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Cover photo © 2024 Laura Carbone In This Issue Anita Schlank has our feature interview with Toronzo Cannon. We have six Blues reviews for you this week including new music from Blue Deal, Diego Mongue Band, Gianni Massarutto & The Bluesiana, Doc Lou and The Roosters, Brad “Guitar” Wilson and Kirky TG & Sinkin’ Down. Scroll down and check it out! From The Editor’s Desk
Hey Blue Fans, Our 17th Annual Blues Blast Music Awards series is coming soon! We will announce the details of this year’s awards next week and begin accepting submissions from artists and labels beginning April 1. 2024. Albums released between June 1. 2023 and May 31, 2024 are eligible this year. Our Early Bird Ad Special was supposed to end this Friday, March 15, 2024 but we are extending this discount offer till the end of the month. So until March 31, you can lock in the best 2024 pricing on our affordable and effective advertising for your new album release or summer Blues festival. For complete details CLICK HERE or see our ad below in this issue. So act fast to get our best ad rates for 2024! Wishing you health, happiness and lots of Blues music! Bob Kieser |
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Blues Wanderings We made it out to the 38th annual birthday celebration of the Illinois Central Blues Club in Springfield, IL to catch a show by Alligator recording artist Chris O’Leary. This is the first time we have seen Chris with his new touring band. It was a quite impressive performance.
O’Leary is riding at the top of the Blues charts with his new album The Hard Line. The new band cooked and showed why this newly signed Alligator artist is receiving such attention. His songwriting has always been impressive and the new album is an amazing example of this.
Then we got a treat of some great Zydeco music by Dwayne Dopsie and the Zydeco Hellrasiers. It was a great way to celebrate one of the oldest and best Blues societies on the planet! |
Featured Blues Review – 1 of 6
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Independent Release 11 tracks – 42 minutes Germany’s Blue Deal consists of Joe Fischer on keyboards, cigar box guitar, harp and lead vocals. Tom Vela also provides vocals and is the lead guitarist, who acknowledges his influences as Jimi Hendrix and Stevie ray Vaughan. The band is completed by Jurgen Schneckenburger on drums and Martin Burger on bass and vocals. The band’s 2022 released album, Holy Ground, was well received by European and international press. The band competed and won the 2023 German competition for best band. Their win gave them entry into the 2024 International Blues Challenge in Memphis and the European Blues Challenge held in Braga, Portugal. The album opens with a hard rocking song that identifies his woman as a “Short Time Runner”, “she never stays home…might as well stay gone”. The title song following next is a ballad with Joe’s organ out in front and Tom’s guitar smoothly intertwining as Joe asks “How much can a man bear? And how much ache? I hate this burning ground. I wanna hold you. I wanna feel you.” “Hard Times” brings on the boogie as Joe advises “When you hit bottom, it can only go up” Joe’s organ trades leads again with Tom’s guitar, which kicks into a wah-wah. “Gilded Cage” starts very quietly with Tom’s soothing guitar slowly building steam and Joe says, “He tells her she’s pretty – there’s no one else but her. She knows that he’s a liar.” “She’s just a pretty face living in a gilded cage.” “Seen to be believed.” is another slow emotional ballad as Joe sings “Now you got me in your arms. Every minute we share is like a gift. ” While the song is certainly a soft blues, it has the feel of a song Foreigner or Journey might perform. “Favorite Mistake” rocks out with the frequently repeated line “You are my favorite mistake.” On “Got to Go”, Joe pulls out his harp for a touch of Mississippi styled blues as seeks “…to make good money. Hope the eagles don’t fly too high”. “Bluecata” is 1:45 of blues harp and guitar instrumental leading directly into “1942”, which immediately moves into a throbbing guitar run, a solid drum beat and Joe telling a tale of a kid imagining stardom playing a broom, “and nobody could stop you, and you let out your wrath”. “Stand By” is another blues rocker as “Drinks started flowing. She said I call ya soon.” “I think about her all the time. can’t get her out of my mind” “I hate to be on standby, it might be a waste of time”. The album closes on a very quiet note with Joe emotionally singing over his piano on “Over”. Joe notes that “Time is a Healer” with Tom’s compelling, quiet guitar work accenting the central part of the song. As the song reaches its end, Joe pushes the song into a crescendo as he further declares that he “hopes that is true”. While their songs have a definite point, a certain repetition in some lyrics robs the emotional impact that the band attempts to deliver. But the band’s instrumentals and Joe’s powerful vocals drive a nice mixture of song styles which provides an interesting listen. Reviewer John Sacksteder is a retired civil engineer in Louisville, Kentucky who has a lifelong love of music, particularly the blues. He is currently the Editor of the Kentuckiana Blues Society’s monthly newsletter. |
Blue Deal – Can’t Kill Me Twice
Featured Blues Review – 2 of 6
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Self-release 8 songs – 35 minutes While You Were Gone appears to be the debut album from the Diego Mongue Band, an intriguing combination based out of Berkshire County, MA. It’s difficult to know for sure, since the CD did not come with an EPK and the band’s website is somewhat light on detail. Having said that, however, While You Were Gone is also a fascinating listen, treading a fine line between blues, jazz-fusion and rock, beautifully produced and with some very impressive musicianship. Recorded at Studio9 Porches in North Adams, MA, (kudos to Patrick Gray Jr and Seth von Paulus for capturing a blisteringly powerful sound) While You Were Gone features eight songs (the CD does not provide writing credits, although only “44 Blues” and “Rollin’ & Tumblin'” were known to this reviewer) that are delivered with precision and passion. Opening with the aptly titled instrumental, “Intro”, which sounds like the Blues Brothers Band on acid impersonating early Deep Purple, each musician is given an opportunity to stretch out and warm up before the funky blues-rock of the title track and the introduction of singer Chantell McCulloch’s superb voice. Cam Bencivenga’s jazz-rock infused guitar solo is a highlight while the sudden and dramatic changes in tempo and structure are riveting. Mongue is a superb drummer who provides a very funky rhythm platform with Chase Bradshaw over which Joel Nicholas’s keyboards float. The origins of “44 Blues” have been traced back to 1920s Louisiana although Howlin’ Wolf’s 1954 version may still be the most well-known recording. Here the track initially starts with the same riffs Hubert Sumlin and Jody Williams laid down on Wolf’s recording before rapidly going off in a jam-band direction with some great keys from Nicholas and more heavy rock guitar from Bencivenga. The jazz-funk of “Give Me Strength” highlights McCulloch silky vocals and guest Liam Gizster’s keyboards before “Rollin’ & Tumblin'” is given a rocky re-working with nice tandem riffing from Bencivenga and Nicholas. The band slow things down for “Sleepless Night Blues” with Bradshaw taking over the guitar duties temporarily and more stunning vocals from McCulloch. Then “Find My Way Again” has neat interplay between bass, guitar and keys before the closing track “Blues All Day” ends the album on a toe-tappingly funky note, which somehow keeps launching into a heavy shuffle. While You Were Gone is a very impressive release from the Diego Mongue Band, which will appeal to any listener who enjoys their blues with a heavy dose of rock and jazz-fusion. Given that Mongue is currently still a student at Williams College in Williamstown, MA, we should be looking forward to a lot more music in the future from this exciting young talent. Reviewer Rhys “Lightnin'” Williams plays guitar in a blues band based in Cambridge, England. He also has a day gig as a lawyer. |
Diego Mongue Band – While You Were Gone|
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Featured Blues Review – 3 of 6
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Self Release 7 tracks: 33 minutes, 39 seconds. Call Me, Baby, the debut album from Gianni Massarutto & the Bluesiana, emerged as not only one of the best Italian blues albums of all time, but one of the best blues albums in 2023 in general. From the onset, Massarutto’s harmonica dominates the sound, which is saturated in the blues but drifts into jazz, funk, and calypso. The titular track opens up the album with a ripping harmonica swinging back and forth like a tipsy man drinking accompanied by saucy keyboard (Paolo Corsini). Massarutto’s gravelly, dark voice calls out “you know I love you, don’t treat me like that” in between howling harmonica that screeches up and down. A relatively tight album, 6 of the 7 tracks are originals written by Massarutto. Among these, “Black Cat” stands out as one of the strongest. An uptempo percussion march backs up a groovy, rhythmic vocal delivery, almost a rap. Gnarly keys revel in sadness and solitude as the band starts to get out there and jam like a Grateful Dead or Phish song. Massarutto sings with a swagger, “now it’s raining, I don’t have a hat”, as the bass guitar makes tight progressions. The band showed their capacity for the slow and mournful as well. “Sleep walk”, the only song not written by Massarutto, is a slow spinning romantic song that surely many will cry to. The harmonica sings a bittersweet tune that seems to freeze time in place, with a tender touch; coming in and out like someone waiting on a love that may never come. Corsini delivers a torrent of spicy piano on several tracks on the album with both smooth polish and emotional delivery. Corsini truly shows his chops on the Calypso flavored “The Right Man”. Recorded in March 2022 by Claudio Zambendetti at Input Level Recording Studio Italy, and mixed and mastered by Albert Igne, Call me, baby boasts excellent production, with a clean and crisp sound. Lyrically, Massarutto explores loneliness, heartbreak, love, and sex. In “Jelly Beans” shuffling harmonica acts as the star, with a teady pace as the Italian harp player croons “Love you baby, you’re sweet like jelly beans.” Admittedly, the lyrics lean towards the simplistic, but while they may lack sophistication or complexity, they also contain a quiet, stark beauty. Harmonica solos– absolutely shredding, gnarly performances– dominate the album. If you come to this album, above anything, it’s for the raw, electric harmonica that gives a gritty blues flavor to the music. This is not to underscore the cohesion, eclecticism, or pure feeling of the effort. “Come Home” displays many of the best aspects of the album. Sadness seeps through – it’s as if you can feel the piano keys drenched in a waiting man’s blues. Guitar lingers in painful spaces, as Maurizio Moschini slides up and down the neck with dexterity, smoothly. Massarutto sings “ Baby I’m blue. Please come back home,” and follows up the plea with a long and drawn out, whining harmonica that sounds like the tears of a man with the blues. Corsini performs well in this jazz inspired tune, sounding a bit like Oscar Peterson as Massarutto persistently blows the harmonica. The final track, “Boogie Woogie Woman” displays boogie woogie piano style in the vain of Chubby Checker with splashes of high energy harmonica. If this effort can be criticized, it’s for an excess of piano, especially in the last track, and for at times stretching songs out past their prime. That said Massarutto, a key harmonica player in Italy for over 20 years, clearly arrives here as a master of his craft. Call me, baby is a dazzling effort of diverse, yet cohesive songs, filled with emotion and carried by swinging harmonica and a talented band. Writer Jack Austin, also known by his radio DJ name, Electric Chicken (y Pollo Electrico en Espanol), is a vinyl collector, music journalist, and musician originally from Pittsburgh. |
Gianni Massarutto & The Bluesiana – Call me, baby
Featured Blues Review – 4 of 6
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Independent Release 14 Tracks – 56 minutes Doc Lou and his band make their home in the South of France. Enamored with the blues, he traveled around the US between 2010 and 2015 with extended stays in Louisiana and Mississippi where he met and hung out with numerous blues luminaries. He then formed his own band consisting of himself on lead vocals, harmonica and rhythm guitar, Jeff Hug on electric guitar and backing and lead vocals, and Mitch Geronimo on drums. Settling back into France, the band released two albums – Crowing Blues (2019) and Back to Louisiana (2021). The current album is a live recording of many of the songs from those two albums. The album explores the tradition of US southern music and particularly that from the bayous. The album consists of nine original songs and five covers recorded live at Chez Tonton, St. Aubin. In 2021, Doc Lou & The Roosters won the Challenge Blues Francais which led to their competing in the 2023 International Blues Challenge in Memphis. The album opens with three covers, the first being Slim Harpo’s “Scratch My Back”, followed by Jimmy Reed’s “You Don’t Have to Go”, and Tommy Tuckers’ “High Heel Sneakers”. Doc’s harp work rings true throughout the songs with Jeff’s supporting guitar and Mitch’s steady drumbeat delivering a solid rhythm which dismisses the need for a bass player. The first original song, “In the Wood” from their 2021 album, has a haunting guitar run with some spooky lyrics surrounding a graveyard story and perhaps a murder. Lou declares I am “Missing You”, a rocker from the same album. “I’m Free” from the 2019 album is another guitar driven rocker as Lou pulls out his harp and sings that he has “no more misery”. “Back To Louisiana” gets things jumping with Lou’s harp coming out swinging followed by a proclamation of his love of the French Quarter, all the beautiful chicks, the food and generally reminiscing about his time in the state. “Bye Bye Baby” features Jeff on slide guitar as Lou declares ” I will not be back anymore”. “Bad Whiskey” and “Traveling Boy” are both from the 2019 album. The former again has Jeff out front on his harp with a boogie as he confronts his love of “cheap wine…bad whiskey…warm beer…rum and tequila”. The latter is a bouncy song about his travels as a young man in the US with mentions of Memphis and San Francisco. The fourth cover is Jimmy Rogers’ “Walking by Myself” with Jeff’s guitar again being the lead for the song. As the title implies “Rock Groove Shake” from the 2021 album offers blues rock with Lou’s harp and Jeff’s guitar sharing the upfront sound. Lou says, “Ask Your Angels” “do it for me” from the 2019 album. The album ends with a rollicking cover of Louis Jordan’s “Early in The Morning”. The album offers a nice mix of traditional guitar and harmonica blues. Lou’s vocals are generally clear, although his accent sometimes slides in on some phrasing. An introduction at the beginning and a statement prior to the last track is in French. Reviewer John Sacksteder is a retired civil engineer in Louisville, Kentucky who has a lifelong love of music, particularly the blues. He is currently the Editor of the Kentuckiana Blues Society’s monthly newsletter. |
Doc Lou and The Roosters – Cock-A-Doodle Live
Featured Interview – Toronzo Cannon
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“I get tired of the ‘my woman left me’ songs. I don’t think we should ‘dumb down’ the blues. We should make people think a little bit. There are other stories lying around. I want to write real blues songs about real things in the world. I credit people like Robert Cray and Bobby Womack with inspiring me as songwriters. Curtis Mayfield was another one. He was a beautiful writer. If I could just ‘touch the hem of the garment’ of some of these writers, I’ll be happy. I want to write something that is not just a steering wheel tapper. I write about my life situations, and it resonates with a lot of men. Sometimes you must put medicine in sugar, so I’ll include a couple of jokes, but the public service announcement might be ‘go get a colonoscopy’ and it might make someone think that they need to go get one. There’s racism, sexism, ageism. The nuances in life, or the not-so-nuanced. There is social commentary that needs to be expressed. Maybe issues can be solved if it hits people from different directions. If no-one else writes it, I’ll write it. I wouldn’t feel good as a musician if I held it in because I feared the outcome. I’m not saying anything wrong—it’s all about hope and the future of our sanity. We need to come together, to just join in love, join in consciousness and respect for each other. The nation now just must respect each other. You ain’t gotta love me, but respect me, because I respect you. Don’t legislate laws where my kids can’t read about their history. That’s not respect. A race of people wants to teach their children about the real history. Respect what really happened. If you don’t look at it now, you might repeat it. If you dig Black culture and you see we’re getting shot, you need to speak out about it.” Toronzo acknowledges there will be some fans who might tell him to “shut up and play” and believe entertainers should not address political matters. But, in response to that belief, he pointed to a long history of popular musicians who sang songs that made the audience think about important issues. “Elvis sang a protest song (“If I Can Dream”). You can bring something to light in a song, and if you put it in a song, people might digest the message better. Jimi Hendrix did the National Anthem. Those sounds you hear were bombs dropping and people screaming. It was a protest song about the Vietnam War. ‘Strange Fruit’ brought light to the situation (lynchings).”
“The music I heard didn’t have a genre to me—it was just the music my grandparents played. And I was just a little kid, so I didn’t know at the time how important Theresa’s Lounge was to the genre. So, I was living around the club as a ten and eleven-year-old, and later there was a full circle moment when I could rub elbows with people like John Primer and Billy Branch, who knew my uncles from going to that club.” “I first started playing when my sister bought me a guitar after I couldn’t play basketball anymore. At that time, I was listening to John Cougar Mellancamp and reggae and initially I wanted to play reggae. I played in a reggae band for two years, and then started going to blues jams in the area, so I kind of came into the blues sideways.” Although he did finally retire from his full-time job, Toronzo is well-known for keeping his job as a city bus driver while he performed internationally as a musician. While it was impressive that he managed to do this, (and the daily contact with those riding the bus offered inspiration for many songs), he was also criticized and overlooked at times by those who assumed he did not take his musical career seriously enough. “People have this idea about the ‘starving artist’, but I had a family and pride in myself. I had to provide for them. I got my work ethic from my grandfather and never had to ask for anything from anyone. I always prided myself on keeping up with the other musicians and still holding down a forty-hour a week job. I would fly back from a show and get three hours of sleep and get up at 6 am.” Toronzo is currently included on the highly respected label, Alligator Records. Bruce Iglaur, (Founder and CEO of Alligator records), has stated that he particularly likes how engaging a performer Cannon is, often bantering with the audience. Iglaur also noted the following about Toronzo: “Toronzo is a thrilling guitar player, a powerful, intense singer, and a great live entertainer, but, above all, I was drawn in by his original songs. He writes not only about love found and love lost, but also about health insurance, domestic abuse, the plight of undocumented immigrants, midlife crisis, divorce lawyers, corrupt politicians and preachers, and life in the big city. And, although these sound like serious topics, a lot of his songs are hilarious.” Toronzo was asked how it came to be that he joined the Alligator label. “I would ask Bruce Iglaur to lunch about twice a year to ask questions because I realized this guy seemed very connected to my heroes like Luther Allison. I gained so much information that could help me in the future. One time he asked me if I could go over to Belgium and front with Kai Strauss, and I already happened to be there. Two weeks later, he called and this time he asked me to lunch. He asked me my goals and told me not to sign any contracts. Alligator was able to get me TV time, too. It was on channel 9 about the bus driver who plays the blues, and it won an Emmy.” Toronzo first released an album in 2007 on Ta Music, and then two more on the Delmark label (2011 and 2013). However, it was when Chicago Way was released on the Alligator Record label in 2016 that he became a household name. Two examples from that album of his excellent songwriting abilities can be seen in “The Pain Around Me” and “Strength to Survive”.
In 2019, Toronzo released “The Preacher, The Politician or the Pimp”, on which he notes the similarities in all three professions. On that album, he has clearly continued his practice of writing meaningful lyrics, including a song about marginalized and misunderstood groups of individuals in “I’m Not Scared,” (which features some guest singers and Joanna Connor on slide guitar) and a song about death (“The First 24”). “’I’m Not Scared’ is about the struggles of an abused woman, a gay teen, and an immigrant. It might not get much airplay, but I had to write about it. I asked a gay man, an abused woman and an immigrant ‘does this sound right’ and they said, ‘yes—it sounds right’. I want my songs to be heard not listened to. ‘The First 24’ is about what you might see the first 24 hours of death. Would I see my great-grandfather, who was allegedly hanged from a tree? Will I see my ancestors reaching out to me? Would you see a Black Jesus or a white Jesus? I leave it up to the imagination of the listener—what do you think you’ll see when you die?” Toronzo is not bothered by “blues purists” who might criticize his more contemporary sound and noted that the genre must keep evolving to keep the blues alive. “I don’t have a problem with traditional bluesmen. I love Elmore James, JB Hutto, Hound Dog Taylor. But the blues must progress a little bit. Muddy Waters was revolutionary in his time. He took what he loved and brought it to Chicago where he plugged it in to get louder. When I’m doing my thing with blues-based lyrics, I’m giving honor to some full-fledged traditional sounding music. It may sound like R&B, but it is blues based. People might say some slick things, but how can you tell me my songs aren’t authentic?” When asked which young, emerging artists he finds exciting, Toronzo named several. “Steven Hull, out of Wisconsin, is a new artist who is getting some traction lately. Also, Ivy Ford and Joseph J. Saye. I took them on the Black and Blues Tour in Europe. Joseph did the acoustic versions and Ivy did the sassy woman thing, and I came in as the Chicago bluesman. The European audience is all about nuance. The promotor told me it was one of the best shows in recent memory.”
“My daughter is 21 now and in her last year at DePaul, studying music management. Her name is Gayun Cannon and she’s on Instagram and Spotify. I had nothing to do with her going into music and everything to do with it. She wanted to be a musician and I didn’t push it. I bought her instruments but never sat down and taught her. She just figured it out. She has her own voice, but I did give her some insights about the industry. I had wanted her to play piano on my latest album, but it just didn’t work out scheduling-wise.” Toronzo has a new album due to come out in June. He revealed that it will be comprised of twelve original songs, which are sure to be dynamic and contain social commentary. The album begins with a song titled “Can’t Fix the World” and includes various songs about relationships and family dynamics. The most emotional track describes the difficulties parents face when they need to divorce but fear the effects on their children. The album ends with the title track, a song that repeats that response Toronzo sometimes hears when he is commenting on important issues, “Shut Up and Play”. “It was a hard album to write. One song, ‘Message to my Daughter” is a heartfelt message about divorce, about things I wanted to apologize for. When I wrote it, I was afraid I wouldn’t have her love again. But then she came around and asked if she could live with me for her last year of college. I told her everything, to help fill up the holes. I wasn’t trying to win an argument—this was my truth. It repaired itself and I ended up having to change the ending of the song. Initially it was what I thought she would be doing at my grave, but we changed the ending to where everyone is alive. It is just cool that my daughter is very well-adjusted. I’m happy to be there as her father.” Toronzo Cannon had one more point to make about the importance of the lyrics in blues music: “If we hit the public with real music, we might get more respect as artists. Also, if someone like Beyonce or JZ promoted a bluesman, it would be good for the genre. If Beyonce would reach back and say, ‘I wouldn’t be here if it wasn’t for the blues, the blues is the basis of all music’, it would help bring respect to us. The blues awards aren’t even televised on the Grammies. It’s like they’re ashamed of how music came to be. They don’t give it the time they should.” We can only hope that Toronzo Cannon might be the bluesman they choose to promote, as he is sure to continue to be a talented and powerful force in contemporary blues. You can find out more about Toronzo Cannon atwww.toronzocannon.com. His shows are booked through Intrepid Artists: https://intrepidartists.com And, his new album will be released in June on Alligator Records: www.alligator.com Writer Anita Schlank lives in Virginia, and is on the Board of Directors for the River City Blues Society. She has been a fan of the blues since the 1980s. She and Tab Benoit co-authored the book “Blues Therapy,” with all proceeds from sales going to the HART Fund. |
According to writer Samuel Charters, blues lyrics are “a profound, cultural experience that could connect all people who love poetry.” And writer Susanna Steinfeld expressed her belief that “blues songs are sung to transcend reality in order to accept it” and do so “with unprecedented clarity, honesty and simplicity…as a raw expression of intimate feelings”. Chicago born (but internationally celebrated) guitarist, singer, and songwriter, Toronzo Cannon, would likely agree with both of those writers’ sentiments. He expressed similar beliefs when Blues Blast Magazine had the opportunity to catch up with him recently, as he was performing on the 40th Legendary Rhythm and Blues Cruise.
Toronzo was raised in Chicago by his mother (who was single and still a teenager when she gave birth to him) and his grandparents. His grandfather gave him the name “Toronzo” to honor the Cherokee and Choctaw heritage on his grandfather’s side of the family. Toronzo heard blues and soul music while growing up in his home. He also grew up close by Theresa’s Lounge, (a famous blues club on the Southside), and heard some of the blues’ greats play there as he stood on the sidewalk outside the door, too young to enter the club.
“’The Pain Around Me’ is about a good honest man who just can’t afford to live in a better neighborhood and is fearful when his children go out. The ‘Strength to Survive’ was probably the most therapeutic, cathartic song for me to write. It talks about when I looked in the mirror and didn’t like what I saw—that broken man looking right back at me. I didn’t like where I was at that time and found the strength to survive through my music.”
One young, exciting, emerging artist is Toronzo’s daughter. However, he noted that he made sure he did not to try to influence her decision regarding her career.
Featured Blues Review – 5 of 6
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Self Released 14 tracks/55 minutes Brad Wilson is a big rocker who has a blazing guitar and covers a lot of ground in his album. Fourteen tracks of big blues and rock tunes here, similar to his last album that I reviewed last year. He lays out a lot of big licks and rocks out as he delivers hi energy performances. This west coast guy gives us his seventh effort in this album The band backline is provided by Adam Gust and Johna van den Berg on drums and Hal Cragin, Brian Beal and Deb Jacobson bass. On keys are Chris Rhyne and Frankie V Bluesorgan. Francis Buckley in on percussion. Backing vocalists are Deb Jacobs, Su Isaac and Galen Keith. Wilson stomps, romps, rocks and rolls through cover after cover and cuts guilt on the foundation of the greats with controlled reckless abandon. Fiery guitar, nice piano and key board support and backing vocals help make the songs fun. He throws in some interesting originals like “Hound Dog” and the title cut showcase his songwriting skills. “Step By Step” features some uncredited killer harp. There is a mix of blues, rock, funk, and R&B offered up in a variety tempos and feels. Lots of good production here to build up a tight sound. The music here is something listeners and audiences can get into, giving them lots to dance and groove to, some tunes they know well that they will sing along with, and just provide them something to sit down to listen and enjoy. Blues Blast Magazine Senior writer Steve Jones is president of the Crossroads Blues Society and is a long standing blues lover. He is a retired Navy commander who served his entire career in nuclear submarines. In addition to working in his civilian career since 1996, he writes for and publishes the bi-monthly newsletter for Crossroads, chairs their music festival and works with their Blues In The Schools program. He resides in Byron, IL. |
Brad “Guitar” Wilson – Buckle Up
Featured Blues Review – 6 of 6
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Illscape Studios 11 Tracks – 47 minutes This is the debut album from Houston based Kirky TG & Sinkin’ Down. The band, a power trio, consists of Kirky TG on guitar and vocals, Zia Seren on guitar, and Todd Blackmon on drums. The tracks were recorded in a live studio setting during one session. Kirky TG is a passionate supporter of the blues community and is the current President of the Houston Blues Society. And yes, I looked at the Houston Blues Society’s web site and found his listing as President exactly as provided in the group name. He is a successful business owner and holds an MBA. His music is inspired by the diverse genres of the blues including urban electric, Delta, and Hill Country, but also notes he has influences of jazz, grunge, classical and hip-hop influences. He also builds his own guitars, his latest named “Discovery” is a Warmoth natural finish Strat with Seymour pick-ups and Elixir strings. The band’s live sound is described as raw, grungy and emotive. Zia Seren is a multidisciplinary artist with four published original albums to her credit. Zia, a music composer and producer, has a BFA from the Academy of Art University and uses that degree to explore the principles of art and design and how they converge in music. Todd Blackmon graduated cum laude with a B.A. in Music Performance with Jazz Concentration from Texas State University. His mentor was legendary drummer Butch Miles who worked with Count Basie, Dave Brubeck & Frank Sinatra. The album opens with an original instrumental, “H-Town Vibes”, a slow rock number. That leads into the first of seven covers on the album, Willie Dixon’s “Bring It on Home”, which was first recorded by Sonny Boy Williamson II in 1963. Kirky’s voice has a unique timbre that certainly differentiates his version of the song from other recordings. Ray Charles’ “Believe to My Soul”, first released in 1959, is given a stark presentation here with Kirky’s guitar leading much of the song. Howlin’ Wolf’s “Commit A Crime” from 1966 again spins around the guitar work of Kirky. A.C. Williams’ “Oh Pretty Woman” recorded by Albert King in 1967 is next and continues a fairly laid- back groove. Tab Benoit’s “Gone Too Long” recorded in 1997 follows in a similar form. A second original instrumental, “Spirit of Ecstasy” continues the easy laid-back sound established throughout the album. Fenton Robinson’s 1977 song “As the Years Go Passing By” written by Peppermint Harrs and credited to Deadric Malone, Don Robey’s pseudonym, offers a soulful vocal. Freddy King’s instrumental “Hideaway” written in 1961 gets some extra bounce. The album closes with two songs from Magic Sam Maghett “All Your Love” and “Lookin’ Good”, both from 1966. The latter song, an instrumental, kicks up a rocking shuffle beat. The band pulls out some unique songs to cover, but they quickly move away from any direct homage to the original performers as they remake the songs into their own versions. As noted, Kirky’s vocals have their own tone, and he makes no attempt to emulate the original vocalists, nor should he. Some of the songs like that of Ray Charles had a high energy in their original versions. Throughout, the album seems to remain on an even keel. I kept wanting the band to burst out with some energy that never really seems to happen. Reviewer John Sacksteder is a retired civil engineer in Louisville, Kentucky who has a lifelong love of music, particularly the blues. He is currently the Editor of the Kentuckiana Blues Society’s monthly newsletter. |
Kirky TG & Sinkin’ Down
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