The Jeff Golub Band - Three Kings

The Jeff Golub Band - Three Kings
2011, Entertainment One Music

Jeff Golub made his name in rock n roll, touring and recording with Rod Stewart for seven years, and then performing similar duties for Billy Squier across seven albums and three world tours.  As a solo artist, however, Golub has returned to his first love, the blues.  Golub's most recent album, Three Kings, pays tribute to music of Albert, B.B. and Freddie King.  Golub is joined by Henry Butler on piano and vocals; Andy Hess (Gov't Mule) on bass and Josh Dion on drums, percussion and vocals.  Special guest appearances by Robben Ford and Sonny Landreth augment a dynamic musical experience that was recorded live and accentuated with very few overdubs.  Three Kings was produced by Golub and Bud Harner and recorded in Brooklyn, New York.

To call Three Kings a blues album isn't as descriptive as it might be.  This is a solid mix rhythm and blues album, mixing vibrant instrumentals with rollicking numbers that are blues in form but rock n roll in spirit.  The highlights of the album generally involve Henry Butler on vocals ("Let The Good Times Roll", "Born Under A Bad Sign",
and "Three Kings").  Sonny Landreth's slide guitar work on the instrumental "In Plain Sight" is brilliant, as is dual guitar work of Robben Ford and Golub on "Side Tracked".  Butler steals the show on piano in "I'm Tore Down", but the entire ensemble is hot on what turns out to be the standout track of the album.

Jeff Golub hits mostly golden notes on Three Kings.  His guitar work is outstanding throughout, even if the energy on a couple of tracks falls a bit flat.  All new students of blues/rock should include Three Kings in their early education, as The Jeff Golub Band knows their craft and interpret the numbers here with pizzazz.

Rating: 3.5 Stars (Out of 5)

Learn more about The Jeff Golub Band at http://www.jeffgolub.com/ or on Facebook.  Three Kings is available on Amazon.com as a CD or Download.  The album is also available via iTunes.

Big Apple Blues - Brooklyn Blues

Big Apple Blues – Brooklyn Blues
2010, Stone Tone Records

Big Apple Blues is a New York City-based blues collective working to keep the storied art form alive and relevant.  Built around a revolving roster of New York City blues cats, the current cast includes Zach Zunis (Janiva Magness, Great William Clark, Rick Holmstrom); Barry Harrison (Shemekia Copeland, Michael Powers); Anthony Kane (Muddy Waters, Junior Wells); Admir “Dr. Blues” Hadzic; Hugh Pool (Hugh Pool Band); Brian Mitchell (Bob Dylan, Al Green, B.B. King, Mary J. Blige) and the irrepressible Christine Santelli.  Formerly known as the Stone Tone Blues Band, Big Apple Blues looks to keep the Chicago electric blues sound alive, and does so from the burgeoning Indie music scene of New York with the aptly titled Brooklyn Blues.

Brooklyn Blues opens with an entertaining blend of blues, R&B and rock n roll on “Too Many Drivers”; an innuendo-laden tune expressing romantic interest in a woman but also wondering, perhaps, at her morals.  “Too Many Drivers” is a great, energetic start to the album, showing hints of what is to come.  “Killing Floor” is energetic and danceable; a sour grapes song about why he hasn’t left a relationship before now.  “Brooklyn Swamp” is a solid but uninspired instrumental.  Big Apple Blues is tight and technically proficient here; you just don’t get the sense that much is going on behind the scenes here.  “Honey Hush” brings out a man’s inner Neanderthal; an old school blues tune that is entertaining and is vaguely reminiscent stylistically of Cab Calloway. 

“Whole Lotta Lovin’” is full of the machismo of a top notch pick-up artist.  The vocals show great presence, and the Big Apple Blues provides among their best instrumental performances on the album.  “How Many More Years” is a kiss-off song; a song of walking out.  The song itself is middle of the road, but Brian Mitchell’s guitar work is first-rate.  “Everything Is Gonna Be Alright” turns into a long form blues jam, showing off the distinctive instrumental talents of the band.  The guitar work of Mitchell and the harmonica work of Hugh Pool in particular stand out.  “It’s My Life Baby” is a song of pining for someone who is gone that’s well constructed and tightly played.  Pool once again stands out blowing some of the hottest harp east of Chicago’s South Side.    “Hate To See You Go” is musically and lyrically repetitive.  Big Apple Blues gets caught in a brief rut here and on “Who’s On Third (Duvel)”, but recover nicely with the closing track, “Mellow Down Easy”.  “Mellow Down Easy” is a party song of sorts; lyrically simplistic but with a solid vibe.

Big Apple Blues brings the early days of electric blues alive on Brooklyn Blues.  The sound here is dynamic, and probably best suited to a live setting, but Big Apple Blues make a solid effort at capturing that sound on CD.  The highlights on Brooklyn Blues are found in the seams of the music.  Hugh Pool is a rock star, figuratively speaking, and Brian Mitchell seems alive in every moment on the album.  It’s all tied together by the impressive musical heartbeat provided by Barry Harrison, but it’s ultimately the chemistry achieved by Big Apple Blues that will win you over.  Not every moment of Brooklyn Blues works perfectly, but there are enough perfect moments to go around.

Rating: 4 Stars (Out of 5)

Learn more about Big Apple Blues at http://www.bigappleblues.com/.  Brooklyn Blues is available from Amazon.com as a CD or Download.  Digital copies are also available from iTunes.

Claudette King - We're Onto Something

Claudette King - We're Onto Something
2010, Blues Express

If your father is B.B. King it sure can open a lot of doors for you; then again the expectations are preternaturally high. Claudette King has been wowing audiences in San Francisco since the mid-1980's and has graced the stage of the Monterey Blues Festival, but has somehow maintained a relatively low level of recognition for her work. All of that should change with the September 21, 2010 release of King's debut album We're Onto Something. Produced by Steve Savage (Robert Cray, Elvin Bishop), We're Onto Something features appearances by Donto James and Sametto James (sons of Etta James), and songwriting from Dennis Walker (B.B. King, Robert Cray, Bettye Lavette) and Alan Mirikitani (Bettye Lavette), and highlights King's versatile voice and playful personality.

We're Onto Something opens with "Can I Walk You To Your Car", a wicked little number with barely disguised intentions. King shines with her love of the music here; her voice teasing and sensuous with the hints of hard living sewn in the seams. The arrangement might be called big band blues, as King and the band blur the lines between blues and jazz, and not for the last time. "Whole Lotta Nothing" is a reflection on a relationship where much is given and little is returned. King handles this with aplomb. One of the unique characteristics of King's voice is that she occasionally lapses into a vocal sound that's nearly of a child, yet this sound is tempered with the texture and weight of her voice. Some might find this an affectation, but it marks King's voice as distinct and is a highly expressive tool in her singing arsenal.

"Too Little Too Late" is a melancholy kiss-off song that sounds more like a 1960's pop ballad, balancing on the line between singer/songwriter pastiche and early Motown. "We're Onto Something" is a more positive love song, delivered in classic style. While the song gives the album its name, it’s perhaps the weakest track on the disc (which is not to say it lacks; simply that King seems the least herself here). King digs into the good time feel of "Playing With My Friends" with Frankie Lee sitting in on the vocal duet. It's a classic early R&B turn that will have your toes tapping and is certain to be a favorite in the live show. "A Dog Like You" explores the futility of trying to change a man who's prone to roam. Blues, R&B and pop creep into this dynamic arrangement as King moves from trepidation to reveling in the pleasures of indignity.

"Boogie Some" is an urgent little funk number about the sort of dance that needs no music but has a rhythm all its own. Subtlety doesn't enter into the equation as King states her intentions in no uncertain terms. It's a titillating little number that's certain to get heart rates rising on the dance floor and at live shows. "Isn't Peace The Least We Can Do" is somewhat self-explanatory, a moral diatribe against war and hatred. The song has a gospel component, invoking Jesus' sacrifice while staying firmly in a cool jazz arrangement with some funk in its genes. King closes with the heartfelt "Easier Alone", a classic swan song steeped in the blues tradition but falling more in the R&B/Pop realm.

Claudette King has the pipes and the versatility to step out the rather impressive shadow of her father, B.B. King. It's not uncommon to find the children of famous musicians making music that might not be heard at a macro level if it weren't for their bloodlines. Claudette King clearly does not fall into the nepotism exception category. King has class and grace as a vocalist, but isn't afraid to dig into the seamier side of the human condition, playing each role to the hilt; singing each song from the heart. We're Onto Something, indeed.

Rating: 4 Stars (Out of 5)

As of publication date, Claudette King does not appear to have a website, Facebook or MySpace page.  Her label, http://www.bluesexpress.com/ may have more information in the near future.  We're Onto Something drops September 21, 2010.  You can pre-order the CD (listed simple as Onto Something) from Amazon.com or CD Universe.  Expect wide digital availability once the release goes live.

D.B. Rielly - Love Potions And Snake Oil

D.B. Rielly - Love Potions And Snake Oil
2009, Shut Up And Play!

D.B. Rielly is a standout singer, songwriter and composer, but he's also a brilliant multi-instrumentalist who has appeared on 40 independent recordings and films. Rielly also has a wicked sense of humor that shows up in his songwriting. Treading the machismo line between alt-country and Americana, D.B. Rielly serves up ten memorable tracks on his latest album, Love Potions And Snake Oil. Rielly's instrumental work has previously been featured on recordings by B.B. King, Chubby Checker, Paul Schaffer and The Boston Pops.

Love Potions And Snake Oil opens with "One Of These Days (You're Gonna Realize)", a charming song to someone who's wasting their chance at love. Rielly's zydeco arrangement is highly danceable and fun; you won't be able to sit still. "Don't Give Up On Me" plays on old school country song, veiled in a melancholy that's tangible as you listen along. Rielly's voice that of a melodious everyman, full of emotion and texture (ala Lyle Lovett). "Save All Your Kisses" is a piano ballad; a classic love song that should be a mix-tape favorite for the country/folk set. It's a brilliant bit of songwriting, showing the depth of Rielly's talent as a craftsman of word and song.

"I Got A Girlfriend" blends country and zydeco in a disturbingly funny tune about picking out the right girl and bringing her home by force. The lyrics here would be disturbing if it weren't so obviously meant to be funny. Rielly takes listeners to the edge of good taste and beyond with a reference to 'fava beans and a nice chianti' as a counterpoint to his actions. "Loving You Again" is a delicious little tune about recidivism of the heart in a catchy country/rock arrangement over a galloping drum beat. Just try to get this song out of your head. Rielly digs into some delta blues on "Changed My Mind", a highly entertaining all-acoustic affair that makes Rielly sound like he was born of the blues. Rielly sticks with the sound on "Got A Mind", a song of vengeance born of love where justice fails before justice is done.

Zydeco, honky-tonk style is the order of the day on "We're All Going Straight To Hell"; a song about a preacher who makes his career out of condemnation. Rielly's band is as taut as a wire as he questions the real motivations (and eventual destination) of the clergyman in question. Love Portions And Snake Oil closes with "Love Me Today", a melancholy love song born of loneliness and desire. Rielly is at his best here; emoting in an entirely believable and fragmented musical monologue the depth of human need. It's a gorgeous song; a classic.

D.B. Rielly will surprise you. His blend of humor, musicality and subtle songwriting puts him on a path to be compared to folks like Lyle Lovett and Randy Newman. You're never entirely sure whether Rielly is being serious or joshing you until the song is done, but the music he crafts along the way is exceedingly pleasing to the ear, and sometimes that restless anticipation of where he'll go next is as much of the experience as the songs themselves. If he continues writing songs like the ones on Love Potions & Snake Oil Rielly should want for little for the rest of his career. Love Potions And Snake Oil is breathtaking, a Wildy's World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more about D.B. Rielly at http://www.dbrielly.com/ or www.myspace.com/dbrielly.  Love Potions And Snake Oil is available both on CD and as a Download from CDBaby.com.  You can also pick up digital versions of the album from Amazon.com and iTunes.

Laith Al-Saadi - In The Round

Laith Al-Saadi - In The Round
2009, Laith Al-Saadi
Laith Al-Saadi has been a key member of the Detroit music scene for fifteen years now, earning opening spots for artists such as Robben Ford, Johnny Winter, BB King, The Yardbirds, Kenny Wayne Sheppard and Leon Russell. Al-Saadi was recently named one of the four best guitarists in the US by the Guitar Center. The attention is warranted. Al-Saadi's latest album, In The Round, blends Blues and Pop/Rock in glorious fashion, mix with Al-Saadi's amazing voice for one of the more gratifying blues albums of the past year.

In The Round opens with "Chains", a dynamic electric blues track that is crisp, clean and full of spirit. Al-Saadi's voice is smooth with tremendous depth and a soulful aspect. The guitar work here is exquisite. "No One Left To Blame" is a heart-on-your-sleeve rocker. Al-Saadi's voice bends and flexes like the arm of a bodybuilder, belting out one passage and then giving a lyric read to the next. "Morning Light" is classic R&B; soulful and highly musical. This pure love song is greatly enhanced by Al-Saadi's beautiful voice.

"My Hands Are Tied" is flat-out a great rock n roll tune; danceable and soulful. This is the song on In The Round most likely to be come a fan favorite at shows. On "Free", Al-Saadi goes for solid pop/rock and displays another facet of his musical personality. This is gentle, delightful pop that will be as notable for its musicality as for its surprise factor. Al-Saadi channels Stevie Ray Vaughan on "Before Too Long", a brilliant blues rocker with the Texas flatlands stamped all over its DNA. In The Round closes with "Big Mama" an instrumental blend of country, blues and rock n roll that will make you want to dance.

Hold on to your hats, folks, because Laith Al-Saadi might be one of the best new songwriters dabbling in the roots-filled valley that exists between blues, rock and country these days. In The Round is a delightful listen, with strong song-writing throughout, solid to plus arrangements and a voice you could listen to all day long. In The Round is a keeper.

Rating: 4 Stars (Out of 5)

Learn more about Laith Al-Saadi at http://www.laithmusic.com/ or www.myspace.com/laithalsaadi. In The Round is available as either a CD or Download from Amazon.com.

Review: Elliot Deutsch Big Band - Weeknight Music

Elliot Deutsch Big Band - Weeknight Music
2009, Elliot Deutsche

Elliot Deutsch knows the truth, that Jazz was Rock N Roll before Rock was born. The twenty-six year old performer, composer and bandleader has been knocking them for a loop on the Los Angeles Jazz scene since 2007, and released the debut album from the Elliot Deutsch Big Band, Weeknight Music, last year. Hard driving swing is the order of the day, mixed with rambunctious play and musical risk taking that harkens back to a time when Jazz was the high-wire act of American music and here adherents were the stars. Deutsch's background is rock solid, having played with or under the likes of Lalo Schifrin, BB King, Jason Mraz, Kenny Burrell, Les McCann, Hubert Laws, Bobby Rodriquez and Pato Banton.

Weeknight Music opens with a lively take on Cheek To Cheek before barreling into The Jury's Out with gleeful abandon. The spark of mischief that runs through the songs presented on Weeknight Music speaks to how much fun and creative energy went into the project. Beautiful Friendship takes listeners back to an era when big bands ruled the world, throwing in a decent vocal line over a lush orchestral jazz score. Aside from top-of-the-line musicianship, Deutsch takes risks in the writing/arranging of songs that are far beyond that most staid jazz musicians would ever dare. Even when these risks don't quite pay off the experience is still very worthwhile for the listener. Rhythm Challenge finds Deutsch having a race with himself; speeding things up right to the edge of losing control. A little of that control actually slips away on Space Cowboys, which plays a bit like Duke Ellington on speed.

Deutsch goes to the other extreme on Coffee Time, a pensive, halting tune that's more about setting the stage with atmosphere. The song is a nice change of pace, but is a bit listless at times. Yeah, We're Sleeping Together features some of the best solo work on the album, as Elliot Deutsche mixes brash confidence with musical subtlety beyond his twenty-six years that speak volumes into every note and every phrase. The finest work on the album, however, is the ensemble work on Nearness Of You, with subtly charged phrasing and a master's touch. Right behind it (figuratively and literally) is Nearness Of You. The same sort of energy is at play here, although perhaps to a slightly lesser extent. Weeknight Music closes out with the sprightly Stroll At The Beach, exuding the same playful energy that has made much of the album live and breathe.

Take a look around the Jazz world in twenty years and it won't be a big surprise to see each of the 17 members of Elliot Deutsch Jazz Band active in one project or another. I wouldn't go quite so far as to say Deutsch is the future of Jazz, but he brings the same sort of fresh perspective and exuberance that Harry Connick Jr. displays in the late 1980's. Weeknight Music is brilliant, balancing a healthy look forward with clear reminiscence on wear Jazz came from; all from a young man who sports what may be one of the brightest young talents in Jazz.

Rating: 4.5 Stars (Out of 5)

You can learn more about the Elliot Deutsch Big Band at http://www.edbigband.com/ or www.myspace.com/edbigband. You can purchase Weeknight Music as either a CD or Download from CDBaby.com.

Review: Grandpa Elliott - Sugar Sweet

Grandpa Elliott - Sugar Sweet
2009, Playing For Change Records

Grandpa Elliott Small came into the national spotlight as part of the Playing For Change project. He was one of the vocalists in the project's version of Stand By Me, which has been viewed over 15 Million times on YouTube. Grandpa Elliott is a New Orleans street musician who has been playing on Jackson Square and the French Quarter's Royal Street since the 1960's. He is a local icon who at the age of 64 played for the first time in front of a crowd of 40,000 at L.A.'s Dodger Stadium. His profile has been further raised by appearances on The Tonight Show and The Colbert Report. In November of 2009, Grandpa Elliott released his full-length debut album, Sugar Sweet, on Playing For Change Records.

Part of what makes Grandpa Elliott's music work is the blend of sounds. Take the sounds of Africa, the Caribbean and New Orleans, mix them up, and add in the salty, warm voice of the man himself and you get something a bit like magic. Grandpa Elliott opens with Ain't Nothing You Can Do, a song about the inevitability of heartbreak. It's a universal song with its roots in the Blues even though it's not a Blues tune. This Little Light Of Mine (Medley) is done in a superb arrangement incorporating a Gospel Choir and touches of Dixieland sound. It's a great listen and one of the highlights of the album. Sugar Is Sweet sounds like something that might have come out of an early R&B recording session; the song is a bit cliché but well-intended and well executed. Grandpa Elliott gently nudges aside the likes of BB King on Baby, What Do You Want Me To Do. The guitar work and vocal line here are exceptional, and Elliott could take a seat with the greats of Blues without feeling a bit out of place after this performance.

Share You Love With Me goes for the old school Rockin' R&B in a stylistic and memorable performance. Up next is a cover of Cat Stevens' Another Saturday Night. The song as presented is decent, done up with a gospel choir on backing vocals, but seems to take Grandpa Elliott away from his core sound. Fannie Mae is presented in a live recording that shows the sort of panache developed from five decades playing on the streets of New Orleans. Rockin’ Rhythm N Blues is the medium, and Grandpa Elliott absolutely owns the crowd. Sugar Sweet goes out on a high note, with a cover of Charles Brown's Please Come Home For Christmas. The song was first recorded by Brown in 1960, charting several times over the next dozen years, culminating in a #1 single in 1972. Numerous artists have recorded this one over the years, including top-10 singles from The Eagles and Bon Jovi. Grandpa Elliott brings the tune back to its piano-based Blues roots. Don't be surprised if Grandpa Elliott takes this old number up the charts one more time.

Sugar Sweet is certainly a treat. Grandpa Elliott just keeps doing what he's been doing all his life, playing great music. The big difference now is the size of the audience. In one sense, there are performers like Grandpa Elliott all over the world. Street musicians and small-time performers with a world of talent and pizzazz just waiting for that break that (for most) never comes along. In Grandpa Elliott's case, it finally came along in his seventh decade. But in another sense, there's no one quite like him. Sugar Sweet might not always have the best material for Elliott to play and sing, but he makes the most of every song. It's a strong effort, and worth spending some time on.

Rating: 3.5 Stars (Out of 5)

You can learn more about Grandpa Elliott on the Playing For Change website. You can purchase Sugar Sweet directly from Concord Music Group as either a CD or Download.

Review: Chocolate Thunder - Ear Candy

Chocolate Thunder - Ear Candy
2009, Chocolate Thunder

Linda Rodney has done the acting thing. She's done the modeling thing; but music has always been her first love. Singing in church as a youngster, Rodney quickly stood out from the other kids with a big, powerful voice that you simply could not ignore. She was also exposed to many of the greats of R&B and Blues as a child, from Muddy Waters to Shirley Cesar to the Queen Of Soul, Aretha Franklin herself. After training with internationally known opera singer Sarah Reece, Linda began performing and touring, sharing stages over time with the likes of Elmore James, Jr., Main Street Blues Band, Little Pink Anderson and B.B. King. Performing under the name of Chocolate Thunder, Rodney's popularity began to grow. Due to popular demand from fans, Chocolate Thunder released her debut album in 2007. In 2009, she returns with Ear Candy, a collection that ranges from Blues to Soul to classic R&B.

Ear Candy opens with Love Thang, a classic 1970's Soul/Funk song. It's not the best on the album but a fair stylistic opening. Love Thang gives a clear picture of Chocolate Thunder's voice: It's big; it's powerful and it can move a crowd. There is an occasionally tendency toward to flat out in runs and transitions, most notable on the opening track, but Rodney's personality is so very much a part of the song that you might not even notice. Power Of A Lady gets into a 1970's Motown feel that's comfortable but doesn't really reach Chocolate Thunder's potential. Rodney hits full speed on Other Side Of Memphis, a classic Motown-style tune that would have been the rage of radio forty years ago. The brass section here is a great touch, but Rodney sells this song like she's lived it. It's All Good blends elements of Gospel and Jazz with a Caribbean touch and is my personal favorite on the disc.

Rodney wrote My Georgia Pine for her husband, and her conviction on the song is compelling, even if the lyrics come across as a bit "hokey love song" at times. Bring It On is presented in a fairly standard modern R&B arrangement but has the feel of a classic that's been updated. I like the song as presented but hear great potential in the song perhaps in other stylistic arrangements. Just Gotta Tell Ya hints at 1950's and early 60's girl groups; this is a great song that's right up there with It's All Good. Chocolate Thunder closes out with 555-Help, a classic mix of Rock, Gospel and R&B.

Chocolate Thunder is a compelling performer for a reputation for grabbing listeners by the ears and not letting go until the performance is over. Her voice isn't quite up there with idols like Aretha Franklin or Etta James, but it's quite good. Combine that voice with a dynamic personality and a compelling ability to sell a song and I'd have to say Chocolate Thunder has the potential to go a long way in this business. Ear Candy is a strong album with a couple of stand out tracks and a couple of duds, but is generally a strong mix of Rock, R&B, Soul and Gospel. Ear Candy has broad appeal.

Rating: 3.5 Stars (Out of 5)

You can learn more about Chocolate Thunder at http://www.cthunder.com/ or www.myspace.com/chocolatethunder1. You can purchase Ear Candy as either a CD or download from www.cdbaby.com/cd/cthunder2.

Review: No - Paris-Chicago

No - Paris-Chicago
2009, Olivier Nataf

French singer-songwriter Olivier Nataf recently moved from France to Chicago, Illinois, celebrating with the release of Paris-Chicago. A mix of singer-songwriter pastiche, good old Chicago-style blues, soul, funk and Rock N Roll, Paris-Chicago is very familiar and very new all at once.

Grooving on a hot electric blues vibe, No creates a highly listenable and occasionally danceable album in Paris-Chicago. Opening with Laisser-Moi Passez, No kicks in a funky backbeat and a catchy melody to draw the listener's attention from the opening notes of the album. Nataf has a very pleasant voice and sounds more like a folk singer than a blues vocalist, but he makes the songs work very well. Paris-Chicago has a hot-n-cool feel to it, channeling a bit of B.B. King in the process. Plus En Enfant opens with a complex acoustic part and sticks with the acoustic gig throughout. Je Mais Que Tu Alors... Just Me sounds very familiar from the outset, borrowing the same chord progression and nearly the same style of Stray Cat Strut. My favorite song on the album is Les Vendeuses De Charme, with its classical guitar opening and reggae rhythms. Respect is a sweet sounding ballad and a great balance to the more upbeat material on Paris-Chicago for the first minute, before breaking into an upbeat rock tune. No closes out with two covers, a blues cover of Stevie Wonder's Higher Ground, which I liked, and a highly intriguing blues rendition of The Eurythmics' Sweet Dreams. This was the highlight of the album; a wholly unexpected and eye-opening interpretation that practically redefines the song.

No took a few listens. Paris-Chicago was one of those albums I didn't like much upon first listen, but it grew on me. My French isn't anywhere near as good as it once was as I just haven't used it in many years, so I can't really comment on the lyrical comment, but Paris-Chicago is a highly enjoyable listen. Be sure to say yes to No.

Rating: 4 Stars (Out of 5)

You can learn more about No at www.myspace.com/nothefrenchsinger or http://www.website-no.com/. Currently, Paris-Chicago is available as a download only through No’s store, but will soon be available through other outlets and as a physical CD.

Review: The Snake Charmers - Been Gone Too Long

The Snake Charmers – Been Gone Too Long
2008, The Snake Charmers

Houston’s The Snake Charmers were snake bit by Hurricane Ike. Their latest album, Been Gone Too Long, was just shy of completion when Ike hit Texas. Consequently the album never saw the light of day until 2008. Husband and wife team Marie Angell (vox/keys) and Will Blumentritt are joined by son Eric Blumentritt on drums and Larry Meeker (guitar) on one of the tastiest blues/rock albums of the year. The set opens with Ain’t Nothin’ But The Blues, a slow mover that gives listeners an opportunity for Marie Angell’s voice to really sink in. Full of dark undertones and a weight that is palpable, Angell has a unique sound that works extremely well with this brand of Blues-based Rock N Roll. No Mercy gets things moving with southern fried rock and a vibrant bass/rhythm combo. Can’t Trust A Heart opens with a one minute plus fugue on guitar that’s reminiscent of Pink Floyd. Angell’s in her best voice here, coming off as a cross between Nancy and Cassandra Wilson. Big Big Love allows The Snake Charmers to let down their hair and have a little fun on an old-school Rhythm And Blues rocker.

I Wanna Do Right finds Larry Meeker doing his best B.B. King imitation on guitar. The piano fills here help to fill out the atmosphere perfectly for Angell’s vocal performance. Move On Blues is built on a walking bass line that won’t quit and some great guitar work. You’ll also be certain to enjoy Just A Little Kiss and tongue-in-cheek (I Wanna Be A) Hoochie Mama.
The Snake Charmers are the sort of band that is perfect for a small club on a Friday night. It’s music you want to listen over drinks with a couple of good friends. Marie Angell is a capable vocalist and the rhythm section is strong, but the real star of the band is Eric Meeker. The rest of the band is compact and talented, but Meeker raises their game a notch or two with some inspired fret work throughout Been Gone Too Long. If you’re not familiar with The Snake Charmers, this is a great introduction.

Rating: 3.5 Stars (Out of 5)

You can learn more about The Snake Charmers at http://www.snakecharmers.net/. You can purchase a copy of Been Gone Too Long at www.cdbaby.com/cd/snakecharmers.