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Dave Fields: All In

 A l b u m   D e t a i l s


Label: FMI Records
Released: 2014.06.01
Time:
 50:43
Category: Blues: Blues-Rock
Producer(s): Dave Fields
Rating:
Media type: CD
Web address: www.davefields.com
Appears with:
Purchase date: 2014
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Changes In My Life (D.Fields) - 4:07
[2] Voodoo Eyes (D.Fields/S.Rose) - 4:19
[3] Let's Go Downtown (D.Bowen/D.Fields/B.Gibson) - 4:29
[4] Dragon Fly (D.Fields) - 4:48
[5] Cross Road (D.Fields/R.Johnson) - 4:34
[6] Wake Up Jasper (D.Fields) - 5:40
[7] Black Dog (J.Bonham) - 6:16
[8] Not Gonna Let You Get Away (D.Fields) - 5:26
[9] Got A Hold On Me (D.Fields) - 3:21
[10] Thats All Right (D.Fields/S.Rose) - 3:58
[11] Lovers Holiday (D.Fields) - 3:58

 A r t i s t s ,   P e r s o n n e l


Dave Fields - All Vocals, All Instruments, Producer, Engineer, Mixing, Mastering

Kenny Soule - Drums on [1-6,8,9], Engineer on [1-6,8,9]
Kåre Amundsen - Drums on [7]
Dave Moore - Drums on [10]
Tony Tino - Bass on [1,2,4,8]
Andy Huenerberg - Bass on [5,6,9]
Bjørn Ove Hagset - Bass on [7]
Vladimir Barsky - Organ on [2,8,9]
Dave Keys - Piano on [6]

Al Webber - Engineer on [1-6,8,9]
Dave Reid - Logo Design
Judy Tucker Fields - Artwork, Photography

 C o m m e n t s ,   N o t e s


"All In" was recorded mostly live in the studio. There are many different flavors of Dave featured on this CD. The rockin'-fatalistic "Changes In My Life" starts off the CD with a scintillating guitar solo that zooms off into the clouds. Dave blazes away on the spooky-rock "Voodoo Eyes" which will take you to a place where classic rock legends dwell. "Let's Go Downtown" will get you "boogie-in" your seat while the surreal-lamenting "Dragon Fly" drifts through layers of realities. "All In" winds down a road that will take you to your limit and then drop you in a place that will make you say, "Oh Yeah!"

Amazon.de



New York City native, Dave Fields presents his fourth studio album, All In, released on July 1, 2014.  All in features help from many musicians that Fields has regularly worked with in the past, including: Andy Huenerberg and Tony Tino on bass, Kenny Soule on drums, Dave Keys on piano, and Vladimir Barsky on keys.

All In begins with “Changes In My Life,” a song about growing up and growing old. It’s a solid opening track. “Voodoo Eyes” gives Fields an opportunity to show off some excellent guitar riffs, but the lyrics are exactly what you would expect from a song titled “Voodoo Eyes”. Aside from being a bit cheesy, “Voodoo Eyes” is a fun listen. On “Let’s Go Downtown,” the guitar is easily the highlight of the song. The track is clean and easy to listen to.

All In strays a bit  from the blues in “Dragon Fly.” The instrumentals are at their finest in this track.  “Cross Road” is a very dark and grungy cover of “Crossroads” by Cream. Fields is able to pay respect to the original while giving it a new dark feel in his rendition. This is the first of two covers featured in All In. Fields’ professional level playing is definitely visible in this track.

“Wake Up Jasper” has a classic playful tone to it. It’s a track for fans of the down and dirty original blues. All In also features a live cover of the classic Led Zeppelin song “Black Dog.” Much like the previous cover of the album, Fields is able to totally revamp the sound of the song while still making it sound more than enjoyable. This version of “Black Dog” is lighter and funkier than the original. All In ends on a good note with “Lover’s Holiday.” This song is unplugged an raw. It sounds perfectly fitting for a live setting.

Although All In had a few bumps, overall it is a solid album. It encompasses some of the highlights of a handful of different genres of music and gives them a well tuned blues twist.

The Review: 7.5/10

Alysha Rendflesh - June 23rd, 2014
Copyright © Blues Rock Review



Dave Fields is a highly skilled guitarist and vocalist. Field’s 2012 recording “Detonation” established him as a major player in the world of Blues Rock. This is Field’s fourth recording.

Today Field’s band consists of Andy Huenerberg or Tony Tino, bass; Kenny Soule or Dave Moore, drums; and Vladimir Barsky, organ. Dave Keyes guests on piano.

Field’s music is mostly all original. He opens with the autobiographical “Changes in My Life”. Working musicians make some tough choices and Fields shares his with us. A leslie makes his custom built guitar sound like an organ. Here it screams as he wrenches the notes from its neck.

“Let’s Go Downtown” was co-written with Billy Gibson and David Bowen. A few years back Fields was in the band when Gibson won his Blues Music Award for Best Instrumentalist – Harmonica. Fields’s own awards include “Big City Blues Magazines” Lifetime Achievement award, his induction into the NY Blues Hall of Fame and winning the IBC’s 2006 Best Self-Produced CD.

.“Wake Up Jasper” is about Fields’ son and features Keys on piano. “Dragon Fly” is almost surreal. “Girl you Got those Voodoo Eyes” featuring Barsky’s organ and Fields outstanding guitar line; and “That’s All Right” were co-written with Sandi Rose. My personal favorites include “Got a Hold on Me”, “That’s All Right” and the acoustic “Lovers Holiday”.

Fields was influenced by rock guitarists Eric Clapton, and Jimmy Page and here he covers two classic tunes. Robert Johnson’s blues anthem “Crossroads” was also covered by Clapton when he played with Cream. “Black Dog” was written and recorded by Led Zeppellin and featured guitarist Page.

Fields seems to be more comfortable as a songwriter, front man, and bandleader than ever before. Fields is playing a high stakes game and declares he’s “All In”.

Richard Ludmere - Jul 10th, 2014
CD Reviews Blues on makingascene.org



The fourth album by New York Blues-rocker Dave Fields is entitled All In and features 11 songs: 9 originals and a funky ‘live’ version of Led Zeppelin’s “Black Dog” and a burning, almost unrecognizable, rendition of the timeless classic “Cross Road” (R. Johnson).

Recorded mostly live in the studio, All In, features many of the same musicians that played on Dave’s first three CD’s Time’s A Wastin’, All Wound Up & Detonation: Andy Huenerberg (bass), Kenny Soule (drums), Vladimir Barsky (keys), Dave Moore (drums) and some new comers: Tony Tino (bass) and special guest BMA nominee Dave Keyes (piano).

This CD should come with a warning label that reads: “Caution: prolonged exposure to these sounds will result in an extreme desire to max out the sound on your stereo.” From the opening track, “Changes In My Life”, to the last Fields takes us on a musical joy ride and if you decide to get on board you won’t be disappointed.

“Changes…” starts with a riff that will make you swear you have just put on a Sonny Landreth recording. Using Landreth-like riffs and a driving rhythm section this ditty will get you up and dancing whether you want to or not. With lyrics like, “The road is long, but I am strong. I don’t always sing a happy song but I keep going with the changes in my life.” – we are truly being treated to a complete Blues-rock package.

With the previously mentioned “Cross Road” (track 5) we get a completely reworked version of a Robert Johnson classic made famous by the English Blues-rock group Cream. Blues music is awash in cover music and their “interpretation” of timeless artists such as Johnson, Muddy, Dixon, etc. Few artists can make a cover sound like an original and Fields proves, with this song, that he is one of them.

“Wake Up Jasper” (track 6) is an up-tempo shuffle that showcases Fields’ guitar chops and he has them in spades. This is a slide guitar fan’s delight with hot slide licks all over it and combined with Dave Keyes’ prowess on the piano (swear he makes it sound like Lonnie Mack using a whammy) the listener has the total package.

There is so much to like on this CD: tasty guitar licks, cool-smoky vocals, excellent rhythm section, prime piano pieces, entertaining lyrics and last but not least the cover folds out and the lyrics are printed inside. What a concept – remember when printing the lyrics with a recording was the norm? Who doesn’t like to sing along with a kick-ass recording of some tasteful tunes? All in all there is not a clinker in the bunch of musical magic Fields treats us to on All In.

The only mildly negative thing this reviewer would have to say is “When are you going to leave the eastern US and treat the rest of the states to your musical mastery?”

Tim Petty - October 5, 2014
Blues Blast Magazine



I just received the newest release (July 1, 2014), All In, from Dave Fields and it's quite strong. Opening with Changes In My Life, a blues shaped rocker, Fields,playing most all instruments lays out a pop blues rocker with a catchy feel and blues riffs blended with modern tapping techniques making for an interesting change of pace. Voodoo Eyes is up next with more of a ballad style but with a cool rhythm. Fields again steps up with some really nice guitar riffs and key work that nicely highlights the track. Let's Go Downtown has a really happy feel and pacing march rhythm not a lot unlike what you might expect from Wet Willie or Elvin Bishop. This is a cool track with strong blues guitar riffs. Yeah, he has a better voice than my pal Crabshaw, but I ain't holding that against him. Nice track. Dragon Fly takes a much more serious approach to the music with more of an orchestral arrangement, powerful bottom and soaring guitar. Cream's (Robert Johnson) Cross Road is up next with a totally different feel. The reason that I say Cream has more to do with it sounding like an interpretation of Cream's interpretation of Robert Johnson's Crossroad Blues. With a slower pace and a heavier attack, this track has new life and modern guitar pyrotechnics yet retains a bit of the rawness of Johnson's original. Wake Up Jasper is a straight up 12 bar number along the lines of Blind Willie McTell's Statesboro Blues. Fields has a nice voice that blends well with his musical style. Breaking into a R&B track midway through, this track is one of the coolest on the release with Jeff Beck like guitar sounds and a Wilson Pickett step. Excellent! A really cool twist is a funky take on Led Zep's Black Dog! Retaining a bit of Robert Plant's senseless groans and grunts might be the easiest tip off that it's the same track it's done so nicely, Led Zep fans will easily pick it out... but it is really a new track. Not retaining the flash and flair of Page's guitar work opting instead to do it "Texas Style" this is quite a cool track. Not Gonna Let You Get Away retains that southern blues funk with a pop edge. An "Eddie van Halen" like guitar solo breaks the funk but not in a bad way. This is a cool track which nicely blends not only musical styles but also guitar styles and nice vocal work. Got A Hold On Me slides into Ray Charles territory with a touch of Stevie Ray. A cool R&B rocker with modern guitar sounds really separates this track and Fields as a whole as someone who is trying to cut his own road. Nice job! That's All Right is a groove monster with a funky beat and killer guitar riffs. Again Fields is right on vocally making this one of the nicer tracks on the release. Wrapping the recording is Lover's Holiday, an easy, acoustic number primarily featuring Fields on acoustic guitar and vocals, light percussion and backing. This is a cool little track to complete what is certainly Fields finest outing to date.

BMansBluesReport.com



Dave Fields is one of the most dazzling, cutting-edge guitarists on the scene today.  He grew up in NYC, the son of famed composer Sammy Fields, and it wasn’t unusual for him to see  guys such as Stevie Wonder and Rupert Holmes in his father’s studio.  A nanny from Waycross, GA, introduced him to the soul of Southern culture, and these varied influences are evident throughout his music.

His latest release, entitled “All In,” is simply a guitar-lover’s dream.  He incorporates nine originals with two unusual covers herein, each showcasing a different shade of Dave’s blues.  The opening cut is a sweet taste of things to come, as Dave wrings out an ethereal solo before breaking into a tale of perserverance and “rollin’ with the Changes In My Life,” which features another hot solo mid-song.  Vladimir Barsky’s organ augments Dave’s soulful vocal on the story of the kind of girl we’ve all known–the one where “one look and you’re hooked” with those “Voodoo Eyes.”  He revisits this theme later on in a cool song done in stop-time, SRV-style, the staccato strut of “that girl’, She Got A Hold On Me.”

Let’s get to the favorites.  “Cross Road” is indeed the Robert Johnson classic, and Dave delivers it here as a near-Hill-Country stomp, with his guitar setting up a trance-like “wall of sound” over Kenny Soule’s stompin’ beats.  Next is a live recording from Norway, as Dave strips down Led Zep’s “Black Dog” to its base, bare-bones elements, and we simply couldn’t get enough of it done this way!  At the opposite end of Dave’s blues spectrum is the highly-contagious groove of “Let’s Go Downtown, where they play the blues,’ as he name-checks landmarks all over his hometown, “from Harlem south to Union Square!”  Another great tune for the dancers is the Elmore James-inspired rocker, “Wake Up Jasper,” where Dave literally plays his guitar like ringin’ a bell!”  And, the set closes with Dave’s nod to the doo-wop history of New York, with the street corner serenade of “Lover’s Holiday.”

Dave Fields is one of those rare bluesmen who never ceases to amaze with his deep passions for rock, blues, and soul.  With “All In,” we will close with this—somewhere out there, Jimi and Stevie Ray are smiling their approval….Until next time…Sheryl and Don Crow, Nashville Blues Society.

Blues Underground Network



Der Mann ist Alleinunterhalter: »All vocals & instruments performed by David Fields except where noted.« Dann werden bei allen Songs, bis auf "Lover's Holiday", doch Begleitmusiker erwähnt. Kenny Soule ist fast ausschließlich für das Schlagzeug zuständig und Tony Tino zupft auf den dicken Saiten die tiefen Töne. Diese beiden Rhythmiker tauchen verdammt häufig bei den insgesamt elf Nummern der Tracklist auf. Die Songs wurden live in verschiedenen Studios eingespielt und auch hier gibt es die berühmte Ausnahme: "Black Dog", ja das von Led Zeppelin, wurde im norwegischen Vestnes Fjord Hotell auf Band gebannt und begleitet wird Dave Fields hier von Bjørn Ove Hagset am Bass sowie Schlagzeuger Kåre Amundsen. Bevor es zu einem kritischen Blick auf "Black Dog" kommt, konzentrieren wir unsere Aufmerksamkeit doch auf einen Song vor dem Led Zeppelin-Track, denn auch hier covert der Künstler. "Cross Road" ist von Robert Johnson und schon bei den ersten Tönen aus einer wohl bis zum Anschlag aufgedrehten E-Gitarre verpasst Dave Fields dem Klassiker des Country Blues eine der wohl heftigsten Interpretationen, die mir bisher zu Ohren gekommen ist. Vom Original kommt der Musiker über Cream zu seiner Sicht der Dinge. Ist die raumgreifend eingenommene Perspektive auf den Track Blues-Lästerung?

Aus meiner Sicht wohl kaum. Die Nummer ist mit viereinhalb Minuten aussagekräftig und in dieser konsequent-protestierenden Härte auch berechtig. Warum nicht? Mit einer solch extremen Auslegung sorgt man definitiv für Diskussionsstoff. Die vierte Strophe wurde von Dave Fields geschrieben. "Cross Roads" ist das fünfte Lied auf der Platte und vorher hat man sich von den Gitarren-Qualitäten des Amerikaners überzeugt. Gesanglich liegt er ebenfalls auf einem hohen Niveau. Dave Fields mag die harten E-Gitarren-Klänge, den Blues Rock in seiner fit-muskulösen Form. Bereits erwähntes "Black Dog" überzieht Dave Fields mit einer Funk-Decke, die für ausreichend Hitze sorgt. Mit einem phasenweise lasziven Gesang nähert er sich dem 'schwarzen Hund' und füllt die insgesamt gut sechs Minuten mit allerlei verschiedenen Gitarren-Sounds. Der seit 2012 zur NY Blues Hall Of Fame gehörende Dave Fields liefert eine interessante, mit durchaus eigenen Noten ausgefüllte Coverversion ab.

Nach "Time's A Wastin'" (2007), "All Wound Up" (2008) und "Detonation" aus dem Jahr 2012 ist "All In" Dave Fields' viertes Album und die elf Tracks von dieser Scheibe zeigen, wie tief der Mann im Blues und in der Musik allgemein steckt. Wer die härtere Gangart mag, und noch etwas mehr obendrauf, bekommt hier eine gitarristische Vollbedienung. Viermal mag der Guitarslinger Tastenklänge neben seinem Saiteninstrument. Da ist unter anderem Dave Keys am Piano und ein Vladimir Barsky an der Orgel zu hören. "Dragon Fly" weicht vom griffigen Asphalt des Blues-Highways ab. AOR mit verspielten Versatzstücken des Progressive Rock lädt die nicht bedingungslos rockende Nummer auf. Willkommene Abwechslung? Irgendwie schon, denn nach drei mehr oder weniger Hammer und Meißel-Stücken ist der "Dragon Fly" zumindest so geschmeidig wie ein Drachenflug ins Fantasieland. Bevor wir uns "Lover's Holiday" widmen, noch einen Abstecher zum Song davor. "That's Alright" ist rockig, aber im Vergleich zu einigen anderen Tracks auf der Platte doch eher ein Weichspüler. Was aber auf keinen Fall heißen soll, dass die auch vom Wah Wah-Pedal angetrieben Nummer schlecht ist.

Wie kommt Dave Fields zum Schluss der Scheibe nun quasi pur, ohne Begleitmusiker rüber? Zunächst einmal ist festzustellen, dass hier außer der akustischen Gitarre noch Fingerschnippen und phasenweise gospelige Backing Vocals zu hören sind. Der Musiker gibt sich akustisch, mehr als Singer/Songwriter und ... kann auch so überzeugen. Seine Vielseitigkeit stellte er schon im Zusammenspiel mit Hubert Sumlin, beim U2-Film "Rattle And Hum" und auch im Zusammenhang mit The Drifters, Aretha Franklin oder Lenny Kravitz unter Beweis. Wer auf Blues Rock aus der Granit-Abteilung des Genres steht, sollte Dave Fields' "All In" im Player haben.

Joachim 'Joe' Brookes - 07.11.2014
RockTimes.de



Aus New York stammt Gitarrist Dave Fields. Und sein neues Album „All In“ dürfte vor allem Freunde der brillant gespielten Bluesrockgitarre begeistern.

Es geht gleich mal mit einem Solo los: Die Gitarre hebt ab und singt in den höchsten Tönen, bevor Fields über die „Changes In My Life“ zu singen beginnt. Hier merkt man gleich, dass „All In“ im wesentlichen live im Studio eingespielt wurde: Der Druck stimmt - und solch ein Solo braucht die Spontaneität, um lebendig zu werden. Ergänzt werden Gitarre und Stimmer hier von einer genau passend fetten Orgel.

Bei „Voodoo Eyes“ wird es trocken und funky. Und überhaupt kann man bei den von Fields selbst geschriebenen Songs hören, dass er neben Blues und Rock eine Menge auch für Soulmusik übrig hat - auch wenn es hier keine fetten Bläser als sofort ins Ohr springenden Beleg dafür gibt.

Der Sohn des Produzenten und Komponisten Sammy Fields hat nach seinem Studium an der Berklee School of Music schon bei Produktionen von Ahmet Ertegun mitgewirkt, arbeitete mit Lenny Kravitz, Sean Lennon und Aretha Franklin. Und stand mit U2 bei „Rattle & Hum“ gemeinsam vor der Kamera. Das belegt seine Vielseitigkeit ebenso wie die Auswahl der zwei Coverversionen auf dem Album: „Cross Road“ kommt bei Fields mit verzerrter Gitarre und extrem im Tempo reduziert daher: Hier ist die Spannung von Johnsons Song ganz auf die innere Zerrissenheit gelegt, nicht auf Temporekorde. Und dann gibt es da noch seine Version von Led Zeppelins „Black Dog“: Das wird hier ganz auf seine stampfenden Blueswurzeln reduziert und völlig ohne Machotum und Rockerpose dargeboten. Faszinierend!

Nathan Nörgel - wasser-prawda.de
 

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