The Siegel-Schwall Band
Flash Forward
Alligator ALCD 4906
Harmonicist/pianist/vocalist
Corky Siegel and guitarist/vocalist Jim Schwall met as college students. In the late '60s,
The Siegel-Schwall Band got their start as the Pepper's Lounge house band in Chicago. They
toured tirelessly and recorded 10 albums prior to disbanding in 1974. They reunited in
1987. After 30 years away from the studio, Flash Forward marks their return to recording.
Bassist/singer Rollo Radford joined the group years ago, and recently renowned
drummer/singer Sam Lay (Howlin' Wolf, Paul Butterfield, Little Walter, Bob Dylan) became a
member. Using a 24-track digital studio workstation, this album was recorded at Gator
Tracks and produced by Corky and Holly Siegel.
Ironically,
these long-time friends and musical collaborators did not co-write any of the disc's 13
songs. Separately, all four members contribute their own original songs. The music has a
similar flair to early Charlie Musselwhite and Paul Butterfield, e.g., "Afraid Of
Love". Like your best friend's calming and familiar voice, Sam Lay's aged vocals are
enjoyable on it. Marcy Levy's sexy and serene background vocals shine here and on
"Can't Stop". Siegel's very light vocals and soaring harp feature on "Deja
Vous", which was originally written in 1982. Going Back To Alabama" is
traditional 1950's Chicago Blues. Here, Lay preaches about the evils of Chi-town and how
he wants to return home. You'll either love or hate Schwall's wavering and quavering
vocals, but you'll howl at the offhand lyrics of "The Underqualified Blues". The
words contain a political storm front and an accurate depiction of how President Bush is
viewed by Americans and non-Americans alike. The contemporary viewpoint is given a 1950's
"Hoochie Coochie Man" riff. Almost as enjoyable are Siegel's amiable keys and
Lay's tromping drums. Schwall's dry humor surfaces again on "Hey Leviticus" and
"On The Road". The former contests the strict rules of the Old Testament's third
book while you can almost picture a compressed Geo Metro barreling down the highway on the
latter. Although Siegel's harp is pleasurable (as always) on "Twisted", it
contains vocals that seem off key and stretching to reach the notes. "Pauline"
contains the best rhythm (albeit influenced by Taj Mahal), and easily stands out from the
rest. Due to the piano and Schwall's accordion, the sound is real rootsy. Using their
signature trademark fusion of urban blues and acoustic folk, "Krazy" rolls along
like a warm summer breeze.
These tunes
call for an acquired taste. Once you've found it, the songs start to grow on you. Like
Corky Siegel's Traveling Chamber Blues Show!, released earlier this year, this is not a
typical Alligator release. But it just may be exactly what some listeners are longing for,
since it contains the absence of highly glossed production, biker blues, sensational harp,
a stomping party band, swamp blues and West Coast jump. Primarily, The Siegel-Schwall Band
are in it for fun, yet more hardened blues fans will find them pretty uninspiring.
- Tim Holek -
Southwest Blues CD Review - October 2005
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