Key Frances

This CD appears to be a compilation drawn from at least two of the above albums, and was given to me by former Motel Kings guitarist Steve “Youngblood” Cooke, now to be found with his new band Honeygun.
I mention this both as a thank you to Steve, but also as a recollection of a rainy night in Barnes when he pressed the above in my hand, mumbled something about this guy being the third greatest player on the planet (.the other two? Don’t ask!!!!)

Two months later I’m hooked. This guy has presence, tone, psychedelic blues, passion raw gut emotion, and weighs in like a latter day heavy duty Steve Miller who both blisses out like Bob Weir, and adds a psychedelic undertow like Love’s Arthur Lee. Key has teamed up like many Austin based muso’s before him with the Double Trouble rhythm section. He’s also added a little New Orleans courtesy of an association with producer Daniel Lanois.
Listen only to the sublime version of “Season of The Witch”, on which both Dr John and Terry Reid, via Donovan are turned inside out, and given a guitar led psychedelic intensity that takes your breath away.
This guy eats and breathes feel, blood curdling licks, and takes no prisoners along the way. On “Bubba’s Truck” he soars high on his slide over an incessant funky back beat. On “Pagan Love Song”, he’s in Jim Morrison mode, and hey, Why not? This album rewrites the blues manual, tears it up and walks off with the very best elements into another stratosphere
While resident in Austin, Key apparently used to play an in between set jam, sandwiched twixt Chris Duarte and Ian Moore. I venture his material is way ahead of even contemporaries of their stature. This is music for the new age, if this sounds pretentious, just tune in, drop out, and feel those psychedelic blues!

The Sorentinos

Unlikely to be found in your local record shop – if indeed you have one - this seemingly languid effort packs a punch in terms of its hooks, Byrds like riffs, sweeping melodies and crisp harmonies.
San Francisco based, apart from the London domiciled Steve Lee, The Sorentinos are all about the quality songs, and understated irony of Danny Sorentino. Danny doubles on guitar and Neil Young style harmonica, and adds a weary but compelling Tom Petty/REM meets the Long Ryders style vocal contribution.
Songs such as the opening “Wonderboy”, and the Young derivative “Hasn’t Anyone Ever Told You” are compelling, while the slide filled “Tell Me Something” enjoys shades of The Stones in their Country Rock mode. A great album!

Andrew Black & The Believers

An import well worthy of your attention, the Soulful blues and funky guitar styling of Georgia’s Andrew Black combines intuitive playing and a deep feel for the blues.
It’s perhaps fitting that the artist was recorded in a Creole style eatery. The Fee Lay gumbo Kitchen is in Kennesaw, Georgia, a place where the more discerning folks enjoy good food, art and deep deep blues.
For Andrew Black is the kind of bluesman who slowly draws you in. Listen to his version of Son Seals’ “Only The Blues” or the crisp funk of Albert King’s “COD”, and you are hearing a contemporary bluesman with a real feel for the blues. The one and only Lobster Brown adds some earthy harp, while the rhythm section of drummer Sean O’Rouke and bass player MarcWilson nail down the bottom end, and Andrew adds some sumptuous guitar licks over top. For the live recording the Believers are supplemented by a cooking horn section, but it’s the band’s inner feel that makes the material hang together so well.
Andrew Black plays it the way he feels, laid back, always in the groove, but given to effortless guitar runs and a searing, warm vocal style, best exemplified on a hugely impressive reading of the aptly titled “Play The Blues For You”. Seek this album out, as Andrew Black is the real deal!

Johnny's Blues

Ever since the first Roy Rogers/John Lee Hooker all star collaboration, the notion of various artists either paying tribute to someone as is the case here, or playing with a respected figure, has led to a truck full of themed releases. The success stories are in truth few, and the pitfalls many, so it’s a tribute to the efforts of executive producer Colin Linden, that this album is such a joy.
From the swamp Delta opening of Canadian harp player Paul Reddick’s fiery reading of “Train of Love”, through to the following Jump blues of Clarence Gatemouth Brown, there’s plenty of original takes on a wealth of Johhny’s material. Linden’s adds his own fierce dobro version of Fulsom Prison Blues with his own band Blackie & The Rodeo Kings.
Perhaps the most original is national steel player’s Kevin Breit’s instrumental, ¨”Send A Picture To Mother”, a number that oozes Johnny’s blues feel, albeit it with a Mexican undertow. Great stuff!

Rob Cowen

An unusual selection if only that many of the play list albums reflect the live music scene. Yet you are unlikely to catch Rob on your doorstep. A British northerner who has found his audience on the Greenwich Village coffee house circuit and West Coast acoustic scene, Rob has produced an album that is a rare collaboration between his haunting songs and intuitive production values of Richard Dover.
The title track enjoys a delightful ascending vocal line, while one of Rob’s strengths is his judicious use of his warm timbre, and a gentle style that teases out the full nuance of each lyrical burst. Nothing is forced, Rob’s songs are eloquent, and as on “Annabelle” they are neatly underpinned by a delicate string section.
Fans of David Gray will recognise the style, but Rob’s songs are his own, and this album rewards with repeated listening.

Janah

Given the fierce musical independence of REM it perhaps comes as no surprise to learn that the infectious Afro rhythms, Celtic leanings and mesmerising riffs of Janah should also hail from Georgia.
But REM aside, this band kick musical history into touch with an at times bizarre World Music style that is nothing short of infectious.
Both the “Swan In The Monsoon” title track, with its driving rhythms and “Shine Halo” with its eastern feel, and joyous harmonies, make this an album that might just crack the contemporary music scene.
If college radio is alive, this is the stuff that should fill the airwaves. On “Tomorrow Keeps Us Happy”, the band employ a huge drum sound to underpin some funky rhythms neatly accompanied by Bill Douglas on sitar with accompanying tablas and various percussion instruments and an almost Zeppelin influenced “Kashmir” riff. The following staccato style “The Wheel” starts out as a Celtic hoedown and moves into a Dervish chant. It’s a piece full of restless musical ideas, which neatly sums up a great band.

Disorder On The Border

On which as the liner notes suggest we go back to the roots, although the Roots here refer to a stripped down trio of real musicians on fiddle (Charlie Hart CharlieHart.com ); accordion (Geraint Watkins) and guitar (Gary Rickard), who play Tex Mex, Cajun style.
A quite beautiful Gary Rickard cover of “Love Has No Pride” sets the standard in both taste and simplicity, while Geraint Watkins’s “Louise Louise” adds swing and Charlie Hart contributes a Louisiana Cajun style hop, “C’est Ca”.

This album is not about The Balham Alligators, or Juice on The Loose or any of similar spin off bands, although they all played their part in keeping this kind of music alive on the London circuit. No, Disorder on The Border is a trio of players who love the music they play, and have miraculously been given a (small) record deal, and an opportunity to vent their musical spleen……….magnificently.

Jim Faupel

Another singer song writer, but one more accustomed to fronting his own band on both the blues and acoustic scene, Jim Faupel has an edgy vocal style full of nervous energy, passion that bring to life some dark lyrics, classy acoustic guitar playing and even an didgeridoo.
Jim played a handful of Roadhouse Music Club dates last year and without exception made a huge impression with his eclectic musical line-up of acoustic guitar/tablas and keyboards.
The album will please many, surprise others, but sadly struggle like so many other good albums to find a niche. Check out love songs like “Guinevere On Monday Morning” and you are hearing a song writer full of strong imagery and musical acumen. A fine talent.

Various Artists

Another Colin Linden production. I don’t know if this came before or after the above Johnny Cash effort, but it’s another triumph. If anything given Canadian troubadour Gordon Lightfoot’s wide repertoire, this might have been a trickier project. Happily the producer knows his subject well, and has hand picked fellow Canadian artists (with Maria Muldaur being the exception) to do Gordon’s catalogue justice;
The opening brace of songs from the soaring guitar/and harmony driven “The Way I Feel” by The Cowboy Junkies to the Memphis feel of Jesse Winchester, immediately demonstrates Gordon Lightfoot’s wide musical canvas. Blue Rodeo add delightful harmonies to “Go Go Round” recalling style of The Byrds.
If Gordon Lightfoot’s talent lay in a combination of meaningful lyrics and strong melodies, then producer Linden and his band Blackie & The Rodeo Kings neatly heavy up the Lightfoot trademark, on “Summer Side of Life”. The trio of front line vocalist are used to great effect, giving the piece an anthemic feel. For those of us not too familiar with much of Gordon’s catalogue, this is one glorious example of a cover that might lead the casual listener to explore more.

“If I Could Read Your Mind”, Lightfoot’s biggest UK hit, is given a simple but effective rendition by Connie Kaldor, while Harry Manx steel guitar/tabla axis underpins a lovely Roosty “Bend In The River”, and the Tragically Hip recall the verve of the protest songs of the 60’s with “Black day In July”.
Unlike the Johnny Cash album, this Gordon Lightfoot tribute will I fancy have less appeal, but is no less worthy as a consequence.

Lone Wolf & Friends

Firstly a big thanks to Cat Anderson, who continues to swamp me with albums both great and indifferent!

And this time he’s come up with a gem in the shape of a fine slice of blues, shuffles, boogie and great playing from Italy. Lone Wolf comprise guitarist Marco Gasparini who writes or co writes most of the stuff, while Davide Rossi and Lele “Shuffleman” Zamperini provide one of the tightest rhythm sections I’ve heard in years.

Pippo Bricolo adds cool Hammond on “The Game of Life”, and harp player Giorgio Peggiani blazes away on the lightning shuffle “Speedy King”. Vocalist Freddy Morales is credited as a guest, but he appears to be an integral part of the band while other guests include James Thompson on pithy sax, and the splendidly named Sbibu Sguazzabia who adds telling percussion
As if to illustrate the band’s versatile style, Lone Wolf take it right down, early Peter Green style on the cool cool “Alpine Blues”, on which Gasparini’s guitar makes much of a few repeated notes over sparse percussion. The closing “Shuffle Chef” is a reprise of the band’s earlier swing induced shuffles, and a great way to end a great album..
This album came as a pleasant surprise and has never left my deck since!