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Review 
Book Review
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Page 1 of 2 of Reviews
Section |
Every month Bad Dog Blues takes a look at the best new
blues releases and offers our opinions, criticism and general ramblings. We'll also take a
look at noteworthy reissues and blues related books. In addition you'll find
a real audio clip from each record we review located on the bottom left. Now on to this months reviews:
"And we played it on the sofa, and we
played it side the wall
And we played it on the sofa, and we played it side the wall
But boys, my needles have got rusty, and it
will not play at all"
(Robert Johnson, Phonograph
Blues)
|
 And
This Is Maxwell Street (P-Vine)
(After writing this
review I was notified by Rooster Records that they are
negotiating release of this material domestically. If all goes
well it should be out in August or September.)
If ever there was a
document that caught the very essence of what Chicago Blues was all
about this is certainly it. This two disc set features the street
recordings from the 1964 Mike Shea film documentary, And This Is
Free, plus a slew of previously unreleased performances of equal
importance. These recordings were recorded live on Chicago's Maxwell
Street, a mecca for bluesman trying to hustle a few bucks from the
passing crowd. The music is raw and wild with plenty of ambience from
the passing crowds, street corner preachers and hawkers of every kind.
Hardcore blues fans may be familiar with some of this which
came out on Rounder Records under the title Robert Nighthawk
Live On Maxwell Street -1964. At the time of their release these
recordings were incorrectly credited, both for the songs, publishing
and for much of the personnel. It turns out that the performances
themselves were also edited, giving two decades' of listeners an
incomplete and historically incorrect picture of those recordings as
they were originally captured. Finally on And This Is Maxwell
Street we have all the existing recordings with superior sound and
proper credits. The results of such attention to detail has produced
a remarkable document that completely overshadows the Rounder release.
The 30 tracks contain wonderful performances by Maxwell Street
regulars such as Robert Nighthawk, Johnny Young, Carey Bell, Arvella
Gray, Big John Wrencher and several others. Big John Wrencher's
recorded legacy is meager so it's great to have more music by this
excellent harmonica player. Speaking of harmonica, Carey Bell makes
his presence
known on a few over the top performances including the aptly titled
"Carey'n On" and the swaggering "I'm Ready" in
addition to backing Nighthawk on a bunch of numbers. In addition to blues
there are
some stirring gospel numbers by lesser knowns such as James and Fannie
Brewer and Carrie Robinson that will give you shivers down your
spine.
Above
all it's the music of legendary slide man Robert Nighthawk who
dominates these recordings playing on 22 of the 30 tracks. Nighthawk's
playing is nothing short of magnificent firmly cementing his
reputation as perhaps the greatest slide guitarist the blues has ever
seen. In addition to the previously released material there are five
tracks by Nighthawk which are seeing the light of day for the first
time including the blistering instrumental "Back Off
Jam" played to a very appreciative and vocal crowd. Nighthawk
recorded very sporadically making these sides all the more prized.
One of
the many surprises is the presence of previously unidentified
guitarist Mike Bloomfield. Deemed "unauthentic" by Shea,
none of Bloomfield's work was filmed and all of his off-mike lead work
with Nighthawk was consequently edited out from the tapes on the
Rounder album. Here, Bloomfield takes the lead on the two Johnny Young
numbers and also shows up on Nighthawk's version of "Dust My
Broom" and on the now longer medley of "Annie
Lee"/"Sweet Black Angel," swapping licks with the old
master.
The
words landmark and legendary are to easily thrown about but if any
recording merits such words it's certainly this one. This a major find
in blues history and the packaging is absolutely superb. It should be
noted that at this time And This Maxwell Street is only
available as a Japanese import and the lengthy booklet is entirely in
Japanese except for the musician credits. In addition the video that
accompanies these recordings is not currently in print but should be
available soon.
(Jeff Harris)
|
|
Blues
Across America: The Nashville Scene (Cannonball)
Blues
Across America: The Los Angeles Scene
The Nashville Scene and The Los Angeles Scene are the
fourth and fifth entries into Cannonball's Blues Across America series.
So far there have been successful stops in Dallas, Chicago and
Detroit. Cannonball's latest regional forays shine the light on some
wonderful forgotten talent as well as a few in the midst of career
comebacks.
Nashville is known as "Music City USA" and the music usually
associated is of course country. Long before country music became
entrenched the city had a flourishing Blues and R&B scene. The
city was home to numerous independent labels like Bullet in the 40's
who recorded B.B. King's earliest sides as well as Wynonie Harris and
Guitar Slim along with many others. The label folded in the 50's but
was followed by labels like Excello, Champion, Dial and several
others.
It
shouldn't be that much of a surprise then that many older blues and
R&B artists still call the city home. With the blues resurgence of
the 90's many of the artists have come out of the woodwork and
Nashville is now in the middle of a full fledged blues revival.
The
four artists featured on The Nashville Scene have careers that
date back to the 50's and 60's. Al Garner recorded for Champion and
Excello and made his comeback with 1998's fine Leavin' Tennessee
on the Black Magic label. Garner's three tracks feature his excellent
rich soulful vocals with a crack band that romps through good time
numbers like "Rhythm Rockin' Blues" and the shuffling
"Rock Awhile." Johnny Jones' career also began in the 50's
and also had a fine album out on the Black Magic label in 1998. Jones'
guitar playing has been honed on countless session gigs and heard to
good effect on the menacing "The Devil I Don't." Singer
Charles "Wigg" Walker has recorded for Champion, Decca and
Chess and is a true journeyman. Walker is an excellent soul singer and
his three songs may be the disc's highpoint. Whether on the infectious
"They All Look Better In Green" or the storming "99,000
Watts of Soul Power" Walker is at the top of his game. Things
wrap up with singer Clifford Curry who's "She Shot a Hole In My
Soul" was a big hit in 1967. Curry's a fine blues singer
especially on the rocking "Welfare Blues" feature some
killer guitar by Fred James and the downtrodden lament of "Down
The Road I'll Go."
Up next on the blues road trip is sunny California. The West Coast's
blues credentials are firmly intact starting in the 40's with a
sophisticated brand of blues that produced such legends as T-Bone
Walker, Charles Brown, Lowell Fulson and Amos Milburn to name a few.
As The Los Angeles Scene demonstrates there's still a vital
blues community with some seasoned
veterans as well as some young upstarts.
Joe Houston has been a fixture on the L.A. scene since the 50's and
one of the main practitioners of the honking R&B sax style that
prefigured rock and roll. He's recorded for West Coast labels like
Crown, RPM, Aladdin and Modern during his career. Houston's still in
fine form on his three cuts with some first rate guitar from Kid Ramos
and Kirk "Eli" Fletcher who appears on all the recordings on
this disc. Johnny Dyer is another L.A. veteran who's been active for
years. Dyer is a fine singer and harmonica player with standouts going
to the jumping "Cross Town" and the loping instrumental
"Real Easy Baby." Up next is Finis Tasby who's a fabulous
singer and has worked with Z.Z. Hill, Freddie King and Clarence Carter
among others. Despite gigging around for years it took Tasby until the
90's before he cut his first album and his Jump Children from
1998 was one of the year's best. Tasby blasts through a great version
of Lowell Fulson's "Reconsider Baby" and the downbeat
"Victim of Circumstances" is another winner. Kirk
"Eli" Fletcher is an up and coming guitar star but fortunately
he plays with more taste than flash. "Swingin' Gate" and
"Eli's Shuffle" are instrumental burners with one foot
solidly in the old school.
The
Blues Across America series has been a great blues road trip and has
done a fine job spotlighting this country's rich blues talent.
Wherever Cannonball's blues caravan heads next I'll be sure to follow.
(Jeff
Harris)
|
|
Arthur
Williams: Ain't Goin' Down (Fedora) Fillmore
Slim: Other Side Of The Road (Fedora) Tommy
Bankhead: Message To St. Louis (Fedora)
Over the last couple years of Fedora Records has
quietly established themselves as one of the premiere blues labels on
the block.
They've managed this by consistently releasing fine material by
deserving but little known artists. The latest batch of Fedora discs
serves as more proof that the label is still on a roll. St.
Louis Harmonica player Arthur Williams debuted on the label last year
and continues to raise the roof on his latest with his rough juke
joint brand of blues. Tommy Bankhead is another veteran of the St.
Louis scene who despite a fifty year career is only making his second
recording. Wrapping up the trio of releases is Fillmore Slim an
excellent bluesman in his own right and despite playing with numerous
blues legends has always remained on the fringes of the blues scene.
Fillmore Slim's story reads like the stereotypical bluesman's story.
Originally from New Orleans he headed to L.A. in 1955 to seek his fame
and fortune. After getting noticed at a local talent show he was soon
touring with Little Willie John and Joe Tex. Slim made his recording
debut in 1959 for Dooto with subsequent singles for Kent and Dore.
During his career he's remained on the fringes but managed to play
with likes of Muddy Waters, Junior Wells, Little Willie
Littlefield and L.C. "Good Rocking'" Robinson among others.
Other Side of the Road is a gritty document of Slim's tough,
funky brand of blues.
Slim
is a bluesman of the old school and
this record is laced with great tasteful guitar and soulful vocals.
Highlights of this mostly original set are the impassioned "Dial
911" the lowdown blues of "Kicked Out" and the
shuffling "Louisiana Scat" featuring great tenor sax from
Ron Catalano and some righteous scatting by Slim. Wrapping the disc up
is an inventive cover of "Blue Monday" taken as a minor key
shuffle with Slim singing it for all it's worth.
Tommy
Bankhead has been a fixture on the St. Louis scene for the past fifty
years but due to bad luck or fate he's only recorded a lone album cut
back in 1983. In the 40's Bankhead ran with Howlin' Wolf and Sonny Boy
Williamson. Supposedly he played guitar on Sonny Boy classics
"Nine Below Zero" and "Don't Start Me to Talkin'"
but was cut from the final mix. Bankhead is now semi-retired but still
plays a weekly gig in St. Louis.
Whatever circuitous route it's taken Bankhead to land at Fedora
Records is good news for all fans classic straight ahead blues.
Bankhead is a fine guitar player who's playing may not be flashy but
it's always tasteful and epitomizes the less is more school. The
backing band is a stellar lineup of St. Louis vets including sax man
Erskine Oglesby who's played with Ike and Tina Turner, pianist Bob Lohr
who's has 30 years with Arthur Williams and bassist Charles Davis has
done stints with James Brown and Little Milton. Led by Bankhead's
languid guitar runs and warm vocals the band locks into a steady
groove on cuts like the loping "How Long", steamy slower
numbers like "Tell Me Baby" and the chugging "Gamblin'
Man."
Arthur Williams is another St. Louis veteran
who's debut on Fedora in 1999 was one of the year's best. Williams had
spent 40 years as a sideman and is now looked up to as one of the last
of the great juke-joint harp blowers. Born in Mississippi and raised
in Chicago & St. Louis, Arthur's music represents the last
generation of that true down-home blues of the Delta. The sounds of
Sonny Boy Williamson and Little Walter are never far from the surface.
Williams
second effort for Fedora is another solid down home romp that strongly
reflects his Mississippi roots. This is juke joint blues plain and
simple and if your familiar with the music of the Jelly Roll Kings
you'll get the picture. In fact Ex-Jelly Roll King Sam Carr takes over
the drum chores from James "Boo Boo" Davis" and proves
why he one of the blues most respected drummers. Williams Sonny Boy
influenced harp blowing holds it all together whether on the Howlin'
Wolf sounding "Ain't Goin' Down", the funky "Slop the
Hogs" or the tough as nails "East St. Louis" which is definitely
a place I don't want to be when the sun goes down. Other highlights
include a pair of unlikely covers in "Poison Ivy" and Ivory
Joe Hunter's "Since I Met You Baby."
The future of the real blues in part rest on labels like Fedora
who are willing to invest the time and money to record many of the
older unsung blues masters. None of these artists are likely to be
stars but if your looking for blues that cuts close to the bone look
no further than any of these worthwhile discs.
(Jeff Harris)
|
|
Memphis
Slim: The Folkways Years (Smithsonian)
Big
Bill Broonzy: Trouble In Mind (Smithsonian)
Smithsonian Folkways continues the important job of
reissuing the classic recordings made by Moses Asch for his pioneering
Folkways label. The Smithsonian Institute acquired the estate in 1987
after Asch died and has done excellent job preserving this music for
posterity. The latest releases present us with two giants of the blues
that not only feature wonderful music but sterling sound and exemplary
historical notes and photos.
Both artists were
already well established by the time they hooked up with Folkways in
the 50's with Big Bill's recording career stretching back to the 20's
and Slim's back to the early 40's. In fact both men were close friends
and it was Big Bill who gave Slim an important boost when he moved to
Chicago.
By the 50's however times
were changing and in particular Broonzy's playing fell out of favor
with black audiences. As a professional musician Broonzy was able to
change with the times and was able to tap into the growing white folk
audience that was discovering blues and jazz. At the time Folkways was
the premiere folk label and with a roster that included Leadbelly and
Josh White it was only natural that they would show an interest in
Broonzy.
The music on Trouble In Mind draws from a number of
sources with much of it coming from the LP Big Bill Sings Country
Blues. The other cuts come from radio interviews and live concerts
recorded between 1956 and 1957 and give a vivid portrait of Broonzy in
his later years. Broonzy is in fine form playing alone on all tracks
and running through a set of familiar numbers like "Frankie and
Johnny", "Trouble in Mind" and his own classic
"Key to the Highway." Broonzy was never shy to speak his
mind and topical protest songs like his "When Will I Get to
be Called a Man" and especially "Black, Brown and
White" resonate the strongest.
Under similar circumstances as Big Bill, Memphis Slim joined
Folkways in 1959. Prior to his Folkways recordings he was playing jump
blues and R&B for a mostly black audience. The Folkways Years
span from 1959 to 1973 with the bulk recorded between 1959 and 1963.
Like Broonzy's work on the label Slim's music harkened back to his
roots featuring him unaccompanied on many cuts. Slim's rolling
boogie-woogie playing is heard to good effect on well known songs such
as "Pinetop's Boogie Woogie", "Stewball" and the
rousing "I Left that Town- Harlem Bound" a definite
highlight. Slim is also backed by some small combos which included
Willie Dixon, Arbee Stidham, Jazz Gillum and guitarist Matt
Murphy.
These latest Smithsonian Folkways recordings spotlight an
important turning point in blues from a predominately black audience to
that of a white one and a trend for better or worse that continues today.
Above all else these two CD's make for great listening and belong in
every blues collection.
(Jeff Harris) |
|
 Phil Guy: Say What You
Mean (JSP)
It can't
be easy for Phil Guy who's had to ply his trade under the enormous
shadow of his older brother Buddy. Guy's been quietly putting out some
good if not exceptional records for the JSP label for the past decade
but with Say What You Mean he just may have his first breakout
record.
In an age when blues guitar
stars are getting younger and younger there doesn't seem to be much
patience for those who mature over time. There's no doubt that Guy's
chops are well seasoned and while he may have borrowed a few things
from his famous brother he's certainly his own man. Less flamboyant
then Buddy's he still sports a tasteful, biting guitar style similar
to the late Albert King. For fans of blues guitar there's more than
enough to go around on this disc.
Say What You Mean
finds Guy still playing in a solid Chicago groove but with the help of
Johnny Rawls, who produces and plays rhythm guitar, he also explores
his soul and R&B side. "Is it Him or Me" is a great soul
blues number backed by the Nutmeg Horns and "You at My Door"
is a soul song with some serious funk. Other highlights include a pair
of more familiar Chicago blues like the stinging, emotionally charged
"Fixin' to Die" or the romping "Last of the Blues
Singers" with Guy rattling off a depressing list of great
bluesmen who've recently passed.
While there's no sure thing in
the blues it's a good bet Say What You Mean will raise Guy's
stature as one of the great veteran windy city bluesmen. He may never
reach his brother's lofty heights but it's not for lack of talent.
(Jeff Harris)
|
|
Etta James: At Last
(MCA)
Bobby Bland: The
Millennium Collection (MCA)
Etta
James is a great singer period. Whether tackling blues, jazz or pop her
gospel soaked vocals were always up to the task. The music on At Last
represents some of Etta's best which is saying quite a bit for a career
that's spanned 45 years and counting.
Etta's career was floundering by the time she signed with Chess in 1959.
Under the guidance of label owner Leonard Chess her career took off with a
number of R&B and pop hits. At Last is a reissue of Etta's
first 1960 debut for Chess containing four extra tracks with duet partner
Harvey Fuqua leader of the Moonglows.
The fourteen tracks on At
Last range from hard hitting blues numbers like Willie Dixon's "I
Just Want to Make Love to You", "Tough Mary" and a number
of lush ballads including "My Dearest Darling" and the soaring
title track. It's the ballads above all that let Etta really cut loose
with "Trust In Me" and "Anything to Say You're
Mine" meriting special mention. The four duets with Henry Fuqua round
out this set nicely especially a great version of the oft covered "Spoonful."
To call these recordings some of her
best is not to diminish the rest of her fine catalogue but only points out
how stunning these early sides are. Forty years may have passed since
these sides were waxed but their emotional intensity reminds timeless.
(Jeff Harris)
********************
There have been plenty of
great blues singers, and great soul singers and great pop singers, but few
have been able to combine all three into an explosive force as effectively
as Texas’ Bobby “Blue” Bland. Considered the best soul bluesman to
front a horn based band, Bland’s string of timeless classics from the
mid 50’s to the late 60’s have influenced generations of musicians in
a variety of genres. From Van Morrison, to the Allman Brothers
Band who nicked his arrangement of “Stormy Monday Blues,” even to the
Grateful Dead whose early concert highlight “Turn on Your Love Light”
was a Bland original, the singer has been a monumental force in music
history.
With his smooth sexy croon, which effortlessly
transforms into a raging growl, Bland’s charismatic voice, and sharp
suits, made him one of the blues’ first major sex symbols. However, at a
skimpy 36 minutes this newly released and remastered twelve-track
compilation can’t hope to capture the breadth of
the singer’s raging talent. Without “Further Up the Road” and “I
Smell Trouble” it’s missing some essential songs that defined
Bland’s captivating voice, but those looking for a budget collection to
introduce them to the many charms of one of the best R&B singers EVER,
this is a good starter. Once you’re hooked on Bland’s silk and gravel
flair, there’s plenty more to
explore.
(Hal Horowitz) | |  Jo
Jo Benson: Reminiscing In The Jam Zone (Gulf Coast)
Wow, where has this man been hiding? Benson had a string of million
sellers from 1968 through 1970 but has been off the scene for some
time. The big question is why? Reminiscing In The Jam Zone is
a fabulous comeback and an absolute treasure for fans of Deep
Soul.
Benson already was a seasoned performer by the time he met seventeen
year old singer Peggy Scott Adams in the late 60's. They sang together
and it was obvious that there was an instant chemistry between the
two. The next day they headed to Nashville for their first single.
"Lover's Holiday" became a million seller in 1968 followed
by "Pickin' Wild Mountain Berries" and "Soulshake"
both of which struck gold. In the late 90's Peggy Scott came
back strong after decades of inactivity with "Bill," a
wildly popular contemporary blues song about a woman whose man has
been fooling around -- with another man. Perhaps her success is what
lured Benson out of the shadows. Whatever
the reason for Benson's reemergence it's certainly a cause for
celebration. If your not sure what Deep Soul is one listen to Benson's
sweet goose bump inducing voice and you'll know. This is real soul
music with one foot solidly in the church. While this is a set of all
covers Benson makes them his own. Just listen to the mesmerizing
"Dark End of the Street" with Peggy Scott Adams or the spine
tingling "A Change is Gonna Come" and you'll be transported
back to the golden age of soul. Other highlights include a remake of
"Lover's Holiday", the uplifting "You Can Make It if
You Try" and a wonderful version of Sam Cooke's "Bring It On
Home."
It's easy to say
that Reminiscing In The Jam Zone is one of the best
straight soul records I've heard in a long time. Let's hope this is
the beginning of a great new chapter in the Jo Jo Benson story.
(Jeff Harris) | |
Magic
Slim & The Teardrops: Snakebite (Blind Pig)
Magic Slim &
The Teardrops: 44 Blues (Wolf)
If gut-bucket Chicago blues
is your thing no one does it better than Magic Slim and his Teardrops.
If you haven't seen this band live then you've missed one of the
toughest blues experiences your likely to see. The next best thing is of
course picking up the records which are consistently excellent. Of
course the problem is which one. Since the late 70's when Slim first
recorded there's literally been a flood of Magic Slim records on the
market. Well the flood continues with two more fine ones to add to the
stack.
Snakebite is a follow up to last year's excellent Black
Tornado also on the Blind Pig label. Slim is known to be a human
jukebox and the band's repertoire supposedly runs in the hundreds. On Snakebite
Slim stretches out writing seven originals. Don't worry though, things haven't changed that
much and this set is strictly balls to the wall blues at it's best. The
Teardrops are an impeccable ensemble band anchored by Slim's brother
Nick Holt on bass and the man himself playing vicious guitar and his
Howlin' Wolf style vocals. Highlights go to the title cut with some nasty
slide, the funky "Key to Your Door" with Nick singing along
and the rocking "Mind Your Own Business" which closes things
out. Wolf
Records has recorded a slew of excellent Magic Slim records and 44
Blues is no exception. Cut back in Vienna in 1992 Slim's sound has
changed little and believe me you'll hear no complaints from me. As good as
Slim's studio sessions are it's hard to beat the band live which is probably
why Wolf has released five live Magic Slim records at the Zoo bar alone.
The band simply cooks from start to finish. Stop at any song and you
can't go wrong but special credit goes to now ex-rhythm
guitarist John Primer taking the vocals on the romping "Big Fat
Woman" and Bonnie Lee tearing it up on "I'm So Good."
Sound is excellent but oddly the crowd noise is almost non-existent.
Magic Slim can't be beat and while his blues may be nothing fancy I
dare you to find me someone who rocks the blues any harder. Proof
positive can be found on both of these stellar discs. (Jeff Harris) | |  Lucky
Peterson (Blue Thumb)
With a new release, on a new record label,
Lucky continues to record the blues from a funky point of view. With
a stellar band in tow, Butch Bonner and Rico Mcfarland on rhythm
guitars, Johnny B. Gayden on bass and Steve Potts on drums, Lucky
adds enough electric piano, Hammond B-3 and electric guitar to
create a CD that should please most modern blues fans.
Lucky Peterson (the CD) starts of with a very electric version
of Ernie Isley’s “Deal With It” one of several covers that
Lucky performs. In fact I think that’s what makes this release so
successful is the unique choice of cover material. There’s Earl
King’s “Seduction”, seek out the original on Earl’s Black
Top release “Hard
River To Cross”, Sam Cooke’s “Shake”, and Johnny
“Guitar” Watson’s “Ta’ Ta’ You”. In fact I believe
Lucky’s version of “Ta’ Ta’ You” out funks one of music
true funkmasters, a tough task, but one that Lucky pulls off with
considerable ease. Joe
Louis Walker joins Lucky for a duet on the Willie Nelson classic
“Funny How Times Slips Away”. Lucky closes out this release with
a gospel drenched Hammond B-3 instrumental cover of Bobbie
Gentry’s “Ode to Billie Joe”.
Lucky’s only original is a heartfelt song entitled “Tribute to
Luther Allison” with Lucky doing his best to play lead electric
guitar ala Luther.
Overall Lucky Peterson (the artist) continues to create a vibrant
type of blues music that mixes his gospel influenced organ playing,
funk, and electric blues, that ultimately blends into a sound that
is uniquely his own.
(Dave Moskal) |
|  Mardi
Gras Essentials (Hip-O)
With the
sights of the festive parades, bright colors, shiny beads and
ahem…bare breasts of Mardi Gras still fresh in our consciousness,
those who want to relive Mardi Gras all year needn't fret. While it
can't help with the boobs, this newly released, 16-track, hour-long
compilation vibrates with the musical party spirit and tradition that is at the heart of this annual
holiday. Mardi Gras Essentials collects jubilant tracks from the usual
Crescent City suspects like The Neville Brothers, Dr. John, The Meters
and Professor Longhair, and throws in more obscure, but by no means less
festive, cuts from Sugar Boy Crawford, Bill Sinigal & the Skyliners,
and Dave Bartholomew, in addition to three tunes previously unavailable
on CD.
Spanning from 1952 with The Dukes of Dixieland's
"Bourbon Street Parade" to 1996's "Hey, Mardi Gras! (Here
I Am)" by Chuck Carbo, the disc cherry picks choice cuts from jazz,
R&B and funk genres and delivers both a historical tour of New
Orleans' music, and a party album which'll liven up any get together, no matter how long it is from Fat Tuesday.
There are plenty of albums which celebrate the music
of Mardi Gras, but few that are as well rounded and intelligently
assembled. Additionally the 16-page booklet sports concise liner notes
explaining the background behind each song, why it was chosen and gives
a brief synopsis of the artist's career. It's available at a bargain
price too, which helps make Mardi Gras Essentials live up to its own
boastful billing. Spin it and watch even the drabbest bash explode with
the soul of a city that KNOWS how to have fun.
(Hal Horowitz) |
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