Candye Kane White Trash Woman

Candye Kane
White Trash Woman
Ruf Records 

If blues is, as some describe it, “grown-up music, then Candye Kane’s emergence as a blues diva is not far removed from her earlier career in the adult entertainment business. But while her background may make her seem like a novelty, when you hear him pounding the ivories, belting out a remake of Bullmoose Jackson’s Big Fat Mamas Are Back in Style or listen to her caress the country-ish ballad What Happened to That Girl, one realizes her talent leads one to quickly forget the novelty of her background. 

Her latest album, White Trash Woman was recorded in Austin, Texas and is on the German Ruf label. Produced by Mark 'Kaz' Kazanoff, who also leads the horn section, he is joined by a stellar studio band that includes drummer Damien Llanes, bassist Preston Hubbard, guitarist Jeff Ross (with appearances by Johnny Moeller and David Grissom), harp wiz Gary Primich, keyboards by Riley Osbourn. Together they bring together a smorgasbord of blues moods and settings and Candye Kane comes across equally compelling belting out the title track (“It is an honor to be called a trashy broad in the traditions of legends such as Divine and Dixie Rose Lee), and Estrogen Bomb which she is the strong woman who offers no apologies and takes no prisoners when she gets crossed. 

She reworks the Loving Spoonful’s What a Day For a Daydream into a blues while lending a country feel to What Happened to the Girl, and sings about being Misunderstood with the band providing a traditional jazz backing including some nice clarinet. Leiber and Stoller’s I Wanna Do More evokes Little Walter’s hit, My Babe, with its groove and some fine harp by Mr. Primich. The following track, the original It Must Be Love, is a rocking shuffle with a fine fifties T-Bone mixed with B.B. guitar solo and strong jumping horns and a clean, soulful vocal. In contrast Queen of the Wrecking Ball, has her singing woman who breaks hearts with some nice guitar evoking the gulf coast swamp blues sound. 

Other songs include a boogie woogie about sexual self-gratification, and, Mistress Carmen, about a Grand Domme who is proud of her sensuality set to a New Orleans groove (Please Mistress Carmen, we just want to watch you dance), and a lovely love ballad, I Could Fall For You. With truly memorable songs and strong backing, Candye Kane convincingly delivers this varied programme with humor and passion. Candye Kane may be a White Trash Woman but this recording is most certainly high class.

I likely received a review copy from Ruf Records or a publicist. This review original appeared in the September 2005 DC Blues Calendar and the March/April 2006 Jazz & Blues Report (Issue 280). Here is a video of Candye (who passed away in 2016 with Little Willie Littlefield (who passed away in 2013).

Hank Mowery Account To Me

At first glance, Hank Mowery’s new recording Account To Me (Old Pal) might seem like a tribute to the late Gary Primich. The recording after all includes 5 songs written by Primich (2 of which were never previously recorded) and was produced with members of Primich’s family. Tad Robinson, himself a singer, songwriter and harmonica player like Primich and Mowery, calls it more of a collaboration between Mowery and Primich’s family. Adding to the collaborative character of this recording is the presence of bassist Patrick Recob from Primich’s band. Others on this include guitarist Troy Amaro, Chris Corey on keyboards, and John Large on drums and percussion. Jimmie Stager plays National steel guitar and sings on one track and Junior Valentine adds 2nd guitar to 3 selections.

Mowery certainly establishes himself with this recording as a singer, harmonica writer and songwriter with his rocking original Spend a Little Time, that kicks off this CD. Besides his strong, natural vocal and harp playing, Corey shines on piano and the Wurlitzer piano here. Account For Me is a previously unrecorded song that Primich penned and this soulful ballad has a bit of swamp pop feel. In addition to his heartfelt vocal he adds some very nice harp with Amaro taking a short solo full of bite. The rendition of Primich’s Put The Hammer Down is a nice cover of Primich’s original with tight, understated ensemble playing (with a neat repeated guitar figure) and is followed by a strong original slow blues from Mowery If I Knew What I Know which opens with him blasting on the harp. 

Memphis Slim and Matt Murphy’s Banana Oil is a nice latin-flavored instrumental with jazz flavoring that allows Corey (on organ), Amara and Mowery to shine during their sharply focused solos. Tricky Game sports a understated New Orleans groove that contrasts with the solid shuffle My Home, with the lyrics lamenting the absence of his woman’s love. In addition to the splendid playing by all, Mowery stands out with his relaxed, natural vocals. Bassist Recob ably handles the vocal on his original, Target, built on a blues vamp that goes back at least to Little Willie John. Amaro stands out with his solo as well as his tone as part of the atmospheric backing here. Mowery provides harp backing to Jimmie Stagger’s vocal and guitar on a nice cover of Robert Wilkins’ depression era recording, That’s No Way To Get Along, that closes “Account To Me.” The music on this may sound familiar as Wilkins, after he gave up blues, redid this song as The Prodigal Son, which was covered by the Rolling Stones. 

As noted, Account To Me is both a tribute to Gary Primich and a collaboration with Primich’s family. Mowery is himself a strong blues voice that is showcased on a most entertaining recording. This writer looks forward to hearing more form Mowery in the future.

My review copy was provided by a publicist for this release. Here is a clip of Hank Mowery performing

Omar and the Howlers Too Much Is Not Enough

Jimmy Reed’s music is deceptively simple to play. With its lazy rhythm, simple boogie bass and mush mouth vocals it would seem so easy to cover and interpret. However, for every Jimmy Witherspoon, with his behind the beat vocals gave a personalized uptown approach, or Swamp blues masters like Lazy Lester, Jimmy Anderson, and Slim Harpo, others (such as Etta James) might handle the songs a bit too heavily. 

This brings us to a new release by Omar and the Howlers on Big Guitar Music, Too Much Is Not Enough. This recording of Reed’s music features the late Gary Primich on harmonica for what was Primich’s last recordings. This recording was recorded prior to Omar’s collaboration with Jimmy Vaughan On the Jimmy Reed Highway. Like that album, this includes a number of special guests including guitarists Derek O’Brien, Gary Clark, Jr., as well as Jay Moeller and Ronnie James. Not having heard the Jimmy Reed Highway, I cannot vouch for the statement that this recording takes a different approach. I can attest that this is a very fine recording of Jimmy Reed songs.

Omar Dykes' hoarse, gravelly vocals would seem more appropriate for the music of Howlin’ Wolf or Captain Beefheart. Importantly, his relaxed delivery simply nails the renditions of Too Much, Honest I Do, I Ain’t Got You, and Shame, Shame, Shame. The backing stands out with Primich shining. There is one non-Reed song included, Dykes’ I Gotta Let You Go. This is a swamp blues that evokes Slim Harpo’s Tee-Nah-Nee, with Gary Clark, Jr. adding slide guitar in the backing. On two selections Clark doubles on harmonica and guitar and if not as accomplished on harmonica as Primich, still acquits himself well.

Fans of Jimmy Reed, as well as of Omar Dykes, will certainly enjoy Too Much Is Not Enough. These are wonderfully paced performances and many ‘blues players’ would do well to see how one can take familiar material and make it sound fresh and vital. This is so good that I will be checking out the Jimmy Reed Highway, and looking forward to Omar Dykes promised future releases that will center on the music of Howlin’ Wolf and Bo Diddley.

I received this from either the label or publicist.  Here is Omar performing at the CD release party for this CD.

Gary Primich is a Company Man

Austin’s Gary Primich brings his formidable harp technique and appealing singing to Company Man, another new release from the revived Black Top label. He’s joined here by guitarists Shorty Lenoir and Mark Korpi, with one acoustic track that has Steve James adding his formidable playing. This is a mix of good original material with catchy lines and some less familiar covers. A couple of covers are from the Smiley Lewis canon including Hook, Line and Slinker, with some rollicking tinker toy piano and an acoustic version of Jailbird. There’s some nice harp workouts, The Briar Patch (with some fine chromatic harp) and Varmint, as Primich’s tasty playing is showcased. What is particularly appealing besides his technique, tone and fluency, is that he knows when to lay back, and he exhibits finesse as well as power. Similarly, his vocals are richly and convincingly delivered without any artifice. The overall flavor, with string bass and tasty drums, is not too far removed from a number of similar efforts, including several from the West Coast by James Harman, Rod Piazza and the late William Clarke. This is a fine album, although Cub Koda’s liner notes are a bit hyperbolic. Furthermore, as someone whose relatives died in gas chambers, I find his use of blues “nazis” to describe those who don’t share his views as offensive in trivializing the term. It is a word tossed around too freely and perhaps reflects a certain intellectual laziness. This review of one of Gary Primich’s recordings appeared originally in the June 1997 Jazz & Blues Report (Issue 222), although a few minor stylistic changes have been made. I likely received a review copy directly from Black Top at the time. Primich died in September 2007 and Old Pal Records has just issued a double CD of Primich recordings (many with Omar Dykes) Just a Little Bit More … which I will be reviewing and hope to post in a few days. Company Man is available from bluebeatmusic.com along with other vendors as well as valuable as a download.

Mike Morgan & The Crawl - Texas Men

Mike Morgan & the Crawl is one of the acts that emerged on the late lamented Black Top label with a rootsy tinge blues attack that was especially rooted in the traditions of Texas and the Gulf Coast. Starting in 2002, Severn Records started issuing new recordings by this band. Later they issued a CD of Morgan with fellow Texan Randy McAllister. Here are two reviews from a few years back of the Mike Morgan and The Crawl releases with some minor editing to reflect the republication. Severn Records provided me with the review copies.

First up is a review from 2002 of Texas Man, that originally appeared in the September/October 2002 Jazz & Blues Report (Issue 259).

Veteran Texas bluesman Mike Morgan’s new album Texas Man (Severn), brings together Gulf Coast gumbo and guitar shuffles with a healthy dose of Hound Dog Taylor inspired Chicago slide boogies.

Originally issued in Holland, Texas Man opens with the title track, a shuffle that celebrates Morgan’s Texas origins and Texas blues. Renditions of Guitar Gable’s swamp blues instrumental Guitar Rhumbo and Morgan’s original Whoa My Darlin’, show how comfortable he is working within the Louisiana Swamp Blues vein. The latter number almost sounds like a new Lazy Lester number while Wild About You Baby, Gimme Back My Wig, Taylor’s Rock and See Me in the Evening, are Hound Dog Taylor-styled slide guitar romps. Five Thousand Miles From Home is a terrific slow blues with Riley Orborne’s organ contributing nice atmosphere.

Among the others who can be heard backing Morgan’s earnest singing and strong fretwork are guitarists Jon Moeller and Anson Funderburgh, and harmonica player Gary Primich. Perhaps nothing musically original here, but everything is done so well and with enthusiasm and spirit. One will have a hard time not tapping one’s foot listening to this.

The following review of Live in Dallas appeared in the April 2004 DC Blues Calendar.

Severn has just issued the latest cd by them,, Live in Dallas. Paired with second guitarist Chris Zalez, bassist Rhandy Simmons and drummer Kevin Schermerhorn, Morgan treats the Dallas club crowd to some rocking music.

Much of this is originals, although Morgan and (Lee) McBee did not write the classic Earl King number Those Lonely, Lonely Nights. Nothing profound here, just hard rocking blues for an enthusiastic Texas crowd as he tells his lady he loves her too much on One of a Kind, while on Frankie Lee Sims’ Frankie’s Blues, he slows down the groove and delivers the vocal in a straightforward, effective manner. Mother--in-Law Blues benefits from the nice easy groove that Morgan & the Crawl hit.

Perhaps some of the lengthier performances might have benefited from some editing, but that is a minor quibble. Morgan is a steady singer and a guitarist who really works the groove while spinning out his lines and the Crawl is rock solid behind him, resulting some entertaining blues.

Here is Mike Morgan & the Crawl in performance.