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Cover photo © 2024 Bob Kieser In This Issue Anita Schlank has our feature interview with Max Kaplan. We have five Blues reviews for you this week including new music from Canned Heat, Patti Parks, Shawn Kellerman, Bart Bryant, and The WyattChristmas Five. Scroll down and check it out! From The Editor’s Desk
Hey Blue Fans, The submissions for the 17th Annual Blues Blast Awards opened up for artists and labels at the beginning of April and continue until May 31st. Albums released between June 1. 2023 and May 31, 2024 are eligible this year. Submission fees go up on next week on May 1st! Why? We need these as early as possible so the nominators have time to carefully consider the submission and decide on who they decide to nominate. But you can avoid any increase by submitting your album by the end of April. To submit your music now. Click this link: www.bluesblastmagazine.com/blues-blast-awards-submission-information Wishing you health, happiness and lots of Blues music! Bob Kieser |
Featured Blues Review – 1 of 5
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Ruf Records 11 Tracks – 47 minutes Canned Heat got their start in the 60’s playing all of the festivals in that era and releasing their first album in 1967. The band was initially formed by Alan “Blind Owl” Wilson on harmonica, guitar and vocals and Bob “Bear” Hite on lead vocals. Both were noted music collectors with a high interest in the blues. Another avid collector Henry Vestine, who was frequently compared to Mike Bloomfield, was added on lead guitar. Larry Taylor was on bass and for these first recorded sessions, Frank Cook was on drums. But shortly after the recording session, Cook left the band and Adolfo “Fito” De La Parra became the drummer. The band focused on the blues, particularly the boogie from the beginning and has never changed their focus over the years. The band got its name from a 1928 song by Tommy Johnson referencing methyl alcohol, nicknamed “canned heat”, that was misused as a drug by the eras’ alcoholics. But changes are inevitable in any band. Unfortunately, Canned Heat’s changes resulted not from disagreements within the band as so many suffer, but from sudden unexpected deaths beginning with Alan Wilson in 1970 from undisclosed circumstances, but long suspected involvement with drugs. Bob Hite had health problems that caused him to drop in and out of the band over the years and died of a heart attack in 1981 immediately prior to a show. Henry Vestine died in 1997. Larry Taylor passed away in 2019. Adolfo was the one constant in the band, performing on every tour and recording made after that initial album. That includes continuing in the leadership role for this new release. Band members have changed many times over the years, particularly following the deaths of the original members. Walter Trout joined the band as guitarist and lead vocalist following Hite’s death and left in 1985. Numerous vocalists and band members have come and gone since. The current band line-up includes Adolfo on drums, Dave Spalding on harmonica and vocals, Jimmy Vivino on guitar, keyboards, and vocals, and Richard “Rick” Reed on bass. The album title seems to point to this being an expected final recording venture for the band. Several songs on the album referencing aging issues also seems to point that direction, but the band itself has not indicated that conclusion and has started on a new robust tour schedule. So, sit it back and enjoy the robust boogie of the latest band variation starting with “One Last Boogie”. which instructs “One last boogie, turn up the heat/ You can’t sit down people/ Get out your seat.” and “One last boogie ’till the break of dawn/ Boogie till they lay you out in Forest lawn.” Dave Alvin wrote the tribute song “Blind Owl” and guests on guitar and a spoken, very rhythmic vocal. The song offers a biography of Alan Wilson through the band’s incarnation and concludes the song with a statement for the band, “But somehow, we still survive / standing strong, standing proud / Where the Blind Owl still flies”. “Goin’ To Heaven (In A Pontiac)” is a fun bit of rock ‘n’ roll that says he “Don’t need no chariot of gold / Just take me in my Pontiac. Along the way he sees “the devil in a Coup Deville”, “a band of angels in a red corvette” and a “rich man in a Mercedes Benz”. St. Peter would not let the rich man in, but the poor man in a V-8 Ford was waved right in. “So Sad (The World’s in a Tangle” was first recorded on the band’s 1970 album Future Blues. Given the world’s present problems, they felt this song was pertinent again and deserved to be heard. Joe Bonamassa steps in on lead guitar for this track. “East/West Boogie” is an instrumental incorporating oriental sounds into the Heat’s boogie. The song was used as a theme song for the Apple TV show, “Tehran”. In a rocking love song, he begs her to “Tease Me”, but warns “If you don’t tease me right, Baby, you know some other woman will”. “A Hot Ole Time” tells the story of a band event that seems to replicate the event told in Louis Jordan’s “Saturday Night Fish Fry” but with a slightly different conclusion. “Heard the police siren at the crack of dawn / People all scattered ‘cross the dew-soaked lawn / Bottles were clinkin’ in the smoke-filled air / Police started drinkin’ like they ain’t got a care”. Vivino pulls out the slide guitar with Dale’s harmonica ringing alongside with Dale declaring “You’re the One”. “There ain’t no substitute.” “When You’re 69” is a lament about aging in a song written and sung by Jimmy Vivino. Dale’s harmonica is again prevalent in the song as Jimmy proclaims, “When you’re lookin’ over the hill, man you got another point of view.” “Every day you wake up somethin’ needs to be fixed.” and concludes “If you live life to its fullest, there won’t be no more time for dyin’ when you’re 69.” “Independence Day” tells the story of a man who leaves his wife after many threats from her and says, “She never thought I’d call her bluff and I’ve been so tired of tryin’, seems like I’m never enough.” “There Goes That Train” tells the inverse story from the previous song as he is a “lonesome boy” as he sees “the guy that stole my girl”. The newest Canned Heat is still well-invested in the blues and the boogie. A very enjoyable album and a worthy investment of your time. Give it a listen. Writer 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. |
Canned Heat – Finyl Vinyl
Featured Blues Review – 2 of 5
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VizzTone Label Group VT-PP02 10 songs – 45 minutes Based out of Buffalo, N.Y., where she’s a blues hall of famer, a practicing nurse and an advocate of the healing power of the music through her foundation, Nurse’n Blues, Patti Parks’ honeyed mid-range voice is enough to make her a star in her own right. And it’s even more of a treat when she joins forces with another giant, too. And that’s what she does here, teaming on the mic with soul-blues master Johnny Rawls for a set that includes two duets. Patti’s second release on the VizzTone imprint, the revolving lineup includes appearances from BMA winner Anthony Geraci on the 88s along with label co-owner Richard Rosenblatt on harp. Produced by Rawls and recorded, mixed and mastered by Anthony Casuccio, it’s a mostly-original effort that includes six tracks penned by keyboard player Guy Nirelli, one in partnership with Johnny, who added two more of his own, and another with Parks. The work of award-winning team of Derrick Procell and Terry Abrahamson are featured on two cuts. The only cover in the set was by vocalist Phyllis Livingston, who was married to song-and-dance legend Fred Astaire for 21 years until her death in the ‘50s. Joining Geraci and Nirelli on keys is Aaron Blackmon, who also adds drums. They’re joined by guitarist Aaron Flynt and bassist Tony Cammilleri, who appear throughout. Hugh Arthur handles drums on seven tracks, and Kenny Thomasula adds percussion and congas on three. The lineup also includes horns from Kenny Parker (tenor sax), John Maguda and Rick Keller (trumpet) with backup vocals provided by Kimera Lattimore, Zuri Appleby, Robin Grandin and Casuccio. Patti and Johnny kick off the action in style with the duet, “I’m in Love with You Baby,” trading verses atop a slow, but steady groove as they set the stage for what’s to come. Each note they sing is imbued with deep emotion and devotion. Geraci blazes on the keys from the jump for the uptempo, steady-driving “DJ’s Boogie (I Like to Boogie)” as Parks sings praises for cutting a rug on the dance floor all night long. Then the tempo gets molasses slow for Percell and Abrahamson’s burner, “One Foot Out the Door,” in which Patti comes to terms with the fact that her man’s going through the motions before leaving for one last time. The feel brightens from the opening notes of “Sing Around the World,” which celebrates performing for audiences around the world and urging them to join her in song. “I’m Sorry,” a funky shuffle, apologizes for her own multiple missteps in a relationship while pointing out that it’s all been payback for the offenses coming her way, too. Delivered with true stop-time Windy City feel and featuring Rosenblatt on the reeds, Livingston’s “Hamburger Man” is a love song directed at a man who truly cooks. It yields to the “Why,” a powerful ballad that questions why a seeming one-and-only has been running around with other ladies on the side. The brightness returns with Percell and Abrahamson’s sparkling “A Lotta Man” before Parks and Rawls team once again for “How Much Longer,” a duet in which she wonders how long it’s going to take before her man comes to her side. His response is that – after a 40-year relationship – he knows she’s been cheating, too. And, as the closer states, it’s a “Good Day for the Blues.” If you love soul-blues, you’ll treasure this one. Patti and Johnny shine atop skintight arrangements throughout. Blues Blast Magazine Senior writer Marty Gunther has lived a blessed life. Now based out of Mason, Ohio, his first experience with live music came at the feet of the first generation of blues legends at the Newport Folk Festivals in the 1960s. A former member of the Chicago blues community, he’s a professional journalist and blues harmonica player who co-founded the Nucklebusters, one of the hardest working bands in South Florida. |
Patti Parks – Come Sing with Me|
Blues Blast Music Awards Submissions
Submissions from artists and labels for the 17th Annual Blues Blast Music Awards are open until May 31st, 2024. Albums released between June 1. 2023 and May 31, 2024 are eligible this year. Submit your music now. Click this link: |
Featured Blues Review – 3 of 5
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Songsurfer Records 14 Tracks – 61 minutes Waterloo, Ontario native Shawn Kellerman is recognized as one of Canada’s top bluesmen. Now moving into his third decade of recording, this latest album of blues rock includes twelve original songs and two covers. This album is only his third solo release, and his second, Blues Without A Home, was released fifteen years ago. He started his career as a teen working with a female Detroit blues singer who goes by the moniker Zoom, who had performed vocals with Billy Branch. He did a stint with Bobby Rush’s touring band and even produced an album for Bobby. Along the way, he also played with keyboard player Lucky Peterson. All of these musicians make a guest appearance on the album along with many others that are too numerous to mention in this review. Shawn also notes that Mel Brown was one of his early mentors. Shawn plays the guitar, bass and does the vocals on most tracks. Other key performers are Van Romaine on drums on twelve of the cuts and Lance Anderson who plays the B3, clavinet and Wurlitzer on most tracks. Shaun establishes a blistering pace as he comes out of the gate with a funky “SKB” and his guitar absolutely roaring as he invites us to come party with the Shawn Kellerman Band. He does not slow down as he declares he feels free when he is “Drivin'” with things briefly simmering as he meets a woman who wants to go on a road trip with him, which then kicks his guitar back into high gear. “Show Me What You Got” will bring to mind, some of the funk bands that were popular in the 1970’s. Bobby Rush makes his appearance playing the harmonica and trades lead vocals with Shawn on “We Are Bluesmen”, which is the first true blues song on the album. He slows the tempo down somewhat as he urges everyone to stand “Together”. Jason Ricci joins on the first of three songs with Shawn on “Hard Man to Please”. Jason’s harmonica rips along with Shawn’s guitar. Mid song shifts into a Delta sound, but then quickly rips back into full bore with Jason totally letting loose. “Bad Mamma Jamma” is another all-out rocker with a touch of funk. Noah Allard, who has provided backing vocals on several other cuts on the album steps up for the lead vocals on a gospel tinted “Down by the River” as he invites you to come “wash your sins away”. Zoom invites Shawn to get cooking and offers memories of working together in their early days, stating that they went together just like “Macaroni & Cheese”. Jason Ricci plays a smooth harmonica lead on “You’re Gonna Learn from This One” as Shawn recalls his early days and lessons he learned on the road with other musicians. This includes one of the most appealing instrumentals on the album. “Jig Jiggity” adds Dave Wiffen’s sax and Ray Podhornik’s trumpet into a funked-up instrumental song that would certainly get people up on the dance floor. The first cover on the album, “Runnin’ Back to Saskatoon” is from fellow Canadian, Burton Cummings. Jason Ricci again brings his harmonica into the song. “In A World of Blues”, he sings that we need “love for unity, love for humanity” and pulls out some nice slide guitar work. He ends the album with Little Milton’s “Living Off the Love You Give” with Lucky Peterson playing the Hammond B3. Given that Peterson died n 2020, it would indicate this track as possibly some others have been sitting on the shelf for a while. Shawn’s guitar is the chief feature here, as he burns through many excellent runs and brings together other top performers to back him. Jason Ricci proves his expertise on the harmonica on his three tracks and those are certainly high points on the album. However, Shawn’s snarling and shouting vocals, on occasion lingering close to a rap, are sometimes difficult to follow lyrically. Writer 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. |
Shawn Kellerman – Kell’s Kitchen
Featured Blues Review – 4 of 5
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Horizon Music Group – 2024 12 tracks; 51 minutes Baltimore born Bart Bryant has played on his native East Coast as well as in Texas. This set, recorded in New Haven, Connecticut, with Vic Steffens mixing, mastering and producing, contains eight covers and four originals. The key musicians involved are former Johnny Winter bassist Scott Spray, pianist Floyd Domino, multi-instrumentalist Bill Holloman on all horns and occasional keys and drummer Alex Giosa who play on most of the tracks. Others involved are drummers Tyger MacNeal, Ernie Durawa, Liviu Pop and Bobby Torello, bassists Robert Liptrot and Dave Anderson, keyboard players Tony Cafiero and Jordan Giangreco and vocalist Simone Young-Brown; Bart plays guitar and handles the lead vocals throughout. The material ranges from straight blues to heavy rockers, taking in a few soulful detours along the way. The album opens with a cover of Robin Trower’s “Day Of The Eagle”, the horns sounding a clarion call to which Bart responds with heavy guitar and wah-wah over pounding drums, definitely one for the rockers out there! In contrast Little Johnny Taylor’s “If You Love Me Like You Say” plays it pretty straight, Bill Holloman standing out on both organ and horns while Bart’s rough-edged vocals work well here, as they do on a good, late-night reading of Willie Dixon’s “I Can’t Quit You Baby” with fine, rolling piano and blues guitar. SRV’s “Empty Arms” is transformed by the horns and pounds long impressively with Bart’s guitar and Bill’s piano to the fore. “Mess Of Blues” is a Doc Pomus and Mort Shuman tune, best known from Elvis’ version, this cover adding a swing feel to the familiar tune. Two familiar songs are given a full-on Blues-Rock treatment: “I’m Ready” works OK, “Born Under A Bad Sign” is a little more on the heavy side, while Buddy Guy’s “Whiskey, Beer And Wine” (from his 2015 album Born To Play Guitar) suits Bart’s heavier side very well. The four originals start with “Past The Pain”, a melancholy slow blues with Bill adding harmonica to his horn work. The other three originals widen the styles on show: “Out Of This Blue” is a quiet, reflective tune with gentle rhythms and flute; “You Make Me Move” is a trio performance with Tony Cafiero’s synthesiser adding a slightly weird tone to a track that sits uneasily with the rest of the album; “Motown Groove” does what the title suggests as Bart pays tribute to the Motor City’s most celebrated musical offering to close the album in joyful style. The variety of music on offer here means that there will be something for most Blues Blast readers to enjoy. Blues Blast Magazine Senior writer John Mitchell is a blues enthusiast based in the UK who enjoys a wide variety of blues and roots music, especially anything in the ‘soul/blues’ category. Favorites include contemporary artists such as Curtis Salgado, Tad Robinson, Albert Castiglia and Doug Deming and classic artists including Bobby Bland, Howling Wolf and the three ‘Kings’. He gets over to the States as often as he can to see live blues. |
Bart Bryant – Backstage II
Featured Interview – Max Kaplan
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In recent years, however, there have been an encouraging number of young artists who embrace the blues, such as Quinn Sullivan, Mathias Lattin, Christone “Kingfish” Ingram, Ally Venable, Solomon Hicks, Ben Levin, Jad Tariq and Jon Hay. Each of them appears to be expanding the appeal of the blues, and they contribute to its evolution by pushing the boundaries of the genre. New Jersey-born, but Memphis-based singer/songwriter and guitarist, Max Kaplan, is one of those “under-thirty” artists who is quickly gaining a following for his individual interpretation of the blues-based music that he was exposed to from an early age. And Blues Blast Magazine recently had the chance to catch up with him to learn more. “My dad and stepmom owned a barbeque restaurant that also had live blues music in North Jersey, and they hosted countless blues musicians. We lived in the apartment upstairs, so I would walk down and hear some of the biggest names in the business, like Sugar Ray Norcia and Little Charlie and the Nightcats.” Kaplan’s family not only provided his early musical influences, but they also supported and encouraged him to pursue a music career, even though Kaplan was initially hesitant about that path. “They encouraged me to do music, but it seemed so fickle—not a very stable industry. So, when I started at Rhodes College, I first majored in psychology, then bounced to philosophy and English before finally settling on music. Rhodes was one of those schools where it was whatever you wanted to make of it. ” “I’m a good learner, but a bad student. I don’t do well just sitting in a classroom. I think I’m meant for the real world. So, what I did was utilize the school for extracurricular activities. I was president of the Rhodes radio station, which led to me being a DJ all across campus. And I had a lot of internships. I interned at Stax, Garner Records, and an entertainment company. I would also interview artists that were coming through town. One of the artists I interviewed was John Nemeth, and that led to the rest of my life. He found out that I was a blues guitarist who could also play bass, so he got me a tour as a bass player with Tony Holiday.” Like other young artists, Kaplan realized that there were limits to what can be taught in a formal school setting. “When I came to college, the only thing I knew was the blues. There I learned music theory and a bit of worldliness. I studied jazz, classical and world music. It makes you broaden your horizons. But there is no class on how to perform. You can talk about performing, but you can’t really teach it. It’s the same thing with the business side of the industry. But you can go down to Beale Street and learn to be a professional musician for free.” Kaplan’s first band was called “Trezevant”, named for the street on which he lived at the time, but that band lasted only for three or four gigs. He later formed his current band, Max Kaplan and the Magics. This band clearly shows signs of some of his early influences. “I think the greatest influence on my singing was John Nemeth. Also, Mavis Staples—she is probably my favorite singer. And Pop Staples too—he’s like the male equivalent of Mavis. He does it in a male way that works. I’d also have to say that Duane Allman, Lowell George, and Kim Wilson were influences. I think their approach to the blues is from a respectful side, understanding that we are white people doing Black music. When you listen to Duane Allman you don’t hear an appropriation of Black stylizing, you hear how he would sing it. If I am going to try to sing Howlin’ Wolf, I’m going to sing it the way I would sing it.” Kaplan is also a songwriter, although unlike many writers, he is not always jotting down notes for various potential lyrics and tends to focus first on the music. “I’m not someone who is always writing. I usually write songs that filled a musical hole in our live sets, so they were groove-based, and the lyrics came later. Or sometimes, like with “Born to Love You”, I just stumbled across a chord progression that I liked. At times I have others help write the lyrics.”
Kaplan released his first album, “Mind on My Heart”, which was co-produced by Kaplan and Matthew Wilson, and includes Wilson, Danny Banks, Jon Hay, Jad Tariq and others as contributing artists. It contains both original songs and a cover of Ann Peebles’ hit, “99 Pounds”, and has been receiving rave reviews. The album was released on the Color Red label, which might not be the most well-known label, but is the choice of many respected artists. “When I was shopping around for the first album, I was also writing reviews for a magazine, and I noticed that George Porter Jr. put his album out on Color Red. Then Black Joe Lewis came through Memphis, and I wondered where he put out his music, and saw that it was also on Color Red. So, they just ended up on my list of possible labels. I have a whole new album’s worth of material already, but I think I might do my next record independently. Color Red was great, but when you are working with a label, you give them your music and it can take six months before they put it out. I want to get it out right away. I think this new album will be more indicative of our live sound. I loved the first album, but if you saw our band live you might think we sound different from our first album. This new album is more representative of our live sound. And it includes some covers we have been performing for a long time, like ‘Wooly Bully’, ‘Let the Good Times Roll’, and ‘Same Old Blues’. There’s not a particular theme running through the album, but all the songs together have a vibe, somewhere between mid-country Americana and heavy Memphis blues. We’re somewhere in there. I don’t feel like I’m a straight blues artist. I’m just kind of rootsy and bluesy. Maybe even a bit country. I wrote one country song for this album called ‘Stranded in Houston’. It was about when my van broke down and I was stranded on the edge of the highway, sitting in the van for hours, freezing.”
“I’ve played some great festivals, like the Winter Blues Festival in Des Moines, and we’re booked to play at the Briggs Farm Festival, The Camping with the Blues Festival, and a new festival in New York called ‘Up the River Blues Festival’. I would love to get booked on a cruise though. I’ve played cruises as a sideman for other artists, but not with my own band. Cruises are special in that you get to meet the fans and the other artists. At festivals, if you get to meet the other artists, it’s rushed. On cruises you can become friends with these artists, and then there are those late-night jams.” When asked if there were certain artists with whom he hoped to play, Kaplan noted that he is always honored whenever he has the opportunity to play with John Nemeth or Tony Holiday, and would love to share a bill with them, but he does also hope to have the chance one day to play with some new rising stars. “I’d love to play with McKinley James and Eddie 9V. I remember when McKinley James sat in once when I was playing bass for John Paul Keith at Fernando’s Hideway in Memphis. He said a friend was joining us, and I thought, ‘Who is this 18-year-old kid coming from Nashville to play the blues?’ But he tore it up and then I thought ‘I’ve got to keep my eye on this kid.’ It did not take him long before he just blew up, so it would be fun to play with him and Eddie 9V.” When asked if he had advice for other young artists, Kaplan stressed the importance of being willing to accept the sacrifices that must be made for this life choice. “It can be stressful and can cost a lot of money. Some days you know that this is what you were meant to do, and other days you question why you do it and wonder if you should get a regular job. When my van broke down, I had to pay $600 to get back to Memphis and then pay to replace the engine in the van. You make a lot of sacrifices. Records cost astronomically more than you would think, but it’s worth it. I’ve spent more than I’ve made on music because it’s worth it to me. You have to decide whether you are willing to be professionally touring. You can’t support a relationship, or at least you need to accept the fact that it will be a long distance one over the years. But if it is worth it to you, then never quit! The only failure is if you stop.” Max Kaplan is a talented young musician with charisma and great stage presence. He is definitely heading for great destinations. If you would like to be a witness to his rise to fame, check out his website at www.maxkaplanmusic.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. |
For decades blues fans and older blues musicians have lamented the fact that young people seemed uninterested in their chosen style of music. The typical demographic at blues concerts tends to be the 55–64-year-old age range, and it had been hypothesized that the youth were simply not exposed to it enough or associated it with a stigma as “old people’s music” which represented a time of oppression of minorities.
“For example, Jad Tariq and I wrote “Shake” together and my mother helped write several songs. She is an artist, a painter, a poet, and a photographer, and she helped me write ‘Until the Mississippi Turns Blue’, ‘Lost Your Love’ and ‘I’ll Take the Blame’. For ‘Until the Mississippi Turns Blue’ John Nemeth and I were jamming, and he just started messing around and he started singing that line, ‘I’ll love you until the Mississippi turns blue’. I happened to be recording with my phone and later I thought, ‘that’s a really good line’. I took that line to my mother, and she helped me write the rest of the song to go with it.”
Kaplan has made numerous achievements in the last year, playing some prestigious festivals. And he looks forward to some new experiences in the coming years.
Featured Blues Review – 5 of 5
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Part Records 13 songs time – 43:53 The clearest description for this German outfits’ music is cabaret music tempered with 50s rock, rockabilly, swing, show tunes, boogie woogie and a taste of blues. It is mainly light fluff in lyrical content and presentation, although the instrumentation is first rate. Andy WyattChristmas handles guitar and most vocals The songs were penned by various combinations of Andy, piano player Miss Martini and vocalist-guitarist-harmonica player Grandpa Pete. Olaf Schumacher on upright bass and Philip Flottau on drums. It is really hard to take this mess seriously with lyrics like “Lots of flies buzzin’ round, rotten pieces of Polish Sausage” from the goofy “Riot In My Trashcan”. It is a shame because the accompanying music is fine. The intro to “800 Miles” sounds like an outtake from the Westside Story soundtrack. Some of these songs might work as punk, but these guys seem to take their creations seriously. Who writes a song about their friend digging a hole for a pool? Check out “My Best Friend Went Crazy” for the answer. “Please Do Like You Did It” and “I Am Waiting” have overly repetitive lyrical refrains. “Calling Your Name” is straight out of a bad Cabaret act. A “Jailhouse Rock” vibe is attained on the rockabilly of “Too Far Too Long Away”. The title track “Are You Ready” is a bit of jump blues that sports some good harmonica courtesy of Grandpa Pete. He applies his harp again to the otherwise lightweight “Devil’s Got A Hand On Me”. Miss Martini lays down some mean boogie woogie piano riffing to the rather lame “Alligator Bar Boogie”. You would think that a band of such competent musicians could come up with better songs with more substantial lyrical content. They could put out a killer instrumental album featuring their guitar, piano and harmonica skills all backed up by a sturdy rhythm section. Well, I guess after a few libations this music will make sense. Reviewer Greg “Bluesdog” Szalony hails from the New Jersey Delta. |
The WyattChristmas Five – Are You Ready?
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