Mark Nomad – Torch Tones – review by Lady K
Mark Nomad
Torch Tones
Blue Star Records
By Lady K
Mark Nomad, out of Western Massachusetts, has put together a very interesting CD in “Torch Tones”; a little bit of everything: love, romance, blues, rock and roll (something for everyone!!) Nomad wrote all but one of the 12 tunes, is the lead vocalist, and plays guitars and harmonica. The accompanying musicians include both Dale Monette and Sturgis Cunningham (trading drummer-duties); Dan Fontanella and Jim Weeks (both on keyboard at one time or another); John O’Boyle and Peter King (both bassists, taking turns); Doug James (saxophones); and Susan Duncan on vocals.
In the “Gemini Blues” shuffle, Mark, while playing slide guitar, sings about being torn between two lovers. ‘You’re sweet, you’re so fine, I want to make love to you all the time. We go for walks, be holdin’ hands, then you start acting crazy’. The two lovers are same woman (good-twin / bad-twin split persona?); and he’s in love with both. She accuses him of having another woman; but, she’s the other woman. No surprise that he’s got the ‘Gemini Blues, which one am I talking to?’
“Poetry In Motion” presents more great electric slide in an ode to his lady; she IS the ‘Poetry in Motion, perfect in design’. “The Waiting” is an instrumental taste of country blues (but not too big a taste).
Doug James’ sax adds a kick to the “Real Thing”, and Nomad’s guitar kicks right back. He’s . . .‘looking for the real thing; wants to hear the bells ring. I need what your love brings. All my life I searched for one like you; this is like a dream come true.’ And then “Cactus Flower” (one of Lady K’s favorites) – a plaintive, thought-provoking guitar, making this slow, sexy track compelling. ‘Why does love have to be so hard, so beautiful? But it hurts to hold; like a “Cactus Flower”. Cool analogy, cool tune.
Track 8 suggests that the game of love is like a game of “Chinese Checkers”, moving up, moving back, all across the board. ‘Don’t care if I win or lose, long’s I get to play with you – no matter what goes on outside, inside’s where I’m satisfied’. Susan Duncan provides the back-up refrain ‘our love’s a lot like Chinese checkers; can’t get enough of those Chinese checkers’.
“Took More Than You Gave” has Nomad vocalizing, with just his acoustic guitar for company. ‘I gave you my heart, but you took my soul. At the end of the day, you took more than you gave. You lived your dreams with no regard for mine.’ The lyrics are sad, which the lone guitar emphasizes perfectly. The one cover on this CD is Magic Sam’s “What Have I Done Wrong”. It is a welcome addition, and presented with a big blues band sound.
Nomad mixes a little rock ‘n roll with blues, on “I Got Over You”, in celebration of recovery from an ended relationship. ‘I’m feeling stronger since I got over you. It took me longer, but I got over you. I need somebody who’s not afraid of love’.
Lady K was a bit disconcerted with some of Mark Nomad’s lyrics, which at times tend to sound somewhat over-simplified. I felt that he focused too much attention on ensuring that his lyrics rhymed; which distracted from the excellent blues and blues/rock composition of his music. For example, in the rocking blues “Love U Truly”, ‘You’re a tall drink of water, I think that you oughta . . . let me take care of you.’ Hmmm. Luckily, while Nomad’s music is much more sophisticated than some of his lyrics, the disparity tends to even things out; there’s much more to like than there is to dislike.
And finally, the final track of “Torch Tones” is another compelling acoustic tune. “All One” is a perfect kind of stark blend of Mark, his guitar and his harp, about the end of a relationship (or about the meaning of life – both views work). ‘I take these blues all alone, I take these blues for my own, because alone means “All One”.
Etta James – The Dreamer – Verve Forecast – Review by Bluebird of Bluebird Reviews
ETTA JAMES
The Dreamer
Verve Forecast
Review by Bluebird of Bluebird Reviews
The voice is an instrument. And if we are going to talk about blues, the blue note is the “flatted unexpected note.” When you approach this collection of works, keep in mind that Etta’s voice always had a wide range of tones. This is what has made her so great over the years. For example, “Baby What You Want Me to Do (Live)” has the grit and vibrato to shake the bones. “Trust In Me” floats with crystal notes of light along with the piano, while “In The Basement” (the single with Sugar Pie DeSanto), has a dance swing that lets her belt out the platform of her voice.
Given the variety of sounds that Etta has historically been able to produce, The Dreamer, is suited to the range of her voice right now. This record is warm and inviting. It is more blues and soul than jazz or ceremony. There are some sassy gigs and straight up slides. The musicians who play alongside her have taken care to surround her with complimentary greatness. In so many ways, this final record, brings us back to the place where Etta started.
Track by Track:
This is a compilation of covers, the original artists are credited in the album liner notes.
1.Groove Me: King Floyd
This has a burst of funk groove and greets you with a James Brown type of ‘hugh’. Yeah, Etta can do what the soul men do and she does it with grace. This album is sassy and brings Etta’s charismatic vibe to it, right from the start.
2.Champagne & Wine: Otis Redding/Roy Johnson/Allen Walden
Reflections on relationships with this slow simmering Otis Redding classic, Etta keeps her voice right in the middle of the horns, keys and great tempo with a subtle gospel humm along the background. This track is strong for Etta and the band.
3.Dreamer:Spooner Oldham/Dan Penn/Bobby Bland
The opening notes of this song had a ring of Three Dog Night’s “Mama Told Me Not To Come”, but then it quickly changed course to a much lower key tune. I got to know Spooner Oldham’s music by researching Jim Dickinson’s work and his team writes amazing songs. This song is dark and direct in looking at the effects of life’s choices on the rest of your days. Yet, there is hope for understanding. The guitar and production make this title track in my opinion, the centerpiece, as it stands out in its impact.
4.Welcome To The Jungle:Steven Adler/Jeffrey Isbell/Michael McKagan/W. Axl Rose/Saul Hudson
This song had me puzzled. Etta gets credit here for genre hopping and taking on whatever she fancies in the music world, including this cover of Guns and Roses. Rockers cover soul artists all the time, so why not jump into a metal to blues reverse? The lyrics are more definitive as they are slower and steadied. There were a few points where the song trailed off and rambled a bit and the ending didn’t quite fall together in the way that I was hearing it. I applaud her feist in taking this on, but I was thinking another song choice might have better driven her point home.
5.Misty Blue:Bob Montgomery
I loved what she did with this song. Dorothy Moore’s version of “Misty Blue” has been a soul staple for a long time. Etta made this one sound like she wrote it, and she sings it blue-r than blue, bringing it down to its core sensibility. Perhaps I am thinking of “Rather Go Blind” or “Fool That I Am,” but to me, it had that unique Etta sound. Etta seemed to easily take this on and transform it like she does with most of what she performs. Her voice was natural and hit all of the notes in the song, she did not have to adjust or force it. Etta is present, familiar.
6.Boondocks:Jimi Westbrook/Kimberly Roads/Wayne Kirkpatrick/Phillip Sweet/King Floyd/Karen Fairchild/Kimberly Schlapman
The lullabye of the mid-night train has brought this song to life for Etta in a meaningful way. The arrangements and backup vocals give it the inspirational gospel push to believe in yourself and that energy comes through. The pride stands strong. This song fits with Etta’s history and also her voice at this time in her life.
7.Cigarettes & Coffee: Otis Redding/Jerry Butler/Jay Walker/Eddie Thomas
Stories are told here and Etta keeps the honor to Otis Redding’s version while making it her own. Writing this now has me reflecting her whole life indeed. This song is a joyous tribute to love of all kinds, yet it is casual, real and connected. The keys and metronome drum effect was comforting, as someone is keeping watch of the time going by. This is the eternal visit with Etta, the friend we have known in her for decades. We can hang out with her, cigarettes and coffee, spending just one more hour. The lyrics are impeccable for the time this is published, as they reflect who she is, was, and always will be. In our soul searching journeys with Etta’s music riding beside us, her voice is smooth in this track and seems to bring us back to what is important.
8.In The Evening: Ray Charles
More blues than the piano jazz that Ray Charles offered, this simmering ballad sparkles. There is a guitar solo that sneaks up on you toward the end, with the horns carefully placed, the mood extends and pushed the limits of what a blues song can do.
9.Too Tired: Johnny “Guitar” Watson/Joe Josea/Jules Taub
Slide guitar, rhythm, horns and quick tempo with piano pulls out all the stops in this classic jump blues number. This is anything but tired and Etta holds her own against the strong arrangements.
10.That’s The Chance You Take: Sylvia Dee/Sidney Lippman/Johnny “Guitar” Watson
This song builds, and something about Etta’s version reminded me of traditional Ray Charles. Johnny “Guitar” Watson’s 1962 version is great and keeps to the vocals and guitar. This updated arrangement adds depth to the song with the piano in the forefront and Etta improvs a bit, “don’t be afraid”, which just continues to inspire !
11.Let Me Down Easy: Little Milton (James Milton Campbell, Jr.)
The quiet start to this love letter from a suspicious mind rocks the house. The guitar weaves in and around the horns on this track. This one is hard to catch, but Etta stares it straight in the eye and as always, she has the last word. (Yes, she does).
This record would be a great addition to any music collection. Even to the fans who haven’t followed Etta’s career for very long would appreciate the bold soul and deep blues that are offered in “The Dreamer”. For the rest of us grieving the loss of this courageous and talented woman, this album is a reminder that the music will continue to move us forward without having to let go of the past. With contemporary takes on classics, talented musicianship and great vocal grit, in the midst of your blues for Etta, her music again will fill the room with warmth and light. “Trust In Me”, Etta says, we do and always will.
“Oh, stand beside me, stand beside me all the while
Come on Daddy, face the future, why don’t you smile
Trust in me and I’ll be worthy of you.” ~ Etta James.
Carolyn Wonderland – Peace Meal – Bismeaux Record – review by Lady K
CAROLYN WONDERLAND
Peace Meal
Bismeaux Records
Review by Lady K
Out of Austin, Texas, comes Carolyn Wonderland’s new CD, Peace Meal. Carolyn Wonderland wrote 6 of the 12 tracks, does all of the wicked-powerful vocalizing, plays lead guitar, and blows a mean trumpet. In other words, the ultimate multi-tasker (otherwise known as “woman”)!!!! Lady K is listening to an advance promotional copy of Peace Meal and some important info was not included in the notes: I’m assuming that Carolyn doesn’t also play drums, bass, or keyboards, so hopefully her players know that she appreciates them, and hopefully their names were listed on the CD when it went out for sale!!!
There, the administrative nit-picking is done. Let it be known that, in addition to being the ultimate multi-tasker, Carolyn Wonderland is also a very brave woman. She bravely kicked off Peace Meal with a somewhat obscure (except to serious fans) Janis Joplin tune: “What Good Can Drinkin’ Do,” and she kicked ass doing it. Other covers include: “Golden Stairs” by Vince Welnick and Robert Hunter; a head-nodding, rocking, electric “Dust My Broom” (hell, you know who); “I Can Tell” by S. Smith; “Meet Me in the Morning” (Bob Dylan); and Mud Morganfield’s “Two Trains.” Quite an impressive array of tunes, if ALL Carolyn Wonderland did was covers, but that’s not the case.
Dancers will HATE the 2nd track on the album, because the beat changes back and forth between up-tempo and slower, and it’s hard to switch steps mid-dance. Listeners won’t have any tempo-change problems with “Victory of Flying” which is kind of an ode to growing up and realizing that life is what we make of it (sometimes, sort of) – if we’re very lucky. “When I was younger, I had a great hunger . . . a desire that yet had no name. And then I grew wings . . . Life is like diving head-first into fate.” “Can you live without fear of dying? You’re working hard for the victory of flying.” Powerful lyrics surround a scrumptious instrumental middle.
The rocking, mid-tempo “Only God Knows When” has some funky honky-tonk piano, and some thought-provoking lyrics that explain why the direction in which the world is headed needs to change. “What I know of peace ain’t hard to understand. Whether shared by nations or individuals that stand toe-to-toe with each other . . . olive branch in hand. Violence ain’t no solution if life ain’t like you planned. Only God knows when . . . we’re gonna get ourselves together and come up with a perfect plan . . . we’re all brothers in the end.”
“Usurper” has a slow-ish tempo, and some harsh words for the man in her life (sounds like he deserves them): “You ain’t got the sense of a mule. You always take more than you deserve . . . if I don’t give it to you, you just usurp it. Who will forgive you? I know Jesus Christ will forgive you. One day I might — but (right now) I don’t intend to.” Lady K had a little trouble discerning the lyrics to “No Exception,” but the music was just fine – kind of an old-fashioned “big band” sound, generated by some amazing guitar/organ “harmonizing.”
“Shine On” has a bit of a country sound, but no twang (readers know Lady K doesn’t tolerate twang well). This tune is about a trucker, alone on an interstate in the middle of a long night. “. . . one lone star is all I see tonight; clouds swallowed up all else; knowing the same light shines on all. Shine on little star, shine on without care; if you’re not there I’ll be left alone.”
Lady K enjoyed meeting Carolyn Wonderland.
J-Bob & Lefty Are Comin’ to Town – Acoustic Swing and Blues – review by A.J. Wachtel
J-Bob & Lefty
Are Comin’ to town
Acoustic Blues and Swing 10 Tracks
By A.J. Wachtel
J-Bob is the lead character in this duo and his vocals, reminiscent of Tom Waits meets Leon Redbone, and his acoustic blues and swing sound is best suited for a coffeehouse or small venue. And like any acoustic player his performance is only as good as his physical ability and repertoire and in this case the mix of familiar and obscure tunes from the ’30′s on up and his compelling voice result in a good cd. Lefty plays bass with a 22 inch bass drum instead of a washtub and his percussion with it’s “dozen’s of improvements” is sorta like a Harry Partsch invention but in songs like “Besame Mucho” it works. Basically a balladeer who sets his versions to acoustic shuffles with a hint of rock and roll, his unique style is best heard on “Steamroller Blues” (remember James Taylor’s version ?) , “Sittin’ On Top Of The World” (remember Creams’ version ?), and “Willie The Weeper” (remember Louis Armstrong’s version ?). These are not even close to being covers of the covers we are all familiar with. And he can play guitar. Check out the great guitar work in the opening of “Sweet Substitute” or the jazzy opening of “Send Me Someone to Love”. First rate material done in a very different way. Good stuff.
Reverend B. Kerry Keefe – Glory to his Name – Self Release – review by A.J. Wachtel
Reverend B. Kerry Keefe
Featuring Florence Knight and Pastor Thurman A. Hargrove
Glory To His Name
Self Release
By A.J. Wachtel
This CD interests me visually AND aurally. When I first pick it up and see the cover photo of the Reverend dressed in a white religious ceremonial robe complete with a black and white collar, I look closer. He’s holding a walnut Gibson Firebird with an image of Christ on The Cross imprinted on the guitar’s white pick guard next to the pickup switch, It knocks me out and I grin. When I open the inside and read the credits including the spiritual lyrics to one of his compositions “Holy Holy God Almighty” I become slightly skeptical at heart until I see his ‘Special Thanks for time and contributions’ where he leaves out thanking the creator of the universe for ‘great inspiration’ and instead verbalizes his appreciation in print to his family and friends. Then, I figured he was a musician with religion rather than a man of God playing the guitar with a hidden agenda. I listened to all of the tracks and noticed that while he plays most of all the instruments,and has his own style of performing the traditional hymns and his own originals, his classy guitar playing NEVER gets in the way of the vocals and the message. The songs usually start out with a good lead guitar riff that sets the tone for the tune, and then his strong and passionate vocals take the song to a more religious level. Florence and Pastor Hargrove’s vocals are the icing on the cake and their passion and intensity really drive the melodies they sing on. The last song, “You Gotta Move/ Surprise” is the song I really like the best where all three singers really push each other and the result is very satisfying.. Does anyone remember The Rolling Stones’ cover of “You Gotta Move” ? This one sounds pretty authentic too and when the harp joins in mid-song and changes the energy to a congregational prayer-meeting spiritual, you just GOTTA MOVE. All of the songs are funky/c&w bluesy with gospel and spiritual influences and are worthy of a listen whether you are a Believer or not. If you DO believe in B.B. and Jimi this should do the trick.
LAURIE MORVAN BAND – BREATH DEEP – SCREAMING LIZARD RECORDS – Review by Lady K
LAURIE MORVAN BAND
Breathe Deep
Screaming Lizard Records
By Lady K
There’s nothing not to like about Breathe Deep, the Laurie Morvan Band’s latest release of rocking electric guitar blues. The CD contains terrific blues tunes, written by a strong woman, with an amazing sense of humor, and a sense of the blues, who just happens to play some blistering, SRV-style lead guitar. Makes Lady K want to holler ‘You go, girl!’ The band includes Laurie Morvan (guitar, lead vocals), Lisa Grubbs (percussion, back-up vocals), Pat Morvan (bass), Kevin Murillo (drums), and Tommy Salyers (keyboards); along with guest artists Dave Matthews (Wurlitzer), Tony Braunagel (drums) and Carolyn Kelley (back-up vocals).
“No Working During Drinking Hours” is an up-tempo, swingy tune, with humorous lyrics, describing an innovative new work ethic for her man: Just think about how the work-a-day world could be improved if everyone switched to Laurie’s protocol. (Lady K will have a Bombay and tonic, please – a tall one.)
Lady K’s favorite tracks: “Saved by the Blues”, a mid-tempo, rockin’ tune that describes the first time you really hear blues music. She went ‘searching for Jesus on a steamy summer night; and came upon Robert Johnson at a crossroads’ (are you lovin’ this?). ‘She sang his praises and gave him his due and he said: “Do you love the blues, like without it you’ll come undone? Do you need the blues, like the night needs the setting sun? The path to salvation is yours to choose.” She fell to her knees, having been saved by the blues.’ And Laurie’s guitar will make a believer out of you too. “It Only Hurts When I Breathe”, is a slow, sexy-blues, love song with an incredibly long guitar and drum duet that is impressive enough to make you forget the tune is not instrumental. Not that I’m saying the lyrics aren’t terrific, just two perfect halves, making a perfect whole!! He’s gone and she softly, sadly, sings ‘The sweet scent of your cologne lingers on your favorite shirt, still hanging softly in the hall. It feels so gentle against my skin, that I can’t resist its call. So I press it up to my face, I inhale that need. Now it only hurts when I breathe.’
“Mojo Mama” is a funny-crazy tutorial on all of the black-magic tools of the trade she’s planning to use to bewitch a man: rattlesnake shaker on an alligator tail, chicken bone chimes, hog jaw gumbo, rabbit foot stew, black cat charm. Laurie sings “I’m Your Mojo Mama, won’t you be my voodoo doll”, in this up-tempo tune, with plenty of guitar riffs, and enough threat to make a guy watch his back (one would think).
“Back Up the Train” has a funky sound, and another life lesson, drawing parallel meaning from a train ride and a relationship (‘back up the train, it’s time to unload the pain, back up the train, we’re headed in the wrong direction’).
“Bad Love Blues” is a different look at life and love, in that she seems to have found the perfect man (and now she’s telling him how lucky he is and why everything seems perfect to her). “I let you make my dinner, I let you wash my clothes, I let you treat me like a lady, I even let you bring me a rose. But I get no appreciation for everything I do – you just whine and complain like it’s all about you. You give me those bad love, down on my luck, blues.”
The mid-tempo, swingy “Beat Up From the Feet Up” says it all (‘Well your face is too fat, your wallet too thin, You want a little peace but the world rushes in and you’re . . . beat up from the feet up. Oh what trouble you’ve had, you’re wore down, Freddie King tore down’) – great lyrics, and again, terrific blues. “Thelma and Louise” is a state of mind and a goal when life is getting you down, sung to a cool, up-tempo, finger-snapping, swingy tune: “Come on, we’re gonna go out in the night to howl at the moon; jump without looking, speak too soon. Live too large, play too much, like Thelma and Louise, we’re gonna live it up.”
In addition to great blues music, this album is chock full of lifelines for the lonely, escape clauses for those in bad relationships, lessons for those learning about blues music. And, by the way, that’s something that doesn’t end; blues lovers just keep learning about blues music. Thanks Laurie, for reminding us.
THE DAVE BERRY BAND – Live at the American Legion Portsmouth NH – review by Lady K
THE DAVE BERRY BAND
Live at the American Legion, Portsmouth, NH,
November 26, 2011
review by Lady K
Please cease and desist (Lady K is in Maine, and she can still hear you giggling). Yes, she did in fact go to the Portsmouth American Legion; yes, it was in fact a Saturday night. No, she did not know that the Portsmouth Legion is a ‘members only’ facility, until the sentry on duty stopped her at the door. And yes, to her ever-lasting, horrified shame, Lady K groveled to gain admittance. Luckily, the sentry turned out to be a very nice gentleman who found a way to admit Lady K into the cozy and comfortable inner-sanctum of the American Legion (otherwise known as the club area).
So, was the groveling worth it? It was, because the prize was an evening of terrific music from one of Lady K’s favorite bands. The Dave Berry Band was just about ready to kick off nearly hours of blues, soul, and a little swing, along with a a nice mix of rocking-blues music, when Lady K finally made it through the barrier, nabbed a table and settled in to listen. For the uninitiated, the Dave Berry Band is a group of six guys who have a love of all types of music, and produce it with a very tight sound. Dave Berry is the lead guitar, plays some mean slide, and he’s the lead vocalist (part of the time). All of the other guys also provide back-up vocals in addition to their primary jobs: Jeff Harold is the sax player; Billy Duffy is mostly on keyboard, but also joins Dave when a second lead guitar is called for; Dave Nelson plays bass; while Archie Gravel keeps everything upbeat on the drums (the crowd was drawn to him – happens when the drummer is that good). And then, there is the reason that Dave Berry is ‘lead vocalist (part of the time)’: ‘Bear’ Melanson commands the front of the stage and grabs the attention of listeners with his vocals and his ability to span musical genres.
As a rule, Dave kicks off a show and most sets, playing and vocalizing (or not) a few tunes, before Bear takes center stage. On Saturday night Dave rocked out on a delicious version of Boz Scaggs “Come On Home,” and garnered more attention with Santana’s “Oye Como Va.” Bear followed, stepping into Sonny Boy Williams’ blues shoes with “Help Me” and then John Lee Hooker’s, with “Boom, Boom, Boom.” One of Bear’s ‘specialties’ came later in the second set, when this talented white dude channeled the Godfather himself, in a distinctively non-white version of “I Got You (I Feel Good),” circa 1965.
This band seems to have a special affinity for Van Morrison (and why not?) – “Moon Dance” (Lady K’s favorite Morrison tune was made even more special by Jeff’s sax), “Domino” (included a little choreography from Dave, Dave, Billy and Jeff), and “Brown-eyed Girl” all delighted the good-sized crowd at the Legion; as did Dave’s insane guitar on “Brand New Day” and a definitely un-rockabilly, kick-ass version of “Blue Suede Shoes,” with which Dave opened the second set.
While Bear got back to the blues, with Big Joe Turner’s “Flip, Flop and Fly,” Billy got away from the keyboard and joined Dave and Dave, playing 2nd lead guitar – 3 guitars (Lady K’s version of heaven) – and they did it again on the Allman Brothers’ “One Way Out!!!” In a very emotional segment, to all military, doing what they do far from their loved ones, Dave dedicated a truly amazing, very Hendrix-like version of an instrumental “Amazing Grace” – it moved some people to stunned silence, while others joined hands for a circle dance. And then, and then . . . once the crowd settled down, Dave debuted a very recent addition to their musical repertoire, and the most amazing tune of the evening (in Lady K’s humble opinion). I’ll just describe it here as the “new Dave Berry version of Jeff Beck’s version of Stevie Wonder’s ‘Cause We’ve Ended as Lovers’”. Mesmerizing . . .really.
Yes, the music was worth groveling for admittance at the beginning of the evening!!!!
Sandy Carroll – Just as I am – review by Lady K
SANDY CARROLL
Just As I Am
Catfood Records
By Lady K
Sandy Carroll is out of the Memphis area, so she is breathing that good blues air all of the time (must be beneficial to making good blues music because this blues-rocker’s new CD, Just As I Am, is imbued with a whole lot of good rocking blues). Sandy Carroll is listed as the writer on all 10 tracks on Just As I Am; sometimes the sole writer, and some tunes were collaborations with others. The list of musicians and back-up vocalists who lent themselves to this CD is too lengthy for this space, but they all make for a terrific blend of blues music, along with Sandy Carroll’s soulful vocals (it should be noted that she also plays some mean piano on several of the cuts).
“Blessed Be” is the first track and has what Lady K would call a nice “comfy” kind of rockin’ beat. It’s a feel-good tune, sort of giving thanks for myriad people, places and things, and shows how they link together to become the world that we live in: “Bless the children, they hold the light; bless the warrior, let us sleep at night. Blessed be the healers; blessed be the lame; we all in this together, we all the same.” It’s a thought-provoking tune with terrific backup vocals and that great guitar (courtesy of Evan Leake).
The up-tempo, jaunty and tongue-in-cheek tune, entitled “Help Mother Nature,” turns out to be a list of the things that mankind (plastic surgeons) have come up with to help Mother Nature: “Nip, tuck, fill it in. Tighten up that pretty skin. Lipo, suck it up – Get rid of that funky stuff. Help her, help Mother Nature along.” Too funny!! “Heartfixin’ Man” is an up-beat love query (with notably terrific guitar), about a woman who knows that all she needs is her man: “Don’t need no doctor, no hospital plan; don’t need no voodoo, cause I know you can – be my heart-fixin’ man.”
“Waiting for The Storm” is a haunting, slow, sad, bluesy tune about a tempestuous relationship and not being able to be comfortable together, because they are waiting for the next storm. When Sandy isn’t singing, Evan Leake’s guitar takes over, emoting the same feelings. “First there be darkness, with a flash of light. Here come the thunder. We call it love, but it make me worry.”
One of Lady K’s favorite tunes is “Slow Kisses;” a tutorial for men, on the art of kissing. This is a sexy, hip-swinging bluesy tune, with a nice keyboard-vocal intro to lyrics “Pucker once, pucker twice, slow kisses all night. Be a slow kisser if you wanna treat your woman right.” The lyrics are great fun, and the music is old-fashioned piano blues. “Messing With Me” is another rocking blues tune, with yet another lesson to man on how to treat his woman (or, rather how NOT to): “You messin’ with a goddess; you messin’ with a queen. Give me all you got; bring it on, when you messin’ with me.”
The final tune is totally different from the rest of the music on this album, but very compelling. “Just As I Am” is acoustic, and is most prominently piano, with a little guitar and some accordion accompanying Sandy’s vocals, and making the lyrics seem even more important because of the simplicity. “Will you still love me like I love you? Will you love me when I do the things I do? And when I’m standing on shaky ground, will you still love me just as I am? . . . . I put my heart in your hand, when I get lost, make sure I am found.”
Just As I Am was Lady K’s introduction to blues-rocker Sandy Carroll – and based upon what I’ve heard, she and her blues are in my “like” column!
Bob Halperin – live at The Press Room – review by Lady K
BOB HALPERIN
Live at the PressRoom,
Portsmouth, NH, October 20, 2011
By Lady K
Lady K went to the PressRoom to see a friend do a solo gig only to discover that due to a last-minute (or so) schedule change, a different blues-man would be entertaining the downstairs crowd that evening.
Lady K just happens to be a long-time Bob Halperin fan, and while she’s seen/heard Bob in many different band situations, she’s never been around for a non-band, solo performance. Bob Halperin is an amazing guitarist; I’ve seen him sitting in with other groups for a tune or two, and I’ve seen him in jam sessions with a whole crew of musicians gathered for another band’s CD-release party. Bob Halperin, a resident of Portsmouth, NH, is with a band called Wooden Eye these days – I’ve seen them several times, and a few years ago Lady K attended an anniversary celebration of Bob’s 30-years of gigs at the PressRoom, when countless blues musicians from former Halperin bands gathered to celebrate – that was one hell of a multi-hour jam party, which Lady K will never forget.
Soooo, Bob Halperin solo; sharing a vast repertoire of tunes, music trivia laced with wry humor, more tunes - all music genres, including some tunes not usually thought of as blues, but not non-blues in Bob’s hands. Some were well-known (an instrumental version of the Beatles’ “Things We Said Today”) and a different version of “Walk Don’t Run” – which, Bob informed, was written as jazz by Johnny Smith (in the 50’s), and made famous in the 60’s as surf-music, by the Ventures.
Did Lady K mention that Bob Halperin sings? Sorry – Bob Halperin DOES sing, and has a voice that is adaptable to the vast variety of tunes that he performs during a solo show, while accompanying himself on his transducer-converted acoustic guitar (which makes for a nifty hollow-body, amplified sound). Doubt that it was intentional, but Bob performed two of the numbers that are standbys of the blues-man previously scheduled to perform that evening: “Candyman Stand” and “Satisfied ‘N Tickled Too;” so, we did hear at least a few of the expected songs.
What we also heard was a vast cornucopia of tunes – Halperin put his guitar into slide-mode for his rendition of Muddy’s “Little Brown Bird” and for the toe-tapping Jimmy Reed tune, “Bright Lights, Big City.” Lady K loves solo shows because tunes are generally so very different from what is expected. Makes one ponder what it was that caught the performer’s attention and compelled him to remember the tune to use in these solo settings; and how in hell do people remember lyrics and music to so many thousands of tunes? In addition to performing songs like his own “Dew Rag,” Bob wowed the appreciative PressRoom patrons with “St. James Infirmary Blues” (great tune, not often heard these days), Cab Calloway’s “A Chicken Ain’t Nothin’ But a Bird” (NEVER heard these days), Elmore James’ “Shake Your Moneymaker,” and one of Lady K’s favorite choices: Curtis Mayfield and the Impressions’ “People Get Ready.”
Bob Halperin gives good solo!!!!!
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