Tad Robinson Real Street

Tad Robinson

Real Street

Severn Records

Tad Robinson's new album of blue-eyed soul, "Real Street" was recorded at Memphis' Electraphonic Recording and recorded by Scott Bomar, leader of the acclaimed Memphis soul band, The Bo-Keys. Robinson's vocals and harmonica are vocals and harmonica are backed by the legendary Hi Rhythm section of Charles Hodges – Hammond organ; Leroy Hodges – bass; and Howard Grimes – drums. They are augmented by Joe Restivo – guitar; Kevin Anker – Wurlitzer electric piano; Marc Franklin – trumpet; Kirk Smothers – sax; and Devin B. Thompson – background vocals.

Robinson and his band do an excellent job of recreating the classic Hi Records sound. Robinson and friends have contributed several choice originals, and they interpret songs from George Jackson, Roy Orbison, David Gate, and others. Certainly, an original like "Changes" with chugging rhythms comes off like a cover of a classic Syl Johnson number. Its memorable lyrics are about friends one has trusted have let you down, and then only love can help you negotiate the changes. There is a marvelous heartfelt rendition of a George Jackson soul ballad, "Search Your Heart," where Robinson pleads for his woman not to put him in misery. Robinson adds down-home harp on "Love in the Neighborhood." "Wishing Well Blues" is a soulful blues about his woman leaving set against this terrific rhythm section with biting guitar, punchy horns, orchestral organ, and a touch of harmonica.

Robinson takes the old Roy Orbison ballad, "You Got It," and transforms it into deep southern soul in a fashion that Otis Clay or Syl Johnson may have done it. Then there is a similar transformation of Bread's hit."Make It With You," by David Gates, into a classic Hi Records styled performance. Superbly backed by this terrific studio band and sung so fervently by Robinson, "Real Street" is a gem of contemporary Memphis-styled soul.

I received my review copy from a publicist. Here is Tad Robinson performing "Love in the Neighborhood" from this CD.

Charlie Woods Is More Than Lucky

A fixture on Beale Street playing the Hammond B-3, with whom legendary guitarist Calvin Newborn would often join, Charlie Wood has a new Inside Sounds release, Lucky, that brings a soulful, jazzy sophistication to the blues.


Through the magic of overdubbing, Wood plays virtually all of the instruments here aided by Kirk Smothers’ saxophones. The opening Can’t Teach That Stuff is a sizzling rocking boogie woogie where he talks about his musical life, including how Albert King took him on the road, with hot solos from Smothers on tenor and Wood on the B-3. It is followed by a nice down-in-the alley rendition of Percy Mayfield’s The River Invitation, with his evocative, smoking singing.


Echoes of Professor Longhair reverberate on Wood’s celebration of the Crescent City and his hopes for its survival with his faith in the human spirit, Never Gonna Stop New Orleans. What’s It Gonna Take is rollicking piano blues where he asks his woman what it will take to slow her down and get to her. Ray Charles’ Lonely Avenue is slowed down in a nice reworking while Ear Candy has a nifty lyric about telling one’s lover what she or he wants to hear.


There is a fine cover of Mose Allison’s One of These Days, with Wood sounding very comfortable handling the vocal and laying down some choice piano, while the closing rendition of W.C. Handy’s Beale Street Blues is a wonderful performance with Wood and his piano joined by Billy Gibson who adds some harp on this intimate sounding performance.


There is a funky ambiance throughout this and plenty of space for Wood’s keyboards and solid vocals. Wood also adeptly provided a full ensemble sound although the rhythm sounds a bit mechanical (although certainly better than a rhythm loop). Overall Lucky is a most enjoyable release.


This review originally appeared in the August 2007 Jazz & Blues Report (Issue 296). I likely received my review copy from Inside Sounds.