WFHB FireHouse Broadcasting

Bailey, Ray – “Cruisin’ for a Bluesin’ – (Tondef Records)  B

Los Angeles guitarist does a second studio album with blues that move smoothly through guitar work reminiscent of BB and smooth vocals to match (though sometimes he relies a little heavily on vocal effects).  Backup band keeps the groove smooth too—mixed toward the back so even when Bailey pulls out the SRV licks, the band is well back in support (#3). This seems like a cross between listening jazzy-blues (studio stuff) and a rhythmic collection. Mostly mellow approach.

Bond, Debbie – “Hearts are Wild”  (Blues Root Productions) B-

Bond has steadily been working, fronting her own band since her early days with Albert Collins and she’s still playing great guitar licks with a tight band. Her songwriting has been a work in progress, and she gets points for continuing to explore vocal adventures that to me still waver a bit – even into the fractured and wobbly (her weak point). The band and her playing put down a solid foundation, clearly showing their strengths. Nice guitar there.

Browne, Michael Jerome – “The Road is Dark” (Borealis Records) A

Described as a child prodigy, Browne was born in South Bend, but raised in Canada. He was always enamoured of the acoustic guitar sound, and quickly put it to work on any number of styles. After years of acclaim and world traveling, Browne here throws out a seamless collection of compelling acoustic blues with Americana touches on guitar, banjo, piano, fiddle, mandolin and taste. Really bristling with talent and his hair isn’t even that gray yet.  Shucks.  Might be called country blues, although it has more of a modern feel and seems more accessible, though thematically it is fairly dark.

Carroll, Walt & Clever Blue – “This Old House” (Walt Carroll Music) C

Texas band on the rock side – touches of Springstein’s sound with big sax backup.  Singing doesn’t stand out and playing is adequate.  Not recommended for WFHB.

Champion, Grady – “Dreamin” (Sampler from)  (GSM Records)  A-

Youngest of 28 kids, Champion has emerged as one of the younger blues artist making an impact on the scene. He’s known for writing songs that speak his truth (many protest tunes among the collection).  Here he puts out a 3-song sampler from his recently released album “Dreamin’.”  (Strangely #2 and #4 are the same song with slightly different endings.) Nice sense of beat throughout that instantly engages listener…nice voice too and making that a triple threat – good songwriting.  Nicely done.  Glad to hear the young ones doing well. Interested to hear whole album.

Geremia, Paul – “Love My Stuff” (Red House)  A

Well, Bloomington ALMOST got to see Paul Geremia and his wonderful acoustic blues once, but his house burned down and he missed the gig. Recognized as one of the very best country blues acoustic artists in the country, Geremia is truly a master of playing country blues. He started over 40 years ago, slowly becoming aware of acoustic blues after learning harmonica. Over the years, he’s lived near and hung with Fred McDowell, Blind John Davis, Skip James, Son House and Howlin’ Wolf, among others. Country blues, though respected, are not always as admired as the urban blues, but Geremia remains one of the best in carrying on the tradition of front porch storytellin’. Vocals grow ever more relaxed into the genre and the picking (6 and 12 string + harp) is just great. Nice for all mixes.

Huxster – “Huxster” (Independent)

Three-piece basher rock. Not recommended for WFHB.

Jacobs-Strain, David – “Live from the West Coast” (David Jacobs-Strain Music)  A+

Once in awhile someone appears with a completely fresh style and breathtaking ability to sink into the center of music…this describes the young David Jacobs-Strain who, at age 12 was performing professionally (Biscuits and Blues in San Francisco) and adept at the country blues styles of Robert Johnson, Lightnin’ Hopkins, etc. His parents fostered that knowledge by introducing him to the old masters, and his interests grew under influences of Bob Brozeman to a great love of folk. Melding these influences, he quickly added his own extremely expressive vocals and wrote his own tunes, becoming the youngest ever faculty member (age 12 also) of the Port Townsend Country Blues Workshop. Ever widening interests (African, Indian, Middle Eastern, Appalachian & British folk music) and endless musical curiosity brought him wide acclaim (in 2001 he was appointed a faculty member at the Augusta Heritage Center and he’s opened for Boz Scaggs over 64 times). His stunning guitar work (esp. slide), heart-felt vocals and songwriting frankly put him in a class by himself that he jokingly calls “gangsta-grass” or “one-man arena rock.” On this disc he is wonderful playing/singing solo and excellently backed solely by very tasty harmonicist Bob Beach. Quite a team.

Levee Town – “Pages of Paperwork” (Independent)  B-

Four-piece from Kansas City, five-sixth rock and a smidge of blues maybe.  All four members contribute vocals which gives the presentation lots of variety and a fuller sound.  Uptempo rock predominates and the harp player complements that sound nicely.  Some tunes a little too arranged. Getting’ the ya-yas out of the Midwest.

McCuller, Arnold – “Soon As I Get Paid” (What’s Good Records) A-

How often the truly talented, for one reason and another, go unnoticed by the general public, yet artists know and appreciate them. Arnold McCuller is one such…a masterful singer (another raised with a gospel background – his folks were wonderful church singers). A rarely talented session singer, he soon drew attention and sang with many well known artists (Aretha, Diana Ross, Lyle Lovett, Bonnie Raitt, Linda Ronstadt, Beck, about to be featured on the new Eric Clapton disc, etc.) and tours regularly with James Taylor and Jackson Browne. From the first note here you can’t help realizing how at home he is with his vocals, easily moving from silky smooth to shout and back in his alto-to-soprano grooves. On this disc David Hildago, Jimmy Johnson, David Kalish and other greats put very cool backup to his originals. Not all great backup singers can pull off the solo stuff, especially when it fits no particular genre, but it’s hard not to like McCuller’s moves.

Reverend Raven & The Chain-Smokin Choir Boys – “Shake Your Boogie” (Nevermore Rec.) B+

Leader of the band with perhaps the coolest blues name going, the Reverend is just plain dedicated to the blues – esp. the kind that gets you dancin’. A road dawg of the first order, he’s been burning up the roadhouses for awhile. Letting his bad boys walk all over the tunes with great saxophone support (Big Al Groth) and harp (Madison Slim) as well as a host of great rhythm section players  behind his jumpin’ guitar, he keeps things movin’.  A Chicago south-sider, the Rev did a long stint in the Navy and then went for the blues! Traveling to Milwaukee (an increasingly recognized center for good blues), he hooked up with Madson Slim and other usual suspects (Billy Flynn, etc.) and before long he was a blues lifer along with the C-boys.  Loves the dance beat.  So DOES his crowd. So do I, but I REALLY love it when he gets down on the slow blues with that gutsy guitar (#4) and sax back (#9).

Roberts, Roy – “Strange Love” (Ocean Beach Records) B

Horns and big band (heavy on the bass) backs up Rogers who has waffled back and forth between gospel, soul, country, back to gospel and now into soul-blues, aiming (I believe) at soul all along. Even spent some time backing Otis Redding, which he doesn’t hesitate to reference (#5) and clearly emulates. Ok singer…not Otis. Points for hanging in there though approach seems dated. Nearly had to call up Shaft to report the funkification of “My Love Bone.” 

Rush, Bobby – “Show You a Good Time” (Deep Rush Records) A

Bobby Rush just can’t let you sit in your seat. Blues/funk and lots of attitude. Band with horns, tasty arrangements and his regular great lyrics/songwriting, topped with harp. How can it be bad?  He’s a the top of his game-writing songs that get you on your feet and make you laugh (“He’s a sniffer.”). He gets down acoustically and rockin’ when he feels it, but always with a great feel. This one is heavy on de funk…um um um!  He’s been a great figure on the blues and funk scene for a long, long time, and he just keeps getting better.  The beat master.

Various – “The Blues—An Evolution” (Electro Glide Records)  C-

Four groups offer three tunes each to showcase the Electro Glide Label’s idea of the blues. The first artist:  Big Dog Mercer feels the blues “chose” him, but I think he should decline the dance. The second, Brandon Santini pulls off a pretty nice chunky shuffle with “She’s Sweet Like Honey,” but overall may need relies a lot on harp distortion to put his point over.  Danny & the Devils sound like weekend warriors that I hope are havin’ fun, but no cigar. Tom Holland and his Shuffle Kings are the only group here who put over the blues feel with some tasty slide playing and expressive vocals.  “Keep on Playing” is right out of Chicago’s south side and his other two (#11 & 12) are roadworthy, but generally I think Electro Glide Records needs to eat more ribs.