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Although it took more than 25 years of playing before the members of Warsaw’s Summertime Blues Band brought their collective talents together, when they did they knew the result was instant magic. When the decision was made to record their solid Chicago-based blues originals, the wisdom of their years proved itself by deciding to do things right (the fact that the members were advanced enough in their careers that they could afford the best didn’t hurt either). The steady ear of Tim Bushong, professional art direction, a genuine barcode, pressed and screen printed CDs, and artwork not printed on a borrowed Lexmark inkjet printer all lend themselves to making I Could’a Been an exceptionally professional release.
But all the money in the world can’t cover up for poorly written and sloppily played songs. As luck would have it, Summertime Blues Band sidestepped both of these errors by recording 12 varied and creative originals with the utmost style and panache. The lead vocals are split with nearly surgical precision between Zeek Bailey, Bill Gieras and Ted Carter (the rumor is Bill Kolter has a fine voice that is remarkably ill-suited for blues), which adds yet another layer of tonal and stylistic variety. For even more diversity, the songwriting duties are also shared and since the collective influences span from metal to funk to classic rock to Chicago blues, even those who normally yawn at the thought of blues music will find a cornucopia of delights to entertain their degenerating brain.
The first single tearing up the MP3.com electric blues charts is “Medicated Woman,” a humorous commentary on society’s increasing dependency on pharmaceuticals of all types, set against an upbeat 50s-influenced blues shuffle. The title track takes a classic blues rhythm and adds some Muddy Waters to create the story of a man looking regretfully back on life. Things get funky with the amusing “High Maintenance Woman” with not one but three amazing solos, compliments of the lead guitar, bass, and harmonica. Melodic and well arranged, “Make These Blues Go Away” is a perfect slow dance song with a faraway country blues feeling, unusual (for blues) chord progressions and some classy harmonica work. “Trouble” is a relentless blues rocker that opens with some scorching, overdriven guitar work and “Slippin’ Out Of Town” effectively mixes two songs, a jangly, light love song and a heavier R&B grinder, into yet another example of the expansive songwriting contained on this disc. The final track, “Chaindawg Blues,” is told from the point of view of a dog eternally chained just out of reach of those tempting female dogs. This classic slow blues song is augmented by howling harmonica and some intense guitar solos.
With a rhythm section that moves as fluidly as a well-crafted orthopedic ball and socket joint, Summertime Blues Band plays such a skillful set that even those who don’t consider themselves blues connoisseurs won’t have a chance to get bored. The band loves playing and such enthusiasm shines through clearly on this collection of homegrown, solid originals. If for some reason you can’t find this CD locally, stop by www.summertimebluesband.com and they’ll point the way. - Whatzup Magazine
"A rather amazing CD" Blues Groove - Blues Groove
"Certainly a cut above." - Juke Blues
"Rollicking blues and blues rock. Often, lyrical genius." - Fort Wayne News-Gazette
"Fresh, funky and fun...a highly enjoyable album." - South Bend Tribune
Those wily Warsaw blues brothers known collectively as Summertime Blues Band are back with their second full-length release Picture Perfect, a collection of nine originals and two classic covers.
Finding greater comfort in the studio of T. Bush Record Plant, the band spreads its wings by trying out a few new sounds with additional instruments and styles. This is immediately evident in the title track where organs (Larry DeVincent), sax (Andy Kopis) and rich vocal harmonies in the chorus enhance the tight blues sound. With three lead vocalists in the band there is an amazing variety of styles to please the ear. In addition, guitarist Bill Kolter and bassist Ted Carter trade instruments, as they do on "Walkin' The Dog", adding yet another level of depth to their sound with Carter laying down one of many scorching guitar solos found on this offering.
As before the lyrics have a wry humor that is sure to bring a smile to your face. Top among these is "Fast Lane Blues" which bemoans such rich-guy travesties as a Beemer in need of repainting, nagging personal trainers and escalating tax brackets. Fans of wailing harmonica will giggle with girlish delight at the many solos that spout from Bill Gieras' adorning such songs as "Sleeping With The Blues," "Honey Bee" and "My Drink (Is On Its Way)," a clever song whose sole purpose in life is to get the band free drinks. "Mid-Love Crisis" is a heavy and driving southern blues song with a sinister edge, while "Every Day I Have the Blues" is the opposite, with bright guitars, upbeat tempo and the lyrics like "Nobody loves me / Nobody seems to care" that sound like they were insincerely sung through a smile. A final standout track is the rollicking, rowdy "Sweet Matilda" that includes honky-tonk piano, raunchy sax and the always impressive drumming of Zeek Bailey.
Far from the sophomore jinx, Picture Perfect takes the expressive sound found on their first album and carefully stretches the boundaries, all while retaining a solid foundation in blues. While hard-core blues fans will surely find perfection on these tracks, the subtle broadening of musical scope will certainly serve to bring more fans into the fold of this talented band. - Whatzup Magazine
Discography
Chain Dawg Blues © 1999 Chaindawg Records, Inc.
DEMO
I Coulda Been © 2001 Chaindawg Records, Inc. (656613618721)
http://cdbaby.com/cd/tsbb
See these web sites for streaming media and to buy .mp3's
Picture Perfect© 2003 Chaindawg Records, Inc. (829757296326)
http://cdbaby.com/cd/tsbb2
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Bio
The band is the brainchild of Ted Carter (guitar, bass, vocals) and Zeek Bailey (drums, vocals), long-time stalwarts of the northern Indiana blues and rock community. Having played together, off and on, in bands of diverse genres since the 1970s, Zeek and Ted decided in 1999 that the time was right for a fresh new blues act. They recruited Bill Kolter (guitar, bass), at the time lead guitarist and founder of classic-rock outfit Curious George and the High Voltage Fence, in which Carter also played. The trio played for about a year before Bill "Big Willie" Gieras (harmonica, vocals) was asked to join in September, 2002, completing the current lineup.
Bailey pushed the band to write original material, which was first showcased on the expanded demo, "Chaindawg Blues," released in April, 2001. The disc contained three original tunes and five covers, allowing the band to receive regional airplay. By October, 2001, the band had written twelve original songs and returned to the studio, emerging with its first full-length commercial release, "I Could'a Been." The CD was recorded in Syracuse IN at the T.Bush Record Plant by the gifted Tim Bushong, and released by Chaindawg Records, Inc. an independent label launched by Kolter, in January, 2002. Shortly thereafter, doors began opening for the band throughout the blues community.
Within weeks of the CD's release, the band was invited to participate in major blues festivals, sharing lineups with such international stars as Rod Piazza and the Mighty Flyers, Little Charlie and the Nightcats, Big Al and the Heavyweights, A.C. Reed, Michelle Wilson, and the Chicago Rhythm and Blues Kings. Blues radio took notice, and "I Could'a Been" was soon receiving airplay throughout the United States, Europe, and South America. KSCU-FM in Santa Clara, CA listed the disc on its "Hot 25 Blues Releases" for four straight months, including a #9 ranking in June 2002. The song "Medicated Woman" was released on Blues Revue Magazine's CD sampler in October 2002, and was the #11 most frequently downloaded Contemporary Blues tune on amazon.com (October, 2002). Three of the album's songs reached #1 on MP3.com's Electric Blues Chart.
The band is unique in that it is a true ensemble, featuring three accomplished lead vocalists. Kolter and Carter switch off on guitar and bass; Kolter plays what may be described as a Chicago style, while Carter's frenetic fretwork is influenced by Hendrix, Clapton, and Stevie Ray Vaughan. Coupled with Gieras's Big Walter-influenced harp playing, these interchangeable elements allow the band great versatility onstage and in the studio
Their follow-up CD, "Picture Perfect," released in September, 2003, demonstrates the band's maturity as songwriters and producers, featuring a more consistently rocking attitude, deeper arrangements, and guest musicians contributing saxophone, piano, and slide guitar for a fatter, more varied sound.
The Summertime Blues Band is selling out shows throughout its home region, and is poised for greater recognition as a result of its songwriting strength, fluid musicianship and onstage intensity.
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