Review: Ann Rabson - Struttin' My Stuff M. C Records - MC004 1 Sleepy LaBeef - Tomorrow Never Comes M C Records - MC0040

M.C. Records continue to expand their impressive roster of artists with these fine releases by two veterans of the American roots music scene, Ann Rabson and Sleepy LaBeef. Ann Rabson, who came to prominence with Saffire - The Uppity Blues Women, explores the full range of her talents with solo performances on piano and guitar, and band tracks with ex Duke Robillard alumnus Marty Ballou and Richard Crooks, on upright bass and drums / percussion respectively. The set opens with Ballou and Crooks laying down an infectious rhythm for Rabson's Huey "Piano" Smith styled "Beggin' For You Baby". Rocking piano, a voice full of character and the wry humour of her Iyrics make this a wonderful opener that sets a standard that doesn't flag from first track to last. "Hassle Attack", which Rabson aptly describes as a'funky little boogie", and Eddie Bo's "Check Mr Popeye" are further delights in that potent Crescent City mould. "The Blues Don't Care" is a plaintive number in the Percy Mayfield mould, Rabson's breathy vocals and mellow guitar (her first recording on electric guitar) make this a minor key classic, while the reflective "Late November Afternoon" is a stunning performance permeated by the influence of the great Leroy Carr. "Barnyard Boogie" is a wild rocker in the "Blue Suede Shoes" mould, Chuck Berry's "Schooldays" rocks infectiously, whilst "Careless Love" is turned into a captivating piano excursion called "Careless Boogie". Rabson illustrates the quality of her guitar picking on the classic blues styling of "What's Good For The Gander is Good For The Goose", the sweetness of her vocals tempered by an underlying menace. She shows an indebtedness to Broonzy on a pensive rendition of Lucille Bogan's "Struttin'My Stuff'; and she lays down some wonderful deep rolling piano on a moodily introspective and personalised rendition of Brownie McGhee's "Sportin'Life Blues". This set comes highly recommended and I can give it no greater accolade than to say it is on a par with Odetta's debut release for the label. Sleepy LaBeef is an icon of American roots music with a recording career that spans four decades and releases on Sun, Plantation, Mercury, Columbia and Rounder amongst others, in styles that incorporate country, rockabilly, blues, gospel and rock'n'roll. All of these styles are evident on "Tomorrow Never Comes", from the infectious rock of Spade Cooley's country classic "Detour", where Sleepy's rich deep voice is reminiscent of that of Johnny Cash, to the poignant gospel feel of "Will The Circle Be Unbroken" where he is joined by Maria Muldaur, blue textures being added by David Hughes' rolling piano and Jerry Cavanagh's country harp. There is an early Presley feel to Sleepy's version of Ernie Tubbs, ''Tomorrow Never Comes", Hughes' bouncing piano and Cavanagh's country harp adding a bluesy edge whilst Sleepy's fine picking and Jim Davis's booting sax are pure rock'n'roll. Maria Muldaur returns for a wonderful duet with Sleepy on a rockabilly swamp workout on Slim Harpo's "Raining In My Heart". There is a Country & Surf rendition of the Surfari's classic "Wipeout", replete with Duane Eddy styled guitar; the rhythm section of Dave Pomeroy (bass) and Jerry Cavanagh (drums) fire a frantic remake of his Plantation single and Chuck Berry classic, "Too Much Monkey Business"; whilst rasping sax, wild piano and pure rock'n'roll guitar power Sleepy's two Joe Turner tributes, "Honey Hush" and ''Low Down Dog", making this a must for roots music fans.

Ratings: 10/9 - Mick Rainsford