Stevie Zee

Blue

Ain't That the Blues

Jaillhouse Shuffle

Bad Situation

Love

My Baby Loves the Blues

Cat in the Hat

Serious

Oh Daddy

Little Boy Blue

Here in My Heart

Black Magic Woman

Stevie Zee “Blue” CD Review
Larry Ray Toering
Stevie Zee comes on stronger than ever on his new release “Blue,” on Sandcastle Records. Not being new to Stevie I’ve reviewed his other albums, starting with his debut “Wail,” which was recorded at a friend’s studio in Portland, Oregon that we both know. Now residing in Spain, his new CD goes well beyond the straight-forward blues rock he is known for. That is not to say this isn’t a blues rock album, because it is. But there are stark differences between this and even his second disc “Caballero,” and that is instantly evident in the musicians he worked with on this new one. The players feature the likes of Celia Gonzalez on vocals and a host of other musicians including more than one keyboard player used. The addition of Celia brings not only some variety to the mix, but an overall upbeat atmosphere to the songs. A more traditional rock ‘n roll feel without tarnishing the blues any, and the vast use of keyboards really brings out the music in the songs.  

The CD kicks off with “Ain’t That The Blues” which if I’m not mistaken he mentions “Roseland” and that rings familiar to Portland but it could just be a coincidental metaphor. Either way it’s something I’m likely to spot but the next person not. Having the blues comes in many forms and he goes through the vernacular to explain them in the lyrics. The soloing is not only up to standard but the production brings out a searing sound from him while Celia accents his vocals with perfection. Two spot on factors that won’t quit. “You never win you never lose…”   In succession it’s worth mentioning “Jailhouse Shuffle,” which is a track where even I got a good load of his humor. This is a surprising little number that has “bighouse” narrative of the usual things to be heard in the blues format. This is a barnstorming, show stopper of a track with mass wailing from the Strat. Love everything from the humor to the rollicking guitar licks. “Bad Situation” is another slammin’ number with a rebel feel as well. This is where it begins to already step outside the blues box with some mainstream factors and a smokin’ hot bassline that drives it into a treble boosted solo from Stevie that proves it to be built around without losing focus on the whole thing. Outstanding playing is to be heard on this cut, with several cool breaks in it.   

Next he goes into a blues rock ballad that features some of the CD’s best work. The duet aspect of this is a thing of beauty as they sing so well together. This ain’t your average blues either, it’s contemporary but traditional with another display of some of the best licks on the release. “Love” is the answer. “My Baby Loves the Blues” and “Cat In The Hat” both add more depth and mojo to the scene. The former features a swanky slide solo and the latter is some of the most rocking pentatonic guitar around. He sizzles on it so hard you forget the title is that of an old children’s book. Man alive this smokes with a killer piano solo added. Hard to describe the energy in this fantastic instrumental.  “Serious” does have its playfulness to boot, however the arrangement goes complex with much keyboard and other spices to kick it up. Love the lyrics on this one, a socio-political number. And “Oh Daddy” is about as traditional as the album gets. The coolest part can’t be described but just look forward to Celia on this, as well as some romping piano/keyboard work. This all compliments Stevie’s lead guitar lines where he doesn’t get into hogging the spotlight. Everyone shines on this with a perfect balance. But things go wild as they can on “Little Boy Blue” and Stevie rocks evenly throughout this rock steeped track. The use of the wah wah is cleverly placed here as well, and adds a cosmic effect like only it can.   

“Here In My Heart,” which he’s essentially getting at in a lot of his lyrics on this album, makes its appearance with zeal at this point on the disc. And what a sweet little tune he came up with here, as the whole set nears an end. There isn’t a lot you can advise this man on, as there aren’t any critical points to rag about, and that describes the consistency of his catalog, and you get everything he’s all about in this magnum opus of a track. I rotate this one the most, let’s put it that way. But your mileage certainly may vary, as it has something for every blues and rock lover, including some culture to make it ultimately stick. The way this track delivers every bit of the good stuff, is a creeper effect in places and seamlessly brings you back to where it starts without losing direction.  

The closing track is a complete reworking of Santana’s “Black Magic Woman,” and when I say “reworking” I mean this is awesomely different with some over the top Spanish classic acoustic guitar leading it off for a good minute before he switches up to electric and proceeds to reinvent the song in his own excellent way. Then of course he picks the acoustic guitar back up for the solo and I don’t think I’ve ever heard him play so well in the studio as he blends the hollow body into the Strat for an acoustic/electric solo that has to be heard. By this time all his cards are dealt right and you can’t believe it’s over because it sounds like it’s just getting started. This is a crazy display of chops. Saving the big surprises for last is always a good push to go back and set it on repeat, which is what you will do once you’re through with the sonic monster that is “Blue.” 10/10 Larry Toering – Indie Music Media, LLC

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Blue

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