| | Freddie Roulette Back In Chicago: Jammin' With Willie Kent And The Gents CD Freddie Roulette Discography of CDs
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Roulette is a fine blues lap steel player, and this disc should have you sliding around the room from the get-go. A tight band featuring Vernon "Chico" Banks on rhythm guitar and bass and Cleo Williams on drums keeps everything nice and funky throughout. His hearty vocals add a nice backbone to the songs, and his use of Hawaiian coloring on many numbers is sublime. ~ Tim Sheridan
first solo CD from the legendary lap-steel genius; though his musical scope is broad, blues is the target when Roulette revisits his hometown to collaborate w. Chicago's favorite blues band, Willie Kent & The Gents - you have never heard anything like th
Includes liner notes by Dick Shurman.
Personnel: Freddie Roulette (vocals, lap steel guitar); Vernon "Chico" Banks (guitar).
Liner Note Author: Dick Shurman.
Recording information: 09/14/1996/09/15/1996.
Personnel includes: Freddie Roulette (vocals, lap steel); Chico Banks (guitar); Willie Kent (bass); The Gents.
Down Beat (5/98, p.67) - 4 stars (out of 5) - "...Roulette delivers a full round of blues-infused, funk-charged, country-fueled...guitar licks on his 8-stringed ax..." Back In Chicago: Jammin' With Willie Kent And The Gents Music Freddie Roulette Back In Chicago: Jammin' With Willie Kent And The Gents Songs Back In Chicago: Jammin' With Willie Kent And The Gents Review
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Purchase Back In Chicago: Jammin' With Willie Kent And The Gents CD To buy, Click on price to add to cart | Tommy Castro Can't Keep A Good Man Down CD (1997)
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There's a clean San Francisco sheen to Tommy Castro's second album for Blind Pig, and it's not just the glossy production work of Jim Gaines (Santana, Huey Lewis and Stevie Ray Vaughan) that's responsible for it. Castro and his band have long been local favorites of the Bay area bar crowd, and his blues-rock/soul-pop synthesis with the occasional slow blues thrown in makes him another young contender for the yuppie throne of modern bluesdom. From the opening rock strut of "Can't Keep a Good Man Down" and "You Knew the Job Was Dangerous," ...
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Country-gospel-blues singer Tracy Nelson takes a cue from Johnny Cash and B.B. King by heading to prison to record her first live album. Few singers belt out songs with as much husky power and gutsy intensity as Nelson, and the surroundings lend themselves to performances of Memphis Slim's "Mother Earth" and Big Bill Broonzy's "I Feel So Good" that rank with her most impassioned work. A full band, including horns and a female backing vocalist, churns up exciting arrangements, and everyone seems to have been inspired by the audiences at these shows. Recorded in front of two separate crowds divided by gender, the enthusiastic response pushes Nelson and her band to superb heights. Guitarist Sam Stafford is particularly fiery, especially playing slide on "I Feel So Good." Incendiary versions of Patsy Cline's "Walkin' After Midnight" and Bessie Smith's "Send Me to the 'Lectric Chair," the latter obviously custom-picked for this audience, elicit a rowdy response that is channeled back into Nelson's set. Even run-of-the-mill swamp rockers such as "Be Good to Me Baby," "Strongest Weakness," and "Got a New Truck" -- the latter co-written with Marcia Ball -- are elevated by Nelson's attack. The straight-ahead country of "After the Fire Is Gone" turns into a near gospel frenzy, as does a cover of Lyle Lovett's partly humorous "God Will." There are few singers with a voice as naturally passionate as Tracy Nelson's, and none who effortlessly combine genres with such skill. The album makes a case for more live shows to be recorded in prisons, and is a worthy successor to those that already have been. ~ Hal Horowitz
by Willie Nelson, with loveWhen Tracy first moved to Nashville in the '70's, ...
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Mac Arnold & Plate Full o' Blues: Austin Brashier (guitars, background vocals); Max Hightower (slide guitar, harmonica, piano); Mac Arnold (electric bass).
Although he had played with some very renowned blues names back in the 1960s (and later served as the original associate producer for Soul Train), bluesman Mac Arnold did not get around to issuing his own album until 2006, with the arrival of Nothin' to Prove. Unlike his next album, 2008's Backbone and Gristle, Arnold sticks mostly to singing here (with some bass work as well), as his trademark "gas can guitar" does not make any appearances. But for expertly played modern-day blues-rock, Arnold (along with his backing band, Plate Full o' Blues) has automatically leapfrogged to the front of the line with this inaugural release. Arnold also proves to possess a truly authentic blues-worthy voice, as heard on such standouts as the title track and the autobiographical "Ghetto Blue." Arnold has learned the blues first-hand by some of the genre's all-time greats, and his musical lessons have not been forgotten, as evidenced throughout Nothin' to Prove. ~ Greg Prato
"This is old-school at its finest.Torch-bearer Arnold and his cohorts keep the flame burning brightly ...
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