All interested artists with eligible releases will want to read this:
The awards were handed out in Memphis on Thursday, 7 May. The 36th Blues Music Award winners (in bold) are:
Hard Luck Child: A Tribute to Skip James – Rory Block
Jericho Road – Eric Bibb
Jigsaw Heart – Eden Brent
Son & Moon: A Tribute to Son House – John Mooney
Timeless – John Hammond
Can’t Even Do Wrong Right – Elvin Bishop
Living Tear To Tear – Sugar Ray & the Bluetones
Memphis Grease – John Németh
Refuse to Lose – Jarekus Singleton
Wrapped Up and Ready – The Mannish Boys
B.B. King Entertainer
Elvin Bishop Band
John Németh & the Bo-Keys
Rick Estrin & the Nightcats
Sugar Ray & the Bluetones
The Mannish Boys
Best New Artist Album
Chromaticism – Big Harp George
Don’t Call No Ambulance – Selwyn Birchwood
Heavy Water – Fo’ Reel
Making My Mark – Annika Chambers & the Houston All-Stars
One Heart Walkin‘ – Austin Walkin’ Cane
Contemporary Blues Album
Can’t Even Do Wrong Right – Elvin Bishop
Original – Janiva Magness
Refuse to Lose -Jarekus Singleton
Hornet’s Nest – Joe Louis Walker
BluesAmericana – Keb’ Mo’
Contemporary Blues Female Artist
Contemporary Blues Male Artist
Gary Clark Jr.
Joe Louis Walker
From His Head to His Heart to His Hands – Michael Bloomfield (Columbia/Legacy)
Live at the Avant Garde – Magic Sam (Delmark)
Soul & Swagger: The Complete “5” Royales 1951-1967 – The “5” Royales (Rock Beat)
The Modern Music Sessions 1948-1951 – Pee Wee Crayton (Ace)
The Roots of it All-Acoustic Blues – Various Artists (Bear Family)
Michael “Mudcat” Ward
Willie J. Campbell
Sugar Ray Norcia
Koko Taylor Award
Alexis P Suter
Pinetop Perkins Piano Player
Rock Blues Album
Step Back – Johnny Winter
Goin’ Home – Kenny Wayne Shepherd Band
Time Ain’t Free – Nick Moss Band
heartsoulblood – Royal Southern Brotherhood
The Blues Came Callin’ – Walter Trout
“Another Murder in New Orleans” written by Carl Gustafson & Donald Markowitz, performed by Bobby Rush and Dr. John with Blinddog Smokin’
“Bad Luck Is My Name” written and performed by John Németh
“Can’t Even Do Wrong Right” written and performed by Elvin Bishop
“Let Me Breathe” written by Janiva Magness & Dave Darling, performed by Janiva Magness
“Things Could Be Worse” written by Ray Norcia, performed by Sugar Ray & the Bluetones
Soul Blues Album
Blues for My Father – Vaneese Thomas
Decisions – Bobby Rush with Blinddog Smokin’
In My Soul – The Robert Cray Band
Memphis Grease – John Németh
Soul Brothers – Otis Clay & Johnny Rawls
Soul Blues Female Artist
Soul Blues Male Artist
Traditional Blues Album
Common Ground: Dave Alvin and Phil Alvin Play and Sing the Songs of Big Bill Broonzy – Dave Alvin and Phil Alvin
For Pops (A Tribute to Muddy Waters) – Mud Morganfield & Kim Wilson
Livin’ it Up – Andy T-Nick Nixon Band
Living Tear To Tear – Sugar Ray & the Bluetones
The Hustle is Really On – Mark Hummel
Wrapped Up and Ready – The Mannish Boys
Traditional Blues Male Artist
Billy Boy Arnold
Sugar Ray Norcia
It’s extremely likely I will be sharing some of my thoughts about the results, so check back. In the meantime, I would be interested in yours. Please comment.
David Mac again invited me to join other contributors in submitting a selection of my ten favorite CDs of 2014 to his fabulous site Blues Junction (http://bluesjunctionproductions.com/daves_top_nine_list_of_top_ten_lists). After much agonizing decisionmaking, I delivered this list:
John Németh, Memphis Grease (Blue Corn)
Sean Costello, In the Magic Shop (VizzTone)
Dave Alvin & Phil Alvin, Common Ground (YepRoc)
The Mannish Boys, Wrapped Up and Ready (Delta Groove)
Mark Hummel, The Hustle is Really On (Electro-Fi)
Denilson Martins, Big D (Chico Blues)
Nathan James, Natural Born That Way (Sacred Cat)
Bob Corritore, Taboo (YepRoc)
Raoul and the Big Time, Hollywood Boulevard (Big Time)
Sugar Ray & the Bluetones, Living Tear to Tear (Severn)
Making the final cuts really came down, in many cases, to a coin toss. So, for the record, here are the rest of the best of 2014 – I daresay every bit as good as my top 10. And I’m certain I overlooked some titles I ought to have remembered.
Robin Banks, Modern Classic (self)
Big Jon Atkinson, Boogie With You Baby (Bluebeat)
Al Blake, Blues According to Blake (Soul Sanctuary)
Nick Moss Band, Time Ain’t Free (Blue Bella)
Laura Rain and the Caesars, Closer (LRC)
Brian Carpy, Rockin’ Bollocks (Bamboo)
Magic Slim & the Teardrops, Pure Magic (Wolf)
Loot Rock Gang, That’s Why I’ve Got To Sing (Big Muddy)
Madison Slim, Close…But No Cigar
Jim Suhler, Panther Burn (Underworld)
Tony Vega Band, Shakin’ At The Easy! (Lucha Libre)
Kai Strauss, Electric Blues (Continental Record Services)
Jim Liban with the Joel Paterson Trio, I Say What I Mean (Ventrella)
Aki Kumar, Don’t Hold Back (Greaseland)
Rick Estrin & The Nightcats, You Asked For It…Live! (Alligator)
Elvin Bishop, John Németh, and Sugar Ray Norcia lead the nominees with six (count ’em, six) nominations each! A complete list at blues.org: http://www.blues.org/2014/12/36th-blues-music-award-nominees-announced/
Join the Blues Foundation for as little as $25 and you become eligible to vote.
I’m Sticking With You
Consider his association with such legends as Johnnie Taylor, Johnny “Guitar” Watson, Otis Rush, Lowell Fulson, John Lee Hooker, Percy Mayfield, Jimmy McCracklin, and Albert King; the three Grammy Awards on his shelf; and his lengthy solo career: Bobby Murray rates among the most accomplished sidemen and bandleaders in the blues. Although he is often thought of as a West Coast musician, having come up in a band alongside Robert Cray, and having enjoyed 22 years working for Etta James, after 18 years Bobby Murray is surely a Detroiter. He holds the Detroit Blues Society’s Lifetime Achievement Award (2011), and his fourth album as a leader features some of the Motor City’s top talent on a world-class contemporary soul blues recording.
The guitarist’s core band on the recently released I’m Sticking With You included Dave Uricek (bass), Mark Thibodeau (organ), and Renell Gonsalves (drums), with occasional guitar from recording and mixing engineer/co-producer Brian “Roscoe” White. The set list, made up entirely of Murray’s original compositions and co-writes, encompasses slinky minor key grooves in the Robert Cray mold, gospel-drenched ballads, fresh-sounding shuffles, slow blues, and inventive soul blues and funk. Murray’s unique guitar work, which blends a lowdown approach with fluid, modern lines, is at the forefront, along with the contributions of several exceptional singers who assist Thibodeau, Uricek, and Murray with vocals.
Sticking opens with “Finders Keepers,” a chugging soul-blues number from Murray’s days with Frankie Lee. Here its drive is so relentless the take could easily slide into one of Otis Clay’s live albums. Organ and guitar solos are pithy and memorable; “Red” Redding gives a smoky, restrained, yet charged vocal performance. Singer Paul Randolph is superb on the title track, a staccato dance groove with funky accents and lovely backing vocals. Murray plays jagged, tangled solos in a modern, distorted tone. On “Ooowee,” strictly a down home, Jimmy Reed-inflected shuffle, his lead work alternates lazy “traditional” blues lines and chording with burbling, rapid-fire picking, always wedded firmly to the beat.
On “Comin’ Atcha,” White and Murray spar with solos reminiscent of Robben Ford’s style, but exciting. Laying down the minor key groove on this song only is a rhythm section of Ron Pangborn (drums) and Nolan Mendenhall (bass). Thibodeau’s piano opens “Rock My Soul” with a Ray Charles quotation, leading into a deeply soulful, gospel number with a testifying vocal by Barbara Payton, a memorable, two-chord figure, chiming rhythm guitars, and crisp lead guitar with Murray sounding much like Cray. (I’m sure he tires of reading that, but on this cut it is true.) Tom Hogarth sings “Shake It Baby, Shake It,” a light, upbeat, funky tune remotely like “Groove Me,” with soul-stew double-stops and hard-driving interludes.
Redding is back at the microphone on “Baby Needs Some Lovin’ Too,” which could almost be a forgotten classic from the heyday of Chicago soul save for a middle section that bedims the song’s sunny mood (wonderful writing here), and on the slow blues “Bad Case Of The Blues,” a showcase for Murray’s tough, tasteful guitar. “Baby, What Took Your Love Away” is another crisp, mid-tempo, minor key song with dramatic movement. Murray slathers “Movin’ On Down The Line,” a swaggering blues-with-a-touch-of soul, with greasy guitar. The program comes to a close with the churning, dark funk “Building Of Love.” Take a killer bass line, add wah and/or Leslie effects on the guitar, a few catchy and complex changes, and you have a solid slab of classic Detroit soul, updated for our times.
“A modern take on classic styles” aptly describes I’m Sticking With You. Bobby Murray and company have delivered a disc that sounds fresh yet has the ring of familiarity. Its 11 tracks are well-written, expertly sung and played blues, soul, and funk, every one a winner.
I received this CD courtesy of the Detroit Blues Society (detroitbluessociety.org/), in whose Blues Notes newsletter of August 2014 this review originally appeared.
Laura Rain and the Caesars
Available from cdbaby.com and amazon.com
Detroit’s Laura Rain and the Caesars seem to have internalized everything good about blues, R&B, funk, and soul, and in the process created something smart and soulful of their own: a retro modern vision of soul and blues music, immediately familiar yet completely fresh. This set expands on last year’s debut Electrified with more great songs, killer arrangements, a broader range of styles, and a deeper blues feeling that permeates every track.
The core group of Caesars remains the same: Ron Pangborn (drums and percussion), Phil Hale (keyboards, including left-hand “bass”), and George Friend (guitar, co-writer, recording and mixing engineer). For Closer, Rain and bandleader Friend had very definite notions about how the completed songs ought to sound, and to that end brought in ringers in some cases to achieve specific goals. The album credits list drummers Terry Thunder, Todd Glass, and Rick Beamon, with Sheila Hale on tambourine; Leon Powell and Jim Simonson (electric bass); Duncan McMillan (organ); and Johnny Evans (saxophones) and John Douglas (trumpet). This Detroit All-Star team has laid down a record that sounds full when it needs to and spare elsewhere. Uptown and lowdown, hungry, vivid, and confident, Closer is just plain badass.
In the album opener, “Seasons,” the Caesars build a funky brick house on a bone-crunching, AC/DC-worthy riff. Rain’s impassioned call-and-response vocal sanctifies the grounds. “Super Duper Love” (not the Sugar Billy song covered by Joss Stone) is a knowing, instant-classic 21st Century soul blues hit that grafts a gritty guitar break and an indelible vocal hook onto a syncopated, bass-and-organ figure that could have come straight from an early-‘80s side by Prince or Rick James. Another unforgettably catchy melody tops “Dirty Man,” an ultra-funky slice of modern-leaning, mid-tempo R&B. Slightly more classical in form, “Meet Me in the Middle” is an irresistible dance number, filled with swirling organ, hard-hitting horn blasts, and a slamming rhythm section. Rain’s phrasing and timbre are ideally matched to the song, and absolutely delicious. Her sass and enthusiasm are reminiscent of another great Detroit singer, a legend whose initials are A.F. An infectious, straight ahead blues, “Squawkin’” updates Little Milton’s immortal “That’s What Love Will Do” with an especially hip bass line, ferocious drumming, and the stinging guitar of Caesar-in-chief Friend. Rain’s on-the-money wails are heart-stoppingly effective.
The Caesars visit the deep South on several numbers. Soulful backing voices and an insistent rhythmic pulse give “He Is” a distinctly gospel-inflected, Muscle Shoals sound that would make Mavis Staples envious. Friend’s terse lead guitar neatly cuts through an atmosphere thick with electric piano and clavinet. “Awful Sin” comes straight from the swamp. A dark, brooding tonality puts the song in a class with Tony Joe White’s “Did Somebody Make A Fool Out Of You,” but Friend’s slinky guitar lines, wobbly with tremolo, and a greasy, ominous groove stamp it with that difficult-to-capture Staple Singers feeling. “All Of Me” could be a lost O.V. Wright or Ann Peebles record. Its bluesy groove, something like “Breaking Up Somebody’s Home,” sets a rock-solid rhythmic hook that frees Rain to do her thing; a sophisticated middle section moves the song to another, transcendent level. Finally, still in the Royal Studio mode, “Closer” has all the hallmarks of a creamy Willie Mitchell production for Al Green. From the drumming (and the drum sounds) up through the deep-grooving electric bass, horns, Hammond organ, and spare, precise guitar, the silky feel sets the mood for Rain’s simply beautiful melody line. Lovers of Memphis soul will recognize this affectionate tribute as a great song.
Rain excels at the slowest tempos, too. With swelling horns in the deep soul tradition, tough guitar, and a stirring vocal that moves with ease from subdued to flamboyant, “Your Love Is Not Broken” evokes the depth and searing intensity of James Brown’s devastating Live at the Apollo ballads. When she hears this song, Bettye LaVette will wish she had it first. The disc ends with “My Heart is Open,” a soul ballad with all the stunning sweep and scope of a Hollywood epic and none of the schmaltz. A Marvin Gaye vibe comes across in the song’s elegant chords as outlined by Phil Hale’s piano and strings, and in its sonics, an impossible combination of intimacy and spaciousness. Much of its success rests on Laura’s amazing performance: a masterpiece of dynamics, pure, unaffected, and deeply emotional.
I tried to describe the wondrous singing of Ms. Rain in my review of Electrified (see http://alturl.com/4t3vo) and will confine myself here to reiterating that very few vocalists are in her class when the discussion gets serious about technique, instrument, emotion, and absolute freedom of expression. Laura Rain is a real soul singer, period. She is recorded better this time out as well, with frankly incredible results. The arrangements are first-rate, and the songs extend the arc of blues and soul music in unexpected ways, while paying respect to their influences. Closer is a varied album of soul and blues that could have been made by Johnny “Guitar” Watson or Johnnie Taylor. Anyone serious about soul and blues music ought to hear this meticulously crafted, heartfelt record.
Jason Bone & Jimmy Alter
The Bottom Line EP
Jimmy Alter’s soon-to-be-released five song record follows an earlier EP, Rock With Me. The young guitarist from St. Clair Shores, Michigan, and his band mate, guitarist Jason Bone, sing blues-based music with heart and skill. The pair has selected this short set wisely, for although all of the songs are covers, none is unknown (or, with one exception, even obscure), yet none has been frequently re-recorded, thereby introducing an element of surprise while maintaining some familiarity. That’s the way to do it!
The program opens with a bass line and hammering piano, both straight out of Little Richard, kicking off a raucous number that proves to be “Player,” an exciting throwback classic by Nick Curran. The band dispatches that tune in 2:20, just enough time to squeeze in a couple choruses of rock ‘n’ roll guitar inspired by Berry and Richards. Next up is the obscurity–I had to Google the lyrics to positively identify “The Bottom Line,” a noir-ish, mid-tempo song from the late harmonica man Paul de Lay. Bone really gets across the character of the narrator, a lonely outsider. A tersely phrased guitar break yields to Jim David’s subtly dazzling organ solo. Both players understand that what isn’t played is as important as what is.
Alex Lyon (bass) and David Watson (drums) cut a strong groove behind the tough take on “Funky Mama” that centers the set. Those unfamiliar with the original version would be forgiven for scanning their Jimmie Vaughan records trying to identify this instrumental shuffle. Bone holds down the rhythm, playing greasy lines through a Leslie cabinet in tribute to Big John Patton’s organ. First David solos on piano; next Alter, Bone, and Motor City Josh take turns on guitar. None really references Grant Green’s playing on Lou Donaldson’s classic version; instead we hear three snappy solos, each with a lot of personality, ranging from loopy, carnival-esque ideas through snarling, Albert Collins-inflected lines, and ending with a few unison run-throughs of the head arrangement, all in just over three minutes.
Hats off to Alter for reaching into the “5” Royales’ catalog for “Thirty Second Lover.” He hews close to the original for the guitar introduction and fills, but this version is far from a clone: the tempo seems slower and the track here has a distinctly boozy, New Orleans party feeling. Jimmy and the backing vocalists acquit themselves enthusiastically and well, and the guitar break is crisp and impressive. For the final cut, Bone turns to the great American band Los Lobos for their beautiful, haunting “The Neighborhood.” Everything comes together here, from the rhythm section through the electric piano touches and organ solo (take note of David’s crafty Tito Puente/Santana quotation) to Jason Bone’s vocal, in which he sounds amazingly like David Hidalgo, to a guitar solo that is at once flashy and deeply soulful.
A song like this has far more in common with the blues than do any 500 blues rock clichés. Bone and Jimmy Alter ought to be commended for recognizing that kinship, and for being willing to stretch the boundaries in appropriate and fresh directions, while remaining emphatically loyal to blues tradition. They deserve credit too for their nerve. It would be nigh impossible to top Lowman Pauling’s wit and soul, or Curran’s shattering energy, but on this enjoyable EP Alter and Bone hold their own, with mature singing and playing that promise a huge upside.
The artist provided an advance copy of the EP. This review was commissioned by the Detroit Blues Society and published in the July 2014 edition of its BluesNotes newsletter. Download a PDF at the DBS Web site, detroitbluessociety.org
Blues According To Blake: …a road less traveled
Soul Sanctuary, 2013/2014
Al Blake is a figure of particular importance in both the preservation of a strong traditional element and the continuing development of what has come to be called West Coast blues. Anyone who has listened to blues music with anything more than a casual dedication over the past 40+ years is familiar with Blake’s work, if not his name. The California-based artist achieved some fame and an undying legacy of excellence during the ‘70s and ‘80s as the voice, harmonica player, and primary songwriter of the Hollywood Fats Band. More recent years have found him releasing superb albums both as a solo artist and at the helm of the Hollywood Blue Flames, in collaboration with the surviving members of the Fats Band, whose namesake, guitarist Michael “Hollywood Fats” Mann, died in 1986. His latest recording is clearly a labor of love. Blues According To Blake: …a road less traveled is a spare and beautiful expression of blues from close to the heart.
Blake delivers pre- and post-war styles with a master’s hand on this all-acoustic affair. He performs four songs alone, on harmonica or guitar. On the chugging midtempo harp instrumental “Old Time Boogie,” Blake delivers a perfect mix of chords and single note lines, accompanied only by his tapping foot. He takes “Easy” perhaps a little faster than the classic Sun single by Walter Horton and Jimmy DeBerry, and without guitar. While Walter’s hornlike tone remains inimitable, Blake recreates his fluttering vibrato and breathing-through-the-harp effects to a T. Bravo! The guitar tracks include a dark-toned adaptation of “Big Fat Mama” to which Blake adds a pulsating, single bass note beneath intricate runs like those in Tommy Johnson’s original, and the splendid new line “[she] don’t need no diet plan.” He also covers Slim Harpo’s “King Bee” in a swaggering, country blues rendition. It was an inspired moment that produced this interpretation, which filters the swamp blues classic through the sensibility of Lightnin’ Hopkins at his most doomy. Blake’s National steel-bodied resonator (I think) sounds like nothing so much as a trashcan with strings–and it is lovely.
The balance of the program features the contributions of several other musicians. Richard Innes’s drumming subtly drives “Hummingbird,” a shuffle as hard-hitting and crisply defined as Eddie Taylor’s “Bad Boy,” though instead of coming through a dirty-toned amplifier, it is played by Blake on that National resonator. “All the flowers are crazy about me,” indeed! The great blues and jazz pianist Fred Kaplan, another Fats Band alumnus, duets with Blake’s guitar on “Papa’s Boogie,” a sprightly shuffle with stop-time choruses in which lascivious currents bubble under Blake’s good-natured vocal. In “Music Man,” a low-key, Delta-style blues about an itinerant musician and ladies’ man, he again rolls the 88s behind Blake’s percussive, snapped guitar. Blake seems really to be feeling this hypnotic, dreamy vocal performance. Blake and Kaplan, with Innes again and the addition of bassist Larry Taylor, make a complete Fats Band reunion on a quietly sexy “Rock Me.”
Blake reserves his deepest expressiveness and bluest emotions for a pair of songs on which he is joined by guitarist Nathan James. “Precious Time” is a philosophical meditation on death and temporality with a focus both general (“Time waits for no one, not millionaires, not kings”) and specific (“Goodbye, old friend, you know time brings about a change”). Tremolo-picked, mandolin-like flourishes add a distinctive touch to rhythmic echoes of Tommy Johnson in James’s accompaniment. In “City Of Angels,” Blake weaves his plaintive harmonica through a delicate figure played on the treble strings of James’s guitar as indelible images of waves and wind draw tight his rueful lyric of sin and heartbreak in Los Angeles. This is artistry at a high level.
Although it holds true to the conventions of the genre, a road less traveled in no way sounds like the work of an archivist. Rather, in its lack of affectation and unflinching honesty, this record sounds as if, just like John Lee Hooker’s boogie-woogie, it was in Al Blake and had to come out. Its lack of pretension or artifice makes Blues According To Blake the perfect restorative for listeners offended by the phoniness and wearied by the bombast common to practically every style of music today (with much of what is marketed as “blues” sadly no exception). Depending on your listening habits, this record may at first sound a bit subtle to you. If it does, play it again and listen closely. Mr. Blake’s blues will move you.
The artist kindly provided this CD for review. It is available for purchase at http://www.bluebeatmusic.com
The Blues Music Association has announced:
The Blues Music Awards honor those professional artists and recordings that stand out within the eligibility period, which runs from November 1 through October 31 of each year. In addition to the awards for the past year’s top recordings, additional categories honor individual, actively touring artists for their overall excellence and accomplishment in that year.
There are three components to the submission process. You should do step one when the CD is released. You should do step 2 as early as possible. It is up to you to decide whether to participate in the third option, but if you do, send it in as early as you can.
Complete details here:
Concentrating on his solo career after some very respectable positions as sideman, including work with Fillmore Slim and a stint with John Németh, the talented Northern California-based singer and guitarist A.C. Myles is set to release his second solo album (after a live record, now out of print) very soon. I was privileged to hear an advance copy of Reconsider Me!
Produced by Kid Andersen at his Greaseland studio, Reconsider Me! spotlights Myles’s tough guitar playing and devastating singing. Its playlist is designed to touch on some of Myles’s influences and professional associates. Nearly half of the set consists of rockers. “Livin’ A Lie” owes much to Johnny Winter’s flamboyant 1970s recordings. Interesting sections and tempo shifts give the song a complex, hard edge that is softened, slightly, by an anthemic, radio-ready chorus. On the pumping boogie “Three Ways To Fall,” Myles evokes the sound of Winter’s Alligator period, positively nailing his slide guitar style and vocal mannerisms. The swaggering rocker “Call ‘em All Baby” is marked by hammering piano and sweet backing vocals over the chorus, with harmonized lead guitars emphasizing its unmistakable inspiration in Southern rock. Myles turns in a fierce and funky version of Rory Gallagher’s “Do You Read Me,” and transforms “Rock My Soul” into something a bit less country-fried than Elvin Bishop’s original, tipping a hat to the revival-tent enthusiasm of Delaney & Bonnie and Friends and including some very Clapton-esque guitar playing. Myles’s powerful voice is well suited to these rocking numbers, and–to judge by his enthusiastic screams–he has a blast singing them.
Blues are amply represented on Reconsider Me! Myles adapts Fillmore Slim’s superbad version of “Blue Monday” in an arrangement built on percolating drums and bass, organ and funky keyboards, and wah-wah guitar. His vocal is lovely and soulful, the guitar solo and chicken-picked fills perfectly conceived. Myles’s guitar absolutely stings on the gritty “Queen Bee,” with rubbery bends, wild double-stops, and killer instinct straight out of ‘60s-era Buddy Guy. “Death Bed Blues,” a slowish, midtempo straight blues with a relaxed shuffle feel, lands in the West Coast neighborhood of Lowell Fulson, groove-wise, with elegant guitar lines that could have come from Fenton Robinson, whose “You Don’t Know What Love Is” appears here, fleshed out with percussion and electric piano, with sublime guitar and a beautiful vocal. The entire album, in fact, is wonderfully sung, but the title track merits special attention. The country soul classic by Johnny Adams gets a simple, effective arrangement of rhythm section, organ, Floyd Cramer-style piano, and guitar, and while the Tan Canary is often cited as one of the best pure singers to work in blues and R&B, Myles’s performance yields nothing. Subtle shifts in timbre give his voice a country feeling; his phrasing is devastatingly expressive; and his glides into falsetto during the choruses are breathtaking. “Reconsider Me” is a show-stopper.
One number splits the difference between the rockers and the blues songs. “What Is Love” was originally done by The Loved Ones, a great and underappreciated Oakland-based band whose two albums on Hightone achieved a potent distillation of the rock-and-soul of the early Rolling Stones, the mid-‘60s R&B-on-the-cusp-of-funk of James Brown, blues attitude à la Junior Wells, and a faultless pop sensibility. Obviously Myles remembers them fondly, too, for he recreates their highly original sound flawlessly. Three cheers!
While it is likely that the purists won’t admit to liking everything here, they will surely find the blues-based material deeply enjoyable. It is also likely that those who perhaps came for the rock-inflected songs will stay to hear the soul and blues, and that non-purists will love all of Reconsider Me! That makes A.C. Myles’s new album just the sort of gateway drug I thoroughly endorse. Reconsider Me! promises to provide some of the most memorable moments of 2014.
The artist kindly provided the review copy of this CD.