Moanin For Molasses

Sean Costello & His Jivebombers, Sean Costello | Format: Audio CD

Product Details

• Audio CD (May 15, 2001)
• Number of Discs: 1
• Label: Landslide
• ASIN: B00005LPYK
• Also Available in: Audio CD  |  MP3 Download
• Average Customer Review: 4.5 out of 5 stars  See all reviews (10 customer reviews)
• Amazon Best Sellers Rank: #181,184 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

10 of 10 people found the following review helpful:

5.0 out of 5 stars Fun to watch, March 2, 2005

By 

John Kycek (Seattle) - See all my reviews
(REAL NAME)   

This review is from: Moanin For Molasses (Audio CD)

I saw Sean live in a small venue and bought this CD at that time. The first thing I noticed was his classic 59 Les Paul Gold Top. Then his little Fender amp dating back to the sixties and in between he had NO peddle effects. I thought, this can't be good! The promoter assured me it would be. As a guitar player interested in the blues, I figured I stick around, even though I was not in a good mood. Sean's haircut and sideburns dated back to the fifties, and so did his attire. So I prepared myself to be transported back in time, to an era close to the roots of blues. And from the first note, I could feel a certain authenticity. But mainly I could see I was in for a show, as his facial expressions sold every note he played. It was just plain FUN watching him play. I watched the crowd gradually warm up to what was happening. People started to gyrate. Women began to abandon themselves to the rythm and the beat. People were having loads of fun and the place was starting to heat up. People crowded toward the front to catch a better view. And they stomped and whistled for an encore. I couldn't believe I only paid $8 bucks for this. I couldn't see how anybody was making any money, but I could see that everyone was intoxicated with the vibe and totally lovin it. I don't think the promoter cared if he made a dime. He sat in on "horn" (harmonica) and was beside himself with glee. I chatted with Mr. Costello afterwards, and he is indeed a humble representative of the genre. He convinced me that this is exactly what he loves to do. I told him how much fun watching his expressions when he plays. He calls it "delivery". Just then, the promoter came out and asked me if I wanted my money back. I just laughed, "absolutely not". I came in a down mood, left in a great mood, got some amazing guitar lessons, learned about "delivery", and saw some women doing some crazy ass groovy moving as the band hit timeless chords deep in the human psyche. I also had to congratulate the bass player for really holding it down and keeping it in the pocket.

6 of 7 people found the following review helpful:

4.0 out of 5 stars A must!, November 14, 2001

By 

Andrea M Palumbo (St. Paul, MN United States) - See all my reviews

This review is from: Moanin For Molasses (Audio CD)

I saw Sean Costello play at the Bayfront Blues festival in Duluth MN this past August. He played a gig the night before his festival set at a bar right next to my hotel - we stopped in for a bite to eat, and stayed for the show. Good plan. Sean OWNED the bar for the four hours we saw him. He's an amazing player, roaming all over the map, from rockabilly to blues to swing, and he's got the band to back it all up. If you want to check out a fine young talent, this is the disc to get. And catch him live if you can.

3 of 3 people found the following review helpful:

4.0 out of 5 stars What a blues CD ought to be, December 11, 2002

By 

Brian Briscoe (Hurst, TX United States) - See all my reviews

This review is from: Moanin For Molasses (Audio CD)

This CD was a very pleasant surprise. Honestly, it makes me think of John Mayall's Blues Breakers featuring Eric Clapton. It's got a similar sort of hungry young blues band sound. Costello sings well without imitating an old black guy (can't stand it when they do that), plays with a rare balance of flash and taste, and presents good tunes, several of which are originals. Blues is a varied and rich tradition that's about much more than three-chord progressions for guitar solos; Costello seems to understand this.