Bitrate:320K/s
Year:2018
Time:41:51
Size:96,6 MB
Label:Iris Properties, Inc.
Styles:Blues
Art:Front
Year:2018
Time:41:51
Size:96,6 MB
Label:Iris Properties, Inc.
Styles:Blues
Art:Front
Tracks Listing:
1. Mr. Packer - 7:14
2. Can't You See - 5:44
3. Texas Blues - 5:41
4. Back at the Bar - 4:45
5. 61 Highway - 3:45
6. No Money Down - 5:56
7. Killing Floor - 8:43
1. Mr. Packer - 7:14
2. Can't You See - 5:44
3. Texas Blues - 5:41
4. Back at the Bar - 4:45
5. 61 Highway - 3:45
6. No Money Down - 5:56
7. Killing Floor - 8:43
This CD review was originally published in the June 21, 2012 edition of Blues Blast Magazine. Be sure to check out the rest of the magazine at thebluesblast.com
Live at the Turning Point begins with an original song, “Mr. Packer”, and the tone is set for the rest of the album. Though he is from New York, Michael has a big chunk of Chicago blues in his heart and you can hear it in his growly voice and Rob Paparozzi’s sweet harmonica work. King Bear (great nickname, BTW) aggressively nails the bass line over Guy Powell’s drums. This is an uptempo number that shows that the Michael Packer Blues Band plays well together while having some seriously good times.After listening to this first track, it struck me that this album is surprisingly well-recorded. This is a small venue, and I would expect tons of extra noise coming through the microphones, both from the audience and everybody on stage. But, the instruments and vocals came through as clear as a bell, even Ed Jackson’s bongos. They must have used a metric ton of microphones, throttled the band way back on their volume, or processed the heck out of it after the fact. Or maybe they just got lucky. Regardless of their methods, it worked out well, and listening to this album is an enjoyable experience. My only gripe would be that four of the seven tracks are covers, but they are all great songs.Next up on the CD is a cover of “Can’t You See”, the 1973 Marshall Tucker Band hit that was written by the late Toy Caldwell. This track provides a temporary change in the band line-up, with David Maxwell on piano, Ed Snozzo on drums and the genius Felix Cabrera on harmonica. Felix has a great feel for the harmonica, and really classes up the joint wherever he plays. There is some really smooth guitar work on this song, and as it is not credited on the liner notes I figure it must be Michael Packer. It would have been nice to hear a little more back and forth between Cabrera and Packer on this one.
Chuck Berry’s “No Money Down” is also on Live at the Turning Point, with Mr. Paparozzi back on the harp, and Michael on the piano. You can never go wrong with a Chuck Berry cover, and having Powell and King Bear building the foundation guarantees a solid blues jam. You can hear the joy and fun in Michael Packer’s voice, which keeps this track real and makes me want to catch their live show next time I am in the tri-state area.
Blues legend Honeyboy Edwards makes a guest appearance on “61 Highway”, the Mississippi Fred McDowell tune. The song title refers to The Blues Highway which runs from New Orleans to Minnesota, and is probably a reference to Clarksdale, Mississippi at the junction of U.S. 61 and U.S. 49, where Robert Johnson sold his soul to the devil. Anyway, Edwards voice and guitar define the blues, and he does a bang-up job on this track which is, unfortunately, the shortest track on the album.The album finishes strongly with the fastest version of Howlin’ Wolf’s “Killing Floor” that I have ever heard. This nine minute track gives everybody a chance in the spotlight, and the opportunity to say goodbye before the album ends.
Live at the Turning Point begins with an original song, “Mr. Packer”, and the tone is set for the rest of the album. Though he is from New York, Michael has a big chunk of Chicago blues in his heart and you can hear it in his growly voice and Rob Paparozzi’s sweet harmonica work. King Bear (great nickname, BTW) aggressively nails the bass line over Guy Powell’s drums. This is an uptempo number that shows that the Michael Packer Blues Band plays well together while having some seriously good times.After listening to this first track, it struck me that this album is surprisingly well-recorded. This is a small venue, and I would expect tons of extra noise coming through the microphones, both from the audience and everybody on stage. But, the instruments and vocals came through as clear as a bell, even Ed Jackson’s bongos. They must have used a metric ton of microphones, throttled the band way back on their volume, or processed the heck out of it after the fact. Or maybe they just got lucky. Regardless of their methods, it worked out well, and listening to this album is an enjoyable experience. My only gripe would be that four of the seven tracks are covers, but they are all great songs.Next up on the CD is a cover of “Can’t You See”, the 1973 Marshall Tucker Band hit that was written by the late Toy Caldwell. This track provides a temporary change in the band line-up, with David Maxwell on piano, Ed Snozzo on drums and the genius Felix Cabrera on harmonica. Felix has a great feel for the harmonica, and really classes up the joint wherever he plays. There is some really smooth guitar work on this song, and as it is not credited on the liner notes I figure it must be Michael Packer. It would have been nice to hear a little more back and forth between Cabrera and Packer on this one.
Chuck Berry’s “No Money Down” is also on Live at the Turning Point, with Mr. Paparozzi back on the harp, and Michael on the piano. You can never go wrong with a Chuck Berry cover, and having Powell and King Bear building the foundation guarantees a solid blues jam. You can hear the joy and fun in Michael Packer’s voice, which keeps this track real and makes me want to catch their live show next time I am in the tri-state area.
Blues legend Honeyboy Edwards makes a guest appearance on “61 Highway”, the Mississippi Fred McDowell tune. The song title refers to The Blues Highway which runs from New Orleans to Minnesota, and is probably a reference to Clarksdale, Mississippi at the junction of U.S. 61 and U.S. 49, where Robert Johnson sold his soul to the devil. Anyway, Edwards voice and guitar define the blues, and he does a bang-up job on this track which is, unfortunately, the shortest track on the album.The album finishes strongly with the fastest version of Howlin’ Wolf’s “Killing Floor” that I have ever heard. This nine minute track gives everybody a chance in the spotlight, and the opportunity to say goodbye before the album ends.
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