ThrowDown Blues Band – Live show – Inn on the Blues, York Beach, Maine – Review by Lady K
ThrowDown Blues Band
April 21, 2012
By Lady K
BAM!! Spring has sprung in York Beach; and to celebrate, those wild and crazy blues-dudes, the ThrowDown Band, heated up the atmosphere on a recent Saturday night; it’s a good bet that there was a warm glow visible over the coast of Southern Maine. On the second night of the INN on the Blues’ 2012 season opening, The ThrowDown Band woke this town right UP!!!! For the uninitiated, ThrowDown’s website gives a pretty accurate description of what they and their music are all about: “An aggressive, take no prisoners, guitar-shredding, soul-screaming approach to music puts them in a hard-to-define, multi-genre rock/electric-blues/rock category. And one thing is for sure: they do not disappoint. From excruciatingly soulful slow jams to hard-hitting, genre-bending rockers, a night with ThrowDown is full of peaks and valleys building to a crescendo that will slam you into a climactic explosion; leaving you dripping with sweat and begging for more.” (Kinda makes you want a cigarette!!!!)
The ThrowDown Band includes Eric Savoie (the multi-faceted vocalist and spokesman), Stan C (otherwise known as Stan Blues Junior, channeling the likes of Gary Moore, Albert King, and Hendrix) on lead guitar; John Peresada on bass (the sane one in the front); and brand new drummer, Dylan Jacks; all were as happy to be back at the INN on the Blues as the crowd was to see them again. The ‘crowd’ was a bit smaller than a full-on summertime packed house, but that gave Eric a chance to interact with people on a more personal level, and the enthusiasm was sky-high, both on-stage and off.
Surprisingly, the guys chose not to open the show with a blistering-fast, in-your-face rocking blues number, as they usually do, but with a slow-blues tune. The song might be called “I’m Leavin’ You Baby”, or it might not; it’s still a work in progress, but the guys wanted to share the new music. First tune, a slow one, and they had the crowd screaming at the end – ThrowDown was off like a cannon-ball. The guys have amassed quite a repertoire of kick-ass, screamingly insane guitar blues – mixing their own songs, with some old blues, newer blues – blues from blues-heroes that always included killer guitar, or blues that Stan ‘gifts’ with a few licks of ‘Stan-guitar’; it’s a pretty safe bet that Muddy Waters would approve of ThrowDown’s version of “Hootchie Cootchie Man”.
Multiple Stevie Ray Vaughn tunes were included on Saturday night: “Pride and Joy” is always a crowd favorite, and his “Cold Shot” got everyone singing along (and got Eric a cold shot of Crown Royal, mostly because Lady K just feels it’s the right thing to do, when a man sings about a cold shot). The tune that blew everyone away was the SRV version of R. Geddins’ slow, funky, sexy “Tin Pan Alley”. Out of a whole evening of favorite tunes “Tin Pan Alley” was ‘way up there’ for Lady K – lots of asterisks scribbled on her notes around this one.
Gary Moore (the late-great Gary Moore) is a favorite of Stan C’s, and he emulates his hero most every time he plays; and when sharing the tunes that Gary played, Stan goes off into a place of his own. Stan C’s guitars are cordless and he roams with abandon, attracted by instinct to other Gary Moore devotees (Lady K loves being serenaded with Gary Moore blues), or to other people that he may not recognize, but who are into what he is doing at that moment. Eric always scares Lady K when he says they are going to do a country tune – I always forget that Otis Rush’s “All Your Love” is a tune that Gary Moore did on several albums, and that “Down the Line” has a little teensy twang, but there’s also a whole lotta rocking blues going on.
In case anyone in the crowd was feeling the need to contribute to the music, Eric announced a little sing-a-long. Anyone remembers the Blues Brothers? Anyone remember “It’s a Boogie Thing”? Well, the INN on the Blues crowd sang-a-long – loud and clear – and danced, and laughed and raised the roof – great fun!!!
Jeff Beck’s “Goin’ Down”, “Let Me Love You Baby” from Howlin’ Wolf, “Damn Right I Got the Blues” from Buddy Guy, “Red House” by Jimi, and the other sing-along that crowds just love: The Doors’ “Roadhouse Blues”, all got the ThrowDown treatment, and kept most of the crowd on the dance floor all night. Along with Gary Moore and Hendrix, Lady K adores Albert King, so she absolutely adored ThrowDown’s up-tempo version of “Born Under a Bad Sign”.
While Stan is constantly roaming as an electric troubadour; John stays firmly anchored on stage, doing his bass thing and keeping tempo with Dylan – who we don’t know well yet (welcome, Dylan). He’s a terrific drummer (although I hear his sense of direction sucks). Eric also likes to roam and an extra-long cord gets him out onto the dance floor, singing and mingling – those incredible instrumentals spots, built into most tunes, are no doubt meant to give Eric time to get to the bar for beer. The guys definitely raise the room temp when they perform, so during the extended “Voodoo Chile” (20 minutes or so?), Eric left the stage – but not to go to the bar – this time, he left the stage, the room, and the building and disappeared. The other guys eventually brought the song to an end, and Eric eventually came back, carrying shoes and socks, pants rolled up to his knees, having gone wading in the ocean to cool off! He finished the show shoe-less. Boys and water – evidently they never stop splashing!
Lest I forget, from their “Let Sleeping Dogs Lie” CD, ThrowDown served up a scrumptious smorgasbord of their own tunes: the slow-tempo numbers “Sexy” and “The Day Love Died”, “Fallen Angel” (with new lyrics !), and the scary-good, hypnotic psychedelic-rockin’ “Dogs of War”.
Great show from The ThrowDown Band – find them somewhere, and catch the action!
Art Comes at a Price – A Memorial to Jeff Norwood – by Elliott Morehardt
Art Comes at a Price – a memorial for Jeff Norwood-
By Elliott Morehardt
Art comes at a price. Sometimes it’s about dollar signs effecting our pockets. Other times it’s about the price we pay to keep our souls from being bought and sold.
Jeff Norwood, a great blues musician and friend, chose to keep his soul intact. Fans and friends of Jeff were shocked to hear he had suddenly passed away last Sunday. Jeff was only 50, a devoted family man, and a major contributor to the “deep blues” resurgence. Our deepest and most sincere condolences go out to his loving family.
I was fortunate to stumble into Jeff a couple years ago at the Haverhill Tap. Jeff was making a rare appearance up north, far from his South Carolina and Mississippi stomping grounds. He captured me with his genuinely warm persona and soft-spoken modesty. Among the throngs of blues wanna-be’s, this guy struck me as the real deal! Every song was preceded with a spoken intro connecting a real life story. “Horny Road” came with a tale of parking his pick-up truck in the middle of an intersection with his friend. They relaxed in the bed of the truck, drank a beer, smoked a joint, and never saw one car cross their path for hours. Jeff was clearly having a good time that night, most comfortable in his own skin. That night he gave me a copy of his recent release Awendaw and I was hooked. Simply titled after the “off the grid” solar powered swamp house recording studio, Jeff’s sound was original, earthy and personal…real blues!
After years of touring with different bands, Jeff launched his solo career with Awendaw, using his years of experience to re-connect with fans on a more intimate level. Leading up to this, Jeff spent much of his time in the Mississippi hill country learning and playing with the likes of Junior Kimbrough and T-Model Ford, among many others. Jeff’s talent was well respected and his easy demeanor made him a friend to many. Awendaw was clearly just a taste of what Jeff had in store for us.
Jeff then recorded what I termed “one of the most important blues albums of 2011″. Push Pi’lin was Jeff’s seminal recording. I t was pure Jeff Norwood through and through, blatantly provacative, but had all the chops to back it up and more! The title track speaks to people losing their farms and forced into a life of crime growing illicit substances to survive. Another provocative song is “God Damn South Carolina”, and raised alot more than just eyebrows in his community. In my BBS Interview with Jeff, I asked him what could possibly be in store next. With that sly smile and twinkle in his eye, you just knew he had a few more tricks up his sleeve.
Jeff had clearly paid his dues and had no regrets or ill will toward anything or anyone. It was all good, and you knew he meant it! Jeff’s live playing was impressive. Occasionally a drummer would sit in, but Jeff could pull off the sound of a full band just picking on his red SG. As a true artist, he never took his talent for granted and always saw it as a work in progress. Pleasing his fans more and putting food on the table for his family, while remaining true to himself was his goal, and he worked very hard at acheiving that.
One night Jeff was playing Gilreins in Worcester, we arrived early to get together with Jeff. He told us how he was on a new diet and was excited about a healthier lifestyle regardless of how the road treated him! Despite his optimistic outlook, Jeff was in very real pain that night, and we wondered how he could play. Being such a pro, Jeff made it on stage and put on one helluva show that night! He came back to the Worcester Bloody Roots Festival later that year and really ripped it up, ending his set with two classics, “God Damn South Carolina” and “Rest Up Easy, Trouble No More”. Jeff then went to Gardener Mass to do one of his more casual “sit down” shows. I regret that my video camera locked up on me that night, but that just made it all the more personal. My girlfriend whispered in Jeff’s ear about a special request we had. “I’ve got a special request from Miss Camille, I don’t play this out much…it’s called “Invisible Man.” Thats the last time we saw Jeff perform. It was a special night.
Jeff was planning on coming back this summer to play with his good friends, the Ten Foot Polecats. A new EP titled Lord Help Jeff Norwood was due out after Jeff’s surgery with all proceeds to help the family with the hospital bills. Jeff wanted to sign and personalize the first fifty cd’s, but just hours before the launch, his condition took a turn for the worse and we lost one of the nicest and finest blues players you could ever meet!
God Damnit Jeff, we miss you! Thank you so much for all your great music and memories!
The EP Lord Help Jeff Norwood can be purchased at this site, http://appalachiaburning.com/godspeed-sir/ and all proceeds go to help Jeff’s family.
Tail Dragger and Bob Corritore – Longtime Friends In the Blues
Tail Dragger and Bob Corritore
Longtime Friends In the Blues
Delta Groove Production
Review by The Bluebird
Tail Dragger (James Yancy Jones) – Vocals
Bob Corritore – Harmonica
Henry Gray – Piano, Vocals on 2, Comments on 9 & 10
Kirk Fletcher – Guitar
Chris James – Guitar
Patrick Rynn – Bass
Brian Fahey – Drums
From the liner notes: “Tail Dragger and Bob Corritore first met on January 11, 1976 at the 1815 Club on Chicago’s West Side where they performed at a tribute to Howlin’ Wolf, who had died the day before. This was the symbolic beginning of a lifetime of friendship and musical collaboration.”
According to the Delta Groove biography:
Tail Dragger: Mr. James Yancy Jones was from Altheimer, Arkansas. He relocated to Chicago in the 9160′s, where he befriended the legendary, Howlin’ Wolf. He would sit in and play at shows when Wolf was on break. Often late for gigs, Mr. Wolf gave Jones the nickname, Tail Dragger. Tail Dragger has been dedicated to the blues as a vocalist since his early influences. He started his solo career in the 1970′s. “Low down blues is all I like, All I feel … And I sing what I feel.”
Howlin’ Wolf~ “One day this boy (Tail Dragger) will take my place.”
Bob Corritore: Mr. Corritore has been a band leader, club owner, record producer and radio show host, all with the enthusiasm to promote the blues in the 21st century. His album, Harmonica Blues, won a Blues Music Award for Historical Album of the Year. This collection of harmonica masterpieces was honored with the presence an entire line up of legendary performers, including: Koko Taylor, Little Milton, Pinetop Perkins, Honey boy Edwards, Robert Lockwood Jr., and Willie “Big Eyes” Smith. He also received a Governor’s award in the state of Arizona for his accomplishments in recording.
Album Review:
Chicago blues with a Delta influence. Like a good friend, this record not only knows your soul, it reads your mind. This record finishes your thoughts before you’ve known you had them. As in ‘I’m Worried, ” and “Sugar Mama,” there are many times in listening to this collection that you want the lyrics to be repeated just once more, and Tail Dragger keeps on. Thinking you want some harp to keep you company? Enter Bob Corritore. This collaboration is equal in these partners don’t overpower each other, which makes you want to hear more from them. Even in the arrangement of the tracks for the recording, there is a mindful sensibility. After “Done Got Old,” you may think, this is some heavy blues that cuts to the core of life’s troubles, such as worry, aging, loss of trust. And then the first bars of “Boogie Woogie Ball” come through! The blues are about resilience, facing life on its terms with all that you’ve got. Just when you need it, Tail Dragger says, ‘Have Joy!”
Track by Track:
1. I’m Worried- Tail Dragger’s voice bellows as this album opens. Bob Corritore’s harp jumps in quickly and the legends march on. Tail has a great ‘whooo-hoo’ that is reminiscent of Son House and the Delta Spirit. In the blues, the resilience is celebrated by calling life’s problems out straight. Mid-song Tail improvs, “Let’s worry!” Piano from Henry Gray adds to the upbeat tempo. The song has a quiet fade that comes to a close which is almost comforting, even though Tail continues to sing about how everyone is worried.
2. Sugar Mama- This Tampa Red original released in 1934 as Sugar Mama Blues No.1, was recorded by Sonny Boy Williamson and Howlin’ Wolf (My Country Sugar Mama) and is a blues standard. There is a guest vocal by Henry Gray which mirrors some of Tail Dragger’s lyrics and sort of extends the call and response frames of this blues classic. “I like my coffee in the mornin’, woman, crazy bout my tea at night. If I don’t get my sugar three times a day, oh darlin’ I don’t feel right”
3. Birthday Blues- Be glad that it’s somebody’s birthday somewhere each day, because you will be spinning this great upbeat, clever song all the time!
4. She’s Worryin Me- Worried and got no where to go? The blues keep the time for the ages. Tail Dragger has got some pain and advice to share in this gem. The harp flows through in the background, with guitar accents and Patrick Rynn’s bass lines keep it interesting. There are layers and layers of instrumentation on this record. The piano, harp and guitars jam together in a great bridge, but yet, given the tone of the topic, the whole song is low key. A masterpiece.
5. Cold Outdoors- Tail’s voice is a bit softer and the band brings some rhythm to this track.
6. So Ezee- Henry Gray commands a strong comment of wisdom at the dawn of this jam. He starts off slow and rises to the level of reverend with a powerful message. “You know, this is the message to the world, the old folks and the young ones too. Wake up and stop cracking jokes and use your head, cause it’s so EASY to be mislead, whatchasay!” The song is then a blare of harp, guitar and swang rhythms with Gray at the piano while Tail takes the lead with a little back and forth with Gray.
7. Through With You- “I want you for my wife, baby you’ve got to change your life!” He knows there’s another man, and the song says he’s through with her, but seems like there’s another chance yet to be had. Life is not always easy, why would love be any easier? Blues, indeed!
8. Done Got Old- A straightforward belt of time and place with Bob on the harp, this song rages on, all the while there are some great guitar licks coming through and Brian Fahey does some steady drum work to keep it all together.
9. Boogie Woogie Ball- Boogie Woogie Ball comes just in time to elevate the entire record through hit Chicago jump blues.
10. Please Mr. Jailer- This heart sung angst of a man begging for his woman to be released is a ballad for the soul. The spirit of it reminded me of the legendary “Gallis Pole” by Leadbelly.
Recommendation:
Longtime Friends In The Blues, with its roots in Delta history, Chicago city swank and the advice of life sages, streams blues music as it should be. Blues revelers will be inspired, while new generation listeners will be educated. This is a great, and soon to be historic, record for any collection.
~The Bluebird
Husky Burnette – Facedown in the Dirt – Review by Jay Scheffler
Husky Burnette
Facedown in the Dirt
Cracker Swamp Productions
ASIN: B005QF3YXO
Review by Jay Scheffler of The Ten Foot Polecats
Tennessee boogie monster Husky Burnette has a new album out entitled Facedown In The Dirt. I got my copy fresh outta the box last fall at the Muddy Roots Festival in Cookeville Tennessee after a particularly blistering set by Husky and his drummer Tony Jones. It had been raining all day and Husky got quite a crowd of barefoot dancers boogyin’ in the mud. Spirits had been soggy an hour and a half ago, now the crowd was buzzed and elated and ready for more! I came to find out that Husky was not even officially booked at the fest but was asked at the last minute to fill in for a band that had cancelled. That same exhilaration and shake-it-in-the-mud abandon permeates this new CD. While a pal guests on bass for 2 tracks, this is still very much the Husky and Tony show. The beauty here as in their live show is in the purity of intent. The guitar sound is huge, the vocals growl and shout the drums pound and the whole thing exists to make you rock the fuck out.
If you are searching the lyrics for intellectual navel gazing, you’ve come to the wrong place. Husky’s lyrics reflect what he sees through his tinted glasses: girls dancing to his music, long drives between gigs, the late-night landscape be it in the city or deep in the woods, the love of a good woman; tryin’ to maintain that love, the ups and downs of a full-time bluesman.
My favorites include, “Lake Water”, “Drivin’ Through The Rain”, and “Hog Jaw”. Two piece deep blues boogie bombing at its best! Pick it up NOW on Cracker Swamp Records, www.thecrackerswamp.com
Rest Up Easy, Trouble No More – a Tribute to Jeff Norwood – by Big Jon Short
”Rest up easy, trouble no more.”
~Jeff Norwood
1961 – 2012
By Big Jon Short
I first met Jeff in 2005 in Clarksdale, MS the Friday night before the 2nd Annual JukeJoint Festival. It was my first time in Mississippi, I had been driving for about a day and a half and I was anxious to play so I convinced the folks at Delta Amusement Cafe to let me set up out back and play for tips and beer. Jimbo Mathus was playing on the main stage – not far away, and I had no PA, so the location might not have been the best idea, but it was a chance to play and I was excited. After a little while this guy came up to me to ask me about my resonator guitar, where I was from and how I got the gig. He told me a little about himself – that he played blues music, had played the King Biscuit festival and that he played on an old National Style O guitar. When he told me that his name was Jeff (my brother’s name) I felt like we were fast friends. He ended up getting his guitar out and we spent the rest of the night playing, taking turns singing and telling stories – though I’m sure it was mostly his stories. I remember him talking about playing slide and that “you’ve got to keep that dad-gum thing movin’ to make it sing”. We ran into each other a number of times throughout the weekend and before I hit the road on Sunday I made sure to find Jeff and get a picture with him because I was sure that he was going to be a friend for a long time.
Over the course of the next seven years we stayed in touch through occasional emails, a lot of phone tag with his funny, rambling voicemail messages that made me laugh so much I always listened twice, with him sure to say “sorry for the novel” at the end. When we caught each other’s time it always made for a better day, Jeff was a really good friend. I enjoyed the conversations with his great stories about different aspects of life – blues music, the club/festival circuit, relationships & family. I was always amazed at how many things Jeff knew a lot about and I always learned something when I got to spend time with him. There were times I felt like I was mining our conversations for turns of phrase for a song or for conventional wisdom from a man who I knew had really lived his life and knew how to make it through some of the rough patches and rough places that a performing musician finds himself.
I had a chance to meet up with him on the road to do some shows together in the Carolinas and he and Mary Ann put me up and fed me waffles and I had the chance have him stay with me a few times when he was on the road up North. A few years back I picked him up around midnight after a gig in NYC, brought him up to Worcester and we did some shows with the Ten Foot Polecats. We talked the whole drive and for a few hours more once we got to Worcester. I remember being dead tired, but still wanting to stay up to get the time with him, hear his stories, learn more about him and “take it all in”. Staying in touch with Jeff was great, but meeting up in Clarksdale was what I looked forward to the most. He was always an important part of my time there and even though our set times were usually opposite, we always were able to get together to catch up – usually Saturday night at Messenger’s to see Jimbo Mathus. For two years I got to share sets with Jeff playing on the Jukejoint Express – a train that runs from the Train Depot downtown to Hopson’s Commissary taking festival goers to and from different venue sights. I’ll always remember the relief I felt catching up with him there before the train left and and breaking down gear at the end of the night after a long day playing the festival.
One of the last times he was up North I remember that I was particularly burned out from a busy schedule. Getting time with Jeff got me to step back a moment and it opened my eyes a bit and I’m so glad that I was able to tell him that he inspired me – lit that fire to keep playing, keep that dad-gum thing movin’ to make it sing. Jeff Norwood was a dear friend to me and I loved him like a brother. I am forever grateful for the time I got to spend with him and for the wisdom, friendship and music that he shared.
Johnny Winter – Live @ Jonathan’s Restaurant – review by Lady K
Johnny Winter – Live
At Jonathan’s Restaurant, Ogunquit, Maine,
April 6, 2012
By Lady K
Yep, Lady K was at Jonathan’s in Ogunquit again recently. It sorta makes sense, since Jonathan’s is less than 10 miles up the coast from Lady K’s ‘hood, and Jonathan’s has booked some truly stellar blues names lately (along with a very eclectic array of big names from other music genres). There was a good-sized crowd in the function room-cum-concert hall, upstairs from the restaurant . . . and vibrations of excited anticipation in the air. And just a few minutes past the 8:00pm start time, a burst of activity stage-right caught the attention of just about everyone in the room.
Following closely behind Vito Liuzzi (drums), Scott Spray (bass) and Paul Nelson (rhythm/alternate lead guitar), came the man; a standing ovation from the obviously very hyped crowd accompanied Johnny Winter’s appearance and his progress from the “backstage” door, weaving among the packed tables, and up to the stage. Johnny Winter looks and sounds better than he has in years – good news for his fans – the man is getting healthy.
The blues emanating from the stage on this night were varied and awe-inspiring; Johnny and the band touched on a wide variety of tunes, from an impressive cast of blues (and rock) heroes. Ray Charles’ “Blackjack” was one tune that Johnny sang early on, and which was one of Lady K’s favorites of the night; and of course there was a long instrumental section that gave each musician a chance to dazzle. I believe “Blackjack” garnered one of many standing ovations (the crowd was so hyped that even Johnny’s slide guitar nearly received a standing “O” when he reached for it later in the evening).
“Boogie Real Low” is a rocking blues tune that Johnny Winter pretty much took global ‘back in the day’. It’s a tune so associated with Johnny that a lot of people forget it wasn’t written by him. Lady K had an opportunity for a quick chat with Johnny, sitting across the table from him in his RV, after the show, and he reminded her that “Boogie Real Low” was written by Frankie Lee Sims. (Sorry, I really, really needed to find a way to mention that chat in the RV with Johnny. I haven’t stopped smiling about it yet. Thanks for humoring Lady K.)
With a nod to Muddy Waters (and Preston Foster), the band performed a rockin’ rollicking version of “Got My MoJo Working”; Vito Liuzzi took the lead on vocals, while not missing a drum-beat. And when the band performed Chuck Berry’s “Johnny B. Goode,” there were people in the audience who just couldn’t sit still (they tried) – dancing in the very narrow spaces between tables just happened.
Freddie King must have been smiling on Maine when the band tore into “Tore Down”; it was impressive, with Vito as lead vocalist again. From Johnny’s I’m a Bluesman album, his amazing guitar intro to “Lone Wolf” kept the crowd enthralled and swaying. And the Stones’ “Just a Kiss Away” was almost more an instrumental than a song, and the long instrumental parts were mesmerizing. With a few more nods to good old rock ’n’ roll, the band kicked the collective asses at this Maine venue with the likes of “Boney Maroney” (yeah, really, “Boney Maroney”) and “It’s All Over Now.”
Another of Johnny Winter’s stellar slide events came at the end of the show, when he channeled Elmore James, and his version of “Dust My Broom.” There wasn’t a person in that room that was ready when this show ended; bet that ovation rocked the building.
Thank you, Johnny!!!
Joel DaSilva – The Midnight Howl – review by Lady K
JOEL DaSILVA
The Midnight Howl
Acoustic Music Productions
Review by Lady K
The Midnight Howl liner notes include Joel DaSilva’s “thank-you” to more than 50 people (and their families), multiple venues, and specific organizations. The list was so long that, just for the hell of it, Lady K decided to count ‘em; she only made it halfway through the paragraph. In very small print (considering the size of the thank-you list) the musicians listed on The Midnight Howl include Joel DaSilva (guitars and vocals); Chris Peet (drums); Stefano Rotati (drums); A. J. Kelley (bass); Kevin Simonelic (bass); Joseph Sant’Angelo (Hammond B3); Albert Castiglia (slide guitar and vocals); Mario Zuca (accordion); and Alciebiades DaSilva and Joao Dorazil La Cruz (guitar) – sorry, Lady K also didn’t make it all the way through the musician list. Most of the tunes were written by DaSilva; he is lead vocalist, and plays a terrific lead guitar.
The opening track, “Let’s Not Fight, Let’s Make Some Love,” is loaded with rockin’ blues guitar, backing up vocals with a (sorry, guys) somewhat typically masculine way of looking at affairs of the heart. He admits he “done her wrong,” and that he deserves to suffer; but assumes that admitting his bad will get him back to the making love part; his guitar playing might . . . “Hangin’ On” is chock full of compelling guitar and some cool drum/percussion bits, but Lady K found the lyrics a trifle monotonous.
Albert Castiglio co-wrote the interesting, bluesy “Hard Time” and contributed back-up vocals and some great slide guitar. The track is about the “hard time” life “in this mean, old city . . . it’s a struggle I can’t get over, the road is callin’ . . . can’t stick around.” Lady K really liked the music on “Heart of My Father.” It opens with a little Latino rhythm and is 8 minutes of slow, amazing, multiple guitars and Hammond B3. He’s “got the soul of my mother . . . the heart of my father.”
The instrumental “Nitro’s Grease” is Lady K’s favorite track; with its really great electric blues. It’s a mid-tempo number with some absolutely insane guitar. “For Don” is another instrumental, with “just” DaSilva playing more terrific guitar.
DaSilva covered Jimi Hendrix’ “Who Knows,” and since Hendrix is right up near the tippity-top on Lady K’s list of guitar gods, she was interested to hear this rendition. DaSilva’s version was a more “quiet” take on Hendrix’ music, but his vocals felt somewhat plodding, as though he really didn’t want to be singing.
Now, while Joel DaSilva did give credit to Hendrix for “Who Knows,” he said that was the only tune on the CD that he didn’t write. Ummmm, DaSilva needs to understand that changing a few lyrics in a tune that’s been around since the 50s doesn’t really mean that he gets to say he wrote it, which he implied by not listing the 5th track as a cover. In 1957 Frankie Lee Sims wrote “Boogie Real Low,” and the whole world knows that Johnny Winter took that tune global a few years later; whenever you see the song title “Boogie Real Low” or hear the song, you just automatically think “Johnny Winter.” On “The Midnight Howl” DaSilva left the title the same and repeated the exact chorus from the original!!! What he has done is changed a great song that will always be a rocking ode to a rocking girlfriend, into his version, with lyrics that kinda gave Lady K an “icky” feeling. In DaSilva’s version, she’s “real sweet, real hot, I taste my girl – one lick and I’ll never stop.” EEEYUCK, Dude!!!
Johnny Winter is much more tolerant than Lady K when the subject of someone else claiming authorship of the tune is brought up. Oh, and here’s something Lady K never, ever expected to be able to say, but, as I sat across the table from the great Johnny Winter — in his RV — after a show Friday evening, I got a chance to ask the question. Did it bother him that another musician had recorded a tune (and implied that he had written it) that Johnny himself had made famous? Johnny said he couldn’t respond because he hadn’t heard the DaSilva version. Johnny Winter, the gentlemanly diplomat, aka, the kick-ass rockin’ bluesman, now has the The Midnight Howl CD.
THE BROOKS YOUNG BAND – Live at The Liberty Hotel – review by A.J. Wachtel
THE DUKE ROBILLARD BAND – Low Down and Tore Up – review by AJ Wachtel
THE DUKE ROBILLARD BAND
Low Down And Tore Up
Stony Plain Music
Review By A.J. Wachtel
Although I dig listening to Duke’s studio releases, seeing and hearing him live really knocks me out. Robillard’s 18th record for Stony Plain is more like experiencing his spontaneous and un-cut performance while in the same room then the usual, spotlessly produced music we expect from him. Duke went into Lakewest Recording and taped two tunes each from his early heroes Guitar Slim, Tampa Red, Sugar Boy Crawford, Pee Wee Crayton and Elmore James; and one song each from Eddie Taylor, John Lee Hooker, Jimmy McCracklin and Bobby “Blue” Merrill. And without using overdubs and other conveniences of the studio, Low Down And Tore Up screams out of the speakers like it’s two in the morning and you are drunk as a skunk, having the time of your life; in a packed, smokey bar.
There are the traditional slow Chicago Blues renditions including “Mercy Mercy Mama”, Crayton’s “Blues After Hours”, “It’s Alright”,”The 12 Year Old Boy” and Sugar Boy Crawford’s “What’s Wrong”; which sounds like a Muddy Waters B-side. Then there are the uptempo boogie melodies that show more then a hint of Mississippi influence.Songs like: “Quicksand”, John Lee Hooker’s “Want Ad Blues”, “Let Me Play With Your Poodle”, and “Tool Bag Boogie”, by Elmore James.. Every single tune on this cd explodes with the energy of the band and you can tell everyone is having the time of their lives participating in this extraordinary event. Listen to the passion in the background vocals in “I Ain’t Mad At You”. Duke’s raspy and gritty vocals and stinging guitar leads. Gordon “Sax” Beadle dueling Duke note for note, song after song, in memorable musical exchanges, Bruce Bear’s honky-tonk piano. Brad Hallen on upright bass and Mark Teixeira providing the driving, seamless rhythm section. And guest keyboardist Matt McCabe on half of the cuts. Need I say more? This cd may change your life. You will never have to go out to a club and deal with parking and drunken patrons again: play this cd loud and feel like you are in the audience.
Entrepreneur Extraordinaire-Fred Taylor by A.J. Wachtel
Entrepreneur Extraordinaire
By A.J. Wachtel
Fred Taylor has worn many hats during his long and legendary career in the New England Blues world. From owning Paul’s Mall and The Jazz Workshop back in the beginning to being the head honcho at Sculler’s today; he has long been an instrumental force in bringing top artists of the past 5 decades to town. Countless performances in his small, intimate clubs: and the stories he has could fill volumes; here’s a start.
BOSTON BLUES SOCIETY: Is it more difficult to run a club in 2012 than it was in 1972?
FRED TAYLOR: More than ever, transportation costs are a big expense and a huge factor in booking national acts. If your club isn’t routed in their tour it adds a cost that might make it uneconomical to do it. Hotel costs are also big. You have to have access to a room or rooms otherwise it gets so expensive that the travelling costs might not fit the club’s budget.
BBS: What kind of music do you book at your club these days?
FT: At Sculler’s we have diversity but we try to keep blues and r & b as an ongoing feature. We’re not a Blues club per se, and we have Jazz. Latin and Brazilian acts also, but we try to keep Blues in view all the time.
BBS: Can you tell me some of the many great artists you’ve hosted over the years? Who was the most difficult and why?
FT: Nancy Wilson. Lou Rawls. Joe Williams, George Schering, Count Basie. James Cotton, Ronnie Earl, Freddie King, J. Geils, Oh. so many others too. The most difficult? Ha. I’ll tell you TWO funny stories. Bobby Vinton came in on a Monday and disappeared on a Tuesday. He didn’t think enough people showed up, I guess. It was the FREAKIEST thing. And Joan Rivers. She opened on a Monday and went into Beth Israel on Tuesday with a “tubular pregnancy”.
BBS: How about a good Muddy Waters story?
FT: Muddy at Paul’s Mall. B.B. dropped in and he had an axe. Muddy called him up and they started remembering about places and then they’d play for each other while the audience watched. It was very personal and private, and man do i wish I had a camera or a tape THAT night. One of the most heartfelt episodes EVER.
BBS: Who was your favorite King. B.B., Freddie, or Albert?
FT: (Laughs) I’d have to say B.B because he closed Paul’s Mall in April 1978; he ALWAYS remembers that when we see each other too.
BBS: Is r&b still big in Boston?
FT: Sure, r&b is still big. The Manhattans come up here every year. Harold Melvin & The Bluenotes. Betty LaVette. Boston people LOVE classic r & b. I’ve got Ben E. King in this week. Remember “Stand By Me”?
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