John Németh Stronger Than Strong

John Németh
Stronger Than Strong
Nola Blue Records

With his latest recording, John Németh moves away from the soul-blues singing that has marked much of his career towards a grungy, swamp roots style. Németh's vocals and harmonica are backed by The Blue Dreamers, whose members are Danny Banks on drums, Matthew Wilson on bass, and John Hay on guitar. Adam Hill, who was the recording engineer, plays the tambourine. Németh wrote ten of the twelve songs on this album.

Németh has a reputation as a soul-blues singer, but while one can get here some of this in his vocals on this recording, this CD is more in a blues and roots vein. Some of his vocals have a distorted quality as heard on as on the opening "Open and Take It," where he sounds like he is singing through his harmonica microphone. On a passionate cover of a lesser-known Junior Parker recording, "Sometimes," it sounds like a little reverb was applied to his singing. His harp playing is as vital as ever while the backing trio provides efficient, effective backing. Guitarist Hay provides some biting fills and driving blues-rock solos such as he plays on "Throw Me in the Water."

The band puts together a chugging groove on "Chain Breaker," a blues where Németh pleads about trying to get through to his lover. "I Can See Your Love Light Shine" has a bouncy ska-like groove. "Bars" perhaps has his most straightforward soul singing with Wilson laying down a memorable bass line and Hay playing some sparkling accompaniment. "Deprivin' A Love" is a driving slab of blues-rock with Banks repetitious, insistent drumming pushing this performance along with Hay adding an acidic riff. There is a first-rate cover of Jesse Belvin's "Guess Who." It is striking how slow Németh and the Blue Dreamers play, something not many bands can pull off.

Some may be surprised by the rawness and approach that Németh takes on this album, but no one should be surprised how much of his personality he invests in this most intriguing recording.

I received my review copy from a publicist. Here is a video for "I Can See Your Love Light Shine."

Gregg Martinez MacDaddy Mojeaux

Gregg Martinez
MacDaddy Mojeaux
Nola Blue Records

Trumpeter and vocalist Gregg Martinez (pronounced MartNEZ with the I silent) has been a part of the Louisiana music scene for five deuces as the leader of such groups as the King Fish, The Boogie Kings and more recently Gregg Martinez and the Delta Kings. While some of his inspirations come from New Orleans R&B and the soul end of Swamp pop, he is a first-rate blue-eyed soul singer with influences from Sam Cooke and Donny Hathaway to G.G. Shinn, Luther Kent, and Johnny Adams. Mac Daddy is a nickname he earned decades ago, while Mojeaux is a spelling of 'maqereau,' a man Creoles believe has an unusual power over women.

Produced by Martinez and Tony Daigle, Martinez's singing is supported by a stellar cast of musicians that include drummer Tim Courville, guitarists Tony Ardoin and Tony Goulas, bassist Lee Allen Zeno, B-3 organist Charles Ventre, and saxophonist Ronnie Eades. One song features slide guitarist Sonny Landreth, accordionist Anthony Dopsie, and rubboard player Rockin' Dopsie Jr. On the final selection, Lawrence Sieberth[ contributes piano and string arrangement. Between them, Martinez and Goulas provide four originals to go with the nine covers.

On a rendition of Ray Charles' "I Believe To My Soul," Martinez establishes just how superb a soul singer he is. It is an arrangement based on Donny Hathaway's recording and illustrates the strength of his singing. Following this song is a robust reading of Don Nix's "Same Old Blues" with the guitarist channeling Freddie King. Other strong covers include the deep soul classic, "You Left the Water Running," the Clarence Carter recording, "Snatching It Back," and Tyrone Davis' immortal "Can I Change Your Mind." Charlene Howard joins Martinez on a Stax-influenced interpretation of Hamilton, Joe Frank & Reynolds' "Don't Pull Your Love."

Of the originals, Guolas collaborated with Martinez on the soul groover, "This House," that sounds like an unissued Muscle Shoals soul recording. Guolas also wrote the ballad "Just Stay Gone" with a superlative vocal that evokes the late Johnny Adams. Then there is Martinez's "Eva Zelle," with Landreth's slide guitar, Anthony Dopsie's accordion, and Rocking' Dopsie's rubboard adding a zydeco flavor for a rollicking performance. A passionate cover of Randy Newman's "Marie," with only piano and strings, concludes an outstanding recording showcasing Gregg Martinez's superb singing.

I received my review copy from a publicist. Here is a video for his performance of "I Believe To My Soul."

The Lucky Losers Godless Land

The Lucky Losers
Godless Land
Vizztone

"Godless Land" is the latest recording from The Lucky Losers. Leading the band are by singer Cathy Lemons and singer-harmonica player Phil Berkowitz. The other members of the group are Ian Lamson on lead & rhythm guitars; Chris Burns on keyboards; Endre Tarczy on bass; and Derrick "D'Mar" Martin on drums. This album was recorded at Kid Andersen's Greaseland Studios and Kid Andersen guests on (lead & rhythm guitars, lap steel, organ, piano, Mellotron, sitar, and percussion. Michael Peloquin plays saxophones and adds the horn arrangements for one selection on which Mike Rose plays trumpet.

Like The Lucky Losers' previous two albums, this is a first-rate CD of blues, rhythm and blues, and roots rock. Nine of the twelve songs are originals by either Lemons or Berkowitz. Former Charles Brown bandleader Danny Caron co-wrote three of Berkowitz's songs. One wonders whether the fact the songs seem to linger in one's head after listening is because the songs are so well-crafted, or the performances are wonderful. The tight ensemble backing throughout is top-notch with subtle, intricate instrumental fills adding to one's enjoyment. I have been a Cathy Lemons fan since listening to her 2014 album "Black Crow," about which I commented about the "natural, relaxed and soulful quality" of her singing. She continues to impress me as an exceptional singer. If Phil Berkowitz is not quite as impressive a vocalist, he still is a real fine singer who complements her throughout.

Things start with Lemons' funky Memphis soul groover, "Half Of Nothing," with her forthright singing with Berkowitz displaying his harmonica talents. Kid Andersen and Lemons collaborated on the bouncy rhythms of the title track with lyrics set against trebly accompaniment. Berkowitz takes the appealing vocal lead on the crisply played "Mad Love Is Good Love" with Lemons adding a harmony vocal on a performance evoking late sixties and early seventies classic rock. Another choice pop-soul performance is Berkowitz's "Can't Keep Pretending" with a full-hearted singing.

The duet performances by the two are very much in the manner of Mickey and Sylvia as they trade playful banter between themselves. It is appropriate that they cover a lesser-known Mickey and Sylvia hot shuffle, "No Good Lover." They follow this song with an interpretation of Doc Pomus- Mac Rebennack's "Be Good" with Burns' piano evoking Rebennack and Andersen's use of sitar adding to the flavor of this performance. This performance most clearly displays the affection they have for each other. As good as these performances are, "Catch Desire By The Tail," maybe the standout track as the two exchange praises how they complement each other set against sterling backing. Then there is the delightful reworking of a 1930 Clara Smith and Lonnie Johnson duet, "What Makes You Act Like That," There is some neat acoustic guitar and Berkowitz's acoustic harmonica that enhance the duo's playful repartee.

A country-roots lament from Lemons closes this album. Like their previous recordings, there are first-rate songs, superb singing, and terrific playing. As I wrote reviewing their first album, there is not a bum note on this recording. They may call themselves the Lucky Losers, but listeners are big winners with their music.

I received my review copy from VizzTone. Here is a recent live performance by The Lucky Losers.

Steve Howell, Dan Summer & Jason Weinheimer Long Ago

Steve Howell, Dan Summer & Jason Weinheimer
Long Ago
Out of the Past Music

Texas fingerstyle guitarist Steve Howell has a new album exploring some vintage tunes of past years. His longtime partner, bassist Jason Weinheimer is back with him as is guitarist Dan Sumner, who was on Howell's last recording, "History Rhymes." In contrast to that recording, there is little that might be called down-home blues performed here. Tunes played range from a couple of Duke Ellington tunes, a Percy Mayfield classic, one of Horace Silver's most famous compositions, a Jobim classic, a Dave Frishberg gem, and a Johnny Mercer-Jimmy Van Heusen standard.

There is a charm in these tasteful, understated renditions of the songs here. Howell's genial vocals, clear enunciation of the lyrics, and the uncluttered jazzy guitar leads of Sumner lead to honest, heartfelt performances. Howell is not going to make people forget an Al Hibbler or Herb Jeffries singing Duke Ellington's "Do Nothing 'Til You Hear From Me" and "Nothin' But the Blues," or Leon Thomas' vocal on Horace Silver's "Song For My Father." At the same time, he works well within his approach in crafting appealing performances of these songs. Other notable interpretations include Percy Mayfield's "Please Send Me Someone to Love," Jobim's "Dindi," or the opening "Singing' the Blues," which is best known from the Frankie Trumbauer and Bix Beiderbecke recording. There is also a delightful instrumental rendition of "I'll Remember April."

In addition to the actual performances, Howell has provided succinct descriptions of the songs. One might be hard-pressed to call the music here compelling, but overall Howell and friends renditions of these songs possess a definite alluring quality.

I received my review copy from a publicist. Here Steve Howell is heard performing Duke Ellington's "Mood Indigo."

Crystal Shawanda Church House Blues

Crystal Shawanda
Church House Blues
True North Records

Crystal Shawanda is an indigenous musician who grew up on the Wikwemikong reserve on an island in Ontario, Canada. She grew up in a home filled with the blues, her brother's favorite music, while her parents encouraged her to play country songs. She moved to Nashville where she had some commercial success as a country act and had a top 20 hit on the country charts. However, her heart was in the blues. "The whole time I was singing Patsy Cline on stage, I was singing Etta James at home." After she left the major label, she formed her own record label to focus on the blues.

This is her fourth blues-oriented album. Among those backing her include Dave Roe on bass (Johnny Cash, Yola, Ceelo Green), the McCrary Sisters on backing vocals, Dana Robbins (Delbert McClinton's band) on sax, and Peter Keys (Lynyrd Skynyrd) on keyboards. This is not a traditional blues album in the sense that there are plenty of soul and rock flourishes in the music. This is heard when she belts out her vocals in the manner of blues-influenced rock of a Bonnie Bramlett and Tracy Nelson.

As she sings on the title track that opens this album, she went to the church house to get her Sunday morning right where she found them dancing like the roadhouse he played the last night. She immediately strikes one with the power of her gritty, rasping singing as she draws parallels between the church and the roadhouse. Her husband, Dewayne Strobel, plays a searing solo while Robbins adds raunchy sax fills. The band is stellar, and their backing complements her intense, brooding vocal on "Evil Memory," with more hot guitar. The power of this performance sticks with the listener after it is over.

Another choice tune is "When It Comes To Love." Here, she sings with tenderness about needing to hold on for love and doing what one has to do. "Hey Love" sounds like an updated song from the 1950s with nifty playing accompanying her. Then there is "Blame It On the Sugar" as she employs various sweet confections to display her attraction to a lover with its get down on the dance floor groove. Then there is a bluesy power ballad, "Bigger Than the Blues," about one working hard to find a smile. Performances like this one remind me of Allannah Myles of "Black Velvet" fame. The album closes with an intense, riveting cover of the Tragically Hips' song about Hurricane Katrina, "New Orleans Is Sinking."

It does not matter whether this is blues, blues-rock, or hard rock recording. Crystal Shawanda is a commanding singer who can go from a whisper to a shout and back. The excellent studio band helps raise or lower the musical temperature as appropriate. The result is this stunning recording.

I received my review copy from a publicist. here is "Church Street Blues" from this recording.

 

Johnny & the Headhunters That's All I Need

Johnny & the Headhunters
That's All I Need
Self-Produced

Washington DC radio personality Steve Hoffman observes that "There are flashier Guitar players around, but no DC area blues band that gets into that soulful blues groove like this trio does." I may not agree that no DC area band does what Johnny & the Headhunters does, but they certainly do indeed hit some soulful grooves here. Formerly Louisiana Red's lead guitarist, Johnny Ticktin's vocals and guitar are supported by Brian McGregor, Steve Shaw, Pete Kanaras and El Toro Gamble on bass; Clark Matthews, El Toro Gamble or Robbie McGruder on drums; and Tam Sullivan on keyboards, with Dru Lore adding guitar to one selection.

Ticktin has put together a nice mix of rarely rerecorded songs that are sung and played with restraint. This is evident on the opening title track, a nicely rendered cover of Magic Sam's title track, sung with grit yet restraint, and then followed by a similarly appealing rendition of "Lead Me On," from the Bobby Bland songbook, again with a similar enticing soulful vocal. I do not believe I have heard many covers of Johnny Adams' recording "Body and Fender Man" (written by Duke Robillard and Doc Pomus). Ticktin again delivers a  fine vocal and Sullivan's organ adds to the quality of the performance.

There is some rockabilly feel on "Chicken House," which is followed by a nice shuffle groove on Lowell Fulson's "Rock 'Em Dead." Ticktin opens his treatment of "Shake Your Money Maker" playing slide sounding like J.B. Hutto on speed. His high adrenalin playing will get folks boogieing. It is followed by the reverb-heavy garage band tribute to Link Wray, "Ace of Spades," again displaying his taste and thoughtful playing. "Watch and Chain (Hey Gyp)" is credited to Donovan, but is the same song as "Chevrolet," an old Jim Kweskin Jug Band duet between Geoff and Maria Muldaur. Liz Springer joins this for a delightful vocal duet which is set against a punchy Bo Diddley groove.

After another solid, wonderfully sung and played performance of a Magic Sam song, "All My Whole Life," the album closes with a Latin-tinged tribute to Albert Collins, "Collins Mambo," where Ticktin incorporates some of the Telecaster legend's riffs and tone. This marvelous recording shows that one can play and sing with restraint and still play strong, soulful blues and roots music.

I received my review copy from a publicist. Here is a relatively recent performance by Johnny & the Headhunters.