Call It Home: Vol. 1 & 2
Tubtone Records

It has been ten years since vocalist, trumpet player and guitarist Lech Wierzinski moved to California and began busking in the subway tunnels of the Bay Area alongside drummer Ben Malament. The pair formed The California Honeydrops and have been following a steady progression that has seen their popularity soar as they toured the world opening for major players like Bonnie Raitt, BB King, Buddy Guy, and headlining many a festival themselves. Between touring dates over the past year-and-a-half, the band including Lorenzo Lorea (keyboards, melodica), Johnny Bones (sax, clarinet) and Beau Bradbury (percussion), stepped into the studio to lay tracks for their seventh album, an impressive double disc titled Call It Home: Vol. 1 & 2.

Call It Home follows the same pattern as their previous releases, combining the funky rhythmic street sounds of New Orleans, Delta blues and the ever so smooth and soulful takes of R&B as defined by such powered acts as Tower of Power, Sly & The Family Stone or Booker T & The MGs. The album is described as a concept album, focusing on the feelings of home, not just from their personal lives, but also on their city, Oakland, and the Bay Area. There is a definite feel good sensation that is delivered from the very onset of the disc with the title track that never lets up.

The diversity of the music is ever present and the styling changes from one song to the next. Taking us to church to the street corner to the parade line. And Wierzinski’s voice can glide easily into soulful ballads at the drop of a hat. All of these presentations just draw you in for more, making the length of a double disc release seem to whiz by much too quickly. Another winning release from what is without question one of America’s best party bands.

Total Time: 1:07:25

Call It Home / Coming Around / Cry For Me / Standin’ Still Blues / Hold It Down / Your Sweet Love / Those Days / Live Learn / Only Home I’ve Ever Known / Silicon World / Tell Me (I Wanna Know) / Drop By Drop / Good Good Lovin’ / Things We Used To Do / In My Baby’s Arms / Starr Child

Things Have Changed
Verve

Bettye LaVette has one of the most distinctive voices in music today. Anything she sings is going to come out sounding as if it’s dripping in pure soul. Now, you’d never think of the Bob Dylan’s music, with its complex lyrics and patterns, to be something that a vocalist like LaVette would attempt, though his music has been covered by numerous other singers. But LaVette is open to any and all challenges and her interpretations of Dylan are unique and fresh.

The selections LaVette chose for this tribute recording, Things Have Changed, are not those most artists aim for. Usually people tend to go for the well-known hits from his catalog. But with the exception of “It Ain’t Me Babe” and “The Times They Are A-Changin’” LaVette selects lesser known songs. But these two time-worn tunes are done in a manner that is unrecognizable while still holding onto the impact of the originals. And that is true with all of the pieces on this recording. Dylan has always been regarding as a voice of social issues and protest over time, and that presence is in full strength in LaVette’s reworkings as well.

Produced by Steve Jordan, Bettye LaVette is backed by a more than capable grouping of musicians. Jordan helms the drums and is joined by bassist Pino Palladino, keyboardist Leon Pendarvis and former Dylan guitar player Larry Campbell. Rolling Stone guitarist Keith Richards and New Orleans’ Trombone Shorty also provide cameos on the disc. But despite the talent of this band, LaVette is never anywhere but out in front of the music as she should be.

Dylan’s music has never sounded more feisty or soulful than it does on Things Have Changed. Bettye LaVette proves that there’s nothing holding this powerhouse vocalist back from doing exactly what she wants. And she does it big fashion once again. Things Have Changed is a first-rate, spectacular release.

Total Time: 58:57

Things Have Changed / It Ain’t Me Babe / Political World / Don’t Fall Apart On Me Tonight / Seeing The Real You At Last / Mama, You Been On My Mind / Ain’t Talkin’ / The Times They Are A-Changin’ / What was It You Wanted / Emotionally Yours / Do Right To Me Baby (Do Unto Others) / Going, Going, Gone

Myles Goodwyn And Friends Of The Blues
Linus Entertainment

For some musicians, the blues is a life-long passion that just seems to slip between their fingers as they work in another musical genre. That is the case with Canadian Music Hall of Fame member Myles Goodwyn. Falling in love with the blues in the 1960s, it’s always been a genre he wanted to record, and he’s been writing blues numbers for years. But working with the highly successful rock band April Wine, Goodwyn’s songs were likely not going to be recorded by that band — they just didn’t fit their mold.

But Goodwyn kept his personal dream alive and has now put together a collection of those songs that he has been writing over time and brought together some recognized musicians that are best known as being blues artists to help him lay down his tracks. On the album, Myles Goodwyn And Friends Of The Blues, Goodwyn sings and plays guitar and keyboards. He also composed all the tunes on the album but Jesse Winchester’s “Isn’t That So.” Joining him are keyboard masters Kenny “Blues Boss” Wayne and Bill Stevenson, and a slew of guitar players including Frank Marino, Rick Derringer, Amos Garret, David Wilcox, Jack De Keyser, and fellow April Wine bandmate Steve Segal.

The tracks can go from rocking (as you’d expect) on a number like “Last Time I’ll Ever Sing The Blues” to slower pieces like “It’ll Take Time To Get Used To.” For Goodwyn, he is drawn to the blues because not only does he state that the music is vital, but it’s passionate, heartbreaking and even humorous, as displayed in songs like “I Hate To See You Go (But I Love To Watch You Walk Away),” “Tell Me Where I’ve Been (So I Don’t Go There Anymore)” or “I’ll Hate You (Till Death Do Us Part).” “All of this drew me to make this album, like a moth to a flame,” he explains.

Listening to the album it is obvious that Goodwyn has a love for the blues. He brought the right group of people to help him out to make it more authentic as he wanted his songs to sound. There may be a lot of rockers out there today who feel that they may be able to cash in by doing a blues recording, but with Myles Goodwyn he legitimately has wanted to do something like this his entire life. It is a well-done album that is far from the music he has been associated with and received so much acclaim for in the past. This is fulfilling his dreams and doing it right with justice.

Total Time: 48:33

Hate To See You Go (But I Love To Watch You Walk Away) / Isn’t That So / It’ll Take Time To Get Used To / Tell Me Where I’ve Been (So I Don’t Go There Anymore) / I Ain’t Gonna Bathe In The Kitchen Anymore / I’ll Hate You (Till Death Do Us Part) / Good Man In A Bad Place / Brand New Cardboard Belt / Willow Tree Blues / Last Time I’ll Ever Sing The Blues / Nobody Lies (About Having The Blues)

Blues On My Shoulders
Gandy Dancer Records

Originally from Maine, Peter Ward is no stranger to the blues scene in the musician rich Northeastern corner of the United States. Having lived in Boston for many years he has filled in for touring musicians including the likes of Jimmy Rogers, Eddie “Cleanhead” Vinson and Lowell Fulson and toured as part of The Legendary Blues Band that consisted of former members of the Muddy Waters band. His guitar playing is above reproach; he can hold his own easily amongst the best. It’s filled with grooving bluesy rhythms that often have jazz inflections.

Blues On My Shoulders is a long overdue debut release from Peter Ward. It contains reflections of the guitarists and musicians that have influenced his career with tributes to several. The songs are all his original material, save for the lone take on Jim Jackson’s “Kansas City Blues,” performed in the style of Robert Nighthawk. Those that he also takes note of in his compositions in Robert Lockwood Jr and Lonnie Johnson in “Collaborate,” Chuck Berry in “Which Hazel” and Willie “Big Eyes” Smith in “Drummin’ Willie.” He lists a long line of musicians that had impact on his career and playing in the latter song, too.

Peter Ward brought together a stellar cast of friends to help him create this album. Sugar Ray Norcia and The Bluetones are all on hand for the majority of the disc, Norcia on harmonica and taking the lead vocal on “Collaborate,” “Monster” Mike Welch on guitar, Anthony Geraci on keys, Neil Gouvin on drums, and Peter’s brother Michael “Mudcat” Ward on bass. Other notable artists include his former roommate Ronnie Earl on guitar and “Sax” Gordon Beadle on saxophone.

The musicianship and songwriting on Blues On My Shoulders is simply outstanding. It is a nice mood setting collection of blues done right. For guitar lovers or for anybody who loves good music, Peter Ward has created a recording that will fill the bill.

Total Time: 50:18

She Took It All / Which Hazel / Blues On My Shoulders / Collaborate / Shiprock / What Can I Do To You / It’s On Me / Southpaw / A Little More / On The Ropes / Colletta / Kansas City Blues / Drummin’ Willie

Cradle To The Grave
Maple Street Music

This is acoustic fingerstyle guitar playing at its best. Cory Morin offers beautifully refreshing and delightful music, from start to finish, or should that read from Cradle to the Grave as the title suggests. With an amazing warm, down to earth voice that helps define his music to perfection with his bare-boned instrumention, this Native American artist does incredible feats in melding blues and folk music with a bit of his heritage thrown in as well.
Cradle To The Grave is Morin’s fourth solo release and is mostly all original material. This is superb storytelling that faces life’s questions regarding mortality and what may be ahead of us at the end of our journeys, “Cradle To The Grave” and “Watch Over Me,” and can also be political as seen with his song “Dawn’s Early Light,” showing his support for the Standing Rock Sioux Tribe’s efforts for their water rights.
Alongside fantastic compositions of his own, Morin takes on a trio of covers including Phish’s “Back On The Train” and bluesman Willie Brown’s “Mississippi Blues.” But perhaps it is his take on Prince’s “Nothing Compares 2 U” that really stands out. He has completely rearranged the pop hit into a stripped down take that is in itself strikingly unique, evoking a magical presence of its own that just seems to be how the song may have been meant to be all along.
Every number of this album is delivered with clarity and precision. It is an unexpected and very welcome pleasure. A musical journey that merits being taken over and over again. Each listen seems to bring out more introspective discoveries in sound and voice. Cary Morin may have been an artist that I was not familiar with before, but he’s definitely somebody that I will be keeping my ears open to for future projects. If you’re a fan of acoustic guitar, Cradle To The Grave is one to seek out. It is a master work!

Total Time: 40:33
Cradle To The Grave / Laid Back / Dawn’s Early Light / Lay Baby Lay / Mishawaka / Mississippi Blues / Ghost Dog / Trust / Back On The Train / Nothing Compares 2 U / Watch Over Me