DECEMBER 2004 PLAY LIST

1). The John O'Leary Band "Sins" JOL Records
JohnOLearyBand.com

This album nips to the top of my play list not because it's the greatest album every made, but quite simply it's the most successful fusion of traditional and contemporary blues grooves for as long as I care to remember.

In many ways this isn't even a blues album, sure John opens with the impressive brace of "Early In The Morning" and an excellent reading of Junior Wells' "Snatch It Back". But the thing that makes this album more than interesting is the tension that underlies some top quality playing from a well drilled road band. John's harp playing is authoritative throughout, and he adds a soulful rap on "Blue Water", which offers the subject matter to the album's title. Meanwhile while on their three appearances together, the twin guitar attack of producer Jules Fothergill and his guitar accomplice Tim O'Sullivan constantly strain at the leash.

The rhythm section of bassist David Hadley Ray and Joachim Greve on powerful drums, push the front line players, and when required Belgian keyboard player Dominique Vartomme adds some sumptuous fills and in the case of "Who's Been Talking" he weighs in with a quite beautifully judged solo on which each note is delicately and very deliberately delivered - a welcome case of the space between the noted adding to the dynamic. This number has real presence, feel, and is a deep blues outing, and is an album highlight.

The juxtaposition of the above with the rocker "Waiting For You" - complete with searing backing vocals from Lorna Really, and a flighty jazzy solo from Jules followed by O'Leary's pithy harp, shows the variety of the band's oeuvre.

The album also contains two instrumentals. The funky "And Everything" is underpinned by Greve's tick-tock percussive pattern and is topped by some steely dual guitar lines. It's an impressive piece, yet sans O'Leary feels strangely like well-played 70's anonymous fusion (though to be fair it does feel a bit like Larry Carlton). "Chiswick Roundabout" on the other hand is driven by O'Leary's warm harp signature and pushed along by another impressive performance by the rhythm section, and all in all feels more like a band effort.

But as I suggested at the outset not everything works, notably "House of Ice" on which several laboured verses are only rescued by a resonant chorus, while former Savoy Brown vocalist Dave Walker brings a curious early Stan Webb style warble to "I'm Tired". The albums only full blown shuffle, "Move Away" is another highlight as O'Leary blows fiercely over Jules's mesmerising slide guitar, before the twin guitars duel away into the sunset. Guitarists Fothergill and O'Sullivan work towards an impressive outro but the sudden frenetic interplay begs the question what happened to the harp?

The closing gospel feel of "Save My Soul" rounds off a veritable a fine effort that if officially released in 2005 should stay the course as one of the blues influenced albums of the year. Finally a word for Jules Fothergill's intuitive production, which if at times a little scissors and paste really does bring out the exciting moments of some fine band playing. And also for John O' Leary for having the vision to bring a contemporary feel to what remains essentially blues at the core.

Here are some clips from Sins:	Broadband (CD quality)	Dial-Up (AM radio)
Who's Been Talking
Waiting For You
Chiswick Roundabout

 

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2). Gov't Mule "Déjà Voodoo " ATO Records
Mule.net

Gov't Mule first caught my attention relatively late in their career with their tough "Life Before Insanity" album. With the sudden untimely death of bass player Woody, and a cancelled Euro tour, and with guitarist Warren Haynes' on going Allman Brothers and Grateful Dead commitments, that seemed to be that. But here we are some 4 years on and The Mule are back with a tough new offering that is as hard hitting as it is gloriously Retro.

If a new generation of kids are flocking to see this band's shows and buying the albums in impressive quantities, then it's fair to conclude that Gov't Mule are the first band since The Black Crowes to cross the early 70's Rock sensibilities into the 21st century.

Sure there's Dave Matthews and countless other players, but in Warren Hayes the band have THE archetypal Rock vocalist with a bluesy feel that draws on Skynyrd, Free and all shades of Paul Rodgers, and all who were influenced by him.

Above all, amongst these dozen cuts of prime muscular funk driven rock, there's handful of carefully crafted songs ranging from the almost claustrophobic feel of "Silent Scream"- which resolves itself in an extended languid guitar/keyboard workout - and the sweeping bluesy ballad "Little Toy Brain" to hugely impressive funk groove of "Perfect Shelter".

And yet strangely for a band best known for their on stage jams, you feel they are just touching on the periphery of their groove filled core. The band belatedly rock out on "Mr Man", but for the rest the songs pursue a more introspective feel.

The musicianship of the newly expanded quartet is first class, and Haynes is an innovative guitarist with a classic Rock Blues voice, and perhaps all that is missing is a trademark epic to set Gov't Mule just ahead of their peers; Meanwhile this is a welcome and impressive step along the way.

Here are some clips from Déjà Voodoo:	Broadband (CD quality)	Dial-Up (AM radio)
Little Toy Brain
Perfect Shelter
Lola Leave Your Light On

I suppose when it all comes down to it, and you break down the hard driving r&b style that 9 Below are best known for, they have always been a blues band at their core. So in many ways this project makes sense on two levels. Firstly the album reappraises the band's roots and secondly it bides time before a new project.

That said, there are too many obvious cuts here that have already been the fodder for similar projects by say The Blues Band and Dr Feelgood, from the oft covered "I'm Ready", "Talk To My Baby" and "Goin Down" to the tiresome "Walking By Myself - though the latter has been cleverly recorded to make it sound more authentic.

On the up side there are some fine band performances, from an outfit with the ultimate killer rhythm section and two fine front line players in Dennis greaves on guitar and the incomparable Mark Feltham on harp.

Dennis adds some tasty BB King style guitar on "Blues Is here to Stay" and remarkably injects fresh life into a raucous reading of "Everyday I Have The Blues" and the equally fine "Boogie Chillun".

Mark Feltham adds beautiful harp on Junior Wells' "Ice Cream Man" and a country blues feel to the afore mentioned "Walkin' By Myself".

Overall the band's enthusiastic playing pulls off the project, and even throws up the little known Chuck Berry's "Move It" on an album that offers stoic playing but few surprises, but ultimately is no worse for that.

Here are some clips from Hat's Off:	Broadband (CD quality)	Dial-Up (AM radio)
Blues Is Here To Stay
Everyday I Have The Blues
Ice Cream Man

 

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4). Roger Chapman "Mango Crazy" Mystic Records
Chappo.com | MysticRecords.co.uk

"Mango" is the studio album that gave Roger his long overdue commercial success in Germany and Europe in general.

The album is typical Chappo in a sense with lots of quirky tunes, bags of humour and some great rock. "Mango" also cemented the writing/production team of Chappo and guitarist Geoff Whitehorn. The duo contribute half of the dozen tracks, from the humorous title track take on 80's paranoia, to the Chappo Rap "Toys", complete with Poli Palmer's computer input, even though he wasn't even in the band!

For the rest Whitehorn is in sparkling form on "I Read Your File " which offers more lyrical paranoia, this time about the Eastern Bloc.

Steve Simpson also weighs in with a great slide break in the hugely impressive "Bluesbreaker", while Chappo adds some of his very best blues lyrics on the magnificent "Rivers Run Dry".

The album closes with the same quirky humour of the title track, with "Room Service" being a great parody of the four minute warning, and "Hegoshegoyougoamigo", being a sampled reprise of the opening track. The bonus track "Maybe A Shot in the Dark" was the oft overlooked B side to the would-be hit "Toys".

As things turned out, it was the album that charted and broke major new ground for Chappo. Two decades on, "Mango" sounds like a quality 80's rock album, crammed full of funny ideas and the perfect vehicle at the time for Chappo's magnificent voice.

Here are some clips from Mango Magic :	Broadband (CD quality)	Dial-Up (AM radio)
Mango Crazy
Bluesbreaker
Rivers Run Dry

 

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5). Waysted "Back From The Dead" Majestic Rock Records
MajesticRock.com

20 or so years after their previous incarnation, Pete Way's Waysted unexpectedly return with a tough rocking album, a bunch of tour dates and new determination that might even give Pete's main project UFO a good run for their money.

And while the title "Back From The Dead" may be a little over dramatic, this is easily the best album that Pete has been involved with for years.

The album is worth buying for the opening track alone, as the groove laden rocker "The Alternative" is crammed full of steely riffs, and a great hook. The following "Garden of Eden" combines double guitar lines with vocalist Fin's ability to added an almost southern drawl to proceedings which he repeats on the almost bluesy/Southern rock feel of "I'm Gonna Love Ya".

The rhythm section is a powerful, and unfussy throughout, allowing Robin George to impress with some addictive licks, well chosen power chords, and judicious fills. He lets rip on the "Dreams" and adds some lovely slide way back in the mix of an unlikely but successful Everly Brothers cover, "Price of Love".

For the rest it's a case of dependable hard rock, with the humorous anthem "Breakfast Show" a notable highlight. Perhaps this fine Waysted album and the impending return of UFO points to a return to favour of hard rock in general; if so this album is a fine statement of how good hard melodic rock can be.

Here are some clips from Back From The Dead:	Broadband (CD quality)	Dial-Up (AM radio)
The Alternative
Breakfast Show
Dreams

 

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6) Jess Roden & the Humans "Live at the Robin" Mystic Records
MysticRecords.co.uk

Jess Roden was always one of the UK's most underrated and enduring white boy soul singers. And as this album suggests, neither his audience nor his muse has ever deserted him.

Together with a stellar line-up including one time Atomic Rooster/ bass man Nic Graham and Rod Stewart/Strider guitarist Gary Granger, plus his Granger's guitar protégé, Bill Burke, the Humans push Jess to the limit.

Recorded in 1996 in front of a sell out crowd near his Wolverhampton roots, Jess & The Humans prove that not only did they still have a cutting edge, but that the band's song-writing prowess matched the on stage sparks. The opening brace of self penned rockers "When I Call You Name" and the stage favourite "So Fine, So Young" set the standard, while the grungy "Before I Hurt Myself" is a show stopper. In between there's some sultry impassioned soul with Joe Tex's "You'd Better Believe It" and a fine improvised version of Willie Dixon's "I Live The Life I Love".

The album's climactic closing number is a full blown cover of Neil Young's Grungy "Rockin' in The Free World", which is a timely nod to the man whose influence pervades much of this impressive live set. A fine album that shows, just like Roger Chapman, there is no substitute for a classy vocalist whose phrasing adds real feel to even the most mundane songs. Happily most of the songs here are as strong as the vocal and band performance.

Here are some clips from Live At The Robin:	Broadband (CD quality)	Dial-Up (AM radio)
So Fine, So Young
I Live The Life I Love

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7) Colin John "Live Voodoo Surfing From the Beachland" WMF Records
ColinJohnBand.com

After a decade in which he promised much and delivered memorable music in patches, Colin John relocated to the Mid West, and the change has worked wonders.

Aside from playing with Michael Hill, Phil Guy and a bunch of other fine musicians, Colin finally seems to have nailed down his own demons (or should that be voodoo) to come up with a warts and all live performance, that captures him at his best.

From the opening volley of notes, its clear he's shooting from the barrel. Long time fans will know the handful of opening songs, from the funky "For Your Pleasure" to the more muscular blues of "Beer Drinking Woman", on which Colin extends his guitar playing to the full.

On "Hoodoo Voodoo" he hits the groove full on, complete with a Roger Mayer inspired guitar tone that will shake the walls. And by the time of his Hendrix end-piece, "Voodoo Chile - Slight return, Part 3", you just know it takes a player of real calibre and voodoo soul to successfully resurrect the ghost of Jimi.

A quick further mention for Roger Mayer of Mayer FX. This is a guy who aided Hendrix to the top, and has worked with bob Marley, The Isley brothers, and Steve Wonder, and I fancy he knows about guitar players, of whom Colin John is one of the best in the contemporary blues rock scene.

Here are some clips from Live Voodoo Surfing From the Beachland	Broadband (CD quality)	Dial-Up (AM radio)
Beer Drinking Woman
Hoodoo Voodoo
Voodoo Chile - Slight Return Part 3

 

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8) Aynsley Lister "Live" Ruf Records
AynsleyLister.co.uk

From the opening brace of down home acoustic pieces to the more hard hitting rock idiom of the impressive "Balls of Steel" to the stand out rocker "Angel O' Mine", it quickly becomes clear that what you hear is what you get.

Just like the man himself, Aynsley's music offers few compromises. His career thus far has seen him grow with Clapton and SRV influenced Rock Blues, and has seen him play some eloquent acoustic guitar as on Tony Joe White's "As The Crow Flies", here.

But as this "Live" album makes clear, Aynsley has matured into a brusque rocker. Listen to his new songs such as "Snake" and you can hear the stacatto guitar grooves of Gov't Mule, or  on "Everything I Need", there's the ghost of Rory Gallagher.  There's plenty of other influences of course, especially ZZ Top, but what is a guitarist without a context. Happily Aynsley is forging his own style, and embracing hard rock along the way, and in a contemporary music field bereft of out and out fiery players this is no bad thing.

Here are some clips from Aynsley Lister "Live":	Broadband (CD quality)	Dial-Up (AM radio)
Angel O' Mine
As The Crow Flies
Snake

 

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9) Roger Chapman & The Shortlist "Mail Order Magic" Mystic Records
Chappo.com | MysticRecords.co.uk

“Mail Order Magic” was Roger Chapman's third solo album but his first comprising but his own songs along with valuable input from guitarist Geoff Whitehorn and former fellow Family member Poli Palmer.

24 years on from its original release, the album still sounds, fresh, quirky and includes a couple of Roger's biggest songs and a few of his stage favourites;

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10). Billy Boy Miskimmin "Billy-Boy Comes Clean" Zed Records
BillyBoyHarp.com

This album has actually been out for the best part of 12 months but like a surprise trump card, just ended up in my hands. For the uninitiated, Billy-Boy is the power house harp player who crossed the Irish Sea to make his name with 9 Below Zero and more latterly The Yardbirds, with whom he still displays his considerable harp tone.

"Billy Boy Comes Clean" offers 11 cuts co-written with 9 Below's Dennis Greaves, and from the opening wailing harp through the sweeping groove filled melody of the opening "Déjà Vu All Over Again, you could be forgiven for thinking this was a 9 Below outtake. Aside from his r&b material Dennis Greaves works a hypnotic groove, and together with Billy's fiery playing and a tough vocal the pair make a good fist of some tough material. There's the self explanatory "East Side Boogie" the funky Billy Rap "God On Their Lips, Blood On Their Hands", and some lovely lyrical harp in between Lou Martin's tinkled ivory's on "My Mate Paul".

For the rest only Billy's passable vocals stop this from being a great effort, and there's definitely a song writing team in the making between Billy Boy and Dennis Greaves.

Here are some clips from Billy-Boy Comes Clean:	Broadband (CD quality)	Dial-Up (AM radio)
Deja Vu All Over Again
God On Their Lips, Blood On Their Hands
My Mate Paul

 

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