| | Denise LaSalle Rain & Fire CD Denise LaSalle Discography of CDs
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Denise LaSalle has drawn some fire at times for her frank, no-holds-barred dialogues and album cuts. She also has remained loyal to vintage soul and blues/country-tinged songs that will never get urban contemporary airplay and attention because they're thoroughly Southern in style, sound, and production values. Thus, each Malaco album is almost doomed from the beginning, other than as a regional proposition. That said, here's another one right in that same vein, and it's as fine as all the rest in what it does. ~ Ron Wynn
Personnel: Denise LaSalle (vocals); Jimmy Johnson , Vas-tie Jackson, Dino Zimmerman (guitar); Brian Gum, John Frantz, Ann Mason, Mickey Davis, Peggy Plucker, Janet Dressler, Claudette Hampton (strings); Harrison Calloway, Jim Horn, Ben Cauley, Charles Rose, Harvey Thompson (horns); Larry Addison, Carson Whitsett (keyboards); Mark Binder (synthesizer); David Hood, Raphael Semmes, Ray Griffin (bass guitar); Roger Hawkins, James Robertson, Vince Barranco (drums); Jewel Bass, Thomisene Anderson, Catherine Henderson (background vocals).
Recording information: Malaco Studios, Jackson, MS.
Denise LaSalle Rain & Fire Songs Rain & Fire Review
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Billy Price, east coast blue-eyed soul man, has been entertaining audiences for the past three decades. In his hometown of Pittsburgh, Pa., he is an institution. Price's popularity isn't hard to explain. As Geoffrey Himes of the Washington Post has written, "Unlike so many blues revivalists, Price is not an imitation of older, better singers--he's the real thing." Billy Price first attracted national attention during his three-year association with guitarist Roy Buchanan. Price is the vocalist on two of Buchanan's LPs, That's What I'm Here For and Livestock. With Buchanan, Price toured the U.S. and Canada, playing such venues as Carnegie Hall in New York, the Newport Jazz Festival, the Roxy and the Troubadour in Los Angeles, and the Spectrum in Philadelphia. Price assembled Billy Price and the Keystone Rhythm Band in 1977. Before their breakup in 1990, the band recorded ...
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Malford Milligan has been belting out his own blend of blues, soul, gospel, funk, and rock & roll from his home base of Austin, TX, for many years, working and recording with a lengthy roster of talent that includes Storyville, Double Trouble, the Boneshakers, Eric Johnson, Sue Foley, and Marcia Ball. Milligan, whose influences range from Joni Mitchell to Al Green and Stevie Wonder, didn't begin releasing albums under his own name until well after he had passed the age of 40. His rendition of Blind Willie Johnson's "Dark Was the Night" set the tone for the album The Gospel According to Austin, Vol. 2 in 2001. Sweet Cherry Soul appeared in 2002 on Stagger Lee Records, ...
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There's not a whole helluva lot of Tuts Washington out there, so any recorded legacy of the most important pre-Professor Longhair generation of New Orleans piano players has its value. He was an acknowledged influence on Fess, and while these performances are alleged to be board tapes, it sure sounds more like someone turned on a cassette recorder in the sound booth. You're right there in the front rows at Tipitina's with constant crowd chatter, the odd drink being slurped, some fairly dramatic volume fluctuations, and a house piano way closer to a honky tonk upright than a precisely tuned Steinway or Bosendorfer. It doesn't really matter, you know. Washington was one of those original, old-school songsters who mixed blues and ragtime, old-time popular standards, whatever it was people wanted to hear. Dr. John (and James Booker before him) can fall in that school and the trick is not caring about genres -- it's all about fluid melody, interpretation, rhythmic command, and common language. One can hear echoes of Cream's version of Robert Johnson's "Four Until Late" in the melody to "Miss Lucy's Blues," but who knows what song Tuts would have cited as a source, if any. Washington was more of a rolling and tumbling right-hand pianist than either Longhair or the pure boogie-woogie crew, and "Tuts Washington Blues" has some nice right-hand lines and moves. "Someone to Watch Over Me" receives a fine ballad treatment; "Sweet Georgia Brown" and "Honky Tonk" are all but unrecognizable ...
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