Chemistry is the elusive facet of any band that truly succeeds. Even at the simplest level, this is what people want to see and hear. With chemistry, the whole is greater than the sum of the parts. This came into play when I formed The Anodyne Blues Band with a childhood friend and a blues rocker from across the river. In between the first recording sessions and the second ones, a master musician from Bremen joined and the Riverman headed for the greener pastures. But the music lived on for quite some time. More details may be forthcoming but for now, as Chuck Berry once said to me, “Listen to the music.” Or a little less poetically, click on the song titles to listen.
A rousing jump blues that I never get tired of playing. Some true dialog in there but mostly not. Enter Christof Knoche on harmonica.
Stop-time time. I love Howlin’ Wolf. Written during the “great recession.”
Most people call it Delta but it’s really Texas “Dead Thumb” style. A formula that’s ripe to be repeated.
The big number, written by drummer extraordinaire Chris Trotta, who played on all the songs. A raging harmonica solo and back-up vocals frame the nifty production.
A traditional classic, we took the arrangement from Otis Spann and did our thing with it. Christof played a spectacular, go for broke harp solo. The slide got a little notice, too.
The first song that I brought in and still one of my favorites. Aaron "Chess" Chesler on bass and through to the end of the album. Jimmy Reed crossed with Stealer’s Wheel? It just might work.
You’ve got to be observant to write songs. It’s too bad she moved away. A Zeppelin influence but we never denied that.
One of the first songs that I wrote for the band. Very much in the style of Freddie King’s early ‘60s hits.
More true stories. And by the way, the main lick can be heard in Roxy Music's "Mother of Pearl," not just on Jimi's version of "Come On." Dig the bass.
The Robert Johnson classic once removed by the Stones and then played hard and heavy by us. I've always loved this song.