CD Reviews

  • By Devin Grant
    Special to The Post and Courier
  • Posted: Thursday, January 19, 2012 12:01 a.m.
    UPDATED: Friday, March 23, 2012 7:11 p.m.
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For The Good Times/Milking Bull/EMI

When The Little Willies released its self-titled debut recording in 2006, fans of old-school country music rejoiced.

Part of the appeal was the music itself; covers of eclectic country tunes, including "Roly Poly," "I'll Never Get Out of This World Alive" and "Tennessee Stud."

The other half of that debut album's success lay in the identities of the folks making the music. Norah Jones, already a bonafide star thanks to her multiplatinum solo albums, led a group that included bassist Lee Alexander, guitarist Jim Campilongo, guitarist and vocalist Richard Julian and drummer Dan Rieser.

The same laid-back Americana groove is evident on The Little Willies' sophomore effort, "For The Good Times," which wisely sticks with the formula that made that first album cook.

Once again the songs are mostly covers of older country songs, and there are some great musical moments here. Norah Jones' breathy voice on Loretta Lynn's "Fist City" changes the song's dynamic considerably, and her take on the Dolly Parton classic "Jolene" would likely impress Parton herself.

Particularly good is the title track, written by Kris Kristofferson, as well as the trucker anthem "Diesel Smoke, Dangerous Curves," which is sung by Jones and Julian. "Tommy Rockwood" is the only original composition here, but it fits right in.

For fans of old-school country music, this second helping of country goodness from The Little Willies is great listening.

Key Tracks: "For The Good Times," "Fist City," "Jolene"

Songs For The Jewish- American Jet Set/The Idelsohn Society

There are any number of anthologies and box sets out there that tell the story of this label or that, but few are as interesting and unique as the new collection "Songs For The Jewish-American Jet Set."

The single-disc compilation tells the story of Tikva Records in 20 tracks. Started in the late 1940s post-war New York City, Tikva Records sought to give American Jews a way to retain some of their heritage as the group was trying more and more to assimilate into the American public.

Tikva did something that was radically different and ultimately very smart. Instead of focusing on one genre of music, the powers that be at the label signed and recorded acts from all over the musical spectrum.

The collection, compiled by the Idelsohn Society for Musical Preservation, features everything from '40s swing (Leo Fuld's "Mazzel") to old-school country (Leo Fuchs' "Shalom Pardner") to even fuzz-guitar '60s garage rock (The Sabras' "Ho Yaldonet").

While the label itself folded long ago, and its ownership is lost in a tangle of back-room deals and less than legitimate sales, the music remains and, thanks to the folks at the Idelsohn Society, it has been compiled here so that a new generation can hear a fascinating collection of music from a bygone era. The set also includes a 36-page book that tells the story of Tikva and the artists featured on the compilation.

Key Tracks: "Mazzel," "Ho Yaldonet," "Passover Time on the Range"

Roy Trevino/Troubadour

With the 22nd Lowcountry Blues Bash coming up in less than three weeks, it's never too early to get into the blues frame of mind to enjoy the two-week cornucopia of music that will blanket Charleston.

The new self-titled CD by Roy Trevino would be an excellent place to start.

Although Trevino won't be playing the Bash, the South Texas-based musician's new CD is packed with plenty of blistering blues licks, and is produced by the Grammy Award-winning Jim Gaines, who has worked with Santana, Stevie Ray Vaughan and Luther Allison.

Recorded partially in a church-turned-recording studio in Austin, Texas, Trevino's new disc gives him a chance to show off his guitar chops, which are considerable.

Except for an interestingly funky cover of Bob Marley's "Lively Up Yourself," the music here is all original.

Trevino, who got into the blues at an early age and studied under Ronnie Earl, definitely knows his way around his instrument and seems to have a natural talent for songwriting, as well.

From the gospel-flavored "Gloria" to the down and dirty "Thank You," Trevino proves he is serious about his craft. Not every song is a home run, but there is plenty here for blues lovers to enjoy.

With any luck, perhaps the Blues Bash organizers can get Trevino to visit the Lowcountry for a live show sometime in the near future.

Key Tracks: "Gloria," "Hurricanes," "Lively Up Yourself"