Friday, March 22, 2019

Full Show Friday: Hound Dog Taylor - Live in Ann Arbor 1973

We search the murky back waters of youtube to find full concerts and post them to the site weekly, come back every seven days to help us celebrate Full Show Friday's. These shows are of varying quality and may not be here for long so enjoy them while you can...As always, please support the artist every which way, but especially by seeing them live (if they are still playing)...This week...Hound Dog Taylor!

This months focus in our ongoing Masters series are The Blues.

When we were ranking our best live blues albums Hound Dog Taylor's Beware of Dog! album just missed our list. So to make up for that we are giving Hound Dog his own Full Show Friday this month. Sloppy video, gut bucket blues, just the way he would have liked it. 

Full set list below, Enjoy:


0:00:00 Held My Baby Last Night0:04:30 Hound Dog's Farewell0:05:09 Hound Dog Talking0:06:15 Taylor's Rock 0:09:15 Hound Dog Talking0:09:47 Wild About You, Baby0:12:50 Hound Dog Talking And Introducing Band0:14:00 Roll Your Money Maker0:16:46 Hound Dog Talking and Tuning0:18:05 Sadie0:23:48 Hound Dog Talking About His Band0:24:43 Brewer Phillips' Song0:27:50 Ted Harvey's Song And Drum Solo

Thursday, March 21, 2019

Album Review: Big Joanie - Sistahs

Big Joanie
Sistahs
** out of *****

The trio from London Big Joanie have a light/simple art rock touch which is influenced by 90's alternative, occasionally mixing in a bit harmonies. Stephanie Phillips (singer/guitarist), Estella Adeyeri (bass) and Chardine Taylor-Stone (drums) are part of the DIY London scene and their first full length is a restrained document.

"Used To Be Friends" is a good example of this restraint, it calls out through it's lyrics shortness and style for a screaming assault with lyrics like "Now you only call me to hate me" and "I only feel hatred" but the group instead are mellow and hip swinging. The sweet harmonies and minimalist guitar are the opposite of the lyrical content for an odd mix.

That oddness continues with the disco influenced "Fall Asleep" which uses hand claps and an off putting digital break mid song before "Eyes" uses a repetitive riff and what seems like any instruments lying around the studio, recorder, wood block, etc before a mid song break that plays like a scaled down Mazzy Star moment.

Opener "New Year" continues the less is more style with a nod in the Breeders direction and the Deal sisters group are the best comparison for the trio. Odd outings like the snaking "Down Down" and quirky "Token" art piece would not be out of place on an album like Mountain Battles but where the Breeders can get angular, push up the tempo or write a killer tune, Big Joanie stays more reserved on all those fronts.   

The best tracks here are the fuzzy "Way Out" which warbles with simple distortion and the afro punk rhythms which propel "Tell A Lie" forward  while the trio get it's most 50's girl group on the rolling "How Could You Love Me" with it's excellent harmonies and layers of vocals. These tracks show a larger scale to the stripped down primitive style of production and playing. Sparseness is key with the group but when things get amplified things improve.

Putting the blame on an unsatisfactory lover colors a fun twirl through "It's You" while "Cut Your Hair" spices things up a bit with Wurlitzer played by Seth Evans, ending the album with some breathy vocals.  For a first album there are a few interesting spins on Sistahs, but the majority of the songs feel underdeveloped and tame, dour and dull as an overriding theme/mood.
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Support the band, buy the album, stream it on bandcamp or below, and peep some video:


Album Review: Frank Migliorelli and The Dirt Nappers - The Things You Left Behind

Hey all, got a new review up @glidemag which you can read Right C'here!!!

It is of Frank Migliorelli and The Dirt Nappers newest release The Things You Left Behind.

We know Frank personally, but that doesn't change our ears, this is a solid roots rock record which touches on a lot of other genres. RtBE has interviewed him and previewed his anti NRA song last month and enjoy him as an artist and songwriter.

Support the artist, buy the album, read the review and peep some video below:

Wednesday, March 20, 2019

Live Review: Murphy's Law & NRSV St. Patrick's Day 2019

Hey all, got a new review up @glidemag which you can read Right C'here!!!

It is of the recent Murphy's Law and No Redeeming Social Value show held on St. Patrick's Day at Bowery Electric in NYC. Both bands are some of our favorite of all-time in the NYHC scene and we are friends with them both.

While we have caught better shows from each of them, this was a fun night within spitting distance of CBGB's as the groups and crowd imbibed in drunken stoned mayhem.

Support the artists, read the review, and peep some video below:




The Masters - The Blues - Best Live Albums

RtBE loves listening to new music and prides itself on keeping tabs on up and coming artists but in 2019 we are also going to have a monthly spotlight on legendary artists who we really love. We are calling this series The Masters. It will focus on the best albums, live records, transcendent shows and other odd ways we appreciate the artists and their contribution to music, culture and our formation.


For March The Masters focuses on The Blues.

Live music is the best thing out there. Being caught in the moment is religion. Palpable vibes of healing and energy are transmitted and shit...gets...real. For this month's focus, the feeling is really all there is behind a few notes. For a "simple" art form the blues is endless complex and in the live setting this is immediately obvious in the hands of these Masters.


Even more than the studio recordings which we highlighted, these albums seem to evoke the spirit of the heartache, pain, and simmering soul under the guitar strings, horn blasts and drum fills. Recording in seedy clubs, at concert halls, prisons and esteemed festivals, our choices run the gamut of locations and playing styles, but one thing they all have in common is the passion of the live performance.

Your list will probably look different, feel free to share thoughts in the comments below, but now on to the records:

Tuesday, March 19, 2019

Album Review: Karl Denson's Tiny Universe - Gnomes and Badgers

Hey all, got a new review up @glidemag which you can read Right C'here!!!

It is of Karl Denson's Tiny Universe newest release, Gnomes and Badgers.


RtBE actually digs this outfit, having seen them live and reviewed their last album which was a long time ago. I guess time is on your side when you get picked to replace Bobby Keys in The Rolling Stones...

This is a solid funk record from a band who lives on the live stage. If anyone has any idea what the title means please comment below, even Denson's explanation quoted in the review is confusing.

On the better side of things, the song writing and playing has a heavy NOLA influence with Anders Osborne, Ivan Neville and others helping out, which only improves thing to these ears.

Support the artists, buy the record, read the review, peep some video below:


Monday, March 18, 2019

Dylan Cover #367 The Holmes Brothers "Wallflower"

In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a cover by The Holmes Brothers playing "Wallflower"
This month we are doing another special focus in RtBE's Dylan Covers series. In the past we have highlighted The ByrdsCoulson-Dean-McGuiness-FlintThe HolliesJoan OsbourneMountain and more. Now the spotlight shines on The Blues for our Masters series with a focus on the Tangled Up In Blues Songs: Songs of Bob Dylan release

Thoughts on Original:
From the first time we tackled a cover of this tune:
Written in 1971 but not available to the ears until twenty years after the fact on the amazing Bootleg Vol 1-3, "Wallflower" is a sweet simple ditty that captures Bob in his folk/country phase of Self Portrait and New Morning. While not his deepest or most intense song it is a fine relaxed number that waltzes wonderfully light and free...getting naughty at the finish as well.     

Cover:


Thoughts on Cover Artist:
The Holmes Brothers loved to meld all genres with gospel, folk, R&B, blues all living comfortably together in their sound. The trio used their voices and sounds to play a variety of songs/styles and was successful doing it until their old age. 

Thoughts on Cover:
An interesting choice but one which makes sense for this group which never met a genre it couldn't help but join. "Wallflower" is more country jaunt, but it shows just haw malleable, Dylan and the Holmes Brothers are.

Sunday, March 17, 2019

Happy St. Patrick's Day!

Wishing everyone a happy, safe and fun St. Patrick's Day from RtBE and we might as well throw in a self plug.


Here is Angels & Vagabonds Irish inspired tune, "Queens Boulevard Serenade":

The story goes; in the lead up to our first St. Paddy's Day gig we were working on some traditional Irish songs to play and our lead singer/keyboard player Don McNally realized they were basically all the same chords just re-arraigned.

So the Irish American from Woodside, NY dug into his past and crafted QBS. He brought it to the group and after a few tweaks it was ready for prime time, we actually played it only about a week after it was written. There is a little inside baseball into our process, now go celebrate by hoisting a pint....Happy St. Paddy's!

Friday, March 15, 2019

Full Show Friday: Koko Taylor - Living Legends of Blues 1978

We search the murky back waters of youtube to find full concerts and post them to the site weekly, come back every seven days to help us celebrate Full Show Friday's. These shows are of varying quality and may not be here for long so enjoy them while you can...As always, please support the artist every which way, but especially by seeing them live (if they are still playing)...This week...Koko Taylor!

Our focus this month in our ongoing Masters series are The Blues

Gotta give it up for one of the most powerful blues voices there is, Koko Taylor. This show comes around the peak of her career, and is a hell of a performance.  Coming on the back of The Earthshaker album she nails "Let The Good Times Roll" and makes "Wang Dang Doodle" her own. A hell of a show from a hell of a performer. Pro Shot, Pro Sound, Full Setlist with timing below.

Enjoy:


setlist : 00:31 Call my job 07:23 musical introduction to KOKO Taylor 08:29 Let the good times roll 12:35 i'm a woman 18:30 29 Ways to get to my baby 24:10 Baby please don't Dog me 29:45 Trying to make a living 34:00 The Blues never die 39:30 You can have my husband 45:10 Wang Dang Doodle (all night long)

Thursday, March 14, 2019

Album Review: Della Mae - The Butcher EP

Della Mae
The Butcher EP
*** out of *****

The Butcher is a new collection of six songs from the Grammy Nominated Boston based bluegrass band which mixes in covers and originals with playful ease. This self produced EP comes after a four year hiatus for Della Mae, but the bluegrass quartet have always been driven to play more of a hard bluegrass style, mostly the realm of male outfits before, but this female four piece style manages to pick, shine and sing with the best of them.

Celia Woodsmith - vocals, guitar, Kimber Ludiker - fiddle, vocals, Jenni Lyn Gardner - mandolin, vocals, Zoe Guigueno - bass, vocals, start things off with a glorious ode to the brown booze with "Bourbon Hound". The upbeat joyful Western Swing number which cooks with polished energy as brands of whiskey and bourbon get name checked by a real connoisseur of hooch. The groove is laid down beautifully allowing the strings to be plucked and strummed as accents to the rich spirits; a joyful boozy start to the EP.

The talents of all the players and appreciation of the craft comes through in the instrumental "No-See-Um-Stomp" while "Bluebird Blackbird" is a classic sounding uptempo hoedown mountain song with excellent harmonies and fiddle work from Ludiker.  The groups Flatt & Scruggs cover amplifies the Nashville country, honky-tonk vibe for the cheating revenge tune "Sleep With One Eye Open". 

Two other covers grace this EP, the classic "Sixteen Tons" gets a more jazz influenced vocal for the dreary tune and while not matching perfectly it is still a fun listen before the album closing take on The Allman Brothers "Whipping Post" which works much better. This cover is embedded with a sense of power, with the fiddle standing in for Duane and Dickey's famous guitars as the emotional singing from Woodsmith cuts to the heart of the tune.

Della Mae prove immediately that their break has not softened them and The Butcher EP, while sparse, is an exciting breezy jaunt from the talented players. 
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Support the artists, buy the album and peep some video:

Album Review: Tedeschi Trucks Band - Live From The Swamp Vol. 1

Tedeschi Trucks Band
Live From The Swamp Vol. 1: Chicago Theatre, January 26, 2018
**** out of *****

At the close of 2018 the Tedeschi Trucks Band announced that they would be starting a fan club called the "Swamp Family" named after the groups home recording studio. To kick off things for fan club members the twelve piece rock and soul outfit released two shows for fans through the club.  Live From The Swamp Vol. 1: Chicago Theatre, January 26, 2018 lead the way for the series and the group themselves stated that this show was selected: "because it is simply one of the finest performances of the band’s career from start to finish". Tough to argue with that as the playing, sound and energy on this live release are all top notch.

The opening set is unique for the band as it contains all original compositions, beginning with "Anyhow" setting the easy rolling stage. While the first song and "Laugh About It" are fine performances from the professional band it is on "Don't Know What It Means" where the magic of this night really starts to seep in. A fiery soulful performance, with Susan Tedeschi lading the vocal way gets the crowd screaming as the group is locked in before an experimental squawking horn closing gets freaky, dripping back into the marching groove of the bright "Just As Strange".

Other first set highlights are the gospel influenced blazing southern rock of "Get What You Deserve" which has everyone cooking with gas as Derrick Trucks has fire shooting from his six strings and the set closing "Idle Wind" which runs almost twenty minutes and shows the wide range of the band from flute solos, to rhythmic drumming to exploratory reflective jams.

The sound on the release is a combination of soundboard and audience and while some past live release from the band haven't sounded great, yet this mix feels like you are in the crowd and enjoying the show with fans as the warm rich mix of the twelve piece.

For the second set the band came out with the full on accelerating road house blues of "Rollin' and Tumblin'" mixed with bubbling horns but it is the closing half of the set which really ignites. The trumpet lead freaked out funk rock of "Volunteered Slavery" and slide blues of Elmore James "The Sky Is Crying" prove the versatility of the band while the cover pairing of John Prine/Grateful Dead with "Angel of Montgomery>Sugaree" is blissfully gorgeous.

The show soars even higher on Signs "Shame" a burning soul shouter inthe vein of "Whipping Post" which fits the band like a glove, increasing the bass rumble while allowing the title couple display their formidable talents on the mic and guitars with horn and keyboard support. Trucks laying on this number is dynamic flashing pieces of inspiration from Jerry Garcia, Duane Allman, John McLaughlin and most importantly/prominently himself.   

"I Wish I Knew How It Would Feel To Be Free" is a spiritual set closer before the Tom Petty (who had recently passed away) cover/tribute "You Don't Know How It Feels" started an encore which ended with the call to "Let's Go Get Stoned" whihc Petty obviously would have appreciated. The band wasn't joking; this show is a dynamite display of their talents.

Last month RtBE reviewed the solid new release from the band, but this is a group that lives for the live stage and with this new series they get to showcase the their best moments. While the Signs is fine, Live From The Swamp Vol. 1 will be what is spun much more often in the RtBE clubhouse.
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Support the artist, buy the album, and peep some live video of the group from 2018's Lockin' below:

Wednesday, March 13, 2019

Album Review: Our Native Daughters - Songs Of Our Native Daughters

Our Native Daughters
Songs Of Our Native Daughters
**** out of *****

The new outfit Our Native Daughters is a collection of four banjo playing women of color who are doing more then just picking on their first release Songs Of Our Native Daughters, they are singing of a spiritual journey, our history as a country, the struggles of their ancestors and how it effects people of today.

The four artists, Rhiannon Giddens, Amythyst Kiah, Allison Russell and Leyla McCalla came together after Giddens (Carolina Chocolate Drops) invited the other three to her co-producer Dirk Powell's Louisiana Bayou Studio. The album, released by Smithsonian Folkways has deep roots, in Giddens own words:
"There is surely racism in this country — it's baked into our oldest institutions — just as there is sexism, millennia old. At the intersection of the two stands the African American woman. Used, abused, ignored and scorned, she has in the face of these things been unbelievably brave, groundbreaking and insistent. Black women have historically had the most to lose, and have therefore been the fiercest fighters for justice — in large, public ways that are only beginning to be highlighted, and in countless domestic ways that will most likely never be acknowledged."
The roots run deep and the group are not afraid to dig in, opening with the statement making "Black Myself". This is the most rocking the outfit gets and while the lyrical message is strong the four players are more effective when they go the acoustic route as things immediately improve on the following "Moon Meets the Sun" which juxtaposes proudly defiant lyrics with great singing and a lighter musical feeling showcasing more picking; an album highlight.   

Other immensely affecting numbers follow, particularly when things are scaled totally back. The foursome strip instrumentation down to hand claps and and minimal tom drum beats to recount a rape, murder and hanging in the sung and call response of "Mama's Cryin' Long" with cold realism around the brutal events while "Barbados" finds Giddens reciting poetry about slavery dipping into a humming soulful evocation before ending by turning the mirror of modern slavery on the listener (and performer) with cutting coolness.

"Quesheba, Quesheba" is Russell's showcase with an ominous violin leading the way before she partners with Giddens for the closing reminder "You're Not Alone". The "Slave Driver" cover is fairly straight ahead but in this context and the harmony of the four singers it takes on added depth while "Polly Ann's Hammer" reinterprets the John Henry myth and folk song from a powerful mothers perspective giving credit to the female workers. 

An old minstrel song "Better Git Yer Learnin'" was found by Giddens and updated lyrically and the tune is plucked and supported by a shaker and fantastic singing before a fiddle joins for the finale while the back porch easy acoustic blue grass of "I Knew I Could I Fly" finds McCalla using a warm folk number to explore the life of Etta Baker.

Spanish and Cajun flair drip into McCalla's "Lavi Difisil" before the groove and march get amplified for Kiah and Giddens "Blood and Bones" slow burner that focuses on slaves from Ghana caring for children and getting thrown away afterwards. The more upbeat "Music and Joy" breaks the growing tension with a playful work out which feels free and moves with grace. 

If you think music is suppose to appease the masses and fill the charts with glittering ditties forgotten about before next's weeks charts, then feel free to skip this album....actually on second thought, listen to this album if you feel that way. You will realize music is a life blood, a history, a powerful tool for change, surviving, defining, learning, growing, protesting, rejoicing and the human spirit. Songs Of Our Native Daughters is a great release in any genre.
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Support the artist, buy the album, peep some video below:


Tuesday, March 12, 2019

Murphy's Law and No Redeeming Social Value Playing St. Patrick's Day

Two of NYHC's best are teaming up to invade Manhattan on St. Patrick's Day as Murphy's Law and No Redeeming Social Value will be getting wasted in their own ways this Paddy's at Bowery Electric in the East Village.



The last time we caught Murphy's Law they were opening up our favorite show of 2018 and it has been way too long since we caught our good friends in NRSV live.

This show is going to be a doozy, so get ready to get Sham-rocked...ohh the was bad, but the live video from both bands below from the Lower East Side is so good...grab your tickets to the show today.


 

Live Review: The Hold Steady @ Electric Ballroom, London 3/8/19

Hey all, got a new review up @glidemag which you can read Right C'here!!!

It is of the Hold Steady's Friday Night show in London on March 8th 2019.

tHS are one of RtBE's Personal Favorites and getting to see them in London was such a blast. It helped they put on a killer show and I got to see it with very good friends. Below are a few pics of the night and some video and getting to combine this concert with some great Chelsea FC experiences made for a mega excursion across the pond.




Support the band, read the review and peep some video.

Monday, March 11, 2019

Dylan Cover #366 R.L. Burnside "Everything Is Broken"

In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a cover by RL Burnside playing "Everything Is Broken"

This month we are doing another special focus in RtBE's Dylan Covers series. In the past we have highlighted The ByrdsCoulson-Dean-McGuiness-FlintThe HolliesJoan OsbourneMountain and more. Now the spotlight shines on The Blues for our Masters series with a focus on the Tangled Up In Blues Songs: Songs of Bob Dylan release

Thoughts on Original:
From the first time we tackled a cover of this tune:
If Bob wasn't the Bard "Everything Is Broken" would just be another tossed off song. However, is anything with Dylan just simply tossed off? Well..yeah...this song certainly feels tossed off to me...sorry. Oh Mercy is a hell of an album, one of Dylan's classics, and this song is fine, it just can't even stand close to any of his all-time gems, not remotely close. One of the reasons I started this cover series was to show how amazing The Bard's songs are in just about anyone's hands, but if the original of this tune was written by Joe Schmo would people think it was great, or is it just the Dylan name that gives it clout?  

Cover:


Thoughts on Cover Artist:
RtBE has dug Burnside's backwoods blues rumble since the first time we heard it. Like Hooker he is a simple blues man but the repetition can bring unexpected rewards. We reviewed his sons album, fairly recently and dig his overall sound, style and panache.

Thoughts on Cover:
Continuing our blues focus this month Burnside partners with organ, and moving drums to deliver his plain as day vocal delivery. Not all the parts seem to match up (the low end production sound is not really working to these ears) but the thin guitar solo is a winner about 3:45 in. We are glad we got to include Burnside in this month as his style of blues isn't for everyone but we dig him.


Friday, March 8, 2019

Full Show Friday: Robert Cray Live in 2008

We search the murky back waters of youtube to find full concerts and post them to the site weekly, come back every seven days to help us celebrate Full Show Friday's. These shows are of varying quality and may not be here for long so enjoy them while you can...As always, please support the artist every which way, but especially by seeing them live (if they are still playing)...This week...Robert Cray!

Our focus this month in our ongoing Masters series are The Blues

One of the people we almost put on the list for our top five favorite Blues studio albums, but just missed the cut was Robert Cray and his brilliant 1986 record Strong Persuader. Robert Christgau clued us into this record and it is some excellent blues work, especially from a time when things were getting a bit wonky...the eighties.

One of those tunes makes an appearance at today's show with "Right Next Door (Because of Me)" but this whole show proves how polished Cray still is. A really cool night of tunes from 2008 for some clean and crisp blues playing from the band. Pro Shot, pro sound with full set list, times, and band info below.

Enjoy:


Track list: 00:26 - 1. Phone Booth 05:26 - 2. Our Last Time 12:00 - 3. Right Next Door (Because Of Me) 18:38 - 4. Bad Influence 22:54 - 5. Twenty 29:58 - 6. Time Makes Two 37:18 - 7. Sittin' On Top Of The World 41:45 - 8. I'm Walking Robert Cray - vocals, guitar Jim Pugh - keyboards Karl Sevareid - bass Kevin Hayes - drums Robert Cray - Live in Concert 2008

Thursday, March 7, 2019

Little Feat Start 50th Anniversary Tour Tomorrow

The legendary Little Feat kick off their 50th Anniversary Tour tomorrow night with a show at NYC's Beacon Theater.
The core group, will be be supported by the Midnight Ramble horns and will be continuing to play all across the country (and Caribbean) this year to celebrate the milestone. One of those stops will also be the final day of Jazzfest as they hit the stage on Sunday May 5th

A few months back Glide's Leslie Michele Derrough caught up with guitarist Paul Barrere for an excellent interview that touched on a range of topics regarding the band over the years (good to know Paul is a baseball fan). 

Having seen Little Feat, before RtBE knows they still put on a great show. To celebrate and get in the mood here are a few live videos of our personal favorite Feat tunes from the band over the years, catch them when you can this year to join the party.


Album Review: Delicate Steve - Till I Burn Up

Hey all, got a new review up @glidemag which you can read Right C'here!!!

It is the newest instrumental release from guitarist producer Delicate Steve (aka Steve Marion)

The record is kind of interesting and this is the first time RtBE are becoming familiar with Marion and his alter ego. I gotta confess, I always thought the Dr. John Lric was "Till I Burn Up" as well...

There are lots of cool moments, but overall things seem more soundtrack ready or sample ready then an instrumental album you go back to and listen to over and over again.

Support the artist, buy the record, read the review, stream it on bandcamp or below and peep some video:






Wednesday, March 6, 2019

The Hold Steady Release New Song, Playing London This Weekend

This weekend The Hold Steady return to London to host The Weekenders, a run of shows at Electric Ballroom and Hackney.
To celebrate, like for past mini tours, they are releasing a new track which they will play titled "The Last Time She Talked To Me".
The track is a bit different for tHS. It adds extra horns (including full on sax solo) instead of layers of guitars, female doo-wop inspired backing vocals and a more overall laid back vibe. Check it out for yourself though:


RtBE will be onsite across the pond Friday Night to check out the show though and can't wait to see the boys overseas. To pre-game and pre-pare let's check out some live Hold Steady videos:




 

The Masters: The Blues - Best Studio Albums

RtBE loves listening to new music and prides itself on keeping tabs on up and coming artists but in 2019 we are also going to have a monthly spotlight on legendary artists who we really love. We are calling this series The Masters. It will focus on the best albums, live records, transcendent shows and other odd ways we appreciate the artists and their contribution to music, culture and our formation.
For March The Masters focuses on The Blues.

The first of (at least) two months in The Masters series where the focus will not just be on one particular artist; let's face it, just one couldn't cover this topic. The blues are the foundation of rock and roll and if we chose, Muddy, Hooker, Hopkins, Wolf or King (any of them) for the monthly showcase RtBE wouldn't be able to accurately capture the full scope and breath of the, at first, so simple sounding genre known as the blues. 
American Blues Legends 2702730020_bearbeitet-1

By not pinning this month to a particular artist we can hopefully highlight a few of our favs and maybe start conversations about others. Also because we are focusing on the genre, their will be pieces we miss and artists we leave out, James Brown, Bob Dylan and Jimi Hendrix are the blues through and through to these ears, but for our purposes this month we are leaving those artists who also touch other genres out of this conversation (more on them in the future).

RtBE also owns vinyl from Charley Patton, The Mississippi Sheiks and Blind Willie McTell (not to mention the amazing American Epic Series) but they are forerunners of the genre and while vital they are not making our list, particularly because full length albums were not a thing when they were recording.

For today we are going to focus on our top five studio records when it comes to what we think when we hear "the blues". This is very tough this month as the majority of great blues men were more in the live moment or making singles which were then collected into "best of's" and box sets. Breaking the rules of "album" RtBE dabbles with a few of those here, as it is how we came into the genre. We will get to "live albums" later this month but most of these studio releases are pretty raw as well.

More then any other of this monthly showcases in The Masters series there will be disagreements with these choices and RtBE will surely leave out something grand, so if people have suggestions, thoughts, ideas, feel free to hit us up in the comments. Here are our choices for top five studio blues albums.  

Tuesday, March 5, 2019

Live Review: Fate McAfee 2/28/18 @ Rockwood Music Hall, NYC

Hey all, got a new review up @glidemag which you can read Right C'here!!!

It is of singer/songwriter Fate McAfee's recent set at Rockwood Music Hall on Thursday Night 2/28.

We covered most of what we wanted to say in the review, but we will just add, this tiny room was fun for anyone wanting to check out live tunes in NYC as there is no cover and only a one drink minimum.

You can obviously see some great acts like Fate and company rolling through for peanuts, not a bad deal, you can even donate some of that saved money to the band themselves. On this night Fate mentioned it would help them get to Philly for the next gig. After catching Yola and now Fate, it is nice to know excellent artists are stopping by the LES venue in 2019.

RtBE will be covering McAfee's newest album soon, but until then, support the artists, read the review and peep some live video below of Fate performing solo at Pianos in 2018:


All On A Mardi Gras Day!

Today is Fat Tuesday so live it up. If you are lucky enough to be in the Big Easy enjoy yourself. If you are anywhere else, party like you are in NOLA. Laissez les bons temps rouler!
2011 Mardi Gras Parade
Marching Bands Down Canal St.
Mardi Gras Pirates from 1930's
1910 New Orleans Mardi Gras
To help you get in the mood, here are some applicable tunes starting with the fantastic Professor Longhair:





Monday, March 4, 2019

Leyla McCalla with The Special Men Cover New Orleans Standard “Eh La Bas”

Tomorrow is Fat Tuesday and to kick it off early RtBE wanted to shine the spotlight on two New Orleans artists who have collaborated to tackle an old Creole song. Leyla McCalla teamed up with the King James & The Special Men to record "".
It is a great take on the tune with some fantastic banjo playing from McCalla and an "Iko Iko" finish. Listen over at American Songwriter.

Here is Leyla's take on how this recording came to be:
“A couple of years after our initial meeting, Jimmy (King James) told me about a record he was working on featuring guest New Orleans singers,” McCalla says. “He asked me if I would be interested in participating and would I be willing to sing the classic Creole New Orleans tune ‘Eh Las Bas.’ This was particularly exciting for me as it’s one of the few times that I could arrive somewhere with just my banjo and my voice. A few days before the session, I was researching all of the versions of ‘Eh Las Bas’ that I could find and came up with a version that drew from from Danny Barker, to the Preservation Hall Jazz Band to Kid Ory with a Haitian sounding banjo lilt.”
Special Man Industries is starting to create a fun collection of recordings, follow them and support all the artists. More from the fantastic McCalla will be appearing on RtBE very shortly, until then here are some videos from both sets of artists.


Dylan Cover #365 Taj Mahal "It Takes a Lot to Laugh, It Takes a Train to Cry"

In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a cover by Taj Mahal playing "It Takes a Lot to Laugh, It Takes a Train to Cry"
This month we are doing another special focus in RtBE's Dylan Covers series. In the past we have highlighted The ByrdsCoulson-Dean-McGuiness-FlintThe HolliesJoan OsbourneMountain and more. Now the spotlight shines on The Blues for our Masters series with a focus on the Tangled Up In Blues Songs: Songs of Bob Dylan release

Thoughts on Original:
From the first time we tackled a cover of this song:
One of my favorite titled songs in the Dylan catalog, for some reason the title just nails an elusive feeling and perfectly works with the tune. Also contains multiple epic lines, my favorite being "I wanna be your lover babe/I don't wanna be your boss", AMEN brother Bob.  A pretty straight forward blues number musically that lends itself to cover attempts, leading to...

Cover:


Thoughts on Cover Artist:
From the first time we covered a Dylan Cover Covered by Taj (woof):
Taj Mahal has had a long distinguished career, but I have yet to hear him play with The Phantom Blues Band until today's holiday cover of Bob Dylan. Apparently they formed to back Taj up on his 1993 album Dancing The Blues and still play together today, releasing albums.

Thoughts on Cover:
A really good take on the tune without re-doing much about it. Taj just lets the feeling roll and rides that mail train into the station. With killer harmonica, strutting guitar and a fun vocal to fade out. A fun cover and a joyful shade of the Blues for this Month.

Friday, March 1, 2019

Full Show Friday: Etta James Live in Montreux 1975

We search the murky back waters of youtube to find full concerts and post them to the site weekly, come back every seven days to help us celebrate Full Show Friday's. These shows are of varying quality and may not be here for long so enjoy them while you can...As always, please support the artist every which way, but especially by seeing them live (if they are still playing)...This week...Etta James!

This months focus in our ongoing Masters series are The Blues.

How can we not start this off with one of the best blues/rock/.r&b singers ever to grace this planet. The Queen of the Blues Etta James is getting our monthly focus started with a 1975 show heavy on the funky stuff and overalls.

Shaking her ass and being her bad-self James is dominant on stage growling (quacking?!) and singing with the best of them as her band runs through five songs, letting Etta shine as much as she'd like too.

There is a groovy greatness to this set (John Paul Jones on bass helps) and whenever you can hear the best sing her signature song, a set closing "I'd Rather Go Blind", you know it is going to be a hell of run. Pro shot, pro sound full set list below with timing and band information. Enjoy:



Recorded Live on July 11, 1975 at Montreux Casino during the 9th Montreux Jazz Festival Tracklist: 1 Introduction 2 Respect Yourself 1:20 3 Drown in My Own Tears (Henry Glover) 10:24 4 W-O-M-A-N 21:44 5 I’d Rather Go Blind 33:18 Etta James (voc) Brian Ray (g) Frank Abel (e-p, og) John Paul Jones (b) Doug Hammond (dr) Arthur Young (tp) Gene 'Mighty Flea' Conners (tb) Pony Poindexter (ss) Klaus Doldinger (ts) Howard Johnson (bs, tuba)