Cub Koda has tried a lot of different things in his long career, but he has never made anything close to Box Lunch. It's not just that the album consists of nothing but acoustic material; he has never been this open with his emotions. There are a few rockers – "Double Barrel Hell" is menacing and "Gimme Trash" is a tongue-in-cheek kitsch celebration…..
The Joint Was Rockin' is a raw, rowdy and deliriously fun record capturing Cub Koda live with the Houserockers in the early '80s. The Houserockers bash away like they were supporting Hound Dog Taylor and Cub proves that he can play the blues with true passion and feeling. More than anything, however, The Joint Was Rockin' is a bracing jolt of energy and fun that's just as good as Live at B.L.U.E.S. 1982, his previous live set with the Houserockers.
The addition of bass and special guests Left Hand Frank and Lefty Dizz only distract from the chemistry between Cub and the Houserockers (even more obvious on their belated live follow-up), but this is a strong session, with the ex-stadium boogie boy sounding totally at home with these blues veterans. His vocal duet with Brewer Phillips on J.B. Lenoir's "Talk to Your Daughter" is a joy, and thankfully not every note is perfectly in place — or in the case of Brewer's guitar, in tune. Added treats: Koda's big-toned harp on "Rockin' This Joint Tonight" and humorous dialog with Frank on "Dirty Duck Blues."
Universally hailed as the reigning king of the blues, the legendary B.B. King is without a doubt the single most important electric guitarist of the last half century…
Brownsville Station is a rock trio out of Ann Arbor, Michigan, led by Cub Koda. They issued numberous albums in the 1970's. They are probably best know for their radio classic, "Smokin In The Boys Room".Air Special originally came out in 1978 on Epic Records. In contains one bonus track, the single version of "Love Stealer"
South London trio Little Cub will release their debut album Still Life on 28th April on Domino. Little Cub is Dominic Gore, Duncan Tootill and Adrian Acolatse. Marrying a wry, worldly and subversive form of diarist lyricism with sumptuously evocative electronic production, Still Life announces the arrival of a band at once deeply in tune with the greatest traditions of progressive, homespun British pop music and at odds with the increasingly vacuous pop culture they are born into. Still Life was produced by Little Cub and mixed by the band.
The daughter of the late bluesman Johnny Copeland steps up to the plate with this, her debut album for the Alligator imprint. Although only 19 at the time of this recording, Copeland comes to this album with a mature style and vast amounts of assuredness. While comparisons to Koko Taylor and Etta James will be plentiful, Shemekia has enough tricks up her sleeve to make this a disc well worth checking out. Eight of the 14 tunes aboard are co-written by producer John Hahn and strong musical support is summoned up from guitarist Jimmy Vivino, with guest turns from Joe Louis Walker and "Monster" Mike Welch, while the Uptown Horns show up on three tunes, including the title track. Highlights are numerous on this disc, but special attention should be paid to Copeland's "Ghetto Child," a nice cover of Don Covay's "Have Mercy"; Walker's "Your Mama's Talking"; and the strutting "I Always Get My Man." This is one very impressive debut.
This session comes from close to the end of the line (1959) in the erstwhile swinging company of Barney Kessel on guitar, Ben Webster on tenor, and naysayers will be quick to point out that Lady Day wasn't in peak form here…
Davies' third album finds this artist moving in a much more "pop" direction, proving that she can both stretch her wings artistically and has far more to offer than merely recycled riffs and motifs filtered through a women's perspective. Her social consciousness raising quickly comes up for air on the opening track, "Howlin' At The Moon," one of only three Davies originals aboard this outing. But her interpretations of gospel pop ballad material like Lenny McDaniel's beautiful "Tired Angels," and duets with Coco Montoya on Albert Collins' title track and Tab Benoit on "Let The Heartaches Begin" are every bit as strong, her vocal skills showing more maturity and assuredness with each album. Her solo work is spot on, always paying homage to a wide variety of stylistic lessons well learned and solidly in the blues pocket with no added rock affectations to bog it down. But tracks like "Homework" (not the Otis Rush classic) make it clear that this is Debbie Davies being mainstreamed into Bonnie Raitt territory and she doesn't sound uncomfortable there at all, making this a most ambitious effort.
The first new Night Ranger studio album since 1988's Man in Motion, Neverland reunites Jack Blades, Jeff Watson, Alan Fitzgerald, Kelly Keagy, and Brad Gillis on 11 tracks that find the group mining turf both familiar and odd…