This is the Anne McCue many of us first came to love when she wielded her axe in true Hendrix fashion at SXSW,the Americana Music Conference and in the rootsy L.A. clubs. She’s experimented with a variety of instruments, song writing, and acoustic material since moving to Nashville.  Now, as Anne says, this is “a bit dirty, a bit rockin’, a bit swampy and bit bluesy, with a touch of mysteriousness to it.”  The sound is even more raw and rocking than her 2004’s, Roll and its follow-up Koala Motel. McCue has an alluring voice, augmented by her Aussie accent but the focus here is clearly on relentless guitar-driven rock n’ roll.

As it says on the back cover, “PLAY LOUD”. Accompanied by a rhythm section of Ken Coomer (drums) and Bones Hillman (bass), she begins with a British Invasion sounding “Don’t Go to Texas (Without Me)” followed by a psychedelic “Ol’ Black Sky” and the crescendo-building “The Lonely One”.  She adds horns for “Cruisin’ Paradise and spooky elements to Amelia White’s “Motorcycle Dream” and the intoxicating “The Old Man’s Talkin” , echoing both Neil Young and J.J. Cale.  Anne can be reserved and even shy at times but this ringing batch of tunes would totally belie that side of her The closer, Rose Tattoo’s “Rock n’ Roll Outlaw” is a staple in McCue’s live shows and emblematic of the persona she carries throughout this blistering, exhilarating ride.

The ragged glory of the three guitar crunch is back.  The lurid, detailed character sketches and tragic tales of the rural South are very much intact.  Much of the country nuances that graced their last full studio album, Brighter Than Creation’s Dark, are gone, replaced by ethereal steel and churning B3 backdrops to those ever wailing guitars.  There’s no overriding concept holding this together but somehow the pace and juxtaposition of DBT’s songs somehow makes it seem that way. America’s best rock n’ roll band has a new record label and another whole album of songs in the can, gigs opening for Tom Petty, and a movie documentary on the way.  All is well with the Drive By Truckers. So, what’s the big to do?

The band seems to have found its footing again after 2007’s departure of brilliant guitarist/songwriter Jason Isbell.  Shonna Tucker, the bassist, is now contributing songs; most notably the beautiful piano ballad, “You Got Another” – a song that is very different sounding for the DBTs. Then again, they demonstrated their versatility and compatibility on the Grammy winning Booker T.’s Potato Hole and Bettye LaVette’s Scene of the Crime.  Here they’ve forged a bigger sound by adding John Neff on various guitars and Jay Gonzalez on keys.  Patterson Hood, the band’s front man, wrote the lyrics for eight of the thirteen tunes with fellow guitarist and long-time friend, Mike Cooley, contributing three and Tucker two.

Highlights include Cooley’s “Birthday Boy”, told by the point of view of a stripper to the subject  in a gentleman’s club and Hood’s lurid “The Wig he Made Her Wear” inspired by a high profile trial in Tennessee that he viewed on Court TV.  Hood usually has plenty to say and you should read the liner notes to capture the many coincidences and real events that led to these songs.  The album is dedicated to two of Patterson’s heroes, with whom he was close, icons Jerry Wexler and Jim Dickinson.   While there are no overt tributes, Tucker’s soul inflected “(It’s Gonna Be) I Told You So” and Cooley’s “Eyes Like Glue” about a father missing his kids add the emotional touches. The DBTs are noted for their live shows but it’s their consistent, superior song writing that keeps us even more intrigued.

Good things come to those who wait, even when the waiting period is three decades.  As Solomon Burke points out, “We had a 35 year relationship over the telephone”.  If this is the final product of the late legendary producer, Willie Mitchell, then we can add one more masterpiece to a career of excellent work is his famed Royal Studio.   It is so gratifying that the classic sound that Mitchell brought to Al Green, Otis Clay and the other stalwarts on Hi Records is still with us in 2010.  And, who better to frame with this patented sound, than the King of Rock and Soul, Solomon Burke, now 70.

Yes, this has that special feel of the very best soul records. Mitchell not only produced but had a hand in penning nine of the dozen tracks. What you remember best about those great Hi records is here: the hallmark strings and horn arrangements with gutsy sax solos, and the on-the-money 4/4 drum patterns. Of course, Solomon has proven many times over that he sing just about anything and make it sound soulful.  With this accompaniment, he just can’t miss.  Mostly these are crooning ballads but the up-tempo penned Burke tracks, “Everything About You” and “You’re Not Alone’ provide some change of pace.  Settle in, cuddle up, and bask in this wonderful collaboration of two immeasurably important icons.  Heavenly indeed!

We may never again quite get to the brilliance of Hiatt’s Slow Turning or Bring the Family but rest assured this prolific heartland singer-songwriter is still delivering killer tunes and making damn good records.  This bluesy, relaxed rendering is chock full of story songs, catchy hooks, and clever lyrics.   I guess you can always count on that.   And, it doesn’t seem to matter who is backing him, whether it is Sonny Landreth or the North Mississippi All-Stars, or in this case his road band with Doug Lancio slinging and sliding away on his guitar – it works well.   This is lean, soulful, and even mean in places.  On the slow burning bluesy “Like a Freight Train” he’s stealing his mother’s morphine. He recites a litany of decadent habits in “What Kind of Man”.  In other places, notably the defiant “Go Down Swingin’” and the rolling “Haulin’”, he finds the melodic touch that is the mark of a memorable Hiatt tune.

This recording is typically  accented by some great Hiatt lines, “Shrunken head and Mardi Gras beads/ hanging on the rearview mirror that bleeds/Keeping her eyes on the open road/No telling where that son-of-a-bitch goes’ from the opener, “The Open Road”.   There’s plenty here that most of us can relate to; those long drives aching with carnal anticipation, the dejection you sometimes feel from a lousy visit, and the mistakes made along the way that you laugh about years later. “Did we really drive her daddy’s truck across Dry Creek/Well, my hands started shakin’and my knees went weak.”   The open road image conjures up adventure, danger, thrills, and spills. Hiatt captures all of those and more as he takes the wheel.  You’ll want to climb aboard.

Catherine Russell comes from an incredible musical lineage as her father, Luis Russell, played with King Oliver and Louis Armstrong and eventually became Armstrong’s musical director.  Her mother, Carline, is a Julliard graduate.  So you know she can bring it. According to her peers, she is quite a gifted musician herself but keeps that low key and basically just sings on her own records. With a still vibrant career as a back-up vocalist  for the likes of Donald Fagen, Paul Simon, Jackson Browne, Levon Helm, and The Holmes Brothers among others, Catherine was fifty before releasing her first record, Cat in 2007.  Her follow-up, Sentimental Streak had ace producer Larry Campbell’s stamp all over it. One can only imagine the joy of a childhood in New York with Louis Armstrong and all those great New Orleans jazz players. That joy is revived again on this recording, her third release for World Village.  

The material here is perhaps even a bit jazzier than Sentimental Streak but retraces similar territory, backed by her core band and some of the best horn players in New York.  As you might expect, it mostly hearkens back to the twenties and thirties with some jump blues (Wynonie Harris), Delta blues (Howlin’ Wolf), and tunes from contemporary writers.  She covers New York songwriter, Rachelle Garniez, on “Just Because You Can” and her manager, Paul Kahn’s “November”.  Not only can she sing but likely can lay claim to being one of the best musicologists around.  Viewing the sources for the songs is a treat in itself, for example: Fats Waller, 1938; Duke Ellington & His Orchestra, 1934; Jungle Town Stompers, 1929 (her dad’s band); and Louis Armstrong, 1927. Her impeccable phrasing, tasteful dynamics, and choices of quality material give Catherine her own individuality.  This is the real deal – a stunning vocalist interpreting some of the best American music ever made.

At his recent Berks Jazz Fest performance, Coco introduced “Senorita”, the opening track on this record, “I just put a new album out; it’s a bit of a departure so be open to it.  Keb’ Mo’ and Jeff Paris    produced it and I am very proud of it.”   Apparently Montoya has wanted to cut a vocal-centric, soul inspired record for several years now and was given the opportunity when signing with Ruf.  Long admired for his intense and emotional guitar playing and several fine albums on Blind Pig and      Alligator, Montoya describes his new direction this way, “I think it’s    healthy to take chances. It’s being able to humble myself and take direction and guidance. As co-producers, Keb’ and Jeff have been working extensively with my vocals.”

He might be taking a chance but he certainly assumed no risk in    assembling a cast of proven vets to frame his animated lead vocals and his big toned, soaring, contained guitar lines.  Premier soul and R&B bassist Reggie McBride is joined by Stephen Ferrone (Clapton, Petty) on drums while Paris plays keys and Keb’ Mo’ adds rhythm guitar.  Rod  Piazza and “Miss Honey” guest on a cover of “Fannie Mae”, the most straight ahead blues cut on the disc.  The overall soul-drenched feel echoes Motown (“Forever” and “The One Who Really Loves You”)and tunes from noted writers Gary Nicholson (“Cry Lonely” and “As Close As I Have Come”) and Jackson Browne (“Somebody’s Baby”).  “Senorita” covers a doo-wop hit from The Penguins.   Montoya’s own “Don’t Go Makin’ Plans” is churning funk.   Bring your open ears. If you love Montoya’s music, this detour   should prove to be a pleasant diversion.

-Jim Hynes-