CD Review – Selwyn Birchwood – “Living In A Burning House”

CD Review – Selwyn Birchwood – “Living In A Burning House”

CD Review – Selwyn Birchwood – “Living In A Burning House”

Selwyn Birchwood’s third Alligator CD Living In A Burning House is an absolute sledge hammer of an album! A more diverse and adventurous album than his two previous CDs, Selwyn examines the human condition through 13 tunes, with a thicker, deeper sound coming from his expanded band. Synthesizing all his influences and experiences into his music, what we have here is something that is at once both familiar and absolutely new-a Schrodinger’s Blues, if you will…

Starting hard out of the gate with with the horn flourish and stinging guitar of I’d Climb Mountains, Birchwood lays down the blues funk in the best Luther Allison tradition, with his trademark baritone voice doubled by Regi Oliver’s sax.

I Got Drunk Laid And Stoned mixes hill country blues slide guitar with more gritty sax and funk underpinnings, detailing wild nights doing things we all will regret in the light of the morning, a theme that most of us can relate to.

Living In A Burning House is another funky barnburner about a failed relationship, a recurring theme across this album, the shifting rhythms reflecting the protagonist’s shifting emotions.
You Can’t Steal My Shine is something of a revival rave up, with Selwyn telling us that “you can’t steal my shine” regardless of what else may be taken from him-nothing will get the man down!
Revelation is deep funk warning about the end times with the horns chasing Selwyn’s vocals and guitar to the edge of… well, you know, that place…

Searching For My Tribe is minor key blues funk, with Donald “Huff” Wright’s bass and Philip Walker’s drums laying down the groove with Selwyn singing about wanting to be alone, but not alone, if you know what I mean…
She’s A Dime is in the classic soul blues mode with Birchwood bragging about his girlfriend-you can hear his trademark smile as he describes his flame in very flattering and saucy terms- I’m sure this one would be a blast to hear live!

One More Time is a slow dance tune with Birchwood pleading his girl to come back, but also wants the truth, even if it hurts… backed up beautifully with Walter May’s organ work coming to the fore, and Oliver’s sax adding just the right touch.

Mama Knows Best is a welcome change, a straight shuffle about bringing that girl home to Mama, who doesn’t approve… Diunna Greenleaf sings the part of Mama, scolding Selwyn like a child caught with his hand in the cookie jar, or worse! I’d love to see these two get together onstage sometime!

Freaks Come Out At Night kicks up the lap steel against a hill country beat as Selwyn channels his hoodoo shaman alter ego singing about the famed Bradfordville Blues Club, a real stomper of a tune, and a real highlight! This might be the best tune on the album.
Through A Microphone is a tune that I could hear Albert Collins playing, if he were still around. It’s a classic funky shuffle with wry lyrics and stinging guitar that recalls, but not copies, the Iceman.

Rock Bottom returns to the funk, again bemoaning his fate, even though he was “baptized in 100 proof”.
My Happy Place closes out the set with a completely different feel, chiming guitars, melodious sax, and a contemplative approach, it recalls Eric Bibb’s Global Griot-a nice way to bring the CD to a close.

The entire CD is astonishing, with Birchwood writing and arranging all the songs here, and doing an absolutely masterful job. The writing and playing is more mature, yet still very fresh and adventurous, with rhythm and texture changes that rival progressive rock, but still keeps a connection to the roots of the blues. Living In A Burning House is an incredible masterpiece of modern blues. Bravo!

Franc Robert

Roy Book Binder will be performing at Hideaway Café

Roy Book Binder will be performing at Hideaway Café

Roy Book Binder will be performing at Hideaway Café

Musically, Roy Book Binder is difficult to fence in or categorize. His eclectic repertoire includes blues, country tunes, bluegrass, folk, and popular songs that originated on Tin Pan Alley. He fantasizes that if he had been born 50 years earlier, he would have become a minstrel man. One of his musical heroes, Dave Van Ronk, once described himself as a songster. That title might suit Roy as well, his music, a reflection of his long musical journey through the rich American cultural landscape of the last half of the 20th Century.

 

Roy will be performing at Hideaway Café in St. Petersburg.

The show is on January 30th 2021

 

Visit the Hideaway Café website for ticket information.

CD Review – “Harlem King” – Solomon Hicks

CD Review – “Harlem King” – Solomon Hicks

CD Review – “Harlem King” – Solomon Hicks

Background

Harlem is a coming-out party for Solomon, a nod to the legends that came before him in the vibrant musical community that is Harlem, NY, and is full of threads connecting to Harlem.  Solomon’s talent shows well on this recording.

At the age of 13, King Solomon Hicks became the lead guitarist at Harlem’s legendary Cotton Club. His resume includes with playing with world-class talent in Jazz, Rock and Blues, such Tony Bennett and Lee Riteneour; George Thorogood; Sam Moore, fellow young blues artist Marcus King, and Jimmy Vivino.  Solomon is a member of The Blues Foundation and served as an International Blues Challenge (IBC), judge where he scored Suncoast Blues Society’s entry Someday Honey.

Solomon first came to this reviewer’s attention by performing on Joe Bonamassa’s cruise, when he performed acoustically during a “Blues in the Morning” event. Acoustic is about the only thing that is missing from this musically diverse and most enjoyable recording.

Cover to Cover

Harlem begins by paying homage to Freddie King in a neat remake of I’d Rather Be Blind. This up-tempo rendition quickly became one of my favorite versions of this classic tale of love gone astray.

Continuing with “The Blues Kings” and covers, the next song on the recording honors B. B. King with Solomon’s version of Everyday I Sing the Blues.  Much like the first track, “Everyday” fades away during a solo that left me wanting more of Solomon’s licks.

Blood, Sweat, & Tears is honored with I Love You More Than You’ll Ever Know. This recording interjects elements of Solomon’s jazz background, both with the guitar work and vocals. Intentional or not, Solomon continues to weave Harlem, NY touchpoints through his choice of songs. Whether it’s having the listener recall BB King’s classic Live at The Apollo recording, or the fact that Harlem native Normal Rockwell  designed a 1968 album cover for BST’s Al Kooper and Mike Bloomfield. The connections to Solomon’s Harlem roots are delightful if sometimes subtle.

Love is Alive

Most welcome, and inventive, is a version the 1970’s hit by Gary Wright Love is Alive.  Solomon brings to this song a fresh bluesy feel.  Treating it as a funk blues instrumental Love is Alive is much different than Gary Wright’s #2 hit on Billboard’s chart. Clearly one of the “keepers’ on this recording, if not my outright favorite.

Riverside Drive

Marginally connected (physically) to Harlem NY, Solomon’s instrumental Riverside Drive continues the theme of weaving Harlem touchpoints into the recording, and where his guitar playing takes center stage and shines. One can imagine the juxtaposition of the opulence sometimes found on Riverside Drive and a much different world in Harlem, NY.

Wrapping Up

Have Mercy on Me is a jump-blues gospel feeling song that is much at home on this recording.  It’s Alright is a neat toe tapper with a rock feel. Some of my most memorable guitar licks come from this song.  Solomon shares What the Devil Loves as a link on his website; click on the link and enjoy!

Bookending the recording is the finishing cover of Sonny Boy Williamson II’s (Rice Miller) Help Me. Solomon’s vocals and soulful guitar playing bring honor to this blues classic.

Conclusion

One complaint with the recording is the tendency to fade out of songs, especially with a guitar solo. This is a standard recording technique, and left me wanting more. I can only imagine when performed live extended versions of the songs await the audience.

Well done, young Mr. Hicks. Harlem is leaps beyond previous recordings by Solomon. For this reviewer, Solomon has earned a seat at the table within the “club” of young blues artists that is bringing this musical genre into the future.  

Links

Be sure to check out Johnny B Goode, and the extended behind-the-back guitar playing.  While walking through the crowd.

King Solomon Hicks Quartet

Interview on American Music

Johnny B Goode (2015 Crown Guitar Festival)

Have You Ever Loved a Woman (courtesy of Joan Mallotides aka BluesBroad)

 

  • For Suncoast Blues Society, Scott Morris
Holiday Greetings Blues Fans

Holiday Greetings Blues Fans

Holiday Greetings Blues Fans

As 2020 rolls to a close we are looking forward to the start of the new year of change. We all hope for some normalcy in our future but there is still much uncertainty. The new vaccine to combat the COVID-19 virus is on the way. We must stay vigilant and patient, be cautious and safe, wear masks and continue to social distance – do not let your guard down. We are resilient, we adapt, and we will survive and be stronger for it.

We all want our live music back in our communities and we want the musicians to be successful as well. Music connects us and we want more. We had a successful ‘Drive In’ event at the Hudson Library recently. About 30 cars and 50 attended, some in their cars, some sat outside in front of their cars enjoying the live music event. We are working on other opportunities to find safe venues with the space to spread out comfortably. It is incredibly challenging to try to plan future events. The Board is working on some tentative arrangements for March 2021. We will keep you posted as we get closer.

In the meantime, please visit our web site, our Facebook page and read your weekly Blues News for CD reviews, Feature Articles, and event information.

If you have not renewed your membership, please check your card to see if it is time to renew. We know it has been a tough year but we do not want to lose our loyal members. We wish you a healthy and happy holiday and a New Year that holds peace and hope for unity from a year of conflict and division in our country. Cheers for a speedy recovery for our nation.

Your SBS Board

CD Review – “The New World Blues” – Alastair Greene

CD Review – “The New World Blues” – Alastair Greene

CD Review – “The New World Blues” – Alastair Greene

The New World Blues
Alastair Greene

The New World Blues is Alastair Greene’s newest recording, the first for Tab Benoit’s Whiskey Bayou Records.  Written mostly by Alastair, with an assist or two from Tab, this blues-rock effort features Alastair’s guitar talents in front of Tab on drums (yes, drums!) and Tab’s bassist Corey Duplechin. On the recording this “New World Blues” blues-rock power trio is a force to be reckoned with.

Many here on the Suncoast might not be familiar with Alastair. As a long-time attendee of The Big Blues Bender, I became a fan of Alastair’s talents from his late-night jamming as a member of The Bender Brass. And many “Benderheads” have enjoyed it when Alastair brings his California-based band to perform at “The Bender”. Alastair built his chops as a touring sideman for The Alan Parsons Project, Mickey Thomas’ Starship, and more recently with Sugar Ray Rayford.

The trio wastes no time cranking it up with Living Today. Capturing the craziness of 2020 Alastair’s lyrics quickly encapsulates the feeling many have and challenges the listener to “let your love shine through” – all behind a driving beat laid down by Tab and Corey.

Bayou Mile became a favorite. Personally, the words are a reminder of countless hours spent waiting for a flight, barely able to suppress the desire to quickly be anywhere but the airport. The words hooked me; Alastair’s playing had me replaying the song again and again.

The instrumental Back at the Poor House showcases Alastair’s guitar playing, and had me tapping my foot, while reaching to raise the volume. Twice.

Heroes, co-written with Tab, is arguably the least “blues” song on the recording. More of a rock ballad than blues, Heroes is none-the-less enjoyable.

Returning to the blues-rock feel Alone and Confused start with a slow blues beat and builds into an extended guitar solo for Alastair. If you like your solos with some edge to it this one is for you.

Wrapping up the recording with the title track The New World Blues Alastair returns to the slide, with the driving beat supplied by Tab and Corey. For me the song is reminiscent of and perhaps the equal to my favorite Johnny Winter slide efforts.

All and all, a wonderful effort by Alastair.  Most enjoyable.

Links 

Alastair Green Facebook

A taste of Back at the Poor House

Living Today Official Video

 

 

“They Call Me Mud”

“They Call Me Mud”

“They Call Me Mud”

“They Call Me Mud”

by Monte Adkison aka “The Blues Stalker”

Some people are just born to sing the blues. Larry “Mud” Morganfield, the eldest son of legendary bluesman Muddy Waters certainly fits in that category. Although his parents divorced when he was young and his father had a hectic touring schedule, his dad’s talent and love of the blues was shared later in his life. He began playing drums that his father bought him every Christmas beginning at the age of seven. He is also skilled on bass guitar but his songwriting and vocals showcase his true legacy.

Mud began his professional music journey at age 50 after a career  as a truck driver and his father’s death in 1983. Beginning with club appearances in the Chicago area, it was his performance at the 2007 Chicago Blues Festival that launched his career to an expanded fan base. An indie release in 2008 “Mud Morganfield with the Dirty Aces Live” was followed by 2012 Severn Records “Son of the Seventh Son” produced by harmonica ace Bob Corritore. In 2014, “For Pops:  A Tribute to Muddy Waters” with the Fabulous Thunderbird’s Kim Wilson, won Best Traditional Blues Album in 2015 at the Blues Music Awards. His most recent release “They Call Me Mud” has 10/12 songs penned by Morganfield and a distinct soul feel with a substantial horn section. Mud has steadily developed his own style and groove.

Mud has the reputation of being one of the best dressed players on stage. Like the late Junior Wells and the old school Chicago bluesmen, he shows up in classy suits that show the audience that they are in for a special performance. No overalls or ripped Levi’s for this stage act. It is show time!

This time a year ago Mud was touring in India. Like all musicians today, their careers have been stonewalled by a cruel pandemic that has affected the entire music industry globally. Mud comes to Florida after months of isolation to play the Bradenton Blues Festival His concern for his ninety year old mother who lives with him is foremost. With the pandemic still raging we are indeed fortunate to have the opportunity to see Morganfield perform  from a safe social distance at an outdoor venue. As Mud’s friend, Jeff Malone, president of the Northeast Florida Blues Society and who also booked him for the Amelia Island Blues Festival (2010-2016) recently told me:  “His father Muddy Waters was the pioneer of that electric blues sound migrating up from the Delta and that same spirit is in the DNA of his oldest son, Mud Morganfield. You are in for a special treat. Close your eyes and just imagine the glory days of the Chicago Chess sound.”