly appreciated the music and those who made it before he did. He was always respectful of the art form and played it with his usual individuality. Freedom of expression has always been a hallmark of blues and roots music and Gary managed to forge a blues sound of his own. His blues were never more dynamic than in the live setting and the proof is in the new album Live At Bush Hall 2007.
This show, recorded on May 17, 2007 at London’s picturesque 400-person capacity Bush Hall, was originally broadcast by Planet Rock radio. Gary had just released Close As You Get This and to promote it, he worked with Planet Rock to give away tickets for this intimate show. This CD release marks the first time the complete show has been available since its original broadcast. The concert features a handful of tunes from Close As You Get such as “Eyesight To The Blind” and “If The Devil Made Whiskey,” which he rarely played live afterward. For all his storied guitar histrionics Moore was able to bring it down and deliver beautifully delicate songs like “I Had A Dream” and “Still Got The Blues.” “I Had A Dream” is a master class in playing for the song and keeping the melody in mind while soloing.
Gary Moore also tips his hat to his blues mentors with a contrarily energetic version of Albert Collins’ “Too Tired,” a snarling “Walking By Myself,” and a nine minute romp through Little Milton’s “Blues Is Alright.” For the Thin Lizzy faithful, Moore plays a blistering “Don’t Believe A Word.” Gary Moore was a musician like Johnny Winter, in the sense that he could come out and play anything and hold the audience captive. It wasn’t about hits. It was about great songs, exciting playing, and engaging the crowd. The music world lost a unique and talented player when Gary Moore died. Luckily, through his albums and archival live releases like Live At Bush Hall 2007, we can continue to appreciate the genius of his craft.
What does the new release schedule have in store for us this week?
This week’s new releases include Mike Zito & The Wheel’s live CD/DVD combo (only ten bucks on Amazon). Zito recently announced he’s leaving Royal Southern Brotherhood which really “Hurts My Heart” but I’ll get over it. RSB is picking up Bart Walker which should be an interesting combination.
Danny Bryant has a new disc out. Danny has been busy fronting Walter Trout’s band whilst Walter recovers from a liver transplant. There’s also a T-Bone Walker collection and an interesting collection contrasting and comparing God’s gospel and the Devil’s blues. We have a photo of the back cover so you can check out the 37 tracks.
Who’s hungry? I must be thinking about food today so what he have for your Hump Day Blues is some good old-fashioned musical food porn. Food metaphors for sex have been used in songs since Edison recorded Bell singing to Watson about his long white bologna (this may or may not be true – no evidence exists). Spread out some cabbage, bananas, sugar, honey, jelly, wieners, peaches, lemons, pies, hot dogs, custards, rolls, buns, and more and you’ve got a salacious smorgasbord. I’m surprised there’s no blues song about kumquats. That word even looks dirty. It sounds filthy and it’s probably, ripe, sweet and juicy waiting for you to take a bite.
Anyway, your Hump Day feature this week might whet your appetite, fill your sack, scramble your eggs, toss your salad, bake your beans, warm your wiener, roast your nuts, gravy your biscuits (hey now!)… alright, you get the picture.
First we have Lil Johnson looking for her Hot Dog Man. It sounds more like Lil Johnson was looking for Big Johnson, if you know what I mean.
Royal Southern Brotherhood is a recent band carrying the hokum flag forward with a song from their first album. Cyril Neville wants some of that sweet jelly donut but she ain’t sharin’, even after he took her to see Dr. John at Tipitina’s. Maybe he should try a Chocolate Angel instead.
Lastly we have the voluptuous and vivacious Candye Kane inviting you to eat it all night long. Her buffet offers large portions and the biggest jugs of milk around. Drink up boys.
One doesn’t need a Master’s Degree in Music to safely state that Thorbjorn Risager and The Black Tornado is one of Denmark’s most successful music exports today. The band was formed by now 42-year old Risager back in 2003. Known for his distinctive powerful and gravelly voice he was first introduced to the blues by a neighbor and friend of his parents, a middle-aged gentleman who played him records by the likes of B. B. King and Ray Charles. Risager started playing the saxophone at the age of 12 and then moved on to guitar while the singing was more of a coincidence at first. By the time he went to high school he was already playing paid gigs.
Thorbjorn Risager studied to be a school teacher and even worked as such for several years. Later on he graduated from the Rhythmic Conservatory in Copenhagen, all the while composing songs, singing and playing with various local musicians. He started his own seven piece band in 2003, composing most of the band’s music himself. Mixing styles from blues, soul, gospel, rock and R&B to funk was his deliberate choice as was the distinctive sound of the band with its horns, individual solos and rolling, almost big-band like grooves.
The Thorbjorn Risager Band released its first album back in 2005 and toured extensively throughout Europe. As of 2013 the band has performed in no less than 17 countries and has released seven successful albums. In 2013 the band, with its name changed to Thorbjorn Risager and The Black Tornado, signed a record deal with Ruf Records, a Germany based label founded by Luther Allison’s manager, Thomas Ruf, placing Risager and company among the rows of other famous artists such as Royal Southern Brotherhood, Ana Popovic and Canned Heat.
The new album from Thorbjorn Risager and The Black Tornado, Too Many Roads, was released in March 2014. The album was recorded by Thorbjorn Risager – guitar and vocals, Peter Kehl – trumpet and background vocals, Kasper Wagner – saxophones, Martin Seidelin – drums and background vocals, Peter Skjerning – guitar and background vocals, Emil Blasgaard – keyboards and Soren Boigaard – bass. This time the band chose to self-produce the album.
So far Risager and his band mates have been famous mainly in Europe and the new album is their first attempt to bring their music to a non-European audience. The album comprises twelve songs melting together blues, rock, soul and more than a pinch of New Orleans sound. The general feeling is that of well controlled energy and tight interplay, all the arrangements being the result of teamwork. All in all, the listener gets the typical “Risager sound.”
The album opens with “If You Wanna Leave,” a dynamic rocker about being left by the one you love but being able to cope with this sad situation. As far as influences go, look no further than Bob Seger and his Silver Bullet Band. Another notable song is “Drowning,” which describes the devastating feeling after a break-up, where there’s simply nothing left but sorrow. The distinctive New Orleans vibe helps convey the general feeling of the song.
“Long Forgotten Track” is a ghost story, while the music is in the vein of the late great and sadly missed J. J. Cale. “Through The Years” is a song about a man looking back to a long lost love. It brings together B. B. King’s style of guitar playing and tone, paying tribute to one of Risager’s blues heroes as well as the soul music of the 60’s. “Rich Man” is a socially charged ode to the financial crisis and all those who are profiting from it. The song is characterized by a rich big-band sound. “Play On” closes the album by paying tribute to classic Jerry Lee Lewis style rockabilly. All in all, Too Many Roads is an album that will appeal not only to blues aficionados, but also to the general music-loving public with its varied moods and styles and brilliant musicianship. Could the next blues sensation come from Denmark? We will live and see.
Meanwhile, you can preview, buy and download the album at Amazon and iTunes.
The new RSB CD heartsoulblood is out today. These guys keep getting better and better, and they’re prolific too! Since the debut they have put out a live CD/DVD, and Devon Allman, Cyril Neville, Yonrico Scott, and Mike Zito have all put out superb albums of their own, plus, most of the band played on Black Wind Howlin’– the new Samantha Fish CD. Let’s give bassist extraordinaire Charlie Wooten some love too. He is a master musician.