REVIEWS FEB/MAR 2022 REVIEWS FEB/MAR 2022 REVIEWS FEB/MAR 2022
DAVE HUNT BEHIND THE MOON
DIONNE BENNETT
ELIAS BERNET BAND
SUGAR HIP YA YA
BETTER OFF WITH THE BLUES
MAD EARS PRODUCTION
HUNNIA
Dave’s new release is a set of fourteen original tracks all punctuated with storming harmonica driven rock and blues tones throughout. Another album written during lockdown, this flows very well from the opening bars of first tune Take Me To The Sun with a dirty bass groove provided by Stuart Goodacre and fine slide playing from Dave, who also adds harmonica and vocals throughout the release. Andy Littlewood provides keyboards to the raunchy Kiss This which is all about the groove and rhythm, a love story with a twist. Pete Nelson joins in on drums to the catchy Doctor, melodic tones here. Preacher Man is a highlight, mellow slide playing belies the strong vocal delivery then harmonica peppers the tune, then some acapella vocals take this tune to another level. Dave said, “all his songs come from jamming on a loop pedal then reworked later”. This adds to the whole live feel of the release. The title track Behind The Moon opens with great keyboards, a rocky take, anthemic chorus included on this Gospel infused tune. Funky Stew changes the style and tempo highlighting a swampy beat and snarling vocals. Dave’s storytelling on Freeman, captures the essence of a great tune, just exhilarating. Prices Down has a steady groove, again, great storytelling with a catchy chorus. Blonde Woman is another rocky blues tune sung with sassy tongue in cheek. Last track, Don’t Leave This Way is dark and evocative. Highly recommended. COLIN CAMPBELL
A new name to me but a lady with a terrific presence and vocal power. She has a long career as both a backing singer, even including Dr John & Super Furry Animals, a member of Rhys Ifans band the Peth, opening for Oasis, a performer for CBeebies and has worked in the industry for years. Listening to the opening number, a great version of the Etta James classic Tell Mama, and then the title track, I immediately thought that she is New Orleans born & bred, but no, she is a Brit but no less a brilliant singer for that. In fact, the album covers several styles from straight R&B to Blues, soul and funk and I found myself listening to it straight through three or four times, just enjoying the heck out of a brilliant singer with a great band behind her belting out some of the most danceable sounds I’ve heard in ages. Attila Herr lays down some awesome bass lines and he is joined by Lajos Gyenge on drums, Matyas Premecz on keys and Laszlo Borsodi on guitar and they really do a fine job of backing up Ms. Bennett but it is her vocals that grab the ear and whether it is the funk of Allen Toussaint’s Yes We Can Can or the jazz-tinged and dramatic, almost Tango, Don’t Fall For love or Sugar Hip Ya Ya itself it is her hot and sharp vocals that leap out at you. For me, the standout track here is My Life, a soft song, looking back wistfully and really showing off just how sensitive a vocalist she can be. A terrific ‘new’ artiste and one I’m looking forward to seeing more of in the coming years. ANDY SNIPPER
120 BLUES MATTERS! ISSUE 124
INDEPENDENT Seriously impressive keyboard chops from bandleader Elias Bernet, who covers a wide range of 12-bar moods and related genres on this all original 15-track set. My educated guess would be that this guy listens to a lot of Allen Toussaint, as witnessed by such obviously New Orleans-flavoured tunes as Johnny The Roller and Easy Target For The Blues. Play something sweet, play something mellow indeed. But there’s more to Bernet than that. Take the funk-tinged Monkey Juice, built on a riff that lodges its way into your brain even on first play. Slow blues Heavy Load is deftly handled, and rock and influenced numbers such as A Little R’n’R allow the bandleader to get his Jerry Lee Lewis on. Bernet boogie-woogies like Meade Lux Lewis on Light That Fire, while the title track could be an outtake from one of those Jimmy Smith Hammond organ jazz albums Blue Note put out in the 1960s. It’s fair to observe that all the genres covered are somewhat traditional, but the effervescence of the musicianship makes up for any familiarity in the terrain. It’s all piano and B3-led, with able assistance from Markus Fritzsche on double bass and Bernhard Egger on drums, and no pesky guitarists getting in the way. This is the third album from the band, who incidentally hail from the Swiss town of St Gallen. If you are tempted to seek out a copy, the website is www. eliasbernet.ch DAVID OSLER
FRAN PEGG GIN HOUSE BLUES INDEPENDENT Christmas came early, when I received this excellent album of 10 great blues track by the Bedford-based blues artist, Fran Pegg. I find it odd that emerging artists will sometimes do excellent covers of old blues standards, only to lose their way later with their own material. After listening to this collection, I can only hope that Fran remains true to the blues and continues to create more in a similar vein; I mean, they’re all tried and tested classics for a reason. This is not to say that Fran doesn’t put her own stamp on the songs she’s covered. Proof of this is the stunning opening track, Eric Bibb’s With My Maker. It has slightly distorted vocals, a heavy drum beat and wailing harmonica, with an atmosphere reminiscent of Led Zeppelin’s When The Levee Breaks. How Blue Can You Get, which BB King regularly covered, is next and features crystal clear guitarwork to accompany Fran’s soulful vocals. The title track, Gin House Blues, one of Bessie Smith’s, is a delightful version of this 20s (1920s!) song. I’d Rather Go Blind is a more upbeat version than one normally hears, but Fran lets the words speak for themselves on this one and it works well. Freddie King’s/Don Nix’s Same Old Blues is a slow ballad, with some understated piano work and angelic backing vocals. Little Walter’s Just Your Fool gets a lively treatment and shows a more light-hearted side to the blues, whilst showcasing Fran’s versatility. My favourite track on the album is Willie Dixon’s Wang Dang Doodle, a true blues classic, and the band really sound like they enjoyed recording
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