By EDITOR-IN-CHIEF: Art Tipaldi
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Additional resources for Blues Music Magazine #2
Dickinson, Hart, and others have joined Siegal as Ian Siegal & The Mississippi Mudbloods for his latest release, Candy Store Kid. The music is a diverse mixture of traditional and modern blues, country, swamp, funk, and Americana flavored rock. The opening song, “Bayou Country”, tells a story of growing up on the bayou – a life far removed from Siegal’s home across the pond, yet consistent to his style. The Duke Bardwell tune features excellent backup vocals (Stefanie Bolton, Sharisse Norman, and Shontelle Norman) and a ton of lead and rhythmic chops.
C. Myles, and Kid Andersen (guitars) – to present an ambitious overview of his music. He distilled three shows into two albums. One reflects his Blues Live, and the other concentrates on Németh’s Soul Live. Soul Live begins with nine Németh compositions, many of them owing the hard, fastpaced strain of ‘60s R&B that flourished alongside deeper and sweeter soul sounds. All transcend genre to sound strikingly contemporary. “Too Good To Be True” grafts an irresistible melody to a rumbling, ska-inflected bass line, and ices it with chicken-pickin’ guitar.
This is especially true of the disc’s harder-edged numbers, “Wrench In The Machine,” “Ain’t Whistling Dixie,” and the title track, where Slim’s fuzzed-up resonator sound meets a kick/snare/ high-hat backbeat mined with plenty of crashes and rolls. Disappointingly, however, the prerequisite three-chord structure that typifies Slim’s original material relegates much of it to the recycled blues category. ”), prevents his writing from becoming mere cliché. Things get much tastier on Rooster’s half-dozen covers.