Tell It To Me: The Johnson City Sessions 1928-1928 By Various Artists

It’s time to climb into the time machine and visit a long-gone musical era. During the late 1920’s and early 1930’s, various record labels would visit different areas of the country, conduct musical try-outs, and then record the best of those who auditioned.

The Victor, Okeh, and Columbia labels all visited the Appalachian area of the United States. The best known of these auditions was Victor’s 1927 Bristol Sessions, which produced the first commercial recordings of Jimmie Rodgers and the Carter Family.  Several years later Columbia recorded 100 songs by various artists. While these sessions may not have produced any great stars; they do form a vital link to the development of American music.

Several years ago a 4-CD box set was released that included the entire Johnson City Sessions. Now Tell It To Me: Revisiting The Johnson City Session 1928-1929 has been issued. It is a more manageable release, in that it includes 25 tracks by 25 different artists.

While the artists contained on this CD have mostly disappeared into musical history; the music they left behind forms the beginnings of American country, bluegrass, and rockabilly music, and helped sow the seeds of rock and roll.

Songs and artists such as “When The Roses Bloom For The Bootlegger” by McVay & Johnson, “Just Over The River” by Garland Brothers & Grindstead, “Green Valley Waltz” by McCartt Brothers & Patterson, “Just Pickin’” by Roy Harvey & Leonard Copeland, “Buttermilk Blues” by Ellis Williams, and “The Battleship Maine” by Richard Harold are raw, basic, and recorded during a very non-technological age. The songs include guitars, fiddles, mandolins, banjos, washboards, spoons, and just about anything else that could be used to create sounds.

The sound is nowhere near modern standards. Recorded in an empty store building; every once in a while you can hear a train whistle or sounds from a lumber company in the background.

Whether this music will appeal to you depends on your commitment to the roots of American music. If you are so inclined, Tell It To Me: Revisiting The Johnson City Sessions 1928-1929 will be a treasure trove that leads to a captivating historical journey.

Live From Electric City Sunbanks Festival Washington 2018 By Commander Cody And His Western Airmen

George Frayne IV formed and became Commander Cody during 1967. Both with his Lost Planet Airmen and as a solo artist, he has been playing and recording music for the last half-century. His latest release is Live From The Sunbanks Festival Electric City, Washington 2018.

The original incarnation of his Lost Planet Airmen were a band that crossed styles and musical boundaries. They traveled from country to rock to blues to western swing to rockabilly. It all coalesced into one of the ultimate party bands which produced such hits and well-known tunes as “Hot Rod Lincoln,” “Smoke Smoke Smoke (That Cigarette),” “Beat Me Daddy, Eight To The Bar.”

His latest backing band, now called his Western Airmen, is a basic, stripped down affair. Bassist/vocalist Tim Eshliman, electric and pedal steel guitarist Sean Allen, and long-time drummer Steve Barbuto form the smallest backing band of his career.

Their new album was recorded live and as such presents the band with all its positives and flaws. As a four-man band, they narrow their approach to rock and some up-tempo blues.

Commander Cody draws on his past for an 11 song set includes fun songs and more serious material. They ramp up the voltage with “Oh Momma Momma,” “Truck Drivin’ Man,” “Boogie Woogie Country Band,” and “They Kicked Me Out Of The Band.”

Having only four musicians, they try hard to blend together and create layers to their sound. “One Of Those Nights,” “House Of Blue Lights,” and “What’s The Matter Now” are good vehicles for the individual members to stretch a bit and improvise.

Live From The Sunbanks Festival Electric City, Washington 2018 is an album that proves Commander Cody is not only musically relevant but also still having some fun along the way.

Wentus Blues Band With Duke Robillard

Duke Robillard is one of the most prolific musicians working today. Whether it be producing, guesting on an album, or releasing his own material; he appears on a dozen or so albums each year.

The blues are alive and well in Finland and the Wentus Blues Band is one of its leading practitioners. The connection between them and Duke Robillard began in 1987 when they were Duke’s opening act. Now 30 years later they have joined together to create a new album titled Too Much Mustard.

The Wentus Blues Blues Band is a self-contained unit, who play a dynamic form of American electric blues. When you add a second lead guitarist of Robillard’s expertise, the sound is enhanced and the quality of the music ascends to the highest level.

The Wentus Blues Band, both instrumentally and vocally, play a very good American brand of the blues. They are also also and excellent match for Robillard’s sound and style.

The music is a mix of originals and covers. The covers are good and the originals are very good. Leonard Cohen’s “First We Take Manhattan,” Tom Waits “2:19,” Chuck Willis’ “Feels So Bad,” and Robert Johnson’s “Judgement Day” all have different origins but are transferred into an electric blues and rock mix. Each song may have a similar approach, so if you like one, you will like them all.

The original compositions have a little bit more individual personality. Songs such as “Passionate Kiss,” “Right In Your Arms,” “Miranda,” “She Made My Mind,” and “Selma” allow the band members to stretch a bit.

The Wentus Blues Band is able to connect on a personal label. They have a comfortable sound that is very listenable. Too Much Mustard is a solid album of blues and Duke Robillard’s participation as guest guitarist, producer, and whose painting forms the album cover, only makes it better.

Beyond The Blue Door By Ronnie Earl & The Broadcasters

Beyond The Blue Door

Ronnie Earl and the Broadcasters

Stony Plain 2019

Review by David Bowling

Calling all blues enthusiasts; Ronnie Earl and the Broadcasters have returned with a new album. Beyond The Blue Door is a blues tour de force in that it smolders on the slow blues tracks and scintillates on the faster paced material.

Ronnie Earl, former guitarist for Blues Traveler and now three decades into his solo career, is a four time Blues Music Award winner. The Broadcasters include keyboardist Dave Limina, drummer Forret Padgett, bassist Paul Kochanski, and vocalist Diane Blue.

There are three classic soul songs that vocalist Diane Blue gets just right. Add in Earl’s blue guitar runs on “Brand New Me,” “Why Can’t We Live Together,” and “Drowning In The Sea Of Love” and you have performances that present a soul and blues fusion at its best.

Many times simple is best. Bob Dylan’s “It Takes A Lot To Laugh, It Takes A Train To Cry” has been recorded dozens and maybe hundreds of times. Here it is just Ronnie Earl and guest David Bromberg. It is a raw and basic take on this old song that gives it a new perspective. Possibly the best moments on the album occur on “Alexis’ Song” courtesy of the duet between Earl’s guitar and Greg Piccolo’s tenor saxophone.

Earl, like most elite guitarists, has a sound that is very recognizable. This is very apparent on slower blues numbers “Baby How Long” and “Blues With A Feeling.” the clarity of his impeccable technique is clearly on display.

A new album by Ronnie Earl is always a cause for celebration. Beyond The Blue Door is one of his most soulful releases. It is modern day blues at its best.

The Lost Tapes By Ian & Sylvia

The Lost Tapes

Ian & Sylvia

Stony Plain 2019

Review by David Bowling

Ian (Tyson) & Sylvia (Fricker), both individually and as a duo, have been key artists in the Canadian music scene for over a half-century. They were also an integral part in the Greenwich Village folk revival scene of the early 1960’s. While they went their separate ways in 1975, they left behind a catalogue of folk music that has rarely been equaled in Canadian music history.

Their new album began with some spring cleaning by Sylvia, which unearthed a box of long misplaced concert tapes from the early 1970’s. These missing performances have now been released as a 2-CD set titled The Lost Tapes.

Ian & Sylvia’s new album will mostly appeal to fans of the duo or of the folk music scene of the 1960’s. While the audio is not up to modern standards; it does provide a nice glimpse into their music and concert style.

Disc one is the more traditional of the two. It consists of traditional songs and country classics including Ian Tyson’s most famous composition “Four Strong Winds.” Songs such as “Will The Circle Be Unbroken,” “Crazy Arms,” “When First Unto This Country,” and “Nancy Whiskey” are all staples of the late sixties folk scene. Ian & Sylvia had a unique vocal style so it is interesting to hear their interpretations of these old tunes.

Disc two contains 13 previously unreleased performances. Many of the songs are not usually associated with the duo or folk music. It allows them to explore material beyond their norm and shows their willingness to take some chances in concert.

Today, Ian & Sylvia are sometimes an after thought in the folk revival movement but The Lost Tapes will hopefully bring their legacy some new attention.

Detroit Breakout By Mitch Ryder

Detroit Breakout

Mitch Ryder

Cleopatra Records 2019

Review by David Bowling

Mitch Ryder is best known for his series of rock/blue-eyed soul hit singles during the mid to late 1960’s. Songs such as “Devil With The Blue Dress On,” “Sock It To Me Baby,” “Jenny Take A Ride,” and “Too Many Fish In The Sea” helped define AM radio rock of the era.

Ryder, with his band The Detroit Wheels and as a solo artist, has continued to record and tour for the last 50 years. His newest release is titled Detroit Breakout.

Each of the 14 tracks has a guest artist. Lee Oskar, Cherie Currie, Joe Lewis Walker, Brian Auger, Sylvain Sylvain, and Linda Gail Lewis are some of the artists who lend a hand. The problem is they are buried in the mix many times. The engineering problems continue as there is a disconnect between the vocals and the instrumental backing. It feels as if the vocals were recorded separately and pasted over the instrumental tracks and they don’t quite match.

The good news is Ryder’s voice is still formidable. It can be over the top or fairly sedate and subtle depending on the song.

The song choice is eclectic. The Standells “Dirty Water” fits his style but the Monkees “(I’m Not Your) Steppin’ Stone,” not so much. The Capital’s “Cool Jerk,” Jim Croce’s “Bad Bad Leroy Brown,” Roy Orbison’s “Dream Baby,” and a surprisingly excellent cover of the folk song “If I Had A Hammer” are hit and miss.

His covers of classic soul songs benefit from Ryder’s understated vocals. “(Sittin’ On) The Dock Of The Bay” with Arthur Adams on guitar, The Temptations “Just My Imagination” featuring Lee Oscar on harmonica, and Sam Cooke’s Classic “You Send Me” with Linda Gail Lewis present the soft and smooth side of his music.

Detroit Breakout has its good and not so good points, but at its foundation, his voice shines through. The material may not match his classics but when he is good, he is still very good.

Visions By Alice Howe

Visions

Alice Howe

CD Baby 2019

Review by David Bowling

Alice Howe has a wonderful bluesy voice that is best appreciated when it separates from the instrumental backing and stands on its own.

Her new release, Visions, combines original compositions and some choice covers into an intimate album of music.

Her crystal clear interpretation of Sam Cooke’s Classic, “Bring It On Home To Me,” is a laid-back classic. Her voice envelops the instruments on the old blues song “Honey Bee.”  A simple acoustic version of the Bob Dylan tune “Don’t Think Twice It’s All Right” proves that, for her at least, simple is best.

Her songs range from the warm and personal “Twilight” to the horn laden, big band sound of “Getaway Car.”

Alice Howe has created a light blues albums that fuses together a number of style. Visions is a pleasing group of songs that should provide a satisfying listening experience.

City Night By Savoy Brown

City Night

Savoy Brown

Quarto Records 2019

Review by David Bowling

Not many bands can trace their lineage back 54 years but so it is with Savoy Brown. They formed in 1965 as part of the British blues/rock wave. Through constant touring and time in the studio, they have assembled a body of work that reaches back five decades and forty plus albums.

There have been close to 60 members of Savoy Brown but the one constant has been guitarist, songwriter, and now vocalist Kim Simmonds. He has guided the bands fortunes since the beginning.

The Savoy Brown of today is their most basic configuration. It consists of Simmonds, bassist Pat DeSalvo, and drummer Garnet Grimm. Gone are second guitarists, harp players, keyboardists, and saxophonists; all of which filled in their sound in the past.

City Night is a straight ahead, high octane fusion of blues and rock. Savoy does not try to over extend or re-invent themselves, but keeps it elemental. Simmonds bluesy riffs are piled on top of the bands heavy rhythms. Songs such as “Don’t Hang Me Out To Try,” “Neighborhood Blues,” “Superstitious Woman,” and “Selfish World” are all traditional-type hard rock blues.

Simmonds recently stated, “No, I’m never ever retiring! I’m on this trail ’till the end.” City Night proves that there are some miles to go.

Speakeasy By Paula Harris

Speakeasy

Paula Harris

Paula Harris Music 2019

Review by David Bowling

Imagine a smoky lounge about a half-century ago. It is a basic band of piano, drums, and bass. As Paula Harris begins to sing, the crowd quiets.

Paula Harris is a composer and singer who has a connection with jazz and blues of a by-gone era. Whether her own compositions or choice covers; her soulful voice is perfect for old time jazz with some blues thrown in for good measure.

Her backing band of pianist Nate Ginsberg, bassist Rich Girard, and drummer Derrick Martin are veteran unit who lay down a basic sound that connects with her style well, plus they are adept at keeping.  her voice front and center.

The most inventive track is her re-imagining of Thelonious Monk’s “‘Round Midnight.” She is true to the music but composes new lyrics, plus adds trumpet player Bill Ortiz to give it an authentic feel. Add in Louis Jordan’s “Is You Or Is You Ain’t My Baby,” and jazzy original tunes “Soul-Sucking Man,” “Haunted,” and “You Don’t Look A Day Over Fabulous” and you have an album of excellent music.

Speakeasy is an album where the past and present day intersect. Grab your favorite beverage, turn the lights down low, and relax.