The Brothers By The Neville Brothers And David Ritz
(Little Brown & Company)

 The band "The Neville Brother" brings to mind many great things that New Orleans has to offer. The smell of red beans and rice simmering in the kitchen, the sounds of classic R&B hits from Smiley Lewis and Fats Domino pouring out from every crack of this vibrant city, voodoo, unity, tradition and most of all family. What it doesn't conjure up is the ../../images of police brutality, petty thievery, racism, heroin shooting galleries in Harlem or the sites and smells of Angola Penitentiary, one the hardest prisons in America. David Ritz along with stories from Art, Aaron, Charles, and Cyril brings us all the stories that have created one of the most "Americana" of American bands "The Neville Brothers".

 The story begins in the Thirteenth Ward, uptown New Orleans at 1016 Valence. Mommee, whose maiden name was Landry (her brother was George Landry who was better known as Chief Jolly of the Wild Tchoupitoulas) was a loving lady of Creole dissent. Mommee and Big Arthur Neville, a former merchant marine, raised a family built on love and survival during a time when rampart racism and black pride brought to boil emotions and musical ideas. The brothers each get to tell their story as their lives unfold. The stories start with the basics such as grade schools, aunts, and uncles but quickly turns to the main subjects of music and survival. Art, while still in high school, was the first to make it big with his local band the Hawkettes who in 1956 cut the classic "Madri Gras Mambo" (the original Hawkettes had a gentleman named Leo Morris on drums, he went to much greater fame and fortune as Idris Muhammed). After the Hawkettes, Art created the Art Neville and the Neville Sounds and finally he had a mojo hand in creating the band that defined New Orleans funk, The Meters. In the late 60's The Meters were created with the lineup of Art, George Porter, Leo Nocentelli and Joseph "Zigaboo" Modeliste. Art conveys the sweat and sounds that the band laid down in jams all over the crescent city. He also fills us in on what some of the songs and album titles refer too, a key reference.

 Charles path to the ultimate end, that off being a Neville Brother may have been the most difficult. Charles the first to "hit the road" with Gene Franklin eventually played saxophone with B. B. King, Joe Tex, O. V. Wright, Johnnie Taylor, and Joey Dee and the Starlighters. Unfortunately his road to fame and fortune was paved with junk. Junk as in the name of Heroin, led Charles down the path of time, as in several years in Angola Penitentiary, (where while in the joint he joined a band "The Knicknacks" which included James Booker and drummer James Black). Charles also had an addiction to the then forbidden fruit, white women.

 Aaron may be the most famous of the Neville Brothers, but his story is no different. Born with a voice that was made to be captured on wax, Aaron hit it big in 1966 on the local Par-Lo label with the classic "Tell Like It Is". Like all regional R&B "stars" of the time Aaron hit the regional club scene and saw little money for his efforts. He did manage to hook up with legendary West Coast R&B singer Larry Williams. Larry a name not often mentioned in the journal of "Rock n' Roll" was an idol to all the brothers for his outrageous stage performances.

 Finally there's Cyril, the youngest and most militant of the Neville Brothers. Cyril grew up admiring his brothers and always looking for a way to be one of them. Although a stone cold funk singer Cyril whose teenage years were during the height of racial tension in New Orleans offers a harder edge to the Neville sound. In fact one cannot overlook the political tension and police brutality that occurred during their evolution and its influences on the entire band.

 Besides the personnel tales, the brothers bring great stories from the legendary musical city. Famous names like Harold Battiste, Red Tyler, Joe Banashak, Bobby Marchan, and Earl King are intertwined with legendary locals such as saxophonist Gary Brown, drummer Smokey Johnson, and keyboardist/songwriter Gerald Tillman better known locally as "Professor Shorthair".

 Like all great bands the final sound is greater than the sum of its parts and it's the differences in the parts that create memorable music. The Brothers brings it all, the good, the bad and the funky.

(Dave Moskal)

Johnny Rawls: Put Your Trust In Me (JSP)

 Johnny Rawls is one of the best artists mining the soul-blues genre today laying down consistently pleasing records and blazing a trail of great live shows wherever he plays. Put Your Trust In Me is a solid outing but comes off a bit uninspired compared to his previous records.

 Put Your Trust In Me is Rawls' fourth record for the London based JSP label. The vintage soul-blues sound that Rawls works so well comes from years of paying his dues. He's worked and toured with such soul heavyweights as Z.Z. Hill, Little Johnny Taylor, Bobby Bland and O.V. Wright who he worked with up until his death in 1980. Just prior to joining JSP he cut a wonderful soul record with guitarist L.C. Luckett for the Rooster label. Despite not being up to the standards of his previous JSP releases, there's still plenty of fine music on Rawls latest effort.

 As on previous records Rawls works closely with Bruce Feiner who with his two brothers make up The Nutmeg Horns who've graced numerous JSP releases. Rawls and Feiner also make a formidable song writing team and it's the quality songs that usually make Rawls' records so memorable. Unfortunately this batch of songs is a mixed bag. The other problem is the overall production sounds uninspired. Bright spots include a punchy horn section and notable guests including Phil Guy and Eddie Kirkland. Highlights go to "Hit By A Truck" a nice mid-tempo groove with a great hook, the shuffling "Talk Is Cheap" featuring good guitar work from Rawls, the catchy "Gonna Keep On" featuring some killer horns and "Don't Give Up On Your Dream" a heartfelt autobiographical number.

 All in all Put Your Trust In Me has enough high points to get a recommendation. For a better look at Rawls talent his previous records all come highly recommended and if he brings his act to your town do yourself a favor and check him out- you won't be disappointed.

(Jeff Harris)

Jerry McCain: The Complete Jewel Singles 1965-1972
(Fuel 2000)

 Not only is Jerry McCain is one of the wittiest songwriters around he's also a marvelous harp player. Anyone who's heard his classics like "My Next Door Neighbor" or "She's Tough" will surely agree. The Complete Jewel Singles spotlight McCain's stint at the Shreveport based Jewel label and find McCain in typically fine form.

Sleepy LaBeef: Rockabilly Blues (Bullseye Blues)

 Standing at 6'7" with his trademark black Stetson hat, Sleepy LaBeef is an imposing figure. His music is equally formidable as he belts out a seemingly endless supply of classic country, rockabilly, gospel and blues with absolute authority. Rockabilly Blues focuses on Sleepy's bluesy side with a fine set of classics and more obscure gems.

 Rockabilly Blues is a collection of previously unissued performances from Sleepy's four Rounder studio sessions. During the early 80's he signed with Rounder cutting four excellent studio records plus a scorching live set. Of course Sleepy's career before that stretches back to the 50's. Over the course of his lengthy career he's seen little in the way of hits but has laid down fine music for numerous labels including Starday, Columbia, Plantation and Sun. Wherever he's landed Sleepy has never let up on his hard driving, passionate brand of roots music and this latest collection is no exception.

 Rockabilly Blues finds the big man with the booming baritone voice in prime form as he blasts his way through twelve cuts that fall more on the bluesy side of the fence. Despite the fact that these sides were previously unissued has no bearing on the quality which is as good as anything that was issued. This is joyous rocking music backed by a great band featuring ex-Elvis drummer D.J. Fontana on drums, Cliff Parker on guitar and rollicking piano from either Earl Poole Ball or Dave Keyes. Sleepy and the boys tackle familiar blues numbers like "Bottle Up And Go", "Bright Lights, Big City", "Mannish Boy" and "Rooster Blues" with total authority making these old war-horses sound down right invigorating. Sleepy also rocks hard on Little Richard's' "Long Tall Sally" and a torrid version of "Rip It Up."

 Sleepy LaBeef is a true national treasure and embodies everything that makes American roots music so great. Rockabilly Blues is a fine starting point for those unfamiliar with this musical giant.

(Jeff Harris)