The fourth studio album from the Red Dirt Skinners, an English husband and wife duo featuring Rob Skinner on guitar and his partner Sarah on Soprano Sax, is a welcome addition to the bands catalogue. Strong on harmony and driving, rhythmic fretwork from Rob, the whole project is driven forward by Sarah’s searing sax playing and innate sense of musical freedom.
The collection of nine self-written songs serves well to highlight the couple’s ability and a growing confidence evidenced in the maturity of the writing and the music itself. Genres and musical boundaries are pushed aside with a refreshing ease. Switching effortlessly from blues and jazz undertones to Americana and modern-country, the Skinners wheel and deal as they change tempo, pace and styles at almost every turn. This is not a band for die-hard, stuck in the groove, traditionalists.
With a lengthy forthcoming tour of Canada about to kick-off (March 25th) the Skinners are making their second trip to Canada and revel in the adrenalin-fuelled challenge of live performance. The only outfit in the UK to have picked up national awards in both blues and country music categories, the Red Dirt Skinners are a genuinely, sparkling and refreshing antidote to the world of musical blandness. The opening, title track is an excellent, rolling, lyrical number that is virtually guaranteed to keep you tuned in for the remainder of the ride. Highly recommended.
Matt Andersen comes from Canada. He plays blues and soul music with class and confidence. His guitar-work is solid, soulful and tasty. Honest Man is an excellent album with bags of style and pizzaz, featuring ten self-written tracks that showcase the guy's artistry and emotion to full extent. What more is needed?
Andersen's voice is deeply steeped in southern soul and gospel tradition while his lyrics reflect his thoughts on personal relationships, be they good, bad or badder; love, life on the road and political/cultural processes across North America in general. The result is an unusually honest release that sparkles with common-sense, complexity and erudition at almost every turn.
Honest Man is an album that is not only simply very good. It's very good, indeed. A release that should, deservedly on this basis, elevate this guy's profile and provide delight to the rest of us.
Often likened to Bonnie Raitt, Alabama blues-lady Debbie Bond’s latest release, ‘Enjoy The Ride’, kicks off strongly with an upbeat, optimistic surge of soul and passion on the title track before shifting a few gears with introspective inner searching reaching out in tracks ‘Start With Love’, the dizzying despair and combative edge of ‘Left Me In The Dark’, and the reflective beauty of ‘Remedy’. Throughout, Bond’s fine fretwork is confident and compelling, carrying the whole mix along with power and purpose. Recorded in Muscle Shoals, with full-on horns and Shoals-sounding quality, ‘Enjoy The Ride’ is easily Bond’s finest effort to date, bursting with sensitivity and a soulful delivery that show heartache and hurt, love and loss will always be winning combinations.
Bond’s previous album, ‘That Thing Called Love’, featured her partner Radiator Rick Asherson on Harp and Keys, and he again figures strongly here. Her love and affection for the late Alabama bluesman Willie King, whom she played with for many years, is also evident with an excellent cover of one of his anthems, ‘I Am The Blues’ included in the mix. Add some quality support guitar flourished from Will McFarlane, (ex-Bonnie Raitt), Spooner Odham on organ, one of the US’s finest sidemen, and you have an album of considerable class, style and quality.
This is an excellent album, packed with real quality musicianship, vocals, material and soulful feeling. Turner is not just another bluesman but the brother of the late, legendary Freddie King. With this guy, we have a true bluesman, brought up in the tradition from a family that was positively steeped in the blues. The fourth release from Texan Turner, the ten tracks here include sure-fired soulful vocals and quality bass from Turner with some subtle support from Muddy's old guitar support sideman player Bob Margolin.
Dr John even puts in a rare appearance on rhythm guitar on one track. Margolin displays his sheer quality and experience with a wonderful slide-based take on Bill Withers' hit standard Ain't No Sunshine, turning it on its head in places. For the past fifty or so years, Turner has been happy to skip the spotlights, working as bandleader for the former widely acclaimed Blues Queen of New Orleans, Marva Wright, (one track, Pity On This Lovesick Fool, features a duet recorded before she passed), and shoring up countless big-name players including a decade or so on bass, performing and touring with his late, elder brother Freddie King. Soul-blues music at its near best, When She's Gone showcases a master at the top of his game.
Another contender at this year's International Blues Challenge in Memphis, Jason Vivone & The Billy Bats were there to fly the flag for their home-town of Kansas City. The title is taken from a former Mafiosa retirement street in the burg where Vivone himself pitched up and bought a house back in the 90s.
This eight-track release reflects life and love, despair and hope in equal measures as lived on the Avenue over the years and features a full-blown seven-piece outfit with a soaring sense of humour and an astute eye on the world around them. Most tracks are written by Vivone himself and his slide-guitar work hints at more than a passing nod to the fretwork of former Kansas City resident picker Casey Bill Weldon. Vivone wields his beloved cigar-box guitar with style and clear class here, supported by some neatly pitched electric banjo - an otherwise troubling thought, perhaps - from Ben Hoppes.
The remainder of the band comprises Matt Bustamante in percussion, drums and backing vocals; Paula Crawford on backing vocals, percussion and guitar; Rick MacIvor again backing vocals, and keyboards, piano and organ; Jeremy Clark on bass, and Joanna Berkebile on percussion and vocals. This is a mighty fine album, a tad quirky in places and at turns but an overall charmer worth discovering.
Jen Lane grew up writing and singing, creativity naturally streaming through her vocal chords and fingers. She had an album released when she was still a teenager. With the release of a fourth album, “For the Night”, momentum was building and the outlook on her future was full steam ahead. But then a fluke accident ripped up the tracks suddenly.
The years following that injury saw Jen in and out of hospital and physiotherapy. There were multiple surgeries and unforeseen effects that straddled her with pain and immobility. While her husband, John Antoniuk, was touring his own albums, Jen was stranded at home, trapped in their Saskatoon home month after month. But as Henry David Thoreau once said, “All misfortune is but a stepping stone to fortune.”
With a bundle of new songs under her arm, Jen sought out an opportunity to record a new album in the US with a desired producer. It didn’t work out, but everything happens for a reason. The stars aligned with the opportunity to record the album with producer John Ellis, who has worked with the likes of Barney Bentall and The Be Good Tanyas.The recording studio was an alpaca farm, in the heart of beautiful British Columbia. The serene surroundings, the workspace designed by a veteran of the scene and accommodations suited to a musician’s lifestyle were all conducive to inspiration and peace of mind. All the best qualities of Jen’s vocal talents are evident on this album, which is surely the result of this locale.
Yet again, Lucinda pulls out all the stops with another double album full to overflowing with her quirky, sly take on life, love, death and virtually everything in between. Each of her previous two albums seem to have been sideshoots leading up to this offering where she again writes with extraordinary power and vision, depth and assurance, each of the 14 tracks seamlessly earning its place in the evocative and emotional mix.
Ghosts of Highway 20 is simply another ground-breaking bit of grit from a well-worn, care-worn Nashville genius. I, for one, thought she'd inevitably struggle to top her last wonderful offering, Down Where The Spirit Meets The Bone. And, it comes as little genuine surprise to find that she has again pulled it off in spades. Never predictable, Williams is always irresistible, thoughtful and ready to take you by the guts, shake you by the nuts when you least expect it. This is clearly a truly great artist sailing steadily, against the tide at times, towards ever-expanding horizons and musical harbours. Ghosts is an album that really deserves enormous success. If you don't yet have this one, get out and grab a copy as soon as possible. This is bound to be one of the best of the year.
The year 2013 was a year of good fortune for Danny Marks and we, his fans, have been reaping the rewards ever since. The latest reward for our patience has just been released: “Cities in Blue”, the album. “Cities in Blue”, the television series, is an eight-episode series on HiFi featuring both the history and the current scene of eight North American cities or areas with strong blues connections. Danny Marks was approached to host the show and to write a song to accompany each episode of the television series. It was a natural progression to evolve those songs into an album of its own. This compilation of songs is a 35 minute tour of the names, the styles and the guitars of the blues in North America.
This album has a great mixture of magic and content: there are fun little moments that get you smiling the first time you listen, and a richness in the compositions that keeps you listening repeatedly. This is definitely an album that you can put in regular rotation. Danny Marks has assembled the blues royalty of Toronto - Ken Whiteley, Julian Fauth, Alec Fraser, Al Cross, David Rotundo among them – and recorded an album that feels as spontaneous and heartfelt as any one of his live shows. It’s moments like Sherie Marshall’s backup vocals on “Memphis Got Soul” and Chris Whiteley’s trumpet on “Once I Was Crazy” that have the power to give you goose bumps.
If ever there was a UK bluesman needing no introduction it must surely be Dave Kelly. If anyone has paid his blues dues in this country, and beyond as this release proves, it must be him. Always in total control of his music, Kelly has been packing them into small, sweaty clubs and bars alongside bigger venues across Europe and the UK for more years than even he might want to remember.
As this double-disc set shows, he has been touring Germany for many years now, a country with a strong blues-fan base and where his style of intimate acoustic mastery and anecdotal sidetracks and wisecracks slip down with absolute ease, despite language differences.
All of the 35 - yes, 35 - tracks here in this double album come from soundboard recordings made by Kelly's on-the-road soundman back in the late-eighties when the bluesman was a regular annual feature at clubs and bars across Germany. They only came to light relatively recently when Kelly was again on the German road and his old soundman turned up at a gig bearing boxes of tapes he'd made back in the day.
The latest wonderful fun-filled release from this talented, eclectic - at times, downright mad - bunch of ukulele-toting British musicians is a 13-track collection mostly culled from their back-catalogue of marvellous, inspired covers of modern popular music.
A seven-piece outfit, the UOGB (as they're often known) is a genuinely superb band of wandering minstrels creating musical mayhem with that least likely of riotous instruments, the ukulele. I confess a love for this band and its British eccentricity. They are each and every one of them virtuoso players with an unbounded sense of the absurd and humour in equal measure.
This album is sub-titled - '20th Century Punk Classics', reflecting the roots of many band members and featuring such gems as The Undertones brilliant 'Teenage Kicks'; 'Sex & Drugs & Rock & Roll' from Ian Drury; The Sex Pistols old favourite, 'Anarchy In The UK (here as 'Anarchy in The UK…ulele); Joe Strummers' 'Should I Stay or Should I Go.' Each track masterfully played and brimming over with pure fun and pleasure. This is a band that has a well-deserved, growing and devoted fan-base across Europe. As a live act they are impossible to second-guess and will switch effortlessly from a uke-driven Bach cover to Robert Johnston's blues followed by a movie theme, often with barely a pause for breath.
If you've yet to hear this band, 'Pretty Girls' is an excellent into to their inspired madness.