A.C. Myles • Reconsider Me

Myles

A.C. Myles

Reconsider Me

2014

http://acmyles.com/

 

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.

 

TOM HYSLOP

 

The artist kindly provided the review copy of this CD.

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Snap! Your Fingers

Finis Tasby - Kid Andersen

Finis Tasby & Kid Andersen

Snap! Your Fingers

Bluebeat Music, 2013

http://www.bluebeatmusic.com/product_info.php?products_id=20625

http://www.themannishboys.com/members/finistasby.html

http://deltagrooveproductions.com/music/artists/finis_tasby/main.html

Finis Tasby is a bluesman of unimpeachable qualifications. He got his start in Dallas in the ’50s, where he backed blues legends such as Lowell Fulson and Freddie King and soul stars like Clarence Carter and Z.Z. Hill, and continued in Los Angeles in the 1970s, where he worked with Big Mama Thornton and Percy Mayfield and began making records under his own name. His career stretches into the current decade; as a pivotal figure in The Mannish Boys supergroup, Tasby has recorded and performed with an ever-changing cast of all-stars.

This new release finds the great soul blues singer in the company of an entirely different set of top-flight musicians, a Bay Area contingent that includes Kedar Roy (bass) and June Core (drums); Lorenzo Farrell, Bob Welsh, and Sid Morris (keys); and Ed Early, Jack Sanford, and Terry Hanck (horns) making up the core band. Sharing space on the marquee with Tasby is Kid Andersen. Andersen is an acclaimed multi-instrumentalist, nominated in the Guitar category in the 2013 Blues Music Awards, and known for his work as resident mad scientist/genius guitar player with Rick Estrin & The Nightcats, as well as for his solo career and many side projects. He is also a respected producer with an ever-growing list of credits, and owner of Greaseland Studios, where Snap! Your Fingers was cut in 2011.

The program offers sublime soul interpretations that show originality while maintaining an authentic sound. The title track gives Joe Henderson’s original a funkier, more explicit country soul edge, replete with twangy baritone guitar, crisp fills and a snappy, chicken-picked guitar solo, strong organ, and a fine horn chart. Tasby is as wonderfully mellow and smooth as Brook Benton (no mean feat!) on a lushly arranged “Rainy Night In Georgia.” Don Covay’s hard R&B burner “People Sure Act Funny” is recast as a Ray Charles-style call-and-response number, featuring Lisa Leu Andersen as Raelette-in-chief on a duet with Tasby. Kid’s skittering guitar solo and clavinet playing are essential elements in the sound. The bouncy “Up And Down World” here, quite close to the original, is a perfect vehicle for Tasby, whose singing is often much in the style of Bobby “Blue” Bland.

Other songs are grounded in straightforward blues. Another Bland classic, “Rockin’ In The Same Old Boat,” hews close to the ominous, one-chord original, but something in the guitar parts (a wah-tinged rhythm part, a fuzz-toned lead) gives the track a fly, even pimpadelic, sheen. “Ghetto Woman,” a B.B. King title in a minor key along the lines of “Thrill Is Gone,” flows with cool elegance. In Z.Z. Hill’s “Don’t Make Me Pay,” Roy’s solid bass line and Core’s brilliant drumming produce a tough bottom end, accented by Morris’s Wurlitzer electric piano, Farrell’s organ, and Andersen’s trebly, stinging guitar. An incredibly loose “Blue Shadows” (the horns sound like they’re just blowing) is held together by Bob Welch’s piano, Farrell’s organ, and a solid rhythm. Tasby’s vocal here is even more than usually charismatic (and reminiscent of Lowell Fulson’s), and guest guitarist Elvin Bishop turns in a beautiful, very conversationally phrased solo. A quiet, nuanced “Worried Life Blues,” marked by Andersen’s tightrope-walking guitar break, leads into the hard-swinging closer, “Thank You Baby,” another great number in which horns, guitar, and keys take turns at center stage.

The song selection is excellent, the ensemble playing outstanding, and Tasby–masterful, gritty, and expressive–is singing at the height of his powers. Snap! Your Fingers qualifies as essential listening for blues and soul fans. Beyond hearing and enjoying the music, buying this CD is important for another reason. Half of the proceeds (yes, an incredible 50%) from the sale of this album go directly to Finis Tasby, who is recovering from a recent stroke.

TOM HYSLOP

I purchased this CD from Bluebeat Music, where it is exclusively available. Thanks and respect to Charlie Lange for proving yet again that he is as great a friend to musicians as he is to discerning listeners.