- Details
- Written by: Giovanni "Gio" Pilato
The British Blues, R&B and Soul band Nine Below Zero is one of those very rare group of musicians able to travel through the music decades thanks to their unique music combo, without feeling the weight of changing times and fashions.
Formed in 1979, the collective created by two of the finest British musicians, Dennis Greaves on guitars and vocals and Mark Feltham on harp and vocals, saw the peak of their media popularity through the iconic 80's BBC TV Serie called The Young Ones, in which the band was regularly featured. The band built through the years, thanks also to the addition to the original line-up of the band of Mickey Burkey on percussion and Bryan Bethell on bass (plus touring bassist Ben Willis), a serie of remarkable commercial successes, from the epic 1980's Live At The Marquee's album until the more recent 2014's re-release of one of their most successful records, Third Degree.
Throughout the 35-plus years of Nine Below Zero's existence, many of the original band members left and then re-joined the collective from time to time. It took, though, the suggestion of one of Greaves & Co.'s good friends and Universal's catalogue man, Johnny Chandler to the band on making an album that would pay tribute to Blues and R&B, to generate new enthusiasm within the band and make possible that this eclectic group of musicians would enter the studio once again with their original line-up. It didn't take long for Nine Below Zero to think about paying tribute, through this new record, to their most favourite artists by playing their own personal cover versions of some of such artist's classics and hidden gems of their repertoires.
What came out of the band’s musical top hat is truly excellent. 13 Shades Of Blue, Nine Below Zero's new album, is a remarkable homage not just to the genres previously mentioned but also to the work of pioneers of genres like Funk and Cajun of the 50's and 60's.
For this exciting project, Nine Below Zero decided to call a generous number of fellow musicians to help them cutting the record in the studio, with a full array of instruments including a Horn section, violin, accordion, backing vocals and even an ukulele.
The sound of the British collective on this album is as sharp, powerful and cohesive as it has never been before, a clear sign of artistic maturity and high level of craftsmanship. Senior’s Soul classic Don't Lay Your Funky Trip On Me is the perfect opening statement of the album, a tune that enhances the rich sounds and powerful vibes coming from the English collective’s great artistry.
Dennis Greaves is a truly fine guitarist, as repeatedly demonstrated through the whole band’s career and this new album is no exception. Little Milton’s That’s What Love Will Make You Do and B.B. King’s You’re Still My Woman display Greave’s ability in full swing, through two memorable guitar solos. As an added bonus to the record, his vocals too get better and better too, as the years go by.
Mark Feltham is an authentic Harp Virtuoso that has reached numerous by the worldwide music press and fellow musicians in his career, thanks to his great talent and his artistic background showcased through the last 4 decades of music, not just with Nine Below Zero but also by collaborating with artists such as Terrorvision, Dido, Oasis, Talk Talk, Joe Cocker and Roger Daltrey, just to mention few of the great acts Feltham has been working with in his career. His harmonica sound may fly like the speed of light in John Mayall’s classic Crawling Up A Hill or provide the ideal sonic carpet with his playing style for the whole band in It’s Your Voodoo Working.
As much as Greaves and Feltham’s artistry fully deserve to be underlined, it’s also true that those 13 tracks couldn’t sound as effective and well executed as they are without the support of the splendid group of musicians present on the album. Charlie Austen on vocals gives great justice to Aretha Franklin’s Don’t Play That Song and Stephen Large on Piano does a very fine job too, on the same tune.
Bryan Bethell and Ben Wallis on bass are the engine of a spotless rhythm section of a band that emanates energy and class throughout the whole album. When it comes the time to close an album in style, Nine Below Zero never fail to deliver the task. Allen Touissant's Hercules perhaps doesn't pack the same punch on the vocals as much as previous versions of this track as other artists have made, like Boz Scaggs or Aaron Neville, for example. Still, the band plays at their finest, with the Horn section of Chris Rand, Adam Davey, Tom Waters and Jazzy Jeffery Brown shining through the whole song with a masterful performance.
The closing track is pure loudness and fun, in true Nine Below Zero style. Boozoo Chavis's Paper In My Shoe is finely executed by a band, once again, in splendid form, with Greaves launching himself even in singing few lines of the tune in French language, adding a sprinkle of extra fun to the collective's sound.
13 Shades Of Blue is a record that shows a band expressing class, energy, creativity and respect for their music heroes without taking any heavy license at all off the original versions. Still, the vibes that Nine Below Zero exude are perfectly recognisable, thanks to a trademark sound that has accompained the band for their entire career. A career that just gets better and better with each passing record.
Giovanni "Gio" Pilato
13 Shades Of Blue is out now and it is available via Nine Below Zero's Official Website
"Buy a record, support the artists, preserve the future of music"
- Details
- Written by: Giovanni "Gio" Pilato
For years, there has been an unjustified rumour in the music business about how much blues artists are capable to play their instruments to perfection but constantly struggling to write great lyrics for their records.
Fortunately, as time goes by, more and more artists show every time, through their hard work and talent how untrue this is, by crafting marvellous albums full of catchy tunes, excellent songwriting and superb musicianship.
The second album of the John Weeks Band from Denver, Colorado called Dark Angel, is the full proof of how a group of skilled musicians can produce, by combining all together their many abilities, all the ingredients needed to create a record with great depth of quality as Dark Angel.
John Weeks, guitarist, vocalist and chief songwriter of the band has been and still is one of the most respected blues musicians of the United States for the last couple of decades. Through the years, he has learned very well how to bring the blues to a new level, by adding elements of swing, jazz and even particles of 70's rock in the already rich and sumptuous sound produced by Weeks and his band.
It's a record where every musician, within the band, has the space to shine and let it loose when the tune allows it, without overshadowing his fellow musicians but just enriching the band's sound even more through their individual skills.
Dark Angel is a finely played album, full of groove and some swagger too. Weeks has got the luxury to have many songwriters in his band, to help him out building a highly entertaining record like this.
Danny Haynes on keyboards and vocals is a true revelation. His songwriting is inspired, his vocals crisp and his work on keyboards an authentic joy to listen to. Stacey Turpenoff helps out as well on the songwriting but when it comes to singing, she is certainly The Lady in the John Weeks Band's house. Her vocal deliveries are terrific and Turpenoff is able to deliver either joy and playfulness, like in the song Devil In My House or intense, deep emotions, like in that splendid ballad that is The Blues Just Got More Blue, thanks to her soulful, powerful voice .
The new John Weeks Band's album delivers many wonderful musical moments. Impossible is a delicate semi-acoustic tune, perfectly executed by a band in stratospheric form. A separate mention deserves How Can You Love Me?, a slow tempo blues tune that exemplify the most the fluidity of sound of this tried-and-true music machine. Stephen Whitfield on bass and Robert Fiorino on drums work in perfect synchronicity with one another. Week's guitar solo on this tune is absolutely outstanding. Danny Hayne's work on piano is, again, top notch and Stacey Turpenoff's singing style is smooth like the sweetest of caresses.
Dark Angel is an excellent record and musically, a vast step forward in comparison to the band's debut album. The John Weeks Band shows all the positive signs of a band destined to a great future in the music business.
Giovanni "Gio" Pilato
Dark Angel is out now and it is available via John Weeks Band Official Website
"Buy a record, support the artists, preserve the future of music"
- Details
- Written by: Giovanni "Gio" Pilato
When in 2014 the album Warning Shot by the Chigaco-based collective Mississippi Heat reached the top of the Blues Charts of half of the world, that moment can be remembered as a very significant one not just for the band but for the whole Blues community.
The success of that album was the clear sign that the Blues genre was definitely migrating and transforming itself to something bigger and bolder, still maintaining its roots deep down in those sounds and vibes that have made this genre the most pivotal one in music history ever.
Mississippi Heat's new album, Cab Driving Man, has not just carried the robust vibes and tones of its 2014's predecessor but has even improved the overall sound of the band by bringing it to a new level, thanks to the phenomenal talent of each individual member and the inspired songwriting and musical vision of Mississippi Heat's harpist and band leader Pierre Lacocque.
Throughout the sixteen songs included in Cab Driving Man, the band showcases an artistic maturity of rare beauty. A beauty that transpires every step of the way in an irresistible tracklist that combines the Blues roots of the band with elements of boogie, R&B, funk and latin rhythms in a truly, explosive musical package.
Pierre Lacocque, together with being one of the best harpist worldwide, is also a great connoisseur of talents, when he spots one. He must have certainly spotted so many of them, during his 25 years of career in the music industry and the current line-up of the band is no exception. Inetta Visor is an incredible and versatile singer, capable to show a phenomenal vocal artillery with elegance and class many times throughout the album, like in the jazzy Life Is Too Short, in the wonderfully executed Sarah Vaughan's cover of Smooth Operator or in the unstoppable vocal performance in the funky-spiced Icy Blue.
The talent flies high everywhere in this magnificent Big Band. Brian Quinn on bass and Kenny Smith on drums are an electrifying rhythm section, Chris Cameron on piano and keys is an outstanding musician and Michael Dotson, guitarist and singer/songwriter, is a true genius.
Pierre Lacocque has certainly assembled not just one of the finest group of musicians worldwide, within the band but has also chiseled some of the best songs he has ever written in his career. Music Is My Life has got such a passion that doesn't just transpire through his lyrics but also through a superb performance on vocals by Inetta Visor and Chris Cameron on piano. Lacocque tinges every song of the album with the intense vibes emerging by his Harmonica, providing an ideal music blanket to the already vibrant sound of Mississippi Heat. The work on Harmonica of the Belgian/American artist is truly superb in the ballad Mama Kaila, one of the many highlights of a very refined and well crafted album.
The closing track of the album, the instrumental Hey Pipo!, incorporates the whole spirit of the Mississippi Heat's artistic message. Three minutes of pure entertainment, beautifully executed, with a superb interplay of all the musicians showcasing, once again, the calibre of their immense craftmanship in this free-form tune.
Cab Driving Man is an album that travels to the pace and the grace of a feather swirling gently in the music skies, thanks to the phenomenal twists and turns that Lacocque and his band have designed on this superb album. In the album's sleeve notes, Lacocque says that "An aIbum is a passport, it gives you opportunity to keep growing and travelling". Cab Driving Man is certainly Mississippi Heat's passport for music heaven.
Giovanni "Gio" Pilato
Cab Driving Man is out now and it is available via Delmark Records
"Buy a record, support the artists, preserve the future of music"
- Details
Scotland's Painting Rockets are an impressive post-punk pop duo fronted by guitarist/keyboardist Stephen Christie along with vocalist Keli Thomson. They initially came together back in 2014 and have recently released their latest EP titled, From The Debris. It's musically loaded and packed with exciting punk and post/punk sounds.
The band’s sonic approach mainly gravitates towards seminal post-punk, specifically bands like PIL. They don't pull any punches, their sound heavily coated with jagged rhythm guitars played against programmable drums and elegant synths.
Often, inexperienced minimalistic duos can often end up sounding very raw and sparse. Not the case here.The two sole members of this duo more than make up for any potential and casual lapse in musical conversation by their adept use of sonic time and space. In the end we are left with a full and lavish production that is as impressive sonically as it is musically.
The opener, I’ll Be Fine,kicks off with a way cool lo-fi efx patch; then,with guitars quickly leading into PIL territory. Propelling drum patch drives the song throughout. As we approach the climax we are treated to a very affective vocal crescendo. Christie and Thompson truly knows how to start off an album.
Christie and Thompson as musicians, competently communicate a distinct and eloquent musical language; their songs at times incorporating an ethereal dynamic. One example of this is the third song, Empathy. Christie’s sequenced synth’ line at the intro is at once followed by sharp, rugged guitar.Then, without warning we are treated to a totally unexpected drop-of-a-dime halt; immediately followed by a soothing atmospheric keyboard break. A challenging and very well executed track.
Throughout the album the Scottish band displays their versatility in a myriad of ways. On the song,Paranoid, we are immediately confronted with an ominous keyboard patch which swiftly takes us into parts unknown. Minimalistic, even avant-garde to some degree. This is a pleasant change-up on this all instrumental piece and displays the band’s boldness with regards to taking chances and the willingness to step out. Yes, the feeling of Paranoia ensues, thanks to clever instrumentation and a tune which would certainly fit well onto the soundtrack of nearly any film.
The closer, The Chaos Is All So Beautiful, shows the softer side of the duo. In this instance the sound and vibe is overtly melancholic; bringing to mind bands like The Velvet Underground who were memorable for 2-chord compositions such as this.
Painting Rockets, like the best punk/post-punk/new wave bands produce short-mini- sweet pop ditties that are well composed and performed. The vocals are muscular yet sensitive and emotive. Although there are times when the lyrics are indecipherable this only adds an element of mystique and charm to their material.
From The Debris is a mature and very solid second outing for a band that seems very confident in the musical direction they are headed towards.
Marc C. Cancassi
From The Debris is out now and available via Bandcamp
"Buy a record, support the artists, preserve the future of music"
- Details
- Written by: Giovanni "Gio" Pilato
It's very refreshing to hear, in a stage of blues history like this, where the genre is evolving in many different ways, the fact that artists like Mat Westlake and Paolo Fuschi decide instead to stick to the traditions, by releasing an album that is a touching tribute the the sound of the Chicago Blues of the late 40's and the 50's.
Their new, entirely acoustic new album called Kicking Up The Dust, purposely recorded in a lo-fi style in order to adhere to the meaning of their musical message, simply by using Westlake's harmonica and Fuschi's guitar, is a well-crafted portray of blue's deepest roots. It's a record that brings back the song's format back in a time and a place where the intensity of a tune was simply defined by an artist, his instrument and his voice.
Kicking Up The Dust sees Walklate & Fuschi re-interpreting in their own ways some well-known classics of the genre, by adding unexpected touches of brilliancy and variation to the songs present on the album, like the foot-stomping opener Ain't No Big Deal On You or Bobo Jenkin's phenomenal version of Nothin' But Love.
Both musicians showcase an excellent artistic background and tons of musical skills. Walklate's harmonica style has got class and finesse written through and through and his work on Derrick Morgan's classic Fat Man is a true testimony of Walklate's talent. His vocals are deep, delivered with such a style and charisma that bring back echoes of a young Elvis Presley.
Paolo Fuschi is a highly skilled guitarist and his eclectic style allows himself to shine numerous times in the album. Take, for example, Fuschi's guitar solo on Goin' Down Slow, where the Italian artist, thanks to his instinct and his craftmanship, pens the most perfect intermezzo possible for this tune.
Walklate and Fuschi's interplay is pitch perfect and awe inspiring and runs deep through the whole album. The best example of such perfection can be heard in the only original tune of the record written by both the artists called Don't You Know Me, a song that sums very well the level of artistry of this formidable duo.
Kicking Up The Dust is a record that keeps on giving right to the end. Lightnin' Hopkins version of Black Cat Bone is one of the true peaks of this record for intensity and brilliancy from the two artists and the medley of The Technique's Oh Babe (Sick And Tired) and Don Drummond's Man In The Street magically combine elements of ska and blues of the highest level, thanks to Fuschi and Walklate's ability and versatility.
This record is a beautiful, full immersion in the purity of the blues, performed by two artists with a great level of knowledge, understanding, appreciation and great respect for an ageless genre like this. A truly inspired album and, without a doubt, a career defining moment for these two talented musicians.
Giovanni "Gio" Pilato
Kicking Up The Dust is out now and it is available via the artist's Official Website
"Buy a record, support the artists, preserve the future of music"
- Details
- Written by: Giovanni "Gio" Pilato
There are not many blues and gospel music fans left in the world that do not know the story of the Italian Harmonica Blues Maestro and music writer Fabrizio Poggi. This incredible artist discovered his great passion and love for the instrument since a very young age, making him, through the years, one of the most revered and respected musicians both by music fans and fellow artists.
Poggi has always been and still is, throughout his career, one of the most prolific recording artists ever. Between solo albums and side projects (the latest being Fabrizio Poggi & Chicken Mambo), the Italian artist has released 19 albums until now. It comes without saying that Album No. 20, Texas Blues Voices, had to be really something special and it most certainly is.
The Italian artist's brand new album is a fabulous tribute to those unique blues vibes coming from the great state of Texas, a place that so much has given and still does to this genre in the last half a century. It's a homage at 360 degrees to some of Texas' most fabulous singers, guitarists and musicians in general.
Recorded in about 10 days in Austin, Texas, the record assembles a stellar cast of singers and multi-instrumentalist artists, which often play a part in each other's songs, either by providing backing vocals or playing an instrument in general, in short, a total and great Team effort. Poggi's Harmonica, as always, provides a genuinely fabulous sonic blanket to all songs, either originals o traditionals, performed by each artist, through Poggi's great class and ability as a musician.
To find one or two highlights on such a well-balanced album, so beautifully sang and played is a mammouth task. The level of quality of every Special Guest's performance on each song reaches peak of truly, sheer perfection. Carolyn Wonderland's vocals on the album's opener on Blind Willie Johnson's classic Nobody's Fault But Mine are first class and her work on guitar is equally remarkable. The same can be said about that fabulous artist that is Mike Zito and his rendition of Muddy Waters and Bernard Roth's Forty Days And Forty Nights, where the Texan blues/rocker's deliver is absolutely pitch perfect.
Poggi has chosen an array of fantastic musicians to provide the right sounds and rhythms to each of the Guest Artists present on Texas Blues Voices. Bobby Mack and Joe Forlini on guitars, Cole El-Saleh on piano and organs, Dony Wynn on drums and Donnie Price on bass guitar are a sublime Music Machine to listen to and their artistry and individual skills are second to none.
Every song constitutes a different vibe, a different journey in the history of blues. To hear perhaps the youngest sounding 86-years-old artist in the world, Lavelle White, who has sang in her career with giants of the blues like Otis Redding, Sam Cooke and Aretha Franklin amongst others, singing a song she wrote about her roots with such intensity and pathos is truly emotional.
Each Special Guest leaves a strong, emotional impact on Texas Blues Voices; Ruthie Foster's version of Ruth and Brownie McGhee's Walk On is one of the most soulful versions ever heard of this great classic and on the same tune, the work of Mack and Forlini on guitars is an unmissable treat for the ears of any music fans.
With all the emotions and the intensity pouring out from those songs present on Texas Blues Voices, Fabrizio Poggi's harmonica keeps working incessantly and beautifully in the background, helping to create that necessary balance that makes every song a bit more special, through his unmistakable style.
The Italian artist couldn't close a stellar album like this in a more perfect way than having Guy Forsyth performing with him a fabulous rendition of the traditional Run On. Poggi's Harmonica and Forsyth's superb job on vocals and National Reso-phonic combined together are an irresistible force of nature and the outcome is simply outstanding.
Texas Blues Voices is an album that screams talent, passion, and most of all, unconditional love for the blues. At the same time, it is a splendid record that deservely rewards Fabrizio Poggi for his talent, his belief and his perseverance in carrying the torch of tradition and history that only a music genre like the blues has in its DNA.
"I guess I gotta keep on walkin', no matter what, till I find my way", say the lyrics on one of the album's songs, Walk On. Fabrizio Poggi will keep on walking with the blues for the rest of his life and we cannot be more thankful for that.
Giovanni "Gio" Pilato
Texas Blues Voices is out now and available via Appaloosa Records
"Buy a record, support the artists, preserve the future of music"
- Details
- Written by: Giovanni "Gio" Pilato
It has been some time now, for Glenn Hughes, to make a new record as a solo artist. After five years spent recording with Black Country Communion and California Breed, Hughes has finally decided to break this long hiatus by releasing his twelfth album, called Resonate.
Few recent health issues have not certainly stopped the beating rock'n'roll heart of a tried-and-true artist like Hughes and Resonate is the definite proof of it. Hughes let it loose completely on his brand new record, by unleashing a free-form album in which the American bassist and singer/songwriter shows all the different sides of his artistry.
Hughes catwalks in many different musical territories, sometimes with unexpected and interesting results and in very few occasions, with slightly less memorable ones. Resonate sees Hughes accompained by first class musicians like Soren Andersen, guitarist and co-producer of the album, Lachy Doley on keys and Pontus Engborg on drums. The musician's skills shine throughout the whole record but particularly on prog-rock musical excursions on the album, such as on tunes like Steady and Flow.
One of the great virtues of Resonate is that it clearly sounds like an album where Hughes had a lot of fun to record. Landmines is the best expression of love and passion for funky music that the Bass Maestro could showcase, on such an eclectic album like this.
Things, though, become more serious when the American artist digs deep into his most congenial musical ground, which is hard rock and metal. My Town, God Of Money and, most of all, the splendid How Long show an artist totally in control of his music and his talent, both as a singer and as a musician. His vocals are still as sharp as razor blades, just as his incredible artistry on bass.
Even little episodes like Stumble & Go, where Hughes doesn't feel like he is playing exactly on his favourite playground, can be easily forgiven. The album closing, Long Time Gone, is among the best moments of the record and, at the same time, the ultimate apotheosis of what Glenn Hughes truly is; a versatile singer, an extraordinary musician and a sublime raconteur.
Resonate is the return to form of an artist that has given so much to rock and roll in the last four decades and still going on full throttle. Like the finest bottle of Brunello Di Montalcino red wine, Hughes demonstrates through this record that his music tastes better and better as the years go by. Good to have you back, Mr. Hughes!
Giovanni "Gio" Pilato
Resonate is out now and available via Frontiers Music
"Buy a record, support the artists, preserve the future of music"