Blues Top 50 october 2013

influences this is an album and song-writing that stands alone as demonstrated from the title and opening track The Contender where Rocky meets Springsteen as Northern Irish Americana hits the deck with a sting in its tail setting the scene and tone of the whole album. Turn On The Music with its country up beat rhythm takes you to a bar in Nashville and does get those feet tapping, whilst the closing track Tennessee Rose with its percussive drum beat brings the party to a close with panache, with the authenticity in the lyrics of a mournful story behind the dance beat bringing the CD to an end in The Condender; Tony McLoughlin’s latest offering. This is not an album of twists and turns or surprises what it does deliver is quality American influenced music, a fusion of rock, country and a sliver of blues blended into a range of easy listening tracks that will never disappoint and will set the mood to relax sit back and enjoy.

liz aiken

Lewis Hamilton

ghOsT Train lewis Hamilton music

This is a young man who has exceptional guitar playing skills that he plays with confidence, style and panache. This is not clean blues there is a sense something a little sleazy and dirty about his take on the blues. For many outside of Scotland Lewis is a new name on the block, though many will have heard a tempting taster on the recent Jock’s Juke Joint trio of CDs.

The eleven original self-penned tracks means this train is due to be played again and again; and on each listening more elements become apparent as the accompanying musicians add layers of texture and tonal colour. Cheap Cigars is a stop any blues fan would want to tune into with its swampy tone and beat driven guitar licks. Ghost Train is more than the title track it steams along introducing some smooth slide guitar. This an album with some funk, soul and a bucket load of blues with Lewis tipping his guitar at Stevie Ray Vaughan, with the fast action Whiskey Boogie, featuring the exceptional skills of Lyndon Anderson on blues harp adding so much musical texture. There can be no doubt this is an album being delivered by a young burgeoning guitar talent; the song-writing is skilful and shows a real understanding of the genre, unfortunately it is Lewis’ vocals that let him down; but I am positive as this is an area which will improve with age. Get on board the Lewis Hamilton train and buy this CD and sit back and enjoy.

liz aiken

LEYLA MccALLA vari-cOlOred sOngs Dixiefrog records

This is a debut album by multi-instrumentalist Leyla McCalla, who also performs as a member of a band called The Carolina Chocolate Drops, on this album she draws from her Haitian roots and varied musical background that includes studying Cello and Chamber music at New York University to working as a street musician in New Orleans. The album is a tribute to American poet Langston Hughes, some of the material is the poetic words put to music, the finished product has a Creole inspired Country Blues sound and the songs are sung in both English and French language, the arrangements are very simple with Leyla accompanying herself on guitar and banjo.

The French language material probably represents the best tracks on the album, while I have no idea what the lyrics are saying they are very raw and emotional, especially on Kamen Sa W Fe. This album is very unique and highlights a very talented musician who has gone back to her family roots to provide fourteen tracks of traditional American and African influenced music.

aDrian blaCklee

kIRSTEN THIEN sOlO live frOM The Meisenfrei blues club screen Door records

This solo live recording was made in Bremen, Germany, and lasts 70 minutes. When put alongside Kirsten Thien’s superb studio albums You’ve Got Me and the most recent Delicious it might be described as something of a luxury at best or tame at worst. Thien’s ace card is her powerful and impassioned vocal style, and when these qualities are set astride a strong backing it is as good as it gets.

Economics are clearly against taking a touring band across the ocean, and some solo performances do add a new and welcome dimension. Unfortunately on this occasion it does not work well: the tinny and sparse acoustic guitar accompaniment to the strong and emotive voice often seems incongruous, and none of the tunes are improved by this stark alternative.

An attempt at audience participation during Wild Women Don’t Get The Blues is not a success. The artist herself expresses regret that her band are not with her.

There are some interesting curiosities, such as versions of Leaving Las Vegas, Fooled Around And Fell In Love, Women Be Wise and the closing medley of Ain’t No Sunshine / The Thrill Is Gone. To those who attended this and other solo gigs this will be an essential memento, but for those new to her work, they should save their money for Delicious. nOggin