American Blues Scene brings you the premiere of “Honest As Daylight,” by Carla Olson with R&B/Soul legend Percy Sledge. The song comes from Olson’s newest offering of duets, Have Harmony, Will Travel 2, which arrives fromSunset Blvd. RecordsonMarch 20.
This album from Olson, the Austin, Texas-born, Los Angeles-based singer-songwriter-producer features duets with 11 guests, and is a successor to 2013’s Have Harmony, Will Travel, which found her collaborating vocally with such artists asPeter Case, Richie Furay (Buffalo Springfield), John York (the Byrds), Scott Kempner (the Del-Lords), andJuice Newton.
Like the previous collection, Have Harmony, Will Travel 2was inspired by Olson’s youthful days as an aspiring musician, when she marveled at the diverse sounds she heard on Austin’s top-40 stationKNOW. For this follow-up she teams with not only Percy Sledge, but also Stephen McCarthy of the Long Ryders, Gene Clark of the Byrds, Peter Noone of Herman’s Hermits, Terry Reid, Timothy B. Schmit of the Eagles, and more.
L-R Rick Hemmert, Carla Olson, Mick Taylor, Percy Sledge. Photo: Gary Nichamin…From Carla Olson scrapbook
“‘Honest As Daylight’ began as a set of lyrics written by Textones drummer Rick Hemmert which Bobby McDonald and I composed music for,” Carla told us. “Having two legends participate in the recording was more than we could have imagined – soul man Percy Sledge and former Rolling Stone Mick Taylor. I’m glad it’s getting a second lease on life.”
Reuben and the Dark returned to Chicago’s North Side, bringing their brand of indie folk rock one of the city’s favorite music clubs, Schubas Tavern. Fronted by Calgary’s Reuben Bullock, the band played to a small but devout room of fans.
With the recent release of UN | LOVE they played new songs including the title track and “Faultline.” The band is out playing select dates thru mid-March, so catch them if they are near you.
Since the early 1990s, the Phantom Blues Band has been touring the world as the two-time Grammy-winning band for Taj Mahal, and appearing as a world-class all-star band on their own. The band members have a long list of credits as touring artists and top-call studio musicians for the likes of Bonnie Raitt, The Rolling Stones, Jimi Hendrix, B.B. King, Otis Rush, Buddy Guy, Robert Cray, and many more. Their newest offering, Still Cookin‘, proves there is a lot of life (and music) left in this blues supergroup.
The band is comprised of Tony Braunagel (drums), Mike Finnigan (keyboards & vocals), Larry Fulcher (bass & vocals) Johnny Lee Schell (guitar & vocals), Joe Sublett (saxophones). Les Lovitt (trumpet). The band members themselves boast many individual Blues Music Awards as well as a joint BMA and a couple of GRAMMY awards.
So what happens when a busy group like this gets the time to get into the studio? Pure magic. Their last offering was eight years ago, when they brought us Inside Out, and trust when we say we’ve been missing the sound that Taj Mahal created when originally forming this group.
Still Cookin’ kicks off with a tight cover of Wilson Pickett’s “Don’t Fight It.” All three vocalists in the band add their solid pipes to this one and it’s a perfect starting point. They make it sound easy – nay, fun – and it comes across just that way.
The funky vibes continue with songs such as “Stop Runnin” and “Wingin’ My Way.” It’s Finnigan’s vocals that stand out on this record, although when they all get in the mix like they do on the Latin-flavored “Tequila Con Yerba,” or the strolling vibe of “Fess On Up,” things really heat up.
“Shine On” brings a Caribbean feel as well as a positive message. The blues in R&B come out on “I’m Just Your Fool,” as the guys bring back the big band sound of the original 1954 Buddy Johnson release.
Band members wrote or co-wrote more than half the songs on Still Cookin’, and the band credits their combined influences for their songwriting and song selections:
We all grew up on great songs from the late 50’s on, and extended our library of influences from the Great American Songbook, including the roots of the Blues.
A couple of don’t miss tracks include “I Was Blind,” which adds the superb backing vocals of Tulsa, Oklahoma songstress Maxayn Lewis, who has backed everyone from Ike & Tina and Bobby “Blue” Bland to Van Morrison and Sammy Hagar. “Blues How They Linger” showcases Finningan’s soulful vocals and key skills.
Everything the Phantom Blues Band does is a collaborative effort, however guitarist/vocalist Schell steps up on this one as co-producer, mixer, and engineer.
Yes – the Phantom Blues Band are Still Cookin’ and what they’re serving up is dee-licious! Get yourself a heaping helping and don’t be bashful about coming back for seconds.
Mazzy Star co-founding guitarist and keyboardist David Roback has passed away at the age of 61. A representative of the band announced today that Roback died on Monday, a cause of death not yet released. Roback got his start in the Los Angeles Paisley Underground scene in the 1980s, playing in Rain Parade and Opal.
From the ashes of Opal, David formed Mazzy Star with vocalist Hope Sandoval in 1989, and together the two wrote all of the band’s songs. In addition to being the primary songwriter, he also produced the band’s albums. Between 1990 and 1996, Mazzy Star released three albums: She Hangs Brightly, So Tonight That I Might See, and Among My Swan. After a long hiatus, they released Seasons of Your Day in 2013.
Mazzy Star is best known for their mainstream hit, “Fade Into You,” which has appeared in countless TV soundtracks. Sometimes hastily dubbed shoegaze, Mazzy Star brought certain colors, tones, and textures not heard before — a profound interfusion of dream pop, alternative, and neo-psychedelia.
I’m remembering David Roback tonight with my favorite Mazzy Star songs:
Saturday, February 22, at Old Town School of Folk Music – The show opener, singer/songwriter Peter Oren, thrilled with his deep baritone, compelling guitar work and friendly demeanor. His set included a dreamy tribute to clouds and some clever call-outs to cows. Oren, who lives in rural Indiana, waxed rhapsodic about freeing himself from overwhelming social media, “phones and stuff.” His “Gnawed to the Bone (Come By)” got an especially good response.
Peter Oren
James McMurtry’s 2015 masterpiece was entitled “Complicated Game.” He’s a darn wizard when it comes to composing chilling narratives, such as the spooky-titled, “Where’d You Hide the Body.” These references might make one believe this Texan’s the consummate tortured soul, one on the verge of a nervous breakdown, yet when this singer-songwriter-guitarist stands in front of the Old Town School admirers, he comes off pretty much as everyman.
James McMurtry
Of course, “everyman” can’t do what McMurtry does on a consistent basis all across America and beyond on his ambitious tours, which take him from the big skies of Bozeman to Baton Rouge, Jackson, and Petaluma. And luckily for Midwesterners, one of the most prominent teaching centers in Chicago: the Old Town School of Folk Music.
McMurtry’s true-blue fans are the kind who do their homework. And that’s the kind of hard work that pays off, as the beauty of already being acquainted with a performer’s repertoire is that the fan gets to soak up the stories and genuinely enjoy the nuances.
And last night there were many nuances to enjoy. His massive set list included rough-hewn, tender and sometimes cynical homages to everything from “crystal meth,” an “Airstream trailer” and a “Holstein cow,” courtesy of “Choctaw Bingo.” Gulfs between generations were underscored in “Copper Canteen,” virtue of powerful imagery: “We grew up hard and our children don’t know what that means.” Certainly that line struck a bittersweet chord with the older patrons; and of course, the epic plea, “Honey, don’t you be yelling at me when I’m cleaning my gun” just seems designed to fire up the coolest senses.
McMurtry was dressed head-to-toe in denim — his long, dark hair and steady gaze contributing heavily to his cool, confident, tough-guy with a soft-center image. He focused completely on the task at hand, tearing off song and song, often with poker-faced comments in-between. All the while, he conflates tragedy with humor. Even as he tuned an acoustic guitar (switching between two), he made damn sure the fourth wall was kept down. And although it was easy to drift and get blissfully lost in his tuneful conversations, his fine instrumental work was of equal import and deserved full attention as he finessed beautiful tones and allowed for striking hammer-ons and pull-offs from his twelve-string. The sound, overseen by musician/soundman Tim Holt, was also superb.
Anyone who has heard McMurtry play with a full ensemble (Austin locals get to hear him weekly), or on his multi-layered albums, might wonder how it feels for the man to play unplugged for several hours solo. Does he consider it a challenge to perform the fierce, rockabilly-infused “Choctaw Bingo” without the support of a dynamic rhythm section? Perhaps for some. But McMurtry, an accomplished instrumentalist who strummed his first guitar at age seven, tore up and down that fretboard with extreme vigor — keeping the beat, wailing catchy phrases, and balancing harmonic highs and lows with precision.
Venturing into the arena of love, a songwriting topic recommended by his grandmother, he garnered lots of appreciation for “These Things I’ve Come to Know,” which illustrates how opposites can still attract even when the odds are against it: “She likes the two-step, she likes to waltz,” he sang, but soon added, “I can’t dance a lick but sometimes I can flat rock and roll.”
“Red Dress” stood in warm contrast to the other material — a heady mix of blues and grit. In his quieter rendition of the winsome “No More Buffalo,” his austere tale spoke volumes about our current state of environmental gloom. And as for pure linear craft, the vocal drone of “Levelland” was beyond moving. “State of the Union” probably got the biggest reaction. Although the words can apply to any time in history, the message may strike some as especially potent now.
As for other inspirational/political anthems, the one surprise was that McMurtry failed to play “We Can’t Make It Here,” a brainstorm that intrepidly describes the despair of so many Americans and that has fueled campaigns.
That said, McMurtry gave his all. Even after holding court for such a long time alone, he graciously returned to the stage after a passionate standing ovation. At one point, he mentioned a concert where the audience was less than appreciative. “They’re idiots,” yelled a fan. Yeah, I’d say that’s true.
The Folk Americana Roots Hall of Fame (FARHOF), announces its Winter/Spring 2020 schedule of Hallways — the Hall’s official podcast — airing weekly beginning in February. The series includes in depth, personal interviews with Folk, Americana, and Roots artists like Patty Griffin, Ani DiFranco, Tom Rush, Keb’ Mo’, Milk Carton Kids and The Mammals.
The podcast launched on January 3rd and featured FARHOF’s founder, Joe Spaulding, prior to moving to its weekly episode format on February 7th. Several upcoming episodes — including Ani DiFranco and Aengus Finnan — were recorded at the Folk Alliance International conference, which took place in New Orleans in January. Additionally Tom Rush, Mark Erelli, Hayley Sebella, Raye Zaragosa, Laura Cortese, David Amram and Diana Jones all recorded live, solo performances during their interviews with the Hallways team.
“Our mission at FARHOF is to preserve and celebrate the history of Folk, Americana and Roots music,” said Spaulding. “Hallways allows the legacy and history of folk, Americana, roots music to be heard from all artists past and future directly in their own words.”
The Folk Americana Roots Hall Of Fame is housed in the Wang Theatre and is an initiative of the Boch Center in Boston. FARHOF celebrates Folk, Americana and Roots music through displays, memorabilia, artifacts, multimedia, lectures and concerts. As much as any city in the country, Boston has been the musical birthplace for the styles and artists we celebrate, making it a fitting home.
Hallways is a production of Above The Basement – Boston Music and Conversation, hosts Chuck Clough and Ronnie Hirschberg bring the stories and inspiration behind this great American music to life through conversation and live performance.
“Our team at Above The Basement could not be more proud to host and produce Hallways,” says host Clough. “As the storytelling and podcast partner of FARHOF, we’re looking forward to bringing this important American music to listeners, and highlighting the stories and songcraft that keep its spirit alive today.”
Hallways 2020 Winter/Spring Episode Schedule
TOM RUSH* 2/28/20
ANI DIFRANCO 3/6/20
KEB’ MO’ 3/13/20
MILK CARTON KIDS 3/20/20
THE MAMMALS 3/27/20
DAVID AMRAM 4/3/20
THE ACCIDENTALS 4/10/20
LAURA CORTESE* 4/17/20
RAYE ZARAGOSA* 4/24/20
MARK ERELLI* 5/1/20
HAYLEY SEBELLA* 5/8/20
ROSE COUSINS 5/15/20
DIANA JONES* 5/22/20
PASSIM 60! 5/29/20
Born in Massachusetts, Albert Cummings has been putting his stamp on the blues scene for over a decade. On Valentine’s Day, Cummings released his newest offering, Believe, via Provogue Records.
Albert’s gritty guitar sound has always been amazing. And on Believe, it will blow you away. If you’re any kind of blues fan, this album is for you.
Believe hooks you right away, with Cummings’ cover of Sam & Dave’s Stax classic, “Hold On.” Albert’s soulful vocals and guitar intermix with some killer B3 and horns to keep that vintage vibe relevant nearly six decades later.
Albert accomplished the same thing with “Red Rooster,” taking the Willie Dixon standard and turning it into an electric slow-drag — and again by tipping his hat to Van the Man, with a powerful rendition of “Crazy Love.” Even “My Babe” gets a funk-slathered update that’s good enough to pour over biscuits.
Believe was recorded at FAME Studios in Muscle Shoals, Alabama and produced by GRAMMY winner Jim Gaines (Stevie Ray Vaughan, Santana). “You can hear the difference between this album and my others, and that is the Muscle Shoals difference,” Cummings says. “If I had recorded those same songs anywhere else, then Believe would have sounded like a completely different album.”
It’s no secret that Stevie Ray has been Cummings’ biggest influence, and you can hear that impact throughout the album while Albert hops genres. Even though he is from “The Pilgrim State,” Albert’s feel for the blues is real, and his playing can stand against anyone’s from Texas to Chicago to Memphis.
A celebration of life for Willie Nelson’s drummer, best friend and unofficial bodyguard, Paul English, will be held on March 3 at Billy Bob’s Texas in Fort Worth. This event will be open to the public.
The venue noted the following in a press release Thursday:
“Paul was proud of his Fort Worth heritage. He grew up on the North Side and as a youngster boxed in the Golden Gloves and played trumpet in the Fort Worth Salvation Army band. After graduating from Fort Worth Polytechnic High School, he became a regular at some of our city’s more infamous establishments in Hell’s Half Acre, along Jacksboro Highway and, of course, the Fort Worth Stockyards, where he organized some of the area’s more notorious activities.”
English provided the backbeat and an unequivocal friendship for Willie, dating back to the 1950s. “I Still Can’t Believe You’re Gone” is a true testament of the pair’s close bond; the song was written by Willie about Paul’s first wife who committed suicide.
Another dedication song to English was the partner-in-crime classic “Me and Paul,” a single from Willie’s concept album Yesterday’s Wine. English once stated, “Had it not been for Willie, I would be dead or in the penitentiary.”
The Prince Estate has announced the next surge of reissues, including Prince’s early ‘00s work that’s been largely out of print. These new editions will be made available on April 17. The box set Up All Nite With Prince and his 2001 The Rainbow Children will be reissued by Legacy Recordings.
Michael Ochs/Getty Images
The Rainbow Children will come as a clear double LP with a limited edition custom rainbow slipmat. The Up All Nite With Prince box set will contain The One Nite Alone Collection, One Nite Alone… Live!, The Aftershow: It Ain’t Over, and the DVD Prince Live at the Aladdin Las Vegas in a slipcase with a 48-page book. The One Night Alone… releases will also come in limited edition purple vinyl. The backing band on the live album includes Sheila E., Maceo Parker, Eric Leeds, Candy Dulfer, Greg Boyer, Renato Neto, John Blackwell, and Rhonda Smith.
The Prince Estate recently shared “Pop Life” from the Aladdin show:
Boston-area-based pianist/songwriter Anthony Geraci follows up his multiple Blues Music Award- nominated recording, Why Did You Have To Go, with Daydreams In Blue, releasing April 24 on Shining Stone Records. Boston roots/blues music hero Dennis Brennan is the featured vocalist and adds harmonica on two tracks. Daydreams In Blue also features special guest appearances from guitarists Walter Trout and Monster Mike Welch. This 12-song CD has Anthony writing 10 new originals, one tune penned by Brennan, Peter Wolf (J. Geils Band) and Troy Gonyea; and a classic blues composition by Earl Hines and Billy Eckstine (“Jelly, Jelly”). Anthony’s scintillating piano is the binding factor here, embellished by the rhythm section of Jeff Armstrong and Michael Mudcat Ward, two of Boston’s finest.
“This by far is the most exciting recording I’ve done under my own name,” Geraci says about the album sessions. “Having all these great musicians on the recording is a ‘Daydream’ come true. And having Walter Trout on the song, ‘No One Hears My Prayers,’ is something that transcends beyond just a recorded track. Musicians supporting each other, willing to give themselves to others is something we should all aspire too.
“Music- all kinds of music – defines my life; and many of my friends, whether they are musicians or fans,” he says. “Where do we retreat to when things just aren’t right? A song is where I go to. It could be a song by Muddy Waters, John Coltrane, ‘New World Symphony’ by Antonín Leopold Dvořák, or a Hank Williams tune – it’s all music. Or I go to my piano and just play. The compositions on Daydreams in Bluewere written over about a year’s time, some only a few weeks before the recording session. I’m very sensitive as to who I may want to bring into the recording studio. I have a vision for each song and who I’d like to have play on it. Immediately after I wrote ‘No One Hears My Prayer,’ I thought of Walter Trout. We had done a few shows together recently and he graciously asked me to sit in with his great band a few times. But it was his sound, his spirit that made me want to ask him. Mike Welch has been my friend for a very long time, since the original House Of Blues was in Cambridge, Massachusetts, where I was part of the Blue Monday Band. He was in his early teens and was already (almost!) as good as he is today. Dennis Brennan is truly a roots music hero here in Boston – his vocals and harmonica playing captures the soul of a bluesman – straight from the heart. Check out his ‘Dead Man’s Shoes’ composition.”
Geraci has a long history in the American Blues Community. He is an original member of Sugar Ray and the Blue-Tones, and Ronnie Earl and the Broadcasters; he has recorded with both artists extensively. Anthony has been nominated for the prestigious Pinetop Perkins Piano Award for the last five years: 2016/2017/2018/2019/2020 by the Blues Foundation in Memphis. In 2019, Anthony also received nominations from Living Blues Magazine: Outstanding Musician-Keyboard; Traditional Blues Album/Blues Band of the Year/Male Blues Artist from Blues Blast Magazine; and Best Traditional Blues Band from Making-a-Scene.
Anthony’s last recording, Why Did You Have to Go (Shining Stone), received world-wide accolades. It debuted at #4 on the Living Blues Radio Chart, and was in the top 50 most played recordings for 36 weeks on the Roots Music Report. 2019 Nominations from the Blues Foundation included: Album, Traditional Album, Song of the Year (“Angelina, Angelina”), Traditional Male Blues Artist, Band of the Year – Anthony Geraci and the Boston Blues All-Stars.
Anthony has been featured on over 50 recordings with some of the biggest names in blues music. He has recorded with blues pioneers: Big Walter Horton, Carey Bell, Odetta, Big Jack Johnson, Charlie Musselwhite, Lazy Lester, Snooky Pryor and John Brim; as well as contemporary artists: The Proven Ones, Kenny Neal, Sugaray Rayford, Debbie Davies, Otis Grand, Welch/Ledbetter, Zora Young, and Duke Robillard; and garnered a Grammy nomination for his playing on the Super Harps I album (Telarc).
Check out Geraci’s live performance of “Baptized in the River Yazoo” from Why Did You Have to Go.
Mazzy Star co-founding guitarist and keyboardist David Roback has passed away at the age of 61. A representative of the band announced today that Roback died on Monday, a cause of death not yet released. Roback got his start in the Los Angeles Paisley Underground scene in the 1980s, playing in Rain Parade and Opal.
