Reviews

www.thepattiparksband.com

23/10/2024

Ontarians – More How It Is (Self Released)

The follow up to their critically acclaimed 2021 debut, The Greatest Story Never Told, More How It Is is 10 tracks of new material from founder members Frank Deresti and Craig Smith. With Deresti and Smith taking on most of the instruments and vocals, they open with Start Over which has an opening harmonica and slightly grungy guitar giving echoes of Neil Young (not vocally though). Smooth vocals from Deresti and Smith on this gentle opener with keys and banjo playing their part. This is a grower and a good start. The peaceful and melancholic Yardsale gives us a big chorus and you get the feeling that they’re clearing their lives out, not just the clutter. It’s another that will grow on you with excellent harmonies. They do alternate lead vocal and the softness of Maybe This Is Something paired with tinkling piano and steel guitar slightly hide the darker lyric. Breadcrumbs is a bit heavier with Beatles vibes, especially in the chorus before they’re back in the gentle acoustic field with Boo. This is a simple, yet effective, song with a tight melody and sweet harmonies that would be a great fit for an intimate part of a gig.

Electric is back for Trippin’ with its late 60s vibe coming through in more than one way. This is the lead track and certainly brings out influences such as The Band. Baby’s On A Bike is another throwback tune but it sounds so fresh at the same time. Powerful and catchy, keys add to the overall happy feel. They show that they are a very tight band (in the loosest of terms) on God Willing. This is rhythmic and fluid and a great one to end a gig. A sense of happiness goes through lots of their music and this one is good for a singalong. A favourite. Heartbreak Remedy is another of their more melancholic songs. The harmonies come through strong as usual, and the doleful harmonica returns. They really do have a knack of drawing you into their songs. It’s a low-key finish with Good Trouble and they’ve started and finished the album with Neil Young influences. There’s an anthemic chorus which stretches the vocal a little but overall, everything feels so easy and relaxed. Joined with God Willing, this is a great finish and another favourite.

www.ontariansofficial.ca

04/10/2024

Beauty In Chaos – Dancing With Angels (33.3 Music Collective)

L.A. based collective, Beauty In Chaos release their 4^th album. Formed in 2018 by guitarist Michael Ciravolo and producer Michael Rozon, they collaborate with artists, some less well known, from all genres to great effect. They open with Present Tense with vibes of 80s and 90s darker Indie Rock and a deep vocal from William Faith of The Bellwether Syndicate, ably backed by his partner Sara Rose Faith. Echo & The Bunnymen meets The Cult. Good start. Kat Leon from Holy Wars joins for The Devil You Know. We have shades of The Cure in places on this percussive track. Soaring strings adds to this rhythmic and melodic Rock with a sweeping chorus. Good vocal from Kat. The lead track on the album is Diving For Pearls, which has Wayne and Cinthya Hussey guesting. We get a distinctive vocal from former Sisters Of Mercy and The Mission frontman Hussey, a powerful chorus and an airy and light verse. This is a well written song with Wayne letting loose at the end. A favourite. Leon Luganskiy joins for Echoes And The Angels and he shows himself to be a very good vocalist too. This is excellent Indie Rock, and the album continues to surprise with its high standard. There are U2 stylings in there and they do love a power chorus.

Kiss Me (Goodbye) sees Julien Shah-Tayler joining and the grungy guitars, throbbing bass and floating keys, all driven by a strident drummer makes for a very well-paced track. This is a great song for driving although the eerie middle eight needs a little concentration. Ciravolo’s economical lead guitar fits well. Former Silence In The Snow vocalist Cynthia Isabella brings her wispy vocals to Hollow. However, this doesn’t reach the heights of the other tracks, despite being musically strong. Holy Ground has the frontman of Kommunity FK, Patrik Mata onboard. The gloomy intro bursts into life with incisive guitar from Ciravolo and another power chorus. This is a return to form. There’s a U2 feel again but there are other influences such as The Psychedelic Furs. The album finishes with Made Of Rain, with Ashton Nyta. Drums to the fore her but there is a strong bass also. It’s a low-key start to the final track but the expectation is that it will build, and it does. Classic Goth/Indie Rock with liquid guitar from Ciravolo. They may well be 4 albums in, but this is a band to be reckoned with, now.

www.beautyinchaos.com

18/04/2024

Giulia Millanta – Only Luna Knows (Ugly Cat Music)

I’ve been reviewing Giulia’s albums since 2020’s Tomorrow Is A Bird and she’s currently bringing one out every two years. However, this is her ninth solo album and the first that is bi-lingual. Originally from Florence, she now resides in Austin and she manages to combine both cultures is the opener, Fatale, with its twanging guitar and Spaghetti Western feel. It’s a slow, smooth and moody opener and sets the scene for the rest of the album. The first of the songs sung in Italian is the edgy Luna, La Follia and it certainly has that Mediterranean feel. It makes me feel that I’m in Italy on holiday, which I will be next week! The ragged guitar fits perfectly. The atmospheric and mysterious Sin Eater confirms that slinky edge that Giulia has to her music. The guitar is playing a big part so far with its jagged tones. Bass is to the forefront on Chiar Di Luna, again sung in Italian. She could be singing anything but she draws you in. It is very alluring and sensual. I can’t wait until I’m in Italy again. The feel is so smooth with telling input from the guitar once more. The stylish Stormy Night In Paradise doesn’t give out any perceptible rise in tempo and she plays the moody songstress well with the guitar pinging away in the background.

The title track has bass to the fore again with Giulia showing all her enigmatic style. She is a one off. I Dance My Way couldn’t be any truer. It’s more up-tempo than most but again, bass led. This is shuffling excellence. Luna Lo Sa is another in Italian and confirms that she relies heavily on the excellent bass. It has a rhumba feel and will definitely get you swaying. The dark Love Is A Sadness Machine is a bit of a downer. It’s quite childlike in its approach but the subject matter is anything but. This is not your usual love song. Jagged guitar returns and strings are introduced to give that all-encompassing feel. She closes in Italian with the mean and moody Mi Chiamava Lulu. We have limited backing with individual instruments adding small pieces. This is different from her last two albums but still strong and I’d happily have this on in the background at any intimate occasion.

www.giuliamillanta.com

05/04/2024

Eric Bibb – Live At The Scala Theatre Stockholm (Repute Records)

A veteran of over 30 albums, Eric Bibb is a giant in the Blues and Roots fields. He’s no stranger to live albums with at least a couple already under his belt. I’ve been reviewing Eric on and off since his 2006 album, Diamond Days. He is in his environment playing live and he considers this album to be his most ambitious recording project and one that defines him as an artist. Fiddle (Esbjorn Hazelius) and steel guitar (Johan Lindstrom) add the Roots to his Blues picking on the opener, Goin’ Down The Road Feelin’ Bad, taken from 2011’s Blues, Ballads & Work Songs. He’s immediately at ease with the audience (and they with he) and the band are so comfortable. His voice is like honey. Silver Spoon, from 2014’s Blues People and originally sung with Popa Chubby, is a grinding acoustic Delta influenced Blues which highlights his guitar playing and he is sounding as good as ever. Along The Way is the first of a couple from 2021’s Dear America and is an intimate hug with the audience. It's a beautiful song and wonderfully presented. Next up is the slick Bring Me Little Water, Sylvie. I don’t think it would matter if he had an audience of 5 or 5,000 he would hold them all in his thrall. He is a consummate performer playing with a band that matches the best anywhere. Things Is ‘Bout Comin’ My Way has Hazelius’ fiddle played like lead guitar on this doleful Blues. Eric’s weary vocal fits the theme well. It’s very reminiscent of Sittin’ On Top Of The World and is, in fact, adapted from it. Wailing harmonica from Greger Andersson is very good.

Rosewood is another from Blues People and he sounds as if he’s in the room with you. This is a story of a massacre of African Americans from the town of Rosewood, Florida in 1923. He is known for his views on various political themes and believes that the song has relevance in today’s disjointed society. There are strong words that will make you think. The second song from Dear America is Whole World’s Got The Blues, another strong song with a statement to make. River Blues is from 2008’s Get Onboard and again highlights his smooth vocal. It’s another gentle song with strings and one where he excels. You forget that this is a live album, such is his stage presence. The penultimate track is one from his most recent album, last year’s Grammy Nominated Ridin’, and 500 Miles is a tale of longing. He takes you with him on every track and this is no different. It’s relaxing and is one where he tugs at your heartstrings, especially for those who have had to leave home to go far away. He finishes with Mole In The Ground, a gentle singalong Country Blues from 2018’s Global Griot. I dare you not to join in. Hazelius has been excellent on fiddle throughout and goes out on a high as does Lindstrom on steel guitar and Andersson on harp. A great one to finish such a concert.

A master of his trade who always tries to give us hope and shows no sign of slowing down.

www.ericbibb.com

28/03/2024

Rick Vito – Cadillac Man (Blue Heart Records)

He’s said to be Steve Miller’s favourite Blues guitarist and singer and Rick Vito has the credentials to back up that statement. Cadillac Man is his first album in five years and is the latest of a long and successful solo career that began in 1992. Well known for his stint in Fleetwood Mac, Vito’s slide guitar has also graced recordings by the likes of Bonnie Raitt, Bob Seger, Albert Collins, John Mayall and John Prine, amongst many others. His latest offering opens with Love Crazy Baby, a smooth, flowing Blues. Vito provides some very good guitar and slide over some swinging horns. Add his slick vocal and you have a great opener. The striding and pulsing It’s 2 AM is actually from 2001 and was a WC Handy Song of the Year Award winner. It’s not hard to work out why as he shows more excellent guitar work. The title track is an old time Boogie and it is good time music with the horns and drums giving it a thrust. Vito’s guitar still sounds as sharp as ever. The slinky and grinding Little Sheba has added harmonica, which works well with the guitar but it is not as strong as the first trio. Shuffling Bo Diddley vibes introduce Bo In Paradise and Rick’s slide just flows through this top instrumental. Gone Like A Cool Breeze is an old school jazzy Blues. We get those horns again and they just give that air of feelgood music. Rick produces some of his finest guitar work here.

On Crying At Midnight, he slows things down effectively, for the first time. This is a classy Blues with top guitar and strong, soulful vocal. Barbeque’n Baby is a quick shuffler with more than a passing nod to Robert Johnson. He’s not afraid to swap styles but his lovely slide work is a constant. The only cover on the album is Sam Cooke’s Just Another Day and Rick turns it into a powerful Chicago style slide Blues instrumental. It is evocative and has echoes of It Hurts Me Too and others. The atmospheric River’s Calling is prowling, slow and meandering before we move on to You Can’t Stop A Guitar (From Playing The Blues) and he couldn’t have said a truer word. Keys are to the fore, for a change, on this mid paced rocking Blues. He closes with Sliding Into Blue, a slow, moody slide Blues. This is late night music and another instrumental with a virtuoso performance. The rhythm section provides sympathetic backing to the star of the show, Rick’s slide guitar.

This is an album that has very little not to like.

www.rickvito.com

www.nola-blue.com

22/02/2024

Patti Parks – Come Sing With Me (VizzTone)

This is Patti Parks’ second album for VizzTone, following up on the successful 2021 release, Whole Nother World. Produced by the legendary Johnny Rawls, who also contributes vocals on a couple of tracks, these 10 songs show an artist that is comfortable in her own skin backed by a band that is top drawer. Rawls joins Patti on the opening track, I’m In Love With You Baby, a soulful Blues. Both show their vocal experience with Rawls adding that smoky touch. Horns and keys are to the fore with a particularly sultry sax solo worth a mention. DJ’s Boogie (I Like To Boogie) is a piano led Boogie with drums rolling it along. There is some good playing from Anthony Geraci and although the song is fine it is he that is the star. Things are slowed right down for the expressively sung Soul Blues ballad, One Foot Out The Door before we return to an upbeat feel with Sing Around The World. Horns and keys instrumental to her sound. The keys are the star again as we travel through a familiar refrain. Patti has a power to her voice and knows how to control it. I’m Sorry is a slinky, shuffling guitar Blues and the best track so far. It has an edge with the guitar hitting the spot with a top solo and the keys and horns pushing it on.

Hamburger Man is a Chicago style Blues and musically very good. The lyrics are a little basic but the old Blues innuendo is still alive and well. Richard Rosenblatt’s harmonica is added with great effect. There’s a second Soul Blues ballad with Why and there’s not really much you can do to be different with this type of song. Horns, keys and vocals are all on point and it’s decent enough stuff. Emotion fuelled, as you would expect and there’s a laid back, pinged guitar solo to get your attention. Those horns are a big part of her sound and on A Lotta Man they come into their own. This mid paced Soul/R&B is filled with Southern sass and is another good one. Bass is prominent on How Much Longer and the song swings along well enough. She’s not threatening in any way and she is so easy to listen to, especially with those ubiquitous horns. Rawls adds his not inconsiderable vocal and there’s a better result than on the opener. The sax flows and will work on you as the track vies for top billing on the album. Patti closes with Good Day For The Blues, a strolling Blues with guitar leading the way and piano keys being rattled. A good finish.

21/02/2024

Robby Krieger And The Soul Savages – Robby Krieger And The Soul Savages (The Players Club/Mascot Label Group)

Founding member of The Doors, Robby Krieger, has his name in the Rock N Roll Hall of Fame, has been listed as one of the Top 100 guitarists of all time and has writing credits for classics such as Light My Fire and Touch Me Two Times, amongst many others. He has successfully been plying his trade as a Jazz fusion guitarist since the 1970’s and such is his passion for music he’s formed another band and released this eponymous debut album. They open with the funky and jazzy Shark Skin Suit with Ed Roth’s keys and Robby’s gritty guitar on show. The 10 tracks are all instrumental and all show that they have the vibe. Next up is Samosas & Kingfishers and I love both! I also love this track with Krieger again showing he’s lost very little of his skill and passion. Eastern sounds flit across this with Roth’s keyboards being the backbone again, this time boosted by the bass of Kevin ‘Brandino’ Brandon. Drummer, Franklin Vanderbilt, slides along superbly, keeping them all in place. They are still on that Jazz Rock side with Roth’s keyboard interludes showing some class. A Day In L.A. is a laid back, funky, Soul fuelled Jazz with a feel of Steely Dan about it. Krieger leads and Roth’s piano follows. Robby plays some sublime guitar but what a bassline from Brandon. The intriguingly titled Kilzoni takes us into a marriage of Rage Against The Machine, Steely Dan and avant garde Jazz at times. This is thought provoking music and is for the grown-ups, of all ages. Keys and guitar match each other whilst the rhythm section throw out the patterns. Krieger and Roth lead the way again on Contrary Motion and these are Jazz Rock tunes of a high standard. This is jaunty and fluid and is one for kicking back and relaxing to.

Never Say Never is solid, savvy music. Jazz is not necessarily my thing but this is so accessible. Krieger’s guitar is a bit ragged at times but that just adds to the charm and when Brandon struts his stuff on bass, the whole thing just lifts. Next in line is Bouncy Betty, and Betty is certainly bouncing, in a laid-back style, of course. We get some lovely, sharp licks too. The recent single, Ricochet Rabbit, sees a return to the Steely Dan vibes, and probably the most so on the album. They make it sound so easy but there is a lot of complexity to this. This is a highlight amongst some great tracks. Piano is very good as are bass and drums and Krieger’s guitar just stitches the whole thing together. The standard remains high throughout the album and continues on Blue Brandino. The tempo changes add a little extra to this smooth mover. Before you know it, you are at the end of the end of the album with the gritty, urban Math Problem. This is a strong finish and they bring all their experience to it. It has elements of Doors but this is all Robby. Roth’s keys are a star again and the rhythm section of Brandon and Vanderbilt is one of the best around.

This album will surprise you and may change the views of many.

www.robbykrieger.com

www.robertconnelyfarr.com

13/02/2024

The Pawn Shop Saints – 45 American Lies (DollyRocker Records)

Normally, we do a track-by-track review of an album but if we were to do that on this new 45 track Pawn Shop Saints behemoth of an album, we’d be here for a few months! We are already fans of the band as evidenced in our reviews of Weeds and Ride My Galaxy but this warts and all, often spontaneous, set of recordings gives us a different insight to Jeb Barry and the band. Some of the songs are decades old and some are more recent but what you get is that the majority of them are on the hard side of life. Jeb jokes that there are a couple of brighter relationship songs, but only a couple. He also says that the band doesn’t have the musical prestige to expect anyone to listen to all of them and says that you should just pick a few and see what you get. Well, I listened to them all, maybe not all the way through though, and I have to say that there are insights into Jeb’s mind, searing lyrical commentary and not many songs that you would dismiss out of hand. As I say, this is warts and all, no autotuning and some of the mistakes just left in, and this makes the whole thing more impactful and relative.

So, no song-by-song review but classic Americana tracks such as the full band songs, By The Sycamore with its Neil Young overtones, California with it’s nice keys and plaintive vocal and Alabama Truck Stop, 1991 where his tortured vocal is plain to hear are very good examples of what to listen to. Jeb is also very good on solo acoustic tracks such as Suburbs that shows him to be the epitome of Americana, Hallelujah I’m Gone, where he shows his fractured soul on a deep, troubled Americana and Broke which is one of many growers on the album. He’s down to earth and that comes across in his music but what also comes across is that he’s a keen commentator of society and this is apparent on his indictment of American society on Cottonwood, the highly relevant to today’s hardships, Barely Getting By, which hits the spot and Good Company Man, a tale of what you’ll get if you stay loyal. Neil Young influences also appear on Sometimes Angels Ain’t Enough and Black Tar Highway, the former has Young meeting Eels in a deep, thought provoking and very personal top track and the latter a full band, dark road trip.

There’s a few explicit tracks on offer, although I’d say they’re not that explicit, such as Just Another Song About Texas, which is low key excellence and A Good Fuckin’ Hurt, which sounds like it’s being said by a Scotsman and although it’s just Jeb and guitar, could be a full electric band John Mellencamp style song. He sings from his heart and although he doesn’t always hit to spot he does so on Badly Drawn. He draws you in so that you are compelled to listen to the lyric, which he also does on No Depression Now, where he reaches into your soul and drags out your inner feelings, like they were his. There are easy to relate to and listen to tracks with Is There Anybody Out There and Heading To Parchman with its well-known refrain. There are a couple of Bluegrass influenced songs in Cotton Mile (Redux) and Can’t Stop A Train, both highlights with laconic vocal, banjo, mandolin and slide guitar. Other highlights include the deeply personal Repo Man with its almost nursery rhyme musical delivery in places (not the lyrical content though), Next Door Girl with mandolin out for this top drawer one, Prairie Moon and one to take you out of your slumber, Shake The World. There are three final songs worth mentioning and they are the Latin tinged highlight, All The Way To Mexico, Drowning Man, solely for the lyric ‘She’s looking for a man who can walk on water and I’m the drowning man’ and the track of the album, the gentle and classy I Ain’t Here But I Ain’t Gone, which is Jeb in a 2:27 song.

www.jebbarry.com

01/02/2024

My Glass World – Assorted Marvels (Luxury Noise Records)

This is our first foray back into the realm of My Glass World since their triumphant 2022 album, Tree Shadow Piano. Jamie Telford and Sean Read make up the band and they have a rich tapestry of experience behind them with Sean currently on tour with Dexy’s Midnight Runners. Assorted Marvels is a much lighter album than its predecessor and was mainly written and recorded in Scotland, which is, as we all know, a lighter place all round! The change in perspective is immediately evident on the light and airy piano led opener, For Your Love. Jamie’s silky vocal is over this and there’s certainly an Indie feel to it too. The percussive Citizen Of Nowhere has shades of Depeche Mode when they got into guitars. Sean’s sax adds another layer on this strident and industrial track, showing that they can mix it up. It’s back to the light and airy for We Are One with the vocal matching sax on the intro. It’s less mechanical than the last with its soft Jazz tones making it very laid back. Matt Bianco comes to mind, not sure if that’s a good thing though! This is a good one. The sax is prominent again on White Out, one of two singles, with bass and percussion too. Slinky and smooth, it’s one to chill out to. Before We Were Here sees a return of guitar and keys to the frontline. They are showing a certain smoothness with this classy, shiny music.

Here We Go has funky beats with striding guitar, bass, organ and drums pushing it along. Sean’s sax plays its part again and is an integral part of their sound. Jamie’s clear vocal feels like a tutorial in parts and it’s a highlight. The piano led When You Coming Over is played as a slower pace. Jamie has such an approachable voice and sets us all at peace. Bass and drums are high in the mix and there’s a trumpet solo too? They ooze class. They show they can mix it again on the grungy rocker, 21^st Century Girl. This is Indie Rock of a high class. Under The Sun is another that is very listenable with its floating keys and guitar completing important phrases at the right times. They show excellent craftsmanship and song building on this big production and continue to show that they are accomplished musicians. Genghis Khan is not the most written about person and this isn’t really about him either. It’s strangely alluring and will draw you in with its Eastern sounding keys. This is another highlight. They finish with Everybody Here They Come and this is a band that does what it wishes. Keeping a single to the last track of the album is a brave move. Even more so when it's a slow paced, piano led song. We get pizzicato strings and a siren female vocal, showing that they are confident that their music gets across, and it does. Sean’s sultry sax is the cherry on the top.

This is an album that is very easy to curl up with.

www.myglassworld.com

31/01/2024

Robert Connely Farr – Pandora Sessions (Self Release)

Bolton, Mississippi has a current population of 597 and when you consider that it is the birthplace of Blues giants, Charley Patton, Bo Carter and Sam Chatmon then you realise that there must be something in the water. The latest example of Bolton’s prowess of producing fine Blues musicians is Robert Connely Farr. Pandora Sessions is actually his 11^th album but he may yet be a new name for some. There’s a certain spontaneity to the songs on Pandora Sessions and it has the feel of an old-style session where the songs just came out of nowhere. Now resident in Vancouver, it was in this city that he began to sing and play in the Bentonia style Delta Blues of his home state. That style hits you immediately on the opener, How Am I, a deep rooted, earthy Blues, full of authenticity and a stark vocal. It’s a slow, plodding opener with no airs and graces as he just wants you to take him as he comes. It’s just him on guitar and Jay Bundy Johnson on drums. It’s mainly a duo throughout the album and Johnson helps to make Everybody’s Dyin’ a bit more up-tempo. Farr’s fuzzed, gruff vocal has us in doubt that he’s feeling the Blues. Short but not sweet! They slow it down again for Prowler and the title gives you the feeling to expect. These are as basic electric Blues as you can get these days and I’m totally immersed. Runnin Hiding Jam is a raucous, grungy Blues Rock with Johnson slapping the skins and battering the cymbals whereas Jackson Town is more hypnotic and I don’t think you’ll get a more world weary vocal this year. The whole thing is so powerful and compelling. He keeps you under his spell with the magical Getting Tired Of Getting Old and we’ll all appreciate the sentiment of the song. Sounds like me getting out of bed in the morning these days!

You are not going to get out of breath listening to this guy and Things They Tellin You keeps the funereal pace. However, you can tell he feels every minute though and we feel his pain. Night Train has a little injection of speed but don’t get carried away, it’s a slow train. The quality is still there and he is a true Bluesman. There may be some who could accuse him of being samey but I’m not going down that road. Take It Slow is a mid-paced, or breakneck for Robert, straight up Mississippi Blues. The sparse feel of guitar, vocal and drums all just adds to the flavour of the songs. Where I Come From is another short one with fuzzed guitar and back to the deathly slow pace. He sings about what he knows and he knows some dark stuff. The earthy, metronomic Blues of Train Keep Rollin has some mesmerising, jarring guitar. It’s the longest track on the album but at 4 and a half minutes it’s not a saga, it’s a slow, freight train of a song. From the longest to the shortest and at less than 2 minutes, Oh Lord packs in a lot. The pleading in his vocal is gut wrenching as he bares his soul. It’s just voice and guitar until right at the end where we get one cymbal. He closes with Go Cat Go, which is listed as a bonus track. I thought he might rip it up with that title but I don’t know why as he keeps close to type to the end with true American styles and jarring guitar. It’s not pick me up music but he is a serious artist in his field.

24/01/2024

Chris O’Leary – The Hard Line (Alligator Records)

Chris O’Leary makes his debut for Alligator Records with 12 original tracks on The Hard Line. He’s not the new kid on the block though, having previously released 5 solo albums and he has been in the professional ranks since the mid-1990’s. Previously a Marine, Federal Police officer and member of Levon Helm’s band, The Barn Burners, he has many a tale to tell and he does that with this new album. First up is No Rest, a horn and harmonica laden opener with a strong vocal. This is a slick, soulful Blues with a slippy guitar and grungy harmonica both also provided by O’Leary. You can slip your backbone to this with a well-played harmonica, as it should be from a guy who made his recording debut in 2003 on Hubert Sumlin’s About Them Shoes. I did review that album so we have come full circle to a certain degree. This is a top opening song. It’s rapid pace for Lost My Mind and Chris’ harmonica to the fore again, confirming that he’s a player. Michael Bram’s drums are going like a train on this up-tempo Blues and I don’t know about lost my mind, I just lost myself in the song. A highlight. He slows it all down for the moody Blues of Ain’t That A Crime. He shows that he can mix it up as he turns in a slightly menacing vocal in places. The guitar solo is well played by Chris Vitarello, adding to the slow burning feel of the song. My Fault is a shuffling, mid paced Chicago Blues. He’s such an expressive vocalist and he’s a great addition to the Alligator Records stable of fine Blues players just now. He gets the notes out of that harp to produce another top song. I Cry At Night is a big production electric Blues with Hammond and piano from Jeremy Baum in the background giving the atmosphere as Monster Mike Welch’s guitar picks out some killer notes. O’Leary gives us a weary vocal, adding gravitas to the very personal subject. We have sax in there too from Andy Stahl and Ron Knittle, adding to the depth of the song. This is a classy one with Vitarello excelling with some face bending notes. You know what I mean about those, the ones where you stretch your face as you reach the top of the note. He ups the pace again for Things Ain’t Always What They Seem, an Ike & Tina Turner style R&B. He can certainly get you moving and he’s comfortable and secure here too. The band is very loose and everyone just knows where they are at.

He shows his full range on the soulful Blues of Lay These Burdens Down. He has a voice like melting chocolate on this one and it’s ably backed by a pinging guitar from Vitarello. Another slow burner, this is sultry all over and grown-up music to be reckoned with. Brooks Milgate provides lightning fingers on boogie woogie piano for the excellent Need For Speed. This is breakneck as the title suggests and I dare you not to move to it. O’Leary’s fuzzed harmonica joins the party and he shows again that he is a top-class player. The classy Blues of You Break It, You Bought It creeps up on you like a cat with tinkling piano from Milgate and a strong vocal from O’Leary. The harp is the star again but not content with that, he also throws in a pulsating bass. This is big time Blues from a big-time artist. Next up is Who Robs A Musician? The answer probably is, lots of club owners! Seriously, this atmospheric tale of a travelling musician shows a slight change in direction but he keeps up the high standard. Vitarello provides some jolting guitar. There’s a New Orleans vibe on Funky Little Club On Decatur, with horns (Darren Sterud adding his trombone to the sax of Stahl and Knittle) and Milgate’s piano taking it all the way. There’s plenty of percussion too from Bram and a hook filled bass line from Andy Huenerberg. O’Leary’s voice handles it all very well and there’s some excellent little slide guitar inclusions from Greg Gumpel. There’s a high-octane finish (just the way I like it) in the form of Love’s For Sale. It’s a rocking Blues that’ll steamroller your worries away and a great finish to a great album. Slide guitar again from Gumpel, O’Leary’s harmonica and Milgate’s piano, along with Dan Vitarello’s drums, shine through as they have done throughout.

It’ll be one of the albums of the year and you can bookmark that.

Chris O’Leary is in his prime on this album and maybe he’s just about to be a star in his own rite.

www.thechrisolearyband.net

23/01/2024

Travis Koester – Mister Travis (Self Release)

A veteran of some 31 years plying his guitar trade on stage, Travis Koester now spends more time in the studio and his latest release bears the fruit of that decision. He opens with the shuffling 50s/60s style instrumental, The T-Bird Shuffle. This has punchy drums and guitar and is a decent opener with Travis maybe playing within himself. He adds vocals for Lonesome Whistle Blues with his wife, Becky, taking the lead and she’s better on her own, if I’m being honest. It’s a straightforward Blues with a strolling bass line and sharp and piercing guitar from Travis. He rips it up on guitar for The Girl Can Cook and takes the lead vocal himself this time. This upbeat mover lands on the R&R side of the Blues. Ain’t That Bad is an acoustic Blues and a good one at that. He delivers a crisp and clean vocal as he hints that things have been worse. It’s back to electric guitar for the grinding and metronomic Howl For Me. He shows all his guitar chops on this as the rhythm section drive it along. It takes a while for the vocal to appear and, when it does, his guttural delivery works very well. This is another good one and things are warming up very nicely.

Joe Turner Blues is a Swing Blues Boogie as you would expect. Becky returns on vocal and this is quite simply, good honest music. Travis throws in a solo and it’s all fine. The instrumental, I Keep On Cruisin’ is another grinder with slide guitar making a more noticeable contribution. It’s ok but a bit laboured in places and gets better when he’s higher up the fretboard. He returns to the acoustic guitar for When My Baby’s Walkin’. This has a homemade feel to it but that’s not a criticism. I can imagine him in an intimate setting with this one with his no bells and whistles guitar approach. His electric reappears with some stinging notes for Give Me All Your Lovin’. I’m still not sure that their voices go well together. They’re in tune but there’s something in the mix that I think doesn’t work. I’d say go for one voice or the other. That said, the reverberating guitar in the solo works well. He finishes with Weary Blues, an acoustic instrumental, and that’s a brave choice. No worries though, as this slide Blues has some lovely licks and is a very good closing song. You can feel the weariness through his touch and tone but with songs like this Travis has no need to be weary.

www.traviskoester.com

01/12/2023

Garret T. Willie – Same Pain (Self Release)

Hailing from Kingcome Inlet, off the coast of British Columbia, Garret T Willie is about to burst onto the Blues Rock scene and at the tender age of 23 he sounds as if he’s here for a second time around. Take the opening track, Make You Mine Tonight, as an example. This riff laden, surging, pulsating. Blues Rock belies his years. It’s down and dirty with a vocal that sounds as if its had a lifetime already. It’s a strong opener and heralds a new star on the horizon as he lets loose at the end with guitar and drums excelling. Love Hangover is driven by the drums, with bass coming through strongly. It’s straightforward, no-nonsense music with a well lived in vocal. It’s raw and that’s fine with me, as are the echoes of 70s Glam Rock in parts. He is another great export from Canada. He slows it down for the title track and there’s a surprise in the vocal as he goes so deep. The pinpoint guitar accentuates the pain that he is feeling and he takes you along with him. Powerful stuff. The acoustic led What It Means To Me could be called a ballad but it’s much more than that. There’s a story in there and it will mean different things to different people. The fractured guitar punches through and works well with a combination of slide and tremolo used in conjunction which gives an eerie sound. He’s back with the rhythmic Blues Rock on Rolled. I feel that the sound could be a bit fuller but the basics are there and this could be a big song in so many ways, it just needs to be muddied up a little. It does get there in the end and goes all a little Creedence Clearwater Revival and that’s no bad thing.

Black Shiny Shoes brings back memories of getting ready for school/boys brigade and I’m sure that will resonate with many, including those who went on to serve in the armed forces. It’s a bit of a Boogie and we all like a Boogie every now and then. With it’s twangy lead guitar and Rock N Roll leanings, this is classy. He really grinds it up and goes for it at the end with good bass lines and thrashing drums. There are three tracks taken live straight off the studio floor and the first of these is Out In The Rain, a powerful Chicago Blues with strong slide guitar. He’s getting better and better, channelling his inner Muddy Waters and Howlin’ Wolf on this, the track of the album so far. He slows it down again for So So Long, which starts like a Skynyrd or Stones song. His fractured vocal lends itself to this Rock ballad although it changes half way through into a completely different and more up-tempo song. Strange! It really should be two songs. Strong bass and slide highlight that the second half is better. Another live off the floor song is Good Time Woman and this is Rory Gallagher meets George Thorogood and you know what that means – carnage. Turn the volume up, Spinal Tap style. This is Blues Rock party music and will get you going, unless you are dead already and even then I’m not too sure. Strong guitar work, thrashing drums and a pinging bass tie it all together. He closes with the last of the live off the studio floor songs, Front Street Blues, and this is another in the same vein as its predecessor. He’s finishing the album on a high and, as I said at the start, there is a new star on the scene. If he keeps some of those rough edges and polishes up some others then the sky is the limit.

www.garrettwillie.com

30/11/2023

Withered Hand – How To Love (Reveal Records)

London bred but now Edinburgh based Withered Hand, aka Dan Willson, is one of Scotland’s (yes, we’re claiming him) best songwriters and he shows it on this album. Opening with Feelings, a horn and electric guitar laden he lets us know that this isn’t a warm up, we are straight in! A slow, shuffling Latin groove builds well into a power chorus and when added to a sharp, prodding guitar and thought-provoking lyric, it produces a very good opener. He doesn’t particularly raise the tempo much for Crippled Love, the first of two singles. This is dark but again, good and the vulnerable vocal gives it an edge. He can certainly pick out a melody and a chorus and this melodic Indie Rock stands him up as a true modern troubadour. Waking Up is the second of the singles and he stays electric for it. This has elements of Americana as the horns return. He doesn’t stay in the one genre and this adds to his allure. I think I can add him to my current favourite artists. It’s not that there’s anything too pyrotechnic about him but I believe that Tom Petty/The Band/Eels may well be influences and if you like them then you’ll like this guy. The title track has echoes of Wild Horses in places but he’s his own man. There’s not been a poor track yet. We get straightforward guitar but you don’t have to make it complex to make it good. This is achingly beautiful, highlighted by the lyric “Not afraid to die but afraid of dying not knowing how to love”.

He'll tug at your heartstrings on Serenity Prayer but he doesn’t get too over sentimental like some. I’d say that Neil Young is another influence as this is very much in his style. Another cracker. There are Brit-Pop influences on Misery And Company with horns filling out the sound again. He shows his clever lyric writing with lines such as “a cannonball afraid to fly”. Despite the soaring chorus and surging guitar on Give Myself Away, this is possibly the weakest track on offer but the bar is set so high. The jangling guitars on Still Quiet Voice makes this a strong offering and he does like a chorus. He's finishing well as he leads us into the final song, the acoustic led Countdown. Although this is not a blockbuster finish, it is a grower and a very good one at that. Throw in a now obligatory strong chorus and the fact that he is so easy to listen to then you have a well-rounded finish to a very good album.

You have to have Withered Hand’s music in your collection.

www.witheredhand.com

27/11/2023

Guy Tortora – Anywhere But Here (Turtledove Records)

It’s been a while since I last reviewed Guy Tortora, 2007s Living On Credit to be precise, but here he is 16 years later with the same vigour for his craft as ever. Anywhere But Here is a deft selection of 8 originals and 2 diverse covers which confirms his songwriting credentials. He opens with High Tide, Deep Water with its acoustic slide (Tortora) and piano (Janos Bajtala) intro. We are immediately introduced to Guy’s sweet, dusky voice on this rhythmic Blues which shows all his experience. He also adds a wailing harp to complete this very well put together starter. He stays in the Blues vein with the smooth, silky and soft Withered On The Vine. This has some nice lead guitar work, complemented by Bajtala on keyboards. This is sweet as a nut and a favourite. The whammy bar gets an airing on The Stranger, which flirts on the edges of Blues and Rock. It’s slow and methodical approach fits in well with some excellent guitar. It becomes atmospheric as it builds some speed and intriguing lyrics such as “I’m in the shadow of your shadow” help too. I’m thinking that this is a bit Mark Knopfler in places. Just to show that he is not a one trick pony he strays off into Country on Pearl. Mainly Acoustic, his electric slide cuts through with additional bursts of keyboard. He has that voice of experience and he does use it well. Things continue on the sedate side, albeit in the Blues Rock field, with Go Back Home. There are more shades of Mark Knopfler here tucked up in an eco-message and with slide guitar and some lovely drum patterns from Pete Hedley.

The first of the 2 covers is The Grateful Dead’s New Speedway Boogie and its tale of the Altamont incident. This classy mid-paced shuffler has shades of JJ Cale as Tortora shows that he is a master of his trade. Bajtala’s Hammond adds some telling breaks too. The rootsy/folksy Flower Street is slightly sentimental but this will grow on you. It’s a lovely song with a neat guitar break and laid-back organ. The other cover is the classic Under The Boardwalk. This has been turned into a slightly different, acoustic version of The Drifters favourite. We get more excellent guitar work from Guy and the addition of accordion from Alan Dunn gives a Latin tinge. All very calm and relaxing. Koffeeville is the track of the album, perhaps. It’s on the Americana/Country side and shows he’s actually better than ever. Just revel in his songwriting skill. Ry Cooder comes to mind on the closing track, Good Night & Good Luck. It’s a calm finish but most of the album sits there anyhow. This is an end of the night album and it’s a bit courageous to finish with an instrumental, or so you think. Just wait, there’s a surprise extra version of Koffeeville right at the end, with just Guy and his guitar and a little harmonica at the end.

Fancy a relaxing time? Stick on Anywhere But Here!

www.guytortora.com

14/11/2023

Chris Duarte – Ain’t Giving Up (Provogue)

Ain’t Giving Up is Texan Blues rocker Chris Duarte’s 15^th studio album and this one was recorded live on the studio floor with vintage gear and minimal overdubs. The result is very refreshing. He opens with one of the singles, Nobody But You complete with authentic vinyl crackles to start it up before he lets loose. Fuzzed vocal, drums getting slapped, raging guitar solos all makes for a great opener. It’s been a long time since I’ve reviewed Chris and he’s lost none of his passion. This is on my list for singles of the year. He slows it down for Big Fight, a grinder with percussive, ragged guitar. It doesn’t hit the heights of the opener but it’s still thereabouts though. It’s back to the high tempo for the Texas Swing of Bye, Bye, Bye. He’s back on form as those drums get slapped again alongside his rolling guitar. Can Opener is a strolling Blues with classy guitar from Chris. It’s an instrumental and one of the best this year, showing how good he is with the drummer using those cymbals to great effect. There’s another sliding, strolling Blues highlighting Chris’ guitar work on Gimme Your Love, the second of three singles. He delivers a sedate, matter of fact vocal to counterpoint his wailing, crying guitar, shuffling drums and strolling bass. He reverts to the fuzzed vocal for Come My Way, another grinder with strong guitar and slow, driving drums.

Half As Good As Two is the last of the singles and this Texas Blues is another highlight as it sways and strolls throughout with a strong vocal and stinging guitar. The highlights keep on coming with a little bit of Boogie on Lies Lies Lies. Straightforward but classy. Ain’t Giving Up On Us is another strolling Blues with Chris’ guitar leading the way. It’s percussive as others have been and it features some of his best guitar work. Look What U Made Me Do is verging on Country/Rock N Roll. He plays it at a mid-pace but it could be even better at a higher tempo. Drums to the fore again with the expected sturdy guitar. This is good, honest music. The funky grind on The Real Low Down isn’t the strongest track but that doesn’t mean it’s not good, it’s just that the bar is set high. His guitar work on the other hand always reaches the bar. He closes with Weak Days, a classic, sallow Blues. It’s a slow but good finish with Chris hammering us with a flurry of notes as he hits the heights. The song takes us through the week and what he’s been up to with a weary vocal indicating a hard life.

15 albums in and showing no signs of slowing down!

www.duarte.rocks

08/11/2023

Angela Perley – Turn Me Loose (Self Release)

Comfortable across all strands of Americana, Angela Perley is a singer-songwriter who can effortlessly take her music from bars to arenas and all points between. Turn Me Loose is a set of 10 original songs that encapsulates her style perfectly and opens with the strident Country of Plug Me In. Drums (Jake Levy) and handclap under guitars from Chris Connor and Angela and a classic modern Country vocal make for a strong opener. She sounds as if she’s ready to go and proves it on Star Dreamer with its string bending, if straightforward guitar. This is modern Country Pop and a tad sugar coated. She does like a handclap. Here For You is ambling and bouncy and this style of Country Pop is all pleasant and non-threatening. Bandon Bankes on pedal steel make a telling contribution here. The surging, stomping and rhythmic Ripple with its ragged, jagged guitar is the best track so far and the infectious, uncomplicated jaunty chorus of Get Enough proves that there is a place for her at the table.

Do It For You is modern Country and another strong track too before we get to the more traditional Country of Praying For Daylight. This gentle, laid-back song runs along well with Nate Smith’s bass to the fore alongside a sweet guitar and vocal. When the pedal steel wails it more than suggests an end of the evening vibe. We get more gentle sounds on Near You but she’s back in the contemporary idiom, showing that she can straddle the Pop genre too. Special mention must go to Bankes again. She stays with the gentle vibes with the swaying Holding On, which has pedal steel on form yet again with Levy holding it together on drums. To close things off we have Wreck Me, an acoustic song of longing. It’s just guitar and Angela’s voice with some minimal backing vocals at the end, giving a soft and warm end to the album and it sounds like she’s sitting right next to you.

www.angelaperley.com

04/11/2023

wht.rbbt.obj – No Rainbows In Indiana (Self Release)

From Chicago, Illinois comes the husband and wife fronted Alternative Rock outfit, White Rabbit Object aka wht.rbbt.obj and when you’ve been described as Amy Winehouse meets The Black Keys and challenges them to a game of poker, then you’d better be ready to back that up. No Rainbows In Indiana is their latest offering and is a slinky, slithering, gritty Blues based slow rocker with Frank Rabbitte’s bass holding the whole thing together. Mesmerising guitar backs a dark and grinding vocal, and when River Rabbitte lets loose on that vocal she hits those notes so sweetly. There is certainly a place in this world for wht.rbbt.obj.

www.whtrbbtobj.com

01/11/2023

Chris Church – Radio Transient (Big Stir Records)

North Carolina’s Chris Church has a knack for putting out very good, often witty, guitar-based Pop Rock albums and Radio Transient is no different. He opens with some outer worldly sounds on GCRT before slipping into a little Punk Rock with a rapid verse. It’s an interesting start and I must find out what GCRT stands for. Going ‘Til We Go is a bit more like Chris Church and he’s back on firm ground and a new favourite. Dreamy guitar, rapid drums, good backing vox all make for a great backbone to a great song. The rhythm section leads us out on I Don’t Wanna Dance With Me, a soft, 80s style Rock with a hint of blue-eyed Soul a la Hall & Oates. His guitar takes you down a rabbit hole on the solo. Another favourite arrives in the shape of One More Chance To Get Over You, a further archetypal Church song. I’m getting some Toto vibes coming from this with its crisp, sharp solo. He likes a title and I Think I Think I Like You shows off his humour. This is juddering New Wave and one thing that I have noticed is that his voice is getting better, album by album. He’s so infectious with a jangly, Byrds style guitar thrown in. He throws the kitchen sink at this one with very little let up throughout.

He sets up another atmospheric intro with plucking, percussive sounds on Already In It, before going off into another Hall & Oates style Soulful soft rocker. He’s producing some good songs here, yet again. His solos sound less than complex but simplicity is often better and works here along with a soaring vocal and background. Pounding drums mark Over And Out, another that will work its way into your mind before he hits us with Gotta Go, Gotta Ramble which has another strange intro. However, he quickly goes at it with guitar and drums to the fore again. I’m getting Toto again. He’s very strong as he has been throughout. Far Too Late is more laid back than others and he has that relaxed, easy style that is not so easy to master. Church is a master. Some random keys play with the piercing guitar just to pique your interest. More random synth noises start us off on the final track, Flip. I get the radio and games references though. A strong guitar and drums join for a striding finish. This is a great end to the album. There’s Toto again with the bass pinging and the synths sounding a bit like Baba O’Reilly at points. It’s another that’s getting everything thrown at it and he’s not leaving anything in the locker. Catch me on the flip he sings – I will Chris!

www.jimmyregalandtheroyals.com

25/10/2023

Afton Wolfe – Twenty Three EP (Grandiflora Records)

The follow up to his critically acclaimed 2021 debut LP, Kings For Sale, Twenty Three sees Afton Wolfe explore the mystery of the number with 5 (2+3) songs that draw from his rich musical upbringing. Opening with Cry, we are immediately reunited with his gritty, gruff vocal. It’s so full of soul, deep and rich in heart with throaty sax, piercing guitar and backing vox adding to the theatricality of the song. It’s a great opener and a worthy follow up to his last outing, Kings For Sale. He follows on with the acoustic The Moon Is Going Down as he channels his inner troubadour. Think Kristofferson and Waits. He draws you in with Truck Drivin’ Man as he adds a bit of percussion and violin this time. You can feel the solitude on this epic song and his distinctive vocal makes you feel that you don’t want to mess with this guy. The deep bass on So Purple is almost growling and sinister as the electric piano tinkles in counterpoint. His familiar gruff vocal fits in so well with the grinding Rock based slow Funk of this song. It’s got a dangerous feel as it works its way into your consciousness although the addition of flute does add colour and light effects. He closes with the acoustic led Late Nite Radio which turns out to be another very good song, played at different tempos and with sax involved again. This completes an intriguing EP and one which you don’t know what’s coming nest. It’s quite different from his last offering and I could listen to it again and again. He is an excellent enigma.

www.aftonwolfe.com

28/08/2023

Brandon Bing – Rat Race (Self Release)

Rat Race is classy and slick Contemporary Country. Bing was raised on the sounds of Merle Haggard, Willie Nelson and Hank Williams and you can certainly hear their influence here but you can also hear the influence of more contemporary artists such as Eric Church. His strong vocal and gritty guitar set the mood whilst the rhythm section sweeps you along. It’s a tale of how life can change in a second and I’m sure that’s something we can all relate to. Although it’s hard to be heard in the modern Country music scene, Brandon Bing deserves to be. I’ll certainly be listening to more.

www.brandonbingmusic.com

07/08/2023

Status Quo – Official Archive Series Vol 1 Live In Amsterdam (earMusic)

Volume 1 of the Official Archive Series features a concert recorded at the Heineken Hall in Amsterdam on October 19^th 2010 as part of their Pictures Exposed World Tour. For the Intro to this 2 CD set, we get a big, atmospheric fanfare, including hints of Pictures Of Matchstick Men before the band appears and launches straight into Caroline. This may not be up to their classic era versions but it is still a crowd pleaser. Rossi is understandably singing in a lower register but it doesn’t really have any impact on the song. One thing for sure is that he still has that connection with the crowd that he’s always had. Straight into Something ‘Bout You Baby I Like and Parfitt’s vocal helps to power through this very good version. Rossi seems to forget the words at some point, not for the first time, but professional as ever, he just carries on and then runs into Rain. This is classic Parfitt with the Quo oh oh oh oh chants of old. Next up is a good version of Don’t Drive My Car with Parfitt on vocal again and some good lead guitar from Rossi. They covered large parts of their career on this tour and they go way back for an early single, Mean Girl. There are more keys on this from Andrew Bown than there used to be but they bolster the sound well. It’s great that they were still doing this one and it sounds pretty fresh with Rossi ripping it up on the solo before it segways into Softer Ride from the Hello! Album. For me, the Piledriver, Quo, Hello and On The Level albums were peak Quo and this takes me back to my youth. Rossi’s vocal is not the same but that’s not surprising. Musically, however, they are very strong and this is a great version. Beginning Of The End is one of their later era songs and is the lead single for this album. They still know how to get a crowd going, keeping the high pace going throughout and their backing vocals are probably better than ever. There’s some audience participation on Hold You Back, with harmonic Celtic style guitar. This is a highlight. The Proposing Medley, at 10 minutes long, starts with What You’re Proposin’, runs into Down The Dustpipe, a real oldie, and then onto Little Lady, going through the albums now. The next one is Red Sky and it certainly plays its part on this driving medley. Rossi’s vocals are very pronounced as they move on to Dear John, a favourite of mine from that era, and finish off with a large part of Big Fat Mama with Parfitt in typical bombastic mood for a rocking finale to the medley. Things calm down, but only a little, for The Oriental, another favourite from their later stuff. Pounding and driving although Rossi is not so self-assured on guitar. It’s not the best version that I’ve heard. CD1 finishes with Creepin’ Up On You and this has what plenty of people will call the classic Status Quo sound. Harmonica even comes out as they rock it.

CD2 opens with Living On An Island and I could never understand the popularity of this one. Still don’t. They go straight into a faithful rendition of In The Army Now, only lyrically changed slightly when Rossi slips in a swear word. Another where the rowdy crowd gets involved. Matt Letley is given the opportunity to step out from the shadows on Drum Solo, something you don’t get enough of these days. At 2 and a half minutes, it’s a baby compared to others in the past but it does showcase his skills. Next up is a perennial live favourite, Roll Over Lay Down. The start still sends a shiver up my spine and will always be on a Quo list of favourites. They don’t disappoint here. Some complex guitar strumming eventually leads us into the intro of their biggest hit, Down Down. They play the audience well on this rocking version of their only UK number 1. Whatever You Want is another live staple with that familiar atmospheric intro. There are so many parts of this concert that makes me think of how much Rick Parfitt is missed. This is probably my most played Quo track. From there to probably their most played song ever, in the form of Rockin’ All Over The World, and its still bringing in royalties for John Fogerty. They opened Live Aid with it and they’ll always be remembered for that, although it’s not one of my favourites. Talking of favourites, I grew up on Junior’s Wailing and this penultimate track is a storming version. They do know how to rock and this is Blues Rock encapsulated. They close with, as they often dod, Rock N Roll Music/Bye Bye Johnny and they rip it up, always! Chuck would be proud. John ‘Rhino’ Edwards’ bass can be heard pinging in the quieter section as Rossi works the crowd as well as he ever did.

If you want to experience the energy of a Quo performance then this is a good dropping off point.

www.statusquo.co.uk

www.ear-music.net

02/08/2023

Tapestri – Tell Me World (Shimi Records)

Folk/Americana duo Tapestri (Lowri Evans and Sarah Zyborska) are already well known as individual artists to audiences in Wales and this new album of 10 original songs taken from a woman’s perspective may allow them to expand their reach. The opening title track is harmonic and vibrant New Folk. Brushed drums from Dave Walsh and keys from Sarah play supporting roles to vocal harmonics from Lowri and Sarah that almost whisper to each other. This is a very pleasant opener, despite the theme of domestic abuse, with Lee Mason coming in on electric guitar towards the end as the vocal builds. We get brushed drums again on the piano led Waiting In The Background as Jake Newman also becomes prominent on double bass. Their harmonies are spot on and reminds me slightly of The Beautiful South. Equal opportunities is the theme and it is a strong statement. David Hartley’s pedal steel gives an Americana feel to Save Your Love. Add in acoustic picked guitar, those harmonies and an excellent chorus then we get a good track with drums more prominent. The pedal steel stays as they slightly change direction for Crazy, Crazy Times. It’s all good though and shows that they can straddle genres. Clear, crisp vocals make it sweet and it’s hard not to be impressed by them. Workshop has them singing out of harmony on the whole but when the do join up it changes the song completely. It’s acoustic picked guitar and prominent bass add to the gentle sounds to send you to dreamland. Slide acoustic is deployed briefly but to great effect.

That picked acoustic guitar comes in again on She’s A Lover, inspired by Lowri’s ‘Mam’ and probably their most Folk song so far, although the chorus does allow them to briefly swap genres. It’s very clean and pleasant and builds well with bass, lead guitar and accordion (George Whitfield) joining in. The soft and moderately paced, post pandemic Come Alive confirms that this is a duo to relax to. Mason’s electric guitar picks out the counter melody with Lowri and Sarah taking the song forward with their lovely harmonies again. Y Fflam, meaning open flame, is sung in Welsh and they show that they have that country’s lyrical and musical beauty. I remember reviewing Lowri Evans’ 2007 album, Kick The Sand and her Welsh pride still shines through. Genes is another gentle one with harmonies as throughout. It’s a tale of family history with Hartley’s pedal steel on show again. They close with more strong Welsh connections on Atgofion, which means sweet memories. It is just such beautiful singing, just them and minimal backing from drums, pedal steel and piano, though they do become more involved as it moves on. It’s one for those who have moved away from home to wherever in the world and the longing that comes with it.

www.tapestrimusic.com

Jimmy Regal And The Royals – First And Last Stop (Lunaria Records)

Singular South London Blues Trio, Jimmy Regal and the Royals bring us their third album and I have to say that I don’t think I’ve encountered a threesome set up in the way that they are before. Harmonica, guitar and drums is their preferred line up although they do bring in others to fill out the sound where needed. The album is a mix of styles and shows a growing maturity in their music. They open with the gritty (Got To Make A) New Flame and with harmonica (Joff Watkins), guitar (CJ Williams) and keys on the dirty edge. It’s rolling and rhythmic with the rhythm section, with Sammy Samuels on drums, grinding it out in a New Orleans style. Williams’ guitar often pierces the sound and Watkins’ vocal leads you through it like we’re on a trip. There are horns (Titch Walker on trumpet, George Simmonds on trombone and Al Nichols & Chris Rand on tenor sax) but the harp is the star. The single, Ain’t Done Yet, has horns to the fore on this funky, Latin tinged R&B. Watkins’ vocal is unconventional and may take you some time to get used to but the twangy guitar and copious amounts of cow bell are straight up. The Country-esque Can’t Keep From Losing You features a lazy vocal delivery from Watkins but that’s not a criticism as he seems to be channelling his inner Harry Nilsson. The track itself is smooth like chocolate as it drifts along at a steady pace with a rattling snare, wailing harp and a nice bass line from Williams. Do Whatever You Can is a slow one with Watkins sounding like he’s punch drunk at the end of the night, just on the cusp. He’s passing on some wise words though, “Maybe not love, maybe not living. Falling way short but the world is forgiving”. Fuzzed harp explodes into the fug and overall, evidence of a close-knit band. The bouncy Empty Street has Watkins drawing you in. It’s nothing complicated, just playing it as it is. Easy going and shades of Dr Feelgood in places with pinging, staccato guitars from Williams and Watkins. The horns return along with the harp for You Can’t Run and I believe they’ve found their quintessential sound. I get a Ska feel from this along with West African beats and Mississippi Blues. This is taking us through the music that gave us the Blues and beyond with Alan Hughes on djembe. They don’t want to be pigeonholed and I defy anyone to do it. This is one of their best.

Samuels hits a compelling waltz time beat on Show Time, ably backed by Toby Kinder on keys. Watkins’ voice is one that will be easy to pick out in future years, quite unique and his sweeping harmonica tops everything off. As I said before, it is hard to categorise a lot of their songs and that’s no bad thing. For example, on the title track we get a bit of Blues, a bit of R&B mixed in with Soul and Rock. It’s just a matter of what your taste is and many may find their acquired one here. Named after a bar in New Orleans, it moves like a cat walking along a wall with Tricia Davies Nearne and Samuels on backing vocals giving their all as 60s tones come through. The one thing that is pretty constant is Watkins and his wailing harp. The up-tempo, funky instrumental, Mickey Two Suits, comes with light and shade with drums and keys playing important parts behind a blowing harmonica. A song about a failed relationship, Bones To Dust, is a strolling Blues rocker with a dusky vocal and jagged guitar. They stay up-tempo for Fat Man’s Chicken. Good fun and good advice as they tell you to stay away from the protagonist’s meal. This is very good with horns and harp in unison and the deep, growling harmonica, sharp drums and crisp trumpet will surely make you want to get up for a shimmy. There’s a low key, slinky finish with Elmer’s End Blues and the European feel makes it sound like it’s closing credits to a French film. An instrumental, it shows all Watkins’ skills as he reaches the highs. Williams’ acoustic guitar playing is also well worth a mention.

Take your time with this album, it’ll pay off.

www.lunariarecords.com

31/07/2023

Six Gun Sal – Asphalt Cowboy/The Whistle Blows (Self Release)

Two more tracks from Southern rockers Six Gun Sal. Asphalt Cowboy is driving, with a growling bass and slashing guitar. An excellent example of the genre it will grind down to your core. You get a thorough going over when you listen to Six Gun Sal. That Whistle Blows is an acoustic offering that drifts into Country Rock. The power is still there on this tale of leaving town. This is melodic Rock with a hook to make you want to come back for more. Vocals come through more on this one and although the songs have been around for a while it’s time for Six Gun Sal to reach a wider audience.

www.sixgunsal.net

Jessie Che – In My Hands (Self Release)

Based in the Adelaide Hills of South Australia, Jessie Che is a singer songwriter who covers the full Americana genre. This uplifting song makes you feel as if you have no cares at all. She has a classic Country voice, immediately warm and welcoming, which works well in harmony. Her band are strong, particularly guitar and mandolin, and she is adept lyrically, making for the full package. It is certainly worth exploring more of Jessie’s music.

www.jessiechemusic.com

18/07/2023

The Cold Stares – Voices (Mascot Records)

Indiana’s The Cold Stares sixth album sees them become a trio for the first time in a decade with the addition of bassist Bryce Klueh. Recorded almost entirely over two days it has the band stretching themselves into an eclectic mix of tracks that show two sides to their personalities. They’ve been known for their blistering Blues Rock played on guitar and drums but bass adds a new level to the chemistry and can be heard immediately on Nothing But The Blues. This is an explosive, riff laden opener. If you were in any doubt, this is The Cold Stares! It will be on my list of the year as one of the top songs over the piece. Scorching guitar from Chris Tapp as you would expect as he lists off a number of things that tell you that you’ve got the Blues. Excellent opener. The grinding, hypnotic Come For Me is another single from last year and has Tapp in characteristic note bending mood and delivering a strong vocal on this Blues rocker. The Joy is an anthemic slow burner and the third of the singles released in 2022. Tapp’s languid solo shows his skills to the full as he tells the tale of the feelings that you have when you find your true soulmate after many heartaches. Lights Out is storming Blues Rock. This is a serious band playing serious music with some dreamy, atmospheric guitar in the short solo. They just keep coming at you and next up is the relentless riff driven Got No Right on which they throw in a little R&B before they bring us back to earth with the moody, Sorry I Was Late. This is full of passion and atmosphere, tugging on the heartstrings as it tells the tale of passing to the other side.

The title track takes us back to the grinding Blues Rock that is their signature sound and they are one of the best around at the moment. This is another top song with Tapp showing again that he is a serious contender. Catch them if you can. You could call Waiting For The Rain Again the West of Scotland’s theme tune, although we’re not waiting at the moment! They’ll hold the room with this one with its power chorus and soaring guitar. They just keep getting better and this is top echelon stuff all round. Can you have too much of a good thing? Not if Sinnerman is anything to go by. Another brilliant grinder as they just keep them coming. Another single is Throw That Stone and its acoustic balladry is so out of place, as is the female backing vocals. However, this is a classic Blues Rock acoustic ballad if you were ever to meet one. It’s Heavy – Too right! They are back on familiar ground with an up-tempo groover before bringing us Thinking About Leaving Again, which moves like treacle and is just as good with Tapp’s guitar splitting through the track. They finish up with the last of the singles, The Ghost, and it’s another acoustic led track. They don’t often do these but don’t be fooled, this is a spookily brilliant albeit low key finish.

This must be one of the albums of the year.

www.thecoldstares.com

14/07/2023

The Pawn Shop Saints – Weeds (Dollyrocker Records)

Founded in 2012, The Pawn Shop Saints and their driving force, Jeb Barry, have brought us the stark realities of Americana through their sparse and often weary songs on their three previous albums. Their new album, Weeds, is no different to those that have gone before although it does have Barry searching for answers to a profound sense of loss with several of the songs written in tribute to John Prine. His vocal hasn’t changed and does get a little getting used to, as on Chelsea Off My Mind. This is all acoustic guitar (Barry) and bongos (Josh Pisano) with a little harmony before Barry adds bass and keys. Its Lo-Fi, homemade sounds are what you expect from these guys and this low impact opener doesn’t disappoint. With echoes of Big Star, it sounds like a break up song and one that is all his own fault. The title track is all about the trials and tribulations of life and the low-key acoustic treatment fits well along with some sparse electric guitar, minimal percussion and the weary vocal. Pisano’s snare is prominent on Southern Drawl In Heaven as they stay in the acoustic field. Barry doesn’t conform to vocal norm and that’s fine by me. He adds banjo for what is the best track so far and I love the lyric “I couldn’t be a wedding ring casualty.” His harmonica and acoustic solo fits well too. By this time, we should just accept that this is an acoustic led album as Generation Lockdown takes us back to what life was like before the pandemic and that we haven’t gone back to it since. There is a deep sense of loss behind this song, which deals with the spate of school shootings. Another on a similar theme is The Covid Unit and Barry doesn’t mince his words. This is aimed at those who ignored the warnings on covid like refusing to wear masks. Ironically, it’s more up tempo and percussive in parts, despite the subject matter. Yet again, Barry’s vocal fits it perfectly. James is a downcast and downbeat tale of losing someone, albeit this time to technology, and how to cope with it. Barry is really pouring his heart out and the offbeat electric guitar is shocking to the core.

We’re certainly not getting happy songs here but a rather introspective set dealings with topics that affect us all and The War is one such topic. This one about his neighbour and what he didn’t tell his family about his time in the war and how he became anti army. This is a top song delivered in a more Country way than most of the others. Miss June is another about passing, and a deeply sad song at that as it deals with those who died without anyone with them. There are elements of The Rolling Stones and Johnny Cash here and it’s one of their more straightforward songs. Barry’s vocal is straightforward too and he comes up with another top song which includes a nice short electric and keyboard interlude. They play in that Stones acoustic style again on Preacher, which completes a trilogy of deeply sad songs but which also brings out the best in him. Memorial Day has a strong antiwar feel and is all about when the Memorial Day is finished and it’s back to normal life apart from those who continue to be involved. Maybe this is about a brother he didn’t know. Baby Got Drunk continues the feeling of front porch recordings. This has echoes of the much-underrated Deadstring Brothers and what a tale. It’s a good one, despite the sad, dark comedic subject. Twine confirms that the second part of the album is far superior to the first. He’s singing it straighter and his sense of rejection is palpable. He’s in the depths of depression after being discarded by a partner. Accordion is added by Tony Pisano and the bass is there, like on others, but unobtrusive as it’s voice and guitar on the whole on this tribute to John Prine. They close with All Girls Break Hearts and tell me about it. Some people take it harder than others of course. It’s as low key as the rest of the album but with fiddle from Amy Attias added to great, sorrowful effect and giving a fitting ending.

This isn’t an album to cheer you up, that’s for sure but it shows Barry’s wonderful observations on human feelings.

www.jedbarry.com

11/07/2023

Six Gun Sal – Hair Of The Dog (Self Release)

LA based Southern Rock band Six Gun Sal were formed in 2015 and have been gigging almost constantly since. This gritty cover of the classic Nazareth song from their 1975 album of the same name is an excellent version. It’s not quite got the Dan McCafferty vocal, but then no-one ever did! They get the required level of sleaze and I’m sure that I’ll play this again and again. Razor sharp, swirling guitar is a feature but I’m not so sure that the spoken middle section is absolutely necessary as they take a step away from the original talk box guitar effect.

www.sixgunsal.net

John Cheezan – Stand Up For Freedom (After Hours Records)

Normally known as a Gospel Blues singer and harmonica player, John Cheezan takes a slight departure to proclaim his patriotism for his country. Of course, that country is the USA and not everyone will agree with the sentiment contained in the song. It’s acoustic led and the sentiment is there, given that they are the leaders of the free world. It’s a rallying call with sometimes militaristic overtones and it will appeal to those who believe in standing up for their rights but it will also have a polarising effect, I’m sure. The parting line is ‘treat others the way you want to be treated and don’t step on our freedom’. I’m sure most will relate to that if not the rest of the song.

Lola Aviva – Wait On The Steps (Self Release)

Singer, songwriter and guitarist Lola Aviva brings us some horn laden, Jazz infused Nu-Soul with Wait On The Steps, her latest single. She could easily hit the charts with this, given the right opportunities and with her sweet vocal she hits a groove and doesn’t leave it. It’s catchy and memorable, sleek and glossy. This deserves to be heard by a bigger audience.

www.lolaaviva.com

07/07/2023

The Nick Moss Band featuring Dennis Gruenling – Get Your Back Into It! (Alligator Records)

Formed in 2016, the Nick Moss Band featuring Dennis Gruenling has forged a track for themselves by looking back to old time Chicago, Texas and West Coast Blues and stamping them with their mark. This is their third album for Alligator and further entrenches them in days of yore but with a modern tinge. The fourteen originals, twelve from Moss and two by Gruenling, has the band pushing at the edges of their comfort zone. They open with the single, Bait In The Snare, and you’d do well to take its message to heart. It’s a swinging Jump Blues with deep horn tones and a snapping guitar and smooth vocal from Moss. Gruenling shows why he is considered to be one of the top armonica players around as he blows and wails hard. This is an upbeat opener to get you going and a great start. They get into a groove on the swamp Blues of Aurelie. Moss delvers some jagged guitar with panache and the rhythm section of Rodrigo Mantovani (bass) and Pierce Downer (drums) provide an excellent foil along with Taylor Streiff’s keyboards. The vocal just oozes experience. The title track has some raucous guitar leading into a strolling Blues. Downer rattles the drums and Gruenling delivers some soaring, breathless harp. Streiff’s barroom piano is a welcome addition and this is top class stuff all round. Downer’s driving drums announce the arrival of Man On The Move and we soon have vocal and harp answering each other in a sort of call and response. This is another classy Jump Blues and I defy you not to move to it. Moss provides a flurry of guitar notes in keeping with the speed of the track and this is a good work out. His smoky vocal is perfect for the track as is Mantovani’s bass and Gruenling’s harp on an extended solo. Living In Heartache is a Chicago Blues of a very high standard. This transports you to a different place and time with Moss and Gruenling at the same time grungy on slide guitar and dirty on harmonica. The rest of the band is on top form with everything conjuring up images of a dark Blues club on a Saturday night. There is some slick bass playing from Mantovani on It Shocks Me Out, a jazzy, talking Blues that again takes you back in time and on Out Of The Woods, an up-tempo horn led Jazz Blues, they bring the sax to the fore with the guitar matching them with a sweet solo and the Wurlitzer playing its part as they swap solos.

Choose Wisely is a smooth, piano led Blues with horns as slick as the vocal. Moss provides some rattling guitar to match Downer’s and Gruenling’s smoking harp. It’s a preaching Blues in parts and a tale of warnings to pick the right path. Frenetic guitar introduces us to Your Bark Is Worse Than Your Bite but it soon steadies into a John Lee Hooker style Boogie. Mantovani’s bass is prominent as it moulds with Gruenling’s soaring harmonica. He gets such a tone from it. Gruenling’s harp is such a big part of the band’s sound and none more so than on Losing Ground. They go off on a Canned Heat vibe here, showing that they are a very strong band with plenty of experience. You don’t seem to ever get a bad track from them. They are so tight and yet so loose in the same song. Mantovani kicks it again on bass with Streiff and Moss slinging it out in the background. Tom Toms introduce Bones’ Cantina, another 60s style instrumental with guitar and harp in unison. This is a quick, percussive Bossa Nova/shuffling R&B crossover and they even break into La Cucaracha at one point. Lonely Fool is a stomping, grinding Blues, Chicago style. Classy harp, piano, guitar and rhythm section all showing how good they are. This is a highlight with some of Gruenling’s best harmonica work on show. The penultimate track, The Solution, has them grooving with a fluid bass line from Mantovani. Think of the track as Robert Cray with added harmonica. Moss is strong and mellow with stinging guitar and the deep horns make this another highlight as they look to finish the album on a high. Moss goes all West Coast with a 60s style Surf guitar on Scratch And Sniff. Finishing on an instrumental is a brave choice but one that pays off as they deliver a fun, throwback track with throaty sax and a guitar masterclass from Mr Nick Moss.

www.nickmossband.com

www.justinsaladinoband.com

29/06/2023

The Popravinas – Goons West (Zesty Smile Music)

Californian Pop Rockers, The Popravinas, may not be familiar to you but this is their 4^th album, originally released in 2021 but getting a revisit for this year. They open with jangly Power Pop in the form of Do The Creep. Bassist Eddie Sill provides a deep bass line with keyboards in the background. Sill also contributes vocals and he has a deliberate style. This is sunshine music and a great opener. I had to look up what a derecho was for Self Made Derecho. Turns out it’s a straight wind as opposed to a tornado which is twisted. You learn something every day. Sill’s vocal is slightly on the nasally side but that doesn’t detract from the song and this is sweet music. They are a band out of their time with this harking back to the jangly Pop of the 60s and 70s. There’s a nice solo in there from John Adair and the whole thing comes across as a bit naïve and handmade at times but that just adds to the charm. There’s more guitar-based Power Pop on Is There Anybody, Anywhere But Here? It’s still good but doesn’t hit the heights of the opening two despite having a good guitar riff and chorus. The theme continues with the very laid-back Fade Out, noted for Sill’s deep vocal and Adair’s jangly solo. Feasibility Holdout confirms that they are a timeless, stylish band. It’s laconic all round and with that jangly solo sound again. Very catchy.

There’s a change in direction on Bunkin’ In Reno as they bring in some Country vibes. This is very bouncy and fits in with their approachable style and with David Rodgers on drums driving it along with Adair on guitar. They stay with that Country feel, especially on guitar, for Might Want Out. They feel like your old pals already. Adair chips in with an explosive solo on this tale of an ending relationship, or is it? They saunter through Zoom To The Ocean and don’t really need to go for it at any part. Verse, chorus, verse, chorus, guitar solo – what else do you need? Mandolin? Sweet harmonies?, you got them. Who Started What? is relaxing, despite the subject matter and another about an ending relationship. Adair expands his instrument collection with a 12 string and lap steel short solo. They Rock it up a bit for Minor Resistance but they stay firmly in that 60s/70s easy going Power Pop area. They close, a bit surprisingly, with the acoustic Flat Side Of Low. It’s just guitar and solo voice on the whole with occasional backing vocal. It’s a gentle finish to an album that will have you humming along in many parts.

Check out The Popravinas, you might just be surprised.

22/06/2023

Annie Capps – How Can I Say This? (Yellow Room Records)

Veteran Singer-Songwriter Annie Capps brings us a collection of songs that she describes as “a love letter to myself”. She opens with My Eden and some soft, gentle Americana. Acoustic with fiddle and minimal percussion. Soaring vocals in the chorus, reminding a little of kd Lang with an innocent feel. The probing fiddle remains, as does the minimal percussion, for Learning, which is strong lyrically and paints the picture of losing the innocence displayed in the opener. The lyric “Learning sometimes hurts” paints a thousand pictures. There’s a European feel to her music on Two Different Things, which is slightly Jazz/Folk influenced. The title track is a song of one taking the lead and indicating that someone has to go. It has a stark, minimalist delivery which picks up when the fiddle and drums become involved. She is definitely a lyricist and confirms it with these deeply personal songs. We have added mandolin on The Punch as she returns to her easy-going vocal delivery. However, that can change in an instant. This is very good in places, less so in others and overall gives the effect of a song from a stage musical. Childhood memories are evoked on My Fathers House. It’s dark and understated but she paints images with her words and the mournful violin adds the tension.

On Dirty Little Secret she explores thoughts of shame but her sweet delivery often masks these tales on the darkest side. That continues with The Silent, which is the high spot of the album, and her gritty lyrics are meant to make you think and reflect. She rarely gets out of first gear but this is an album to sit and listen to the words. She gets her Americana vibe on here and it could easily cope with an injection of pace and still be as effective. This will only get better the more you listen to it with wispy violin and minimal drums backing the guitar. Riverbound has her reaching out as it floats gently by. If you’re looking for a rollicking, rolling album then this isn’t it, but if you’re in an introspective mood then this may well be for you. Crowded has some nice fingerpicking and mandolin again, I believe. The backing vocals, provided by 20 voices, remind us that we are not alone and this is another that, in parts, would fit well into a musical. We get that familiar guitar and muted percussion again on Only Sometimes, which serves to underline what a generous vocalist Annie is, and one who makes it easy to listen to her. She doesn’t have a classic voice per say but she is extremely effective. She closes with Yesterday, not The Beatles classic though. This is designed to leave you with the feeling that her journey is not yet over as she keeps it gentle to the end. With a backing vocal that is just a subtle hint and guitar and violin finishing as they started, this rounds off the album perfectly.

This all-women project features performances from The Accidentals (Sav Buist and Katie Larson), Tracy Grammer, Heather Pierson, Suzie Vinnick, Telisha Williams (Wild Ponies), Jenny Bienemann, Edie Carey, Louise Mosrie Coombe and Seu Demel & Deb Lader (Sons Of The Never Wrong).

www.anniecapps.com

Kirigoola Benon – Give Me Some Love (Self Release)

Afro Pop from Kampala, Uganda (a city I have visited). This evokes the sounds of East Africa, keyboards led and mixed with his beats and sweet vocal. It’s eminently commercial. Sedately paced it is instantly recognisable as being from the Continent but has a global feel to it. He needs wider exposure and he has the potential to be a star. He will win over a lot of people with this track.

13/06/2023

Harlem Lake – Volition (Self Release)

Winners of the European Blues Challenge 2022, Harlem Lake bring us their first live album, recorded at the Culemborg Blues and at the Better Get Hit Festival in August and September of the same year. This set covers 6 songs from their debut album, A Fool’s Paradise Vol 1, 6 covers and 1 new song. They open with one of their fan’s favourites, The River. Live albums can be a bit of a hit or miss but this grinding opener bodes well with slide guitar from Sonny Ray van den Berg and horns ably backed by driving drums from Benjamin Torbijn and organ from Dave Warmerdam. Janne Timmer’s vocals are expressive and this is a good live band. The horn led Beware is a top-drawer Soul Blues with Janne providing top vocals on this cover. They deliver a slick Blues in the shape of Whiskey Drinking Woman as they take it down a bit. There’s no hit and miss here as Janne turns on her vocals again and Sonny Ray provides some intricate guitar work in the softer section. Dave Warmerdam is there in the background as the drums and horns take it on. This is another top song as Sonny Ray lets loose as the solo builds. Deaf & Blind is a driving mover with horns and guitar on form. Janne’s vocal sounds off at times but that’s down to languages I believe and when she rips, she rips it good. They are turning out some quality stuff. Warmerdam steps forward on keys for an extended solo as they go slightly prog. They chill out on Guide Me Home, which is slow, smooth and emotional. Janne has a powerful voice and she’s stronger when turning the power on. Strong guitar from Sonny Ray as we are now becoming to expect and the ubiquitous horns are around again. This could be an anthem for them. I Wish I Could Go Running is a swinging Blues but Janne struggles with the vocal at the start – it’s too low. However, she gets into her stride quickly, driven on by the rhythm section. The horns are there again as Sonny Ray’s guitar slips and slides its way through and throws in a piercing and thundering solo. Torbijn’s drums are mesmerising. Sonny Ray is undoubtedly the star of the show.

Please Watch My Bag is a slow, booming Blues but Janne’s vocal is a bit patchy here. That said, it is on the ball musically with some lovely work from Warmerdam and a little jazzy interlude with an extended guitar solo including elements of Prog again, making for an interesting contrast of styles. They like to keep the audience guessing. They step away from the Blues to an extent on their cover of Got To Get Better In A Little While. Here we get Southern USA influences as Janne shows her range along with the band as they Funk it up. This is a good one, with a trumpet solo worth waiting for. The spiritual That’s How Strong My Love Is brings us a slow and moody feel. It’s expressive, theatrical at times with keys adding the nuanced edges. It’s heartfelt, full of Soul with a big solo and it’s one of several top tracks on offer. The Box Tops classic, The Letter is given a jazzy makeover and it’s still full of rhythm like the original too. This is a good version although the inclusion of trumpet and sax takes a little getting used to if you know the original. They slow it down again for the piano led I Won’t Complain. This is destined to be used as a ballad for a film at some time. It has power in all the right places with Kjelt Ostendorf’s bass getting a chance to shine. However, it’s Sonny Ray who continues to shine the most with a little Southern Rock in his storming solo. Another cover, Don’t Change Horses is all Funk and groove with keyboards on form as the band push it on to the end of the album. This will get you moving. They close with Jack In The Box and this is a rocking and rolling finish. High pace, storming, stomping end to the album and getting the crowd going. They are finishing strong and this is how an album should sign off.

www.harlemlake.com

12/06/2023

Dan Miraldi – After Midnight (Self Release)

This is the second single from Cleveland born and New York based Dan’s 4 track The Midnight Special EP. It’s a rousing, surging rocker with The Gaslight Anthem and John Mellencamp leanings. You’ll hear Tom Petty and Bruce Springsteen in the big, ballsy chorus but don’t be taken in and thinking that Dan is just a copy of those great artists, he is a talent in his own rite. After Midnight is a well-structured Rock song that will stir your senses in the chorus. He’s captured an anthemic style and I’ll be blasting this out all Summer and beyond.

www.danmiraldi.com

31/05/2023

Eric Selby – Dang Fool (Self Release)

The final offering in an unintended trilogy of releases, Dang Fool has Eric in both retrospective and forward-looking moods. You’ll get his gentle off beat style from the outset of Different Hues. That off beat style centres around his vocal, which is charming. The song itself, the first of 6 singles no less, flows well and is a decent start with both acoustic and electric guitars on show and drums to the fore with a smooth rhythm. His electric solo is like the rest on the song, gentle. The intriguingly entitled Horseshoes & Hand Grenades is a well-constructed and written acoustic led song. It’s softly sung with a gently drifting chorus. This will get into your head as it speeds up towards the end in an Americana style. A highlight. It’s another acoustic led one in the form of I Carry You that is up next. He’s added a bouncy beat but he still has a certain style about him. Wistful, heartfelt, stylish and wispy with backing vocals that fit well, it’s the second of the singles. Another of the singles is A Knew Year and he stays with the gentle beats, although with keyboards to the fore for the first time. It’s a smooth one with slick electric guitar and drums. No downside as yet.

Stranger Things Have Happened is the fourth of the singles and shows that he can be quite deliberate in his delivery. His guitar riffs are good and the electric solo is effective with tinkling keys adding to the atmosphere. He has a knack of making you comfortable with his music this is one of his best. The fifth single is Unsown, which opens with jungle creature sounds but it doesn’t manage to lift itself. It’s not the best on the album and although melodic, it doesn’t reach the standards of the others. It may get better with more listens but it doesn’t have that immediate impact. It does contain some of his best guitar work though. We get Horseshoes & Hand Grenades (Acoustic Reprise), which is more of the same really. It’s still a very good song even with the removal of percussion. You get a feel for his lyricism in the line “Kind words collecting dust in a trophy cabinet that’s less than new”. It’s a nice one. The closing track, and sixth and final single, is his only recorded cover so far, that is The Beatles’ Tomorrow Never Knows. We have some acoustic twiddlings at the outset before he moves into a dreamy soundscape. It’s slow, even for Eric, with his acoustic guitar being joined by what sounds like an accordion but it’s not. It’s some kind of keys. As the harmonica wails, we get a low key, sleepy sounding finish but you wouldn’t expect anything else after listening to the rest of the album. The choice of this as his first cover is appropriate as he is looking forward and you never know what is to come.

If you’ve not stepped into the world of Eric Selby before then this is a good place to start.

www.ericselby.com

29/05/2023

Alan Getto – Problems Of The World (Self Release)

Released as a precursor to his upcoming EP, Songs From A Farmhouse, Problems Of The World has Pittsburgh based Getto in pensive mood. Starting with subtle birdsong, he takes us on a sedate acoustic Americana trip that acts as a counterbalance to the disorder that we often find ourselves in often nowadays. His wistful vocal paints the tale of where we find ourselves and our place in the world today. It builds well and leaves us with chimes in the outro, which is a clever bookend to the birdsong at the beginning. There are some good indicators for the EP and I hope that he delivers.

www.alangetto.com

Steve Dawson – Eyes Closed, Dreaming (Black Hen Music)

Nashville based Canadian Steve Dawson is becoming quite prolific with this, his third album in a year. You could be excused for saying that he might be a little jaded because of that but nothing could be further from the truth. This is, in fact, the third instalment of his ‘pandemic trilogy’ which was recorded under lockdown conditions and along with a number of friends who happen to be high level Roots musicians in their own rite, he has brought us an album full of warmth opening with the cautionary tale of Long Time To Get Old. It’s about not wasting your life and you’ll get there someday but no need to rush! Slide guitar from Dawson plays over some strong backing vocals from Allison Russell and Fats Kaplin’s acoustic solo on mandolin. I’ve said it before and I’ll say it again, he is a master musician. A very easy to listen to and lively opener and a great start. Next up is one of four singles, A Gift, and his fingerpicked acoustic guitar just breezes in to your mind. This already has the makings of a top album. Another of the singles is Hemingway and he’s following the acoustic fingerpicked route again. This is smooth and gentle with strings involved and a story that just sweeps over you. I thought that there may have been an accordion in there but it may well be the Moog of Chris Gestrin or a fretless zither called a Marxophone played by Steve. House Carpenter has some lovely Weissenborn playing from Steve as he delivers an effortless note bending extraordinaire. It's Folk influenced and gets better and better with each line. Tim O’Brien on mandolin is excellent, not an easy instrument to play. It’s back to electric for the third of the singles, Small Town Talk. Suitably laid back, he has an easy way with his delivery and the fluid solo stands out. I would say that acoustic is his field and on The Owl we get him at his very best. Folk influenced again, there’s a lot going on in the background as he sings away. There is some very good lap steel in amongst it all.

The last of the singles, Waikiki Stonewall Rag, has him showing his versatility again with this Ragtime instrumental played on Weissenborn, National guitar and slide ukelele. An overall jaunty feel is enhanced by Gary Craig’s brushed drums and Gestrin’s pump organ. The sombre and reminiscing Polaroid is a tale of what we can take from a photograph. He’s in retrospective mood here, and makes the listener feel that too, but his pedal steel and intricate guitar solo snaps us out of it. There’s a Hawaiian tinge to Singin’ The Blues with Steve’s guitar complemented by Gestrin’s barroom piano. Is it the famous song? Who knows as this relaxed and fulfilling instrumental gives no clues. He gets a certain bounce on some of his songs and Guess Things Happen That Way is a point in case. It’s almost like a jug band song and he makes you feel at ease with his matter-of-fact delivery, effective lyric and an on-form slide guitar again. He closes with Let Him Go On Mama and he returns to Country for the finish. He is a true storyteller and social commentator and you feel as if you are in a conversation with him. His finger picking and slide are superb as they have been throughout.

I once described Steve Dawson as a jack of all trades and master of them all. There’s nothing here to dissuade me from that!

www.stevedawson.ca

22/05/2023

Mario Barth and About Kings – It’s Alright (Self Release)

Originally from Graz in Austria, Mario Barth is not your conventional Country Rock singer. He’s a legendary tattoo artist with his signature studio, Starlight Tattoo, based in Las Vegas. He has quite the following in Europe and has Spotify and YouTube plays in the millions. It’s Alright is his latest release with his band, The About Kings, and a more upbeat and untroubled Summer song you are unlikely to come across this year. Mario’s slightly accented German accent adds to the overall Euro Country Rock feel. Guitars from Alen Brentini and Bob Tyrrell help drive along the rhythm provided by Nashville’s Kevin Ogburn (bass) and Shane Hoskins (drums). It’s uncomplicated but then again not everything needs to be and when you can get the crowd going with a song like this then you’ve won the battle.

26/04/2023

Paul Cox – Soul Intention (Records DK)

Paul Cox is one of the UK’s leading and enduring Soul Blues singers and this album, originally released in April 2022 shows us why. I first came across Paul in the early 2000s when I was writing for NetRhythms and twenty years later he hasn’t lost that sweetness to his voice. Soul Intention is an album that tips its hat to the greats and opens up with Heavenly Music, as apt a title as you could have. Sweet, Soul music with Paul’s rasp sung over a slow track that oozes class with Hammond playing a big part. Take it to church with this original Cox song. The smooth Time For Loving You has Paul reaching the higher notes well and he turns in a consummate performance on another original. I love Billy Bragg’s version of the Fred Neil song, Dolphins and Paul’s piano led version is even more emotional than Billy’s. The Hammond solo is exquisite as is the sympathetic guitar solo and I just love this beautiful song even more. He can still grind them out too as shown on another original, Fell Out With The Blues. This is a sleazy Blues where Paul more than matches Joe Cocker in his prime. His is a voice that is filled with emotion sung over effective slide guitar. Your Good Thing is a piano led Soul Blues, full of emotion and resonating guitar before he goes a little more upbeat and up-tempo for Van Morrison’s Domino. He gets the vibe correct with classy horns and a vocal that suggests that the song was written for him. The Otis Redding classic, Try A Little Tenderness, isn’t an easy one to sing but there has been a number of successful versions including the aforementioned Mr Cocker and The Commitments. Cox has the voice to match all bar the original with piano, keys and bass standing out in support. He funks it up for 11 Miles An Hour, another of his originals, and the horns come into their own with sax and guitar swapping licks. Those same horns lead us into Little More Hurt, with echoed slapped drums and laid-back bass this time. Paul Cox has the voice, you don’t need much else other than a polished, pointed guitar solo.

Don’t Look Any Further opens with a funky bass line before it goes off into an 80s style sharp, smooth disco soul effort. It’s a well-known song but he makes it his own on this version. There is some wicked guitar that should be noted. The original was in 1984 from Dennis Edwards and Siedah Garrett and it was later covered by M People. This is halfway between the two. Another classic is Stevie Wonder’s I Wish and the bass is to the fore with a running line, ably backed by jazzy guitar and keys. Paul’s vocal is in a lower key than Stevie’s but still has an impact. It’s a rounded soulful version with Jazz overtones and horns on form. The classics keep on coming and this time it’s Change Gonna Come, Sam Cooke’s famous song. Cox sings it so spiritually and he knows when to turn up the passion, going from a scream to a whisper so effortlessly. He switches back to an original on All People Go Mad. This has rapid drumming and horns to introduce it. It’s got almost a Northern Soul feel to it with bass and guitar spurring on the speed of the track along with some good vocal interplay. Drums lead out Sometimes I Wonder too before a funky bass and guitar join on a Lipps Inc Funkytown section. Horns, guitar and keys all shine. Another rapid one. John Fogerty’s 110 In The Shade was written as a spiritual and Cox delivers with his typically gritty vocal. He wrings you out on each song with, on this occasion, effective Dobro backing. We get two classic songs in a mash up medley courtesy of Al Green and The Temptations Take Me To The River/Papa Was A Rollin’ Stone. Once again, the bass is prominent and Paul doesn’t miss a beat vocally. He does share the vocal here as the backing singers step forward. We also get some sultry sax and he throws in a little bit of The In Crowd for good measure. He finishes with two songs that I think sum him up. First up is the soulful Gospel stylings of Don’t Try To Explain, which I believe to be perfect for his voice and to finish with we have the Arthur Conley classic, Sweet Soul Music, which ramps up the speed as you would expect. Paul’s smoky voiced tones provide a great finale to the album and the horns take us right to the end.

Paul Cox has proved again why he is in the upper echelons of British Soul Blues.

19/04/2023

Justin Saladino Band – Honest Lies (Self Release)

Montreal born and bred, Justin Saladino has gathered around him a band that allows him to express his love of Rock, Blues, Folk and Funk and on this second full-length studio album, Honest Lies, they bring it all to the table. They open with Sink Or Swim with its striding Blues Rock intro replete with pounding drums. The verse changes style before back onto it for the chorus. Justin gives us a big, ballsy solo and boy, the guy can play. There’s an atmospheric start to Let You Go with minimal instrumentalization but it builds with a throbbing beat before slide guitar comes into it, albeit periodically. This trips along calmly and will get into your head. Vocally he handles it well and comes across as an understated singer most of the time. Blind Faith has guitar and bass in perfect unison. This is funked up and full of Soul with Justin delivering some punchy guitar. Is it an indictment of modern living? Fan The Flames is slightly quirky but it’s on the edge of Funk/Soul/R&B. It has a very contemporary feel to it with Justin’s bursting guitar, some of his best work. The unrelenting drive of the title track is gritty in places as the band gets into a groove.

Drums lead us into Won’t Say No with only Justin’s vocal for company. However, the band gradually joins in with a relaxed and so inclusive vibe. You’ll find it hard to stay still to this, definitely a Sunday lunchtime song. This is a highlight with Justin’s laid-back guitar letting it rip at the end. It’s a change to acoustic for Half-Heartedly and a well-played change at that too. The change in style is very pleasant as it edges on Country. He stays on acoustic for Let Me In Again and he continues to defy you to pigeonhole him. This just drifts over you but the piercing guitar keeps you on your toes. Can’t Have You Around is gritty, grinding Blues based Rock with a big solo. It’s the type of song that will get better with each listen. The closing track, Don’t Worry ’Bout It, is acoustic led and is a bit of a grower. We get some lovely guitar work as the song builds throughout with backing vocalists filling out the sound to provide a good finish.

This is a smooth, accomplished album.

13/04/2023

Peach & Quiet – Beautiful Thing (Peach & Quiet Music)

The follow up to their stunning 2021 debut, Just Beyond The Shine, was always going to be a hard task but they’ve pulled it off. Another set of original songs begins with the title track and they do master effective Americana music. This is on the Country side and also on the sweet side but they have a charm though. Just Beyond The Shine featured high in out albums of 2021 and they continue on this. A very good start. Calgary Skyline is the single and introduces steel guitar. They also add a beat and add a riff with Johnny Miller taking the lead again. It’s all very easy and that’s not very easy! Heather Read takes over on lead vocal for Pockets Empty and they go with a little more Rock edge. Heather could easily hold her own with the Rock chicks of the 60s and 70s and the decades after too. Behind The Sun brings Johnny back to lead vocal and he has such an easy and approachable style. They are certainly comfortable in their own skins and this meanders along so well. It’s a well-constructed song and one that will last but they could maybe cut down on the echoes though. Just Before The Dawn has Country and Folksy tones with pedal steel prominent and Heather taking vocal duties again. They have a peaceful style that just draws you in with Johnnie’s deep, twangy guitar in fine form. They’re swapping lead vocals and it’s back to Johnnie for Horse And Saddle. This has a gentle bouncy beat with keys and steel guitar to the fore. It’s gentle Country Reggae but a bit light in places.

This Time is stronger and a highlight of the album although they could have expanded the lyric on the chorus though. It’s a story of redemption punctuated by Johnnie’s pinging guitar. Back to Johnnie for lead vocals on Oklahoma Or Arkansas. This is classy Americana and simple excellence. Johnnie’s acoustic dobro break is very good and this is a top song. Johnnie keeps the lead vocal for the plaintive Save Me Tonight before Heather returns with her calming vocal for Song From A Tree. This has Folk themes although Johnnie’s electric lead punches through. There’s a sense of Eco messages on this. Johnnie is back on lead vocal for the last two tracks although That Is For Sure doesn’t hit the high spots. The chords are unusual in places and we don’t get the desired effect. That said, the slide lead is good. It’s a low-key finish with When You’re Gone and they’re not finishing the album the way they started. It’s kind of fizzled out and although I get the sentiment, the song isn’t for me.

Overall, a very good second album.

www.peachandquiet.com

10/04/2023

Mr B & The Wolf – Tuesday Moonlight (Self Release)

From The wilds of deepest Essex comes the sounds of Mr B & The Wolf. I’m sure I’ll find out the origins of their name at some point but in the meantime their throbbing, pulsating and mid paced rocker, Tuesday Moonlight will keep me going. We get a gritty vocal over a driving rhythm section and sharp, stinging lead guitar. It has echoes of John Fogerty in places and although it’s on the heavy side, the harmonies are spot on. I look forward to hearing more.

01/04/2023

Dan Miraldi – Glow Girl (Self Released)

New Yorker Miraldi has come up with a catchy, riff laden soft Rock track that is bound to win over many of those on the Pop/Rock threshold. This is a good sign of things to come for his upcoming EP with a soaring chorus, hypnotic in places and with an edge. This is a grower.

www.danmiraldi.com

28/03/2023

The Still Wonder – Evergreen (Self Release)

Originating from West Michigan, The Still Wonder is a four-piece Acoustic-Rock band which features acclaimed singer/songwriter Tony Halchak, Penny Lloyd-Jones on vocals and violin, Jon Carlson on bass and vocals and Jeff Howard on percussion and vocals. Despite their Acoustic-Rock foundations, I’d say that Evergreen falls into the gentle Americana category and the metronomic banjo builds with the snare drums along with good harmonies amongst the vocalists. The song is light and airy and drifts over you, becoming beautiful as strings help to build towards the end and the gentle beat of the bass helps to relax you. This is their first song that they wrote as a band and augers well for the future.

www.thestillwonder.com

20/03/2023

Jayson Starkey – Dirty 6^th Street (Self Release)

Texas native and Oklahoma resident Jason Starkey is steeped in the music of Country, Blues and Rock N Roll and he draws from each of those on this single which has just come to our attention. Dirty 6^th Street is a maudlin tale of a homeless person, singing Gospel songs on his 5 string guitar and trying to get by. The sedately paced song is on the rock n roll side of country with some telling slide guitar and a weary vocal befitting the subject matter. Starkey has a gift of seeing the everyday and turning it into something that we can all see and hear, something that the likes of Willie Nelson and Robert Earl Keen have obviously influenced. I look forward to hearing more from Jayson Starkey soon.

www.jaysonstarkey.com

19/03/2023

Song Banshee – Little Times (Self Release)

Song Banshee is not a name that many of you will be aware of and the name itself conjures up a heavy Rock or Rap band. What you do get when you listen to the song, Little Times, is a deep, authentic Country vocal with a sharp guitar and fiddle to back it. This is a true Country love song and brings us tales of everyday life. Maybe the artists name is a nose thumb to the Country music industry, or perhaps not, but something a bit more mainstream to represent the music may be more appropriate.

www.songbanshee.com

17/03/2023

The Jives UK – Between Two Rooms (Self Release)

Essex based duo Big Baz and Al. E. Bye formed The Jives UK after their previous band The AM5 disbanded after several tours of Europe and playing with such luminaries as John Mayall. They are well known faces around the UK Blues festivals and they now bring us their first album, recorded in 2021 and 2022 during periods of lockdown. They open with one of the self-penned songs, Take You Along For The Ride. Baz’s acoustic slide dobro gives a moody introduction and you immediately get the feel that they are a duo in the style of McGhee and Terry with added percussion. Baz turns in a world weary vocal whilst Al gives us harmonica to provide a gentle opener from an experienced Blues pair. Al’s harmonica steps forward for Memphis Minnie’s Black Rat Swing. This resonates and Baz shows all of his experience in the vocal. The guitar is acoustic again and slide is once more deployed as it gets strummed to oblivion! The Brother Dege song, Too Old To Die Young Now, is stamped full of traditional Blues authenticity and a gritty vocal from Baz. Al includes jaw harp and that’s not something you hear to many times these days. It puts you in a trance, in a good way. Rising River Blues is acoustic like all the others so far. It’s a slow Delta Blues, written by George Carter, with guitar and wailing harp excellent again. In fact, it’s the best harmonica work so far. Baz’s surging acoustic guitar drives Moon Martin’s Cadillac Walk through a smoky vocal and howling harp before the haw harp and slide return for God’s Gonna Cut You Down, a familiar Johnny Cash number. Keeping close to the original, this is mean and moody and is a sparse and minimalist rhythmic spiritual. The second of the self-penned songs is Devil Looks After His Own and they electrify it for the first time. It’s still got that slow and steady groove though. They manage to get that air of authenticity into their music with apparent ease. We have a bass drum keeping the only beat, like a heartbeat and Baz provides some beefy slide guitar. They go back to acoustic for the Jimmie Rodgers classic Gamblin Bar Room Blues. My first introduction to this song was The Sensational Alex Harvey Band’s great version and The Jives UK give us a sinuous, laid-back adaptation with a suitably drunken vocal delivery.

You’d be excused for asking why a Bob Seger song is on what is effectively a Blues album but Turn The Page is one of Baz’s favourites and one of their live staples. Al provides a mournful harp as they step away slightly from their Blues roots. The vocal suits the song and vice versa and makes for a highlight. Bass drum brings in a little percussion towards the end. The self-written Jesus In My Hipflask has the duo back in the Blues and a bit more up-tempo. It’s still harp and acoustic guitar and chugs along very nicely with a clever lyric. Willie Dixon’s Bring It On Home is a Delta Blues with a little Chicago thrown in. We get call and response between voice and harp and the solos are subtle and effective. Burning Hell is a John Lee Hooker song but you wouldn’t know it going by this version. They don’t play it in typically JLH style, adding strident harmonica to the guitar. Baz turns in a strong vocal and bass drum to accompany slide guitar. This is as close to rabble rousing as they come and is another highlight. A Good Day For The Blues, written by David Grissom, is ironically not a Blues song. It's more of a soft Rock ballad with guitar and vocal to match. They play it as they see it on the earthy and ethereal I Just Don’t Know, written by the duo Bronze and Morris. This rhythmic Blues has an early British Blues Boom feel to it. Blind Willie McTell’s classic Statesboro’ Blues is given a slow and winding treatment. We get slide guitar as expected and a vocal in the higher range as it often is. This is a good version even though I was raised on the Taj Mahal version, Pat Travers too. There is a tapped drum for the beat and Baz’s slide is very good again. The final self-penned song and the closing song of the album is What’s The Use, a feeling we all have every now and then. They have kept their gentle, porch Blues style and it’s like your pals getting up for a song and you discover how good they are. Al’s harp is the star on this one.

A good album from a pair of experienced musicians.

15/03/2023

Rust Dust – Twere But It Were So Simple (Omad Records)

Jason Stutts, who goes by the name of Rust Dust when recording, has a love of life’s mysteries and he may well be one himself. This, his second album for Omad Records, was record live in a rundown brownstone building in Brooklyn and the overall feel is one of something that is DIY. Take the opener, Helter Fukov, for example. This is a short and simple guitar instrumental which sounds straightforward yet is deceptive on the ear. On the Psych Folk Blues Pop of UFO it’s just guitar and voice, much like most of the album and the echoed vocal adds depth to this ramshackle beauty. He gets a New Orleans vibe on the sparse Must Be Jelly with banjo and trombone added. We also get a long drawn out vocal in a Blues falsetto at times with the trombone wailing every now and then. He’s a one off artist and shows it again on Ice Queen Sandwich. It’s him and his guitar again and he’s definitely out there on this short one. He’s keeping them short and coming at you with Speaking In Tongues. He’s a storyteller, it’s just that his stories are abstract. There are elements of Country and Rag Time in his playing and definitely a nod to Townes Van Zandt here.

This New Light is the third of a trio of shorter songs and he plays it quite straight on this. It’s still just him and guitar and his gentleness shows that he doesn’t need to be out there all the time. The title track has him in a particularly note bending vocal moos in places. Expressive as always in his lyric and this time he has snakes in his pocket and a rope around his neck which conjures up quite startling images and then there’s the Devil hanging around too. Blues and Country imagery is never far away. We also get wonderful imagery on Willie Nelson’s Still Is Still Moving To Me and he returns to the Blues for the famous You Got To Move. There has been many versions of this song including Mississippi Fred McDowell and The Rolling Stones but he adds a little something to it. It reverberates and you may well move to it as he shows good guitar skills here and throughout. Sky is the single and he’s still not really gotten himself out of second gear anywhere. He has a good vocal range, haunting in parts, that easily covers Folk, Blues, Rock but who knows where he sits. Haunting in parts. Another often recorded track is Bob Dylan’s Knocking On Heaven’s Door but this one doesn’t sound like those that have gone before. He makes it his own; mournful, gentle and filled with remorse.

Rust Dust has got something about him, it’s just difficult to know what it is and I think that he’ll be quite happy going on that way.

www.omadrecords.com

02/03/2023

Connor Selby – Connor Selby (Provogue)

Raised in Essex and having lived in Connecticut and UAE in his formative years, Connor Selby hasn’t taken the usual path to musical awareness. Throughout his travels he formed a love affair with American Roots music and this comes through strongly in his music. This new release is a deluxe issue of his 2021 album with 4 new songs added as bonus tracks and it opens with the slow and soulful, I Can’t Let You Go. Organ, horns and guitar give it beef and Connor’s rich voice sets it off while his guitar just sings. Falling In Love Again is punchier and more upbeat. It’s a Soul Blues with a telling input from organ. The horns are to the fore again with a rhythm section and backing singers on form. The deep, rich vocal tones from Connor and guitar work are excellent as he shows a lovely feel for melody. The most bluesy track so far is If You’re Gonna Leave Me which has some neat Blues themes on guitar. Keys and horns are a bit part of his sound and drums are to the fore too with a piano solo that is sublime. His voice belies his years and I believe him to be still an under recognised guitar player, but surely that can’t last. He dirties it up a little on Emily with a deep, grungy guitar, producing a Blues Rock of a high standard. He still has that feeling for melody though and when he opens up on guitar, he just lights the place up. Highlight. The Blues based The Man I Ought To Be is slow and heartfelt. He comes across as being self-critical on this although the song itself is relaxing with pointed percussion and smooth keys. Hear My Prayer is acoustic led and leans towards Country. Its soaring chorus makes it another highlight. Make no mistake, Connor is a very good vocalist and he proves it again here as the backing singers add another level. His Les Paul Gold Top just cuts through the tale of unrequited love. The jaunty Show Me A Sign has horns to the fore as it takes us back to the heyday of Stax Soul/R&B. This is another with a big joyous chorus and it’s almost Gospel in its delivery. Connor’s piercing guitar cements his growing reputation.

Anyhow is a slow, piano led Soul Blues that takes it to church and his voice suits it so well. We have an epic here as Connor bares his soul. The keys are on top form with the organ on top and there’s no need for a guitar solo here as it has everything else. His voice is relaxed and easy going on Waitin’ On The Day and you feel that he could sing you the phone book and make it sound good. We get smooth soulful vibes on a tale of enduring love with reverb guitar adding to the relaxation along with shuffled drums and smooth bass. The final track of the original album is, ironically, Starting Again, which starts with cymbals crashing like waves against the shore. It’s slow and deeply personal with keys and drums backed by acoustic guitar and bass this time. It builds well to allow Connor to let it all out on guitar and he doesn’t leave anything in the tank. It feels like a rebirth although it’s not one of the new tracks. I Shouldn’t Care is the first of the new ones and it’s a Blues of a high standard with the organ still playing a big part. Slow to mid-pace, it’s a tale of relationship problems and he is so smooth both vocally and instrumentally. There are lots of good guitar players out there but he can certainly hold his own. Love Letter To The Blues is the only bonus track that’s not a single. He keeps it on the Blues theme and stays in slow mode with this homage to the genre. Almost conversational, he’s telling you a story and you are compelled to listen. Piano and keys punctuate the song throughout with the piano the star, matching Connor’s guitar, whilst his velvet tones take you through. A cover of Ray Charles’ My Baby Don’t Dig Me is one of the few uptempo songs on the album but it does show some of his influences. Rolling guitar is a nod to Clapton and the fact that it’s on the edge of Blues and R&B show his love of Charles and Sam Cooke. The electric piano gets a rare outing and excels whilst Connor produces an excellent punchy solo on guitar. He closes with The Deep End and he’s obviously in a Blues mood on these bonus tracks. This is smouldering and smooth and the Hammond is wonderful, bringing the album to a close on a high note.

Connor Selby may be an Essex boy but his musical heart lies in the roots of American Blues, R&B and Soul.

www.connorselby.com

22/02/2023

DeWolff – Love, Death & In Between (Mascot Records)

Holland’s finest, DeWolff, bring us their third studio album and this follow up to 2021’s Wolffpack is sure to cause a stir amongst listeners with some themes partly inspired by novels from 20^th century American authors and others by some of the greatest classic R&B singers. They open with Night Train, a storming start with Luka van de Poel’s drums driving it. His brother, Pablo, provides hook laden guitar and there’s some hollering going on there between the two of them and some teasing vocals. Pablo turns in an electrifying solo and with added horns it’s got it all. One of the singles, this is one of the best opening album tracks I’ve heard this year and maybe a few others too. Heart Stopping Kind Of Show is loosely based on John Steinbeck’s Tortilla Flat and the ethos of the characters in not overthinking life and drinking wine and making moments comes across in this Southern style Boogie. It’s good time music, one that was a single and another outstanding song. They’ll be a great live band to see and this will form part of their new show, I’m sure. Robin Piso’s keys play a big part in their sound, horns too. Pablo shows that he is no mean guitar player and backing singers add depth and soul. They slow it down for Will o’ The Wisp to give us a Blues base with a sultry slow rhumba beat. The change to female lead vocals is inspired as we are hit with a voice that is full of inner strength and power. The soulful Jackie Go To Sleep has keys and guitar playing off each other. The two voices are going well together again with the backing vocalist stepping forward. It’s another hot and sultry one with piercing guitar flurries from Pablo and wonderful keyboard breaks from Robin. Rosita is a monster of a song at 16 and a half minutes long. This is their Jessica or Freebird as they take us through a journey of soulful Southern Rock with tempo changes and Latin influences spaced throughout. Their voices go so well together as you would expect of brothers but the slide guitar, keys, horns and a smoking rhythm section are the stars of the show. It’s an epic and it’s a highlight, despite the length. It’s happy music and it’s a full book in a song, matching the best of Southern Rock Funk and The Stones. This could easily have been split into four songs but I commend them for sticking with it. To change genre again they give us a stripped back, grinding Blues in the form of Mr Garbage Man. Again, it’s full of Soul and heart with Pablo’s stinging guitar prominent as it builds with keys and backing vocals. Their hours of listening to Al Green, Little Richard and Sam Cooke, amongst others, comes across throughout the album.

Counterfeit Love has resounding slide guitar and a throbbing beat. Funky Rock with an almost preaching vocal, which also appears elsewhere on the album, produces another highlight. There’s a bit of Deep Purple style keyboards in there too, wonderful, and I’m sure that Jon Lord will be pleased! Another that will be a top live track is the joyous Message For My Baby and they are building up quite a catalogue. Piso’s keys are to the fore as a screaming vocal, horns and backing vocals paint the picture with bass also prominent. This will keep you on your toes as guitar and keys again vie for top billing and it’s a close match. This is a tour de force that will blow you away. They take a break from the roof raisers to slow it down for Gilded (Ruin Of Love). I’m reminded of some early-ish Fleetwood Mac after Peter Green left and before Buckingham and Nicks joined. This is powerful and Piso’s keys are stunning. They keep it on the mellow side for the Soul fuelled Pure Love and Pablo shows a good vocal range with good falsetto and no breaks. They excel at any pace, in any genre and it’s a beautiful song. They rev it up again for the wonderful Wontcha Wontcha and the horns are back. Riffs abound as they go off on another Boogie. Strident, with keys playing a big part, it goes off into Latin Santana beats with guitar coming in to take us to the end. A success. It’s a low-key start to the closer, Queen Of Space & Time, but it starts to flow like a river before not too long. There’s a flute in there I think and it comes across as very Lauren Canyon, 1970s. DeWolff don’t stand still for long and they are a consummate professional band that will be off on their next adventure soon.

Psychedelic Southern Rock, Soul and Blues, DeWolff deliver on all.

www.dewolff.nu

www.officialjewelbrown.com

15/02/2023

Jewel Brown – Thanks For Good Ole Music And Memories (Nic Allen Music Federation)

Jewel Brown may not be a name that immediately comes to mind when thinking about singers over the past few generations. As a youngster, she recorded some hits with Clyde Otis in the mid-1950s and was playing in Jazz clubs all over America by the 1960’s. However, it was her stint working with Louis Armstrong and His All-Star Band between 1961 and 1968 that she is most remembered for. After Satchmo’s illness she continued to headline many Vegas shows before stepping out of the limelight in the 1970’s. A successful business career followed but now she’s back, in her mid-80s, with a new album mostly filled with, for the first time, self-written songs. It’s a cover that opens proceedings though and her version of the Harry Belafonte & Lord Burgess written Jerry. Funky, swinging Cuban beats are a feature and guests RADS Krusaders and Live! In The Clutch add so much to the track with a jazzy bass on form and a fine sax break. The horns too give it that big band noise and her distinctive spoken passage is a welcome addition. A good start. Pain And Glory is spoken over a hushed a capella African style choral vocal as she takes you through the pain and the glory of life. African beats with bass and drums to the fore are resplendent on Why Did You Do That. Jazz is at the base of her music and she is an instinctive, unique singer. Her backing vocalists, including co-writer Nic Allen, are excellent in harmony. Jewel funks it up for Norman Whitfield’s Which Way Is Up with bass, drums and guitar lead the way with keyboards vying for top billing. Jewel is on form here and this is a top song. George Clinton comes to mind musically as sax and guitar have a little face off. Nitches And Glitches has that deep, urban feel and the backing singers are at it again, urging Jewel on and she had enough! Horns and keys over a wicked rhythm section gives us that gritty vibe.

Flatitude is a strange one. Spoken vocal again in a Jazz, almost beat poet delivery with a little bit of scat towards the end. It won’t be everyone’s cup of tea but it may grow on you. The slinky, big production number, I Love Sunshine And Rainy Nights, has electric piano tinkling, bass throbbing and an excellent sax break. It’s back to flowing soft Jazz for Song Of The Dreamer, written by her ex, Eddie Curtis, but she still manages to get a little Latin tinge in there too. She has a touch of Dionne Warwick about her at times. Electric piano on show again as tempo changes with horns and keys lead the way. She is an elegant performer and none more so than on the smooth and effortless On The Road. She uses all of her experience here as she relaxes the listener on the track that she believes best describes her professional life. Muted trumpet backs another short burst of scat and the bass player is on form again. She closes with the Blues inflected Jazz of How Did It Go. This mid-paced, easy going closer has guitar showing up more than in the earlier tracks and shows again how well the backing vocals go with the horns and shuffling drums. She’s going out on a goodie and this may well be the track of the album too.

Jewel by name and Jewel by nature!

Jesse Felder - Baptized (Self Release)

Jesse Felder's deep, dulcet vocal brings us a classic contemporary Country ballad that is as good as any in the genre. It has all the elements required to be a success. Haunting piano and acoustic guitar takes us to the end.

08/02/2023

Jared James Nichols – Jared James Nichols (Black Hill Records)

This is Gibson brand ambassador Jared James Nichols’ third album and he’s chosen to keep it simple with the eponymous title. What is not simple is the album itself as he shows us why it was so important to him to come back from a near career ending accident with all guns blazing. We don’t have to wait long for the fireworks as My Delusion is a barnstorming start. He gives it his all, all the time, and no one can fault him for that. It’s a good rocking, bluesy song with a great rock vocal and that guitar that you expect from Jared. A short, sharp attacking opener and a highlight from what sounds like a classic power trio with bass and drums hammering it out too. There’s no let up on Easy Come, Easy Go and to be honest I didn’t expect any, as Jared and the band thrash into life again. This is classic Rock with a Blues flavour and is the whole package, even the lighter funkier parts. His guitar gets a good going over with all three elements of the band separate but yet they combine so well. Another highlight. Down The Drain is the single and is slowed down from the opening two. I know what he’s trying vocally on the chorus but I feel that he’s just off it a little. Musically good as it makes you feel that you are indeed slipping down a drain and his guitar screeches with the best of them. There is a cacophony of guitar to herald Hard Wired before the beating of the drum comes in as they start to grind it out. This is classic Rock heaven with a dreamy mid-section that takes us away from the grind before Jared’s guitar powers its way back onto the scene. The assault continues on Bad Roots as he ramps up the pace again. If you love Rock music then you’ll love Jared James Nichols with his sweet, crisp guitar showing all his skills. Drums are special on this one too. There are not too many pyrotechnics on Skin ‘n Bone as he plays it pretty straight. It’s an outright grinding rocker though with crashing cymbals, vocal effects adding to the power chords and searing guitar.

Jared is vocally excellent on Long Way Home with its pounding beat with just enough softer sections to protect your eardrums. This has a big chorus and will be an excellent live song and is yet another highlight. Shadow Dancer is softer and more atmospheric as it builds into another grinding, grooving rocker for the chorus. He goes off a little in the higher vocal range but he can be forgiven that given the effort it takes. His moody solo has many layers and shows he’s not just always about the power. Drums introduce Good Time Girl before the full band explodes onto the scene. A mid-paced groover and another top song. Once again, there’s nothing left in the tank on this. Hallelujah is a slipping and sliding rocker. Evokes the best of New Wave of British Heavy Metal bands but also has Black Sabbath influences. He takes the best from each and wraps it up in one package with a snarling vocal and slashing guitar backed by rampant drums and bass as they rip it up on the solo. I like the title, Saint Or Fool as I could be both! It’s acoustic led and of course there had to be one. However, it only lasts seconds before Jared reverts to type and thumps out another crushing rocker. Drums and bass give as good as they get but Jared’s fingers must be a blur at times. He closes with a slow one, Out Of Time, which has harmonics on guitar, phased drums and a pinging bass. It builds to a big chorus and a note bending solo. It’s a slightly different side to Jared as he pays tribute to his late father but it’s a very good finish.

www.blackhillrecords.com

www.jaredjamesnichols.com

25/01/2023

Seth Rosenbloom – As The Crow Flies (Self Released)

Boston Bluesman Seth Rosenbloom brings us his second album, following up his 2019 debut Keep On Turning. In the intervening period Seth has honed his skills and has become one of the most sought-after guitarists around today. He is championed as a guitarists guitarist and on the title track you immediately know why. Electric slide introduces a rhythmic, thumping, Joe Bonamassa style Blues Rock with Hammond from Bruce Bears in the back. Mark Teixeira’s drums are pounding on this very good opener. I like the lyric “As the crow flies baby, well I ain’t too far from you, but since I don’t have wings, I can’t get home as fast as I want to’. It’s not all love and good feelings though as a soon to be common theme of betrayal comes through on Did You Try To Break My Heart, which has a slow, serpentine movement as Seth grinds it out. Bears’ Hammond is in the back again adding to the overall sleek feel and the big chorus confirms that this is a strong song. Solos are excellent and Jesse Williams is prominent on bass. Two songs in and he’s quickly becoming a new favourite. I do believe there’s no stopping this guy; he has the guitar, the voice, the songs! The brooding and sophisticated Set Me Free is Blues for grownups and he’s very much like Bonamassa again. He’s not a clone though, he’s very much his own man. As I said above, this is only his second album but he’s coming across as a seasoned professional and on Can’t Trust Your Neighbor he confirms it as his voice hits the spot on this slow cautionary tale on which his father, Michael, arranges strings and contributes violin. His guitar is pinpointed throughout with stinging solos and he’s going to be in my lists for 2023, I’m sure. 4 songs 4 great tracks so far.

I Wish You Could See Me Now is a funky Soul Blues showing that he can mix it up. Bears’ Hammond is peppering the song as Seth struts his stuff with a rattling guitar that shows his class yet again. Your air guitar will be out for this one! Ain’t Nothing Wrong is a vibrant, bouncing Blues with Teixeira snapping into it and the ubiquitous Hammond adding to Williams’ bass. It’s a tale of sleepwalking into relationship problems and how easy it is to do. The lumbering, betrayal laden Blind Eye is piano led with the addition of backing vocalists and a sweeping, almost spiritual delivery. St James Infirmary comes to mind in places. Bears’ tinkling barroom piano gives it a New Orleans feel and there’s an interesting effect running from Seth’s guitar but I can’t quite put my finger on which pedal it is. The penultimate track, Gotta Roll, has up-tempo drums leading us into Seth’s guitar and both rolling like a train. He funks it up a bit again for this song of being on the road. Bears is on piano duty again and showing plenty of dexterity. There hasn’t been a bad track yet and some of the guitar playing has been outstanding. He finishes off with a slow, moody Blues in the form of Give Me The Ring Back. You know that it's over when you get the ring back! This is one for a late night to sit back with your choice of drink in hand and just inhale Seth’s expert playing. This is an epic ending to an epic album and this will place him in the higher echelons of players. Bears’ Hammond is back as the band draws you in with softer sections and then explodes into life. Rhythm guitarist, Ryan Taylor, deserves a mention for his superb backing here, and throughout.

www.sethrosenbloom.com

23/01/2023

Ethan Wilson – Red Dress (Self Release)

Evoking the British Blues Boom of the 60s Ethan Wilson grooves his way through just over 3 minutes of rhythmic John Lee Hooker influenced Blues. Some Howlin Wolf howls are added to give more body. A driving rhythm section backs up his jarring guitar and silky vocal. An album must be on the horizon.

Muddy What? – Spider Legs (Self Release)

With this, their fourth album, Munich based trio Muddy What? delve into cross genre flirtations to keep us all on our toes. They open with the vibrant and pulsating Dead Cigars and we are immediately hit by the piercing guitars of Ina Spang and her brother Fabian. This is driving Blues Rock with Fabian’s alto vocal, guitars like spirits flowing through and pounding drums from Michi Lang. Much Too Loud is gentler than the opener. It’s Rock that merges into Country in places with Ina’s mandolin strums like a butterfly flittering its way across a field. The title track is an epic at nearly 9 minutes long. A classic slow Blues influenced Rock, it has big, bold guitar breaks. Rhythm section (Lang plays both bass and drums in this trio) thumping it out with Fabian’s wailing vocal making this a broody and moody highlight. Just to keep you on your guard we get a little Bluegrass on Muddy’s Joy. Fabian’s guitar and Ina’s mandolin face up to each other with Michi’s with bass playing along for fun and getting a starring role too. It’s a string plucking extravaganza!

All Your Troubles is another long one at over 7 minutes and they like their epic Blues influenced Rock. This one flits into Southern Rock at times and whilst musically sound, Fabian’s vocal is not quite there this time. The up-tempo, funky Blues, Can’t Tell A Lie has guitars sounding like mandolins or is it a mandolin sounding like a guitar? Either way, the rapid playing is a highlight. Michi’s bass is again prominent and driving the pace behind a stern vocal from Fabian. The first of two singles is Bassman and it’s all about Michi this time as he comes into his own as his bass slides and grooves along. It’s a strange choice for a single although it is showcasing a fine player. A couple of minutes in there’s a subtle change of tempo with Spanish style guitar, which was giving minimal backing, and drums become more involved and it starts to build at halfway. An instrumental, another bold choice for a single. Instrumental. The other single is What Would I Do and we are back on slightly familiar ground, although the Latin guitar remains giving an interesting take. It buzzes like a bee throughout and gives them another string to their bow. It’s a good old Boogie, Ina’s Boogie in fact, to finish with and the guitars are the stars with pinpoint, piercing playing as the rhythm section roll it out. Another instrumental, it’s given light and shade through tempo changes, soft on places, rugged in others.

This is a highly enjoyable album.

www.muddywhat.de

19/01/2023

Payphones – Rioting Heart (Self Release)

Edmonton, Canada Alt-Folk outfit Payphones debut album brings us 8 songs of isolation, personal growth, illness and heartbreak. There’s a way to start the year! The four piece band start with the title track and an electric piano intro played by Laena Anderson. Frontperson Naomi Jichita joins with precise, clean vocals along with Robyn Slack on guitar. Harmony vocal, bass (Andrew Creswick) and drums (Aaron Addorisio) are added as it begins to build. It’s Alt-Folk bordering on Pop at times. Decent start. Anderson’s electric piano is to the fore again on Last Year and they build their sound around it. Again, in the alternative Folk realm although I’m getting Barenaked Ladies vibes. It’s quirky with a good chorus and this is good. Slack’s short acoustic guitar breaks fit well and they sing well together. The up-tempo Can’t Escape It confirms that they are building a good set of songs and they’re in that all-encompassing Americana genre. However, the tempo belies the feeling of the song with lyrics such as ‘I can’t escape it. Despair will find a home’ and ‘It’s the way the scene is spun, when you wander into space and you can’t see anyone’. Jichita’s vocal is less crisp and that suits this faster song. Another winner.

Anything Else comes at you with a relaxing pace and just draws you in as time flies by. Straightforward entertainment, or so you think. Lyrics such as ‘My body is an apology. I’m a pendulum, I can’t untangle what’s inside of me’ may make you think.

Barenaked Ladies and even Beautiful South appear on Empty Heart. Jichita is such a strong, clear vocalist and there’s that piano again. They are just great to listen to and this is another good one. They’re alternating the pace and it’s back to up-tempo for All There Is, which skirts on the edge of Folk again. They are hard to categorise as they are on the edge of a few genres. Vocally it’s like Jichita is having a conversation with you. This one brings a soaring chorus. The penultimate song, Another Ghost, is the most Folksy of the tracks but it’s not as ear catching as the others and they close with the gently paced Closer To You, a sweet look back to the sounds of the 60s such as the Mamas and Papas and their ilk.

It's a good debut and will serve them well for the follow up.

https://payphonesyeg.wixsite.com/payphones

Fabrizio Poggi – Basement Blues (Appaloosa)

Believe it or not, this is Fabrizio Poggi’s 25^th album and he raids his basement files for some old gems and reworks a few others. He starts with an outtake from his 2015 album The Breath Of Freedom in the form of Tommy Dorsey’s Precious Lord. It’s a mournful opening with Fabrizio’s harmonica leading and Enrico Polverari’s acoustic guitar backing. Poggi’s vocal comes in halfway through with respectful tones and giving us a gentle introduction. He follows this with a 2014 live version of Willie Dixon’s Little Red Rooster, recorded somewhere in the USA with Guy Davis on vocals. His harmonica takes the normal the lead guitar part but Davis’ grizzled vocal makes it more like the Howlin’ Wolf original than the Stones’ version but there’s room for both. This is as good as any cover of the song that I’ve heard. Harmonica competes with the howls and wins out of the park. Acoustic guitar, also from Davis, is perfect. He keeps rolling them on out and next up is Midnight Train, a Poggi original and a studio rehearsal piece from 2010 Here we go for a train ride to remember as electric guitar (Poggi) and drums (Stefano Bertolotti) are introduced for the first time. The train picks up speed throughout and Poggi’s guitar skills are showing up well and, along with the drums, encourage the harp to pick it up. It’s hypnotic, it’s lung bursting at times and Fabrizio’s vocal just gets under your skin. A highlight. The often-covered traditional John The Revelator is so well known that it’s difficult to be different so, why change it? This outtake from 2008’s Mercy features the great Garth Hudson on organ and guitar. This is a slow, meandering, throbbing version with mandolin (Francesco Garolfi), harp, bass (Roberto Re) and percussion (Bertolotti) all drawn together. Hudson’s intricate keyboard work is a marvel and Poggi’s world weary vocal makes you believe what you’re being told. It’s back to acoustic guitar, this time from Ronnie Earl, for Your Light. An outtake from 2014’s Spaghetti Juke Joint, it shows how good a player Earl is as he and Poggi combine to produce a self-written Sonny Terry and Brownie McGhee style acoustic Blues. Poggi’s screeching harmonica reaches the high notes to counterbalance his own sweet vocal. Gentle brilliance. Black Coffee is more of an in your face slow striding Blues with a gritty, demanding vocal from the depths of despair provided again by Guy Davis. Taken from the same live set in 2014, this has harmonica warbling in the fills as the guitar grinds out the base of the song. The solo is so full of ethereal soul and is so passionate. The pair work well together and it shows as they turn in a top-notch performance. Some of the notes that Fabrizio produces are so wrong, but so right.

Blind Willie Johnson’s The Soul Of A Man highlights the surprises waiting for you at each corner as we return to Enrico Polverari for his acoustic guitar. It’s a straightforward vocal from Fabrizio asking the questions and his harp playing is wonderful. Although this is another outtake from the Breath Of Freedom album, it is an understated gem. Another Poggi original, Blues For Charlie has Polverari on electric guitar this time and it’s a full band with bass (Tino Cappalletti), drums (Stefano Resca) accordion (Bobby J Sacchi) and keys (Lorenzo Bovo) prominent. An outtake from 2012’s Harpway 61 it’s a slow, sweeping instrumental showcasing Poggi’s style and class through trills, warbles and all the tricks. Rosetta Tharpe’s Up Above My Head is another slow one with Ronnie Earl’s acoustic guitar returning. Another outtake from Spaghetti Juke Joint, it is a masterclass of technique as you might expect but most of this is to do with natural talent and Poggi has this aplenty with lots of hand warbles included. The self-penned Boogie For John Lee Hooker is an uptempo Boogie and at a pace that I love. Another outtake from Harpway 61 it has Resca’s drums pushing the band on with Poggi up and down that harp like a madman. Polverari and Cappalletti follow Recsa in keeping that Boogie rhythm going. This is a highlight as the harp just keeps on going. The last of the covers is Blind Lemon Jefferson’s See That My Grave Is Kept Clean. This outtake, from 2013’s Juba Dance, is a faithful version with just Guy Davis on vocals, guitar and banjo and warbling harp from Poggi. It all fits together so well with Davis’ baleful vocal standing out in a standout song. Another that stands out. He closes with two originals, the first of which is I’m On The Road Again. This first has him slightly stepping away from the Blues into an almost Country vibe. This is another outtake from The Breath Of Freedom as is completely different from the rest and a real surprise. Polverari’s acoustic guitar and Poggi’s harp are the two constants but this time they are joined by Stefano Spina on bass and keys. Fabrizio turns in a weary vocal and Polverari’s guitar is beautifully played. Pure and simple. He closes with Hole In Your Soul and we’re back to the Blues for the finale with Poggi back to his warbling, head shaking, tongue flicking and blocking best. The lyric says ‘if you don’t like the Blues, you have a hole in your soul’. I’ll go one further. If you don’t like Fabrizio Poggi, you’ve got a hole in your soul. The song itself is a slow, grinding Blues full of namechecks. Recorded live in Milan in 2015, this is a showcase of acoustic Blues guitar playing and harmonica excellence.

I’m off to find these other 24 albums!

www.fabriziopoggi.com

18/01/2023

Steve Purcell – Ample’tudes (Self Release)

From out of adversity comes Steve Purcell’s debut album, Ample’tudes. The stalled release of this album in 2020 was exacerbated by covid striking him down, then doing the same to his PR guy and even worse, Steve was then involved in a car accident that took him 6 months to recover from. So let’s just say that this album deserves to be given a fresh lease of life and claim an issue for 2023. The opener, Hammer Down, is a drag race of a start, engine gunned and guitar slammed. It’s a rocking good opener with lots of runs, flicks, reverb and wah wah with light and shade provided by tempo changes, already showing that he is a good player. There’s no shortage of technique on this instrumental as he slices his way through it. Good start. We get footsteps and a door opening to introduce us to Rattlesnake Road. Things change though as we have Steve’s tremolo arm in full use for this Western themed track. Think Shadows and Dick Dale with some Spaghetti Western shouts in there too. Another instrumental, there’s minimal backing and leaves you wondering if we are in for an album full. What it doesn’t leave you with is any doubt in his ability to play guitar. The bell tolls for all you baddies at the start of Angel In Hell. There’s fiddle and mandolin…and a voice with Steve giving us a Country Folk song for a big change in direction. Vocally it’s ok as it complements the intricate acoustic guitar fills. As it goes on the fuddle and acoustic slide joust with one another and the voice grows on you. This shows his versatility in that he is as adept on acoustic as he is on electric. Bells toll at the end for good measure just to top and tail things. The very short (just over 1 minute) Retro Radio has Steve scrolling through his radio looking for stations and the ones he stops on gives us an idea of his influences. The driving riffs and sharp technique of Mouse In The House gives us a thoroughly enjoyable and free flowing rocker with elements of the Allman Brothers.

The acoustic led Trouble With Love is highlighted by a deep, dulcet vocal with an intimate feel and good harmony. It’s one of the better vocal tracks. A well written Rock Ballad that is just missing the big pounding drum and electric solo finish that would make it complete. Bits & Pieces opens with barroom noises, finger clicks and jazzy swing guitar in the background. Brushed drums and pronounced bass join the guitar for an instrumental that Brian Setzer would be proud of. Steve’s technique is on show with a twangy solo where he often snaps into the notes. The most recognisable song on the album is the Junior Wells classic Messin’ With The Kid. Some say, including me, that the Rory Gallagher version is the seminal one but with a screaming vocal and some top playing, this reaches high in the charts. He really lets it go vocally. This is a very good version with storming guitar and Hammond organ adding a little counterpoint to the rocking voice. Then the drums start slashing and there’s even a little slide thrown in as it gets better the longer you listen. Skippin’ Lickin’ (AKA The Lick) opens with an old phone dial tone before a pleading voice asks for the lick to be played. Steve complies and throws out a short guitar masterclass, full of the requested licks. Enough said. Proceedings close with Don’t Say Goodbye and it’s back to acoustic for the finish. It might even be 12 string but there’s definitely a mandolin in there somewhere. He’s back to Country tones, again showing his genre straddling ability. It’s a sweet song, not my choice for a closing track but a good one anyhow.

I’m glad this album is finally seeing the light of day. Go buy it!

www.stevepurcellmusic.com

12/01/2023

Tom Ovans – The Cure (NSR Sound Recordings)

The Cure is veteran singer, songwriter and social observer Tom Ovans 15^th album in a career that has spanned over 30 years. He is the epitome of the word troubadour having lived and worked in just about every state in the US. He opens this latest set of maverick ramblings with the title track and you will immediately work out why troubadour is so firmly associated with him. It’s just guitar and a cracked vocal telling the story that begins ‘The clouds are hanging heavy above The Paradise Motel’ and gives a sense of foreboding. It’s on the angry side of Folk Americana and when the harmonica comes in the whole thing comes across as quite Dylanesque. The voice, guitar and harmonica trio continues throughout the album with the odd mandolin, bass and percussion thrown in along the way, all played by Ovans and all recorded on analogue. The harmonica is in from the outset on Lazy Driver and his lazy, slurred vocal that is so associated with the rebel Folksters is given a nasal delivery to match the best. His slide guitar is well played and you know that you are always going to get a story. The laid back, Blues based Camile And The Dance Of Death is an epic highlight. He’s old style and harks back to the days of easy travel with a guitar and a harmonica. It’s a desert song with a voice full of gravel to suit. There is still that laid back delivery on Higher Ground, which owes much to the Folk and Alt Country artists that have gone before. Kristofferson comes to mind here and Neil Young also in his harmonica playing days. This is truthful, gritty music. He adds a slight shuffle to Fading Light, another that is Blues based, with a sleepy, world weary vocal and wailing harmonica. The Celtic tinged Like Some Old Irish Rover is another highlight. It’s like he’s reaching over and speaking to you. He draws you in with this protest song with an anthemic feel to the verse. He could easily fall foul of those who say that this genre is samey but on Gonna Miss You he mixes it up and keeps it interesting, bringing a certain motion to it. He brings a contemporary feel to songs that could easily fit into the Dylan oeuvre of the 60s and he’s endearing, even if he doesn’t want to. His harmonica plays a big part on the album, breaking up songs and drawing your attention, none more so than on Blame It On The Rain. He doesn’t really do fast ones although he changes his delivery from time to time; gritty sometime, nasal others. Some songs sound as if you’ve known them for years, this one especially. It’s comfort music to a certain degree with a gently swaying chorus.

Ballad Of A Bloody Nose has a bit of a chat at the start, all about getting out of the studio and doing one more take for the producer and one to aim for the youth market! Ovans doesn’t hold the fact that the writer is from the East against him, showing his self-deprecating humour again. This is as upbeat as he gets I think although it’s over 2 minutes before he actually starts singing the song. It’s another story told in his inimitable style and although he’s rushing to get out of the studio it doesn’t come across that way. Louise Ann has a shuffling Blues feel with a sleepy vocal and strong harmonica. There are echoes of Neil Young again with The Needle And The Damage Done coming through in places. Stranger In This Town starts off like an old cowboy camp fire song with an exaggerated vocal. He deploys his slide again which complements the painfully slow pace and the sad, lonely lyric. His songs seem simplistic but there are layers to them such as on Earth Quake. It’s just him, his guitar and harmonica but there’s a bass rumbling in the background, perhaps to help us visualise the earthquake and the climate change around us. He speeds it up a little for Jesus Wears A Six Gun and I wonder if here is the place to add some mandolin as he has done elsewhere. We get Western themes and Spiritual themes with a chanting, demanding and professing vocal. It’s all rhythmic and hypnotic. There are shades of Willie Nelson and Neil Young again on the sombre and stark There’s A Man before he draws you in again for Looking In Your Eyes. He’s an honest singer and there’s a sadness behind his music, which is, as I’ve said already, not often upbeat. Mercy Street is not the Peter Gabriel song, in case you were wondering. It’s slow and stark again with some electric guitar only for a second time to produce some engaging bleakness. He closes the 17-track ramble with My Ship’s A Coming, a title that sounds like it should be a Dylan song. He’s not changing his ways just because it’s the end. His ship is coming in and he’s out of here. He’s world weary as if he’s just had enough with his warbling harmonica, as always, is the counterpoint to his often cracked vocal and guitar.

Tom Ovans may not be everyone’s cup of tea but what he does, he does well and that’s all you can hope for.

www.tomovans.com

09/01/2023

Grey DeLisle – Borrowed (Regional Records)

Singer, songwriter and autoharp player Grey DeLisle was born and raised in San Diego and is of Mexican-Irish descent. There’s a musical melting pot if you’ve ever seen one and she doesn’t disappoint with her first solo album in 15 years. This is an album that spans the genres and throws some surprising covers at us, starting with the Pink Floyd classic, Another Brick In The Wall. She gives this an eerie, slow treatment which is powerful yet gentle albeit with an underlying menace. She can bring her voice from a whisper to a shout in one phrase. Strings, arranged and played by Tammy Rogers, help to achieve the overall feel and there are Latin tinges provided by guitar (Murry Hammond) and enhanced by trumpets (David Ralicke). The percussion is like a heartbeat and her autoharp envelopes the whole sound. Strong start. Tonight You Belong To Me, written by Billy Rose and Lee David, is old style nostalgia with a 30s style vocal. It’s just voice and autoharp, very short and sweet. The Hoagy Carmichael and Stuart Gorrell written Georgia On My Mind is a standard and a less surprising inclusion but Grey gives us a slightly different take on it. Her autoharp is to the fore and her sweet vocal is enhanced by the string arrangement by Eric Gorfain. The well-played harmonica (from Mickey Raphael of Willie Nelson’s band) is sympathetic. Borrowed And Blue, co-written by Grey and producer Marvin Etzioni, is Country in the classic style with pedal steel from Greg Leisz in the house. It’s gentle and comforting and matches the Country divas that she has been compared to in the past. It even has that obligatory talking section too. The surprising covers continue with a Marc Bolan song, Girl. I don’t know if you are aware of the original but this is different. She gives it a Country nudge with her autoharp back to the fore along with bass and still keeps that gentle manner in her vocal delivery as the Rogers arranged strings sweep in and out. Another short one.

You Are The Light, written by Etzioni, who also provided mandolin is Spiritual, it’s Country and whilst the addition of fiddle from Rogers makes for only three elements to the band, it still helps to deliver a strong track. The surprises keep coming with The Satellites Four joining Grey for a cover of John Barry and Leslie Bricusse’s You Only Live Twice. This is such an iconic song with Casey Dolan’s twangy guitar and Grey’s sultry, deeper vocal along with sharp snare from Danny Frankel and keys picking out the melody takes us straight back to the 60s and gets the feel perfectly. There is a contemporary feel to Marie Knight’s spiritual, Calvary, and Grey is reaching into those deeper tones again. She proves again that she’s not a one trick pony as she goes off this time into a New Orleans vibe and brings us a highlight. Hammond’s acoustic guitar leads on his own Valentine as Grey delivers a sweet vocal with Country echoes. Strings, again arranged by Gorfain, and Leisz’s pedal steel play supporting roles for another very good song. Leisz takes on mandolin and joins Hammond’s guitar to give a strong Americana vibe on Julie Miller’s All My Tears and she is finishing the album very well indeed with three strong ones in a row. The fiddle from Rogers adds depth as is the powerful vocal. I’m getting Steve Earle all over this one. The traditional, Willie We Have Missed You is included as a bonus track here and was originally released on the Grammy award winning Stephen Foster compilation Beautiful Dreamer. Like the opening track, this also has an eerie beginning with bells tolling and a spectral vocal from Grey giving a ghostly feel. Dave Raven’s percussion is like footsteps in the background and it feels like we are getting a ghost story around the campfire. Grey’s aching voice ends as Etzioni’s guitar and her autoharp join along with Leisz again on pedal steel to build the tension. A very good, if different, ending to a splendid album.

Just a footnote; you may well be aware of Grey’s vocal talents from her other job as she is one of the most prolific voice actresses in animation history having performed over 2000 voices in cartoons since 1996.

www.greydelislegriffin.com

Debacle – Alright (Self Release)

Released on the cusp of the year, Debacle’s new single, Alright, indicates a bright future for this young New York band. Their blend of tight, sleek Pop Rock has a soaring vocal from Dylan Balsamo hitting the high notes with Dan Gardner’s guitar replying to the melody. If anything, they could loosen it up a little and rough it up around the edges of the vocal a bit. Up-tempo, sharp they remind me of guitar bands of old. They can only get better, this is just the start. As they slow it down right at the end with lots of chat, I completely get the sentiment of the song.

www.debaclemusic.com

31/12/2022

The Distance – Feeling Fine (Self Release)

It’s not often that we review singles but the latest offering from The Distance certainly got our attention. Some of the video was filmed in a pub so they had us from there. Seriously, Feeling Fine is a fine song with reverberating fingerpicked guitar and solid harmonies between the pair of them. They can be Rock, Blues Rock or Country Rock based Americana. I’m going to place them in the Americana field for the moment until I hear an album, which should be a pleasure. Keep your eyes and ears open for The Distance.

https://linktr.ee/wearethedistance

Robert Hill & Joanne Lediger – Revelation (Self Released)

Performing together for 15 years, Robert Hill and Joanne Lediger take their inspiration from the likes of Blind Lemon Jefferson, Son House, Blind Blake and Willie Johnson and have added their own twist on things to produce their signature sound. They open this latest set with the often covered John The Revelator, the first recording of which was that of Blind Willie Johnson in 1930. Hill gives it am almost Spanish guitar build up in the intro before going off into a metronomic, hypnotic vibe. Joanne takes the first lead vocal and delivers a strong one. Ragged harp and electric slide, also from Hill, add a different dimension. Run On is an up-tempo Gospel tinged with Howlin Wolf and John Lee Hooker influences. Joanne has a strong voice and shows it as she belts out the warnings about running foul of the Lord. Hill is a talented guitarist both on and off of slide and the rhythm section of Frank Pagano on drums and Steve Gelfand on bass keeps it going. They are off into a meaty groove immediately for Soul Of A Man, another Willie Johnson song, led by Pagano. Hill takes the lead vocal this time and regales us with his deep baritone and sleepy tones. This is a multi-layered song with wailing harp and slide guitar more than effective. Tom Waits’ Way Down In The Hole is turned into an up-tempo shuffler with Hill’s daughter Paulina on lead vocal this time. It’s effectively a Gospel Blues with a strong message about keeping the devil in his place. Robert is on slide again and excelling. The first of Hill’s four originals is Jesus By The Riverside, an acoustic slide extravaganza with Joanne back into her higher register, although she does show her full range. It’s an upbeat spiritual with electric slide coming in on the solo. They are a formidable duo and when the song speeds up with a minute or so to go, Robert leads the way on slide with Pagano going with him on drums.

Pay One Way Or Another is a stuttering exaggerated Blues with Joanne reaching the big notes well. Ed Alstrom adds some Hammond B3 in the background but it is Hill’s hammering, jarring and sustained lead guitar stretching the strings that will attract your attention. The third of a trio of Blind Willie Johnson is the famous Nobody’s Fault But Mine and Joanne goes at it full on. It’s another with acoustic slide and with drums and bass to the fore. The vocals are harmonic and it’s an overall big sound with harmonica added. Another of Hill’s originals is A Devil’s Fool, a swinging Blues with Robert on form yet again. He also takes the vocal and shows he’s not too shabby a singer too. It’s a tale for us all to heed; don’t make it too easy for the Devil. Paulina returns to take lead vocal on Samson And Delilah and we can take comfort in her deep vocal. Another shuffling Blues, all Gospel tinged if that’s what you take from it. No matter the subject matter they are a good band with good music with the multi-talented Hill adding piano to back his guitar and fill out the sound. The last of the original songs is Preacher’s Blues and that Dobro is getting picked! It’s up-tempo with drums and harp making a telling impact. It's hard to not move to this and they seem so happy performing it. It hits you right between the eyes and it is a highlight. They close with another early Blues in Jesus On The Mainline. In fact, the earliest recording seems to be Mississippi Fred McDowell’s from the 1950s. On this, Hill his daughter and Joanne build the song on the basis of the traditional Baptist hymn with Robert throwing in dual guitar with sublime slide and Pagano and Gelfand helping to bring it to a crescendo. It’s not over the top though and is a perfect finish to a very good album.

www.roberthillband.com

Laura Evans – State Of Mind (Logy Music)

Born and raised in the valleys of South Wales, Laura Evans already had a head start in the world of music and like many who went before her she chose to follow a career in singing and song writing. This, her debut album, is filled with 11 originals that highlight her genre spanning approach and opens with the first of three singles, I’m Alright. You immediately get that she sings in the higher register and although there is gritty, grinding guitar her vocal could benefit from a bit more grit too. It’s a good groover of a start though. Solo is a deep gritty Blues Rock with a pounding chorus. This would be perfect if she could just remove a little of that sweetness from her voice. The vocal is almost there on the second single Fire With Fire, with it coming out crisp and clean. There is some resolute guitar and a soaring chorus for good measure. Those sweet vocal tones remain for Fool and it’s not a classic Rock voice. It’s just her and electric guitar for this slow one and her almost childlike voice is in stark contrast to the lyric of self-discovery. The last of the singles is the title track and the music is very good as guitar rocks it out again. Her vocal is more suited to this Blues Rock edging on Country Rock and although it sounds as if I’m getting at her vocally it’s not the case, I just think it’s a Country voice and one better in harmony.

Let You Down Easy is slow and acoustic led and another on the edge of Country. This is where she belongs as the key and style suits her best, especially on the big chorus. This is very good. I’m still convinced that she’s an on the edge Country singer and Drag Me Back In confirms this. Although there are Rock vibes throughout and she is often branded as a Blues Rock act I think she has a future as an edgy Country act. The song builds well with peaks and troughs with the peaks being very good. Good At Getting Over You is another that is more suited to her vocal. It’s a sweeping Country Pop that flows well and shows that she can certainly write a chorus. The album sounds like it is a result of a break up and on the piano led ballad, Mess Of Me, she finds her voice. It’s a beautiful song which soars in places. Gone is more like it and although her voice is back on the sweet side it does fit this grinding, thumping song so well. Country Blues Rock, it could fit into either genre and that’s where the quandary is. The closing track, Free, is acoustic led again and gives us classic outlaw Country vibes from the outset. It’s a strong finish with the drums getting a good beating and harmony in the chorus. This is another highlight.

www.thelauraevans.com

30/12/2022

David Lumsden – Rooted In The Blues (Self Released)

It’s taken a while but David Lumsden has gotten around to releasing his second solo album, a collection of 3 original songs and 7 covers. Steeped in Blues he’s seen Rock N Roll, Funk, Soul and the Great British Invasion in his time and they have all rubbed off on him. He starts with I Wouldn’t Lay My Guitar Down, an apt track to open with. It’s an Eddy Clearwater fast Boogie and although it’s a little light vocally it does have some deep sax tones from Ian Buschmann and is a decent opener with Lumsden’s guitar and Tim Bahn’s barrelhouse piano doing well. He follows this with the first of the originals, his own Runaway (Blues Train). This has guitar and harp calling to each other at the start then guitar takes over quite literally like a runaway train. This is more like it with drums charging like the train on the track. It’s an instrumental and a very good one at that, showing a lot of good technique. Ruthless Boogie has him channelling his inner JLH for the guitar style, though not vocally. It does what it says on the tin, it’s a guitar Boogie with Lumsden playing well. Jim Engel’s slapped drums drive it on with keys and bass (Gary Davis) in the background. Hound Dawg is a grinding version of the classic Hound Dog. As covers go, it’s fine and the vocal is better. Bahn’s electric piano adds a different dimension with some nice runs and Lumsden’s guitar is edgy. Good stuff all round. Your Memory, written by Jazz guitarist Greg Pasenko is an acoustic ballad with precise playing from Lumsden. There are just some keys to assist on this lovely instrumental which again shows his nice technique.

Harking back to his time with vocalist Reggie Britton, Hooked On Somethin’ is a grinding bass heavy Blues Rock with the dual guitar effect well played. The longest track on the album is Josie, a Steely Dan cover and a brave choice. He does it as an instrumental which is a good option as to take on the vocal would be even more brave. It’s well played and if you didn’t know the original then you’d think this is pretty good. He gets that Jazz feel with guitar taking on the vocal parts and doing it well along with electric piano taking on some of the lead duties. He’s a good player. He has a different take on the BB King classic Every Day I Have The Blues where he has drums to the fore and not the BB fills that we have loved for years. Lumsden’s solo is good though. Organ and bass come more into it as we go along but it’s not a patch on the original as he is not powerful enough vocally. The growling grinder, Ode To Jimi AKA Slow Burn, is unsurprisingly an homage to Jimi Hendrix. It’s a slow burner as it mentions in the title and is a fitting ode to Jim. It’s an instrumental and doesn’t have all the bells and whistles but there are little Jimi themes throughout with some recognisable snippets of his songs. He closes with Everything Is Broken and he goes out on a rocker. There is a gritty vocal from Kylan Davis, son of bassist Greg, and there’s a 60s rhythm and Blues feel to it. It’s railing against everything with a jarring guitar as the band rocks it out to the end. It’s a live recording and you can tell that from the dynamics throughout, not just at the end.

www.davidlumsdenguitar.com

Jarkka Rissanen & Tonal Box featuring Kalle Falt – Bones (Humu Records)

After over 40 years in the business, Jarkka Rissanen is easily in the list of Finland’s top musical exports. Despite his long career, he never fails to surprise and teaming up with Tonal Box and Kalle Falt he continues to experiment. This 8-track instrumental album is Jazz inflected although he does venture into other genres too. The opening track, Chickenhawk, features some stern guitar from Jarkka over a swaying beat. It’s Blues based but he takes it in a different direction with lots of influences and Kalle Falt joins on sax to give balance. Heyday has bright, clear shuffling guitar with Falt’s sax giving a telling input. It’s a bit freeform with drums (Jussi Kettunen) and bass to the fore. The mid-paced and jaunty Della is a lumbering masterclass in guitar playing. Dual guitars, minimal percussion and sax with bass plucking in the back makes this relaxed brilliance. The gentle competition between guitar and sax is wonderful. Shake is a jazzy Blues with so many hooks you’d think you’d fallen into a fisherman’s bag. Following on from the previous track he’s hit a rich vein of form. There’s no big production, just beautiful tones and musicianship. Falt’s sax plays a big part with drums in syncopation.

The longest track on the album at over 6 minutes is Alfred and this is theme music if I’ve ever heard it. I’m sure that this will appear on some detective series somewhere, sometime. Guitar and sax are in perfect unison with drums and bass sweeping it along. Jarkka’s guitar rings out and Falt has that throaty effect and some lung bursting notes on his sax before we get some beautiful raggedness towards the end. Slide guitar is prominent on Glorybound and although it’s there elsewhere on the album, it’s more upfront here. There’s a slow shuffling rhumba feel and it’s instinctive music, they just know where to be with each other. I know that’s what all bands are like but there’s something different here. Slide is most definitely the star this time. Down The Road is a Blues shuffler and although the Blues do feature in spirit elsewhere on the album, this is the most obvious nod to the genre. We have gritty chords, bouncing bass and concise sax that all makes for a winning formula. The sax does become harsher as the track goes on but that just adds to the layers. The closing track is Sun Ra, which is replete with sweeping middle eastern sounds and, intriguingly tuba from Jorma Valimaki. Falt leads this on his sax and it’s definitely different. Hypnotic in parts, it ventures into Jazz with Jarkka’s guitar like a buzzing little gnat.

www.humurecords.com

Fran McGillivray Band – Rain (Self Released)

The Fran McGillivray Band is an experienced trio of musicians that have been bringing us their unique take on Roots music for a number of years. This, their first album in 5 years, opens with the climate change warning of The Flood which is a brooding Americana. We have spectral electric guitar from Mike Burke over an acoustic backing. Fran comes out vocally tops with suitable feel for the tone of the song. A good start. The pandemic is never far away on songs over the past couple of years and I Play By The Rules gives a subtle nudge to those who didn’t. It’s sedate and smooth with a very good acoustic solo from Burke which is almost Latin in its execution. Come Up Smiling is very easy going with a slight Reggae beat to it along with some Latin influences too. Fran is a soothing vocalist and her calm tones come across well on this slow groove. We get a slow Rhumba with a smooth Blues feel on Havana Blues and Fran gives us a sultry vocal as the band gives it a slow shuffle with slinky guitar and drums (Roger Nunn). Fran’s bass is always on point but this time she also adds the flute. She brings us a soulful vocal for the laid back Jump Back, complete with a funky South American beat before taking us to Canada for Toronto Nights. This continues their gentle approach and Fran’s deep vocal tones. There is some harmony from Burke and Nunn but there is also lots of string noise which can be distracting. Not distracting enough however to put us off Burke’s Latin themes.

Too High A Price is a slick Blues rocker in their own inimitable style and although they’re not a raucous band, this could’ve been a bit more edgy. Fran’s back on flute again for Driving In The Rain and I think there may be a guiro in amongst the percussion giving a Latin feel. This is one for slow and slinky acoustic late-night listening. Dressed To Kill is a lazy, jazzy Blues with pinpoint guitar from Burke and another for a late-night lounge. The shuffling Teach Me Everything is an acoustic led jazzy Blues again. They are a very tight knit and professional outfit with no histrionics or big egos, just very good musicians comfortable with each other. The Struggle is another that deals with climate change and corporate greed. Nunn has his drums to the fore as Fran delivers another sultry vocal. The song is bluesy with Burke’s guitar pinging and you know that Fran’s bass is there but like always, not in your face. To show her versatility she also adds keys. Smooth and sultry are the watchwords and that continues with the trance inducing Heaven Or Hell. It’s Blues based with prominent bass and an assured vocal from Fran. They finish with I Want To Hear You Sing, another pandemic related track, and a relaxed ending. The graceful vocal is set off by a backing of just guitar to give us a simple, elegant finish.

www.franmike.com

20/12/2022

Popular Creeps – All Of This Will End In Tears (Big Stir Records)

Named after a solo single by former Replacements drummer Chris Mars, Popular Creeps are a 4-piece, 2 guitar band out of Detroit that are bringing us their full-length debut for Big Stir Records. Lenny Grassa (guitar and vocals), Andrew Colvin (guitar and vocals), Joe Heaphy (bass) and Dave Nantais (drums) have produced 11 original tracks that begin with Black & Blue, a single from 2021, which is full of the attitude and power of Post Punk. A rousing opener. Window is replete with jangly guitars, power chords and surging drums. It’s nothing out of the ordinary but has its merits and is ragged enough to gain some authenticity. One thing though, there’s a ripping guitar solo. Gone By 45 is the current single and is very reminiscent of 80s/90s edgy Pop Rock bands. They are an energetic quartet and on From The Past they show that rough and ready Punk rooted, melodic Pop sound that will be their style. The singer is not a classic vocalist but he does grab your attention. The bass is prominent and there is a short, plain guitar break. Decent enough though. Keep It To Myself is electric led but acoustic is to the fore too. We get note bending solos and although they are hard to judge, they are so enthusiastic that I’m sure they will grow on you.

The metronomic Wait Forever is acoustic led with a hushed vocal which doesn’t really work. Banjo and keys join in halfway to add a little depth but don’t save it. Wait & See is the track of the album. Everything clicks on this one with boundless energy and great riffs. I’m thinking Eddie & The Hot Rods. Split Decision is another good one and they’ve worked their way into it. Maybe could have placed this earlier on in the album to give a more positive first half. The attitude is still there on the deep, rich sounds of Flamethrower. This retains the Punk ethos being almost naïve in its structure although the guitar is laid back this time. Tear Me Apart is high impact and one to get the crowd going. It’s full of energy with drums and bass lashing it on. One of the best, vocally and all around. They close with another acoustic led track, Favorite Picture, which is full of youthful tones and with an unexpected acoustic lead solo.

The shoots are already growing for the second album.

Joanne Shaw Taylor – Blues From The Heart Live (KTBA Records)

Covering her first live performance in over 2 years, Blues From The Heart couldn’t have been a better title for Joanne Shaw Taylor’s return to the stage. Recorded and filmed at The Franklin Theatre in Franklin, Tennessee, it features guest performances from Kenny Wayne Shepherd, Mike Farris and Joe Bonamassa. She opens with one of the singles of the year, Stop Messin’ Round and immediately shows how good a live performer she is. Joanne is a classy guitarist and her band, in particular Jimmy Wallace’s piano and organ drive her on. Track one and a highlight already. She has a distinctive vocal delivery, smoky and breathless yet strong and direct as shown on If That Ain’t A Reason. Sax and backing vocals (Devonne Fowlkes and Kim Fleming) help fill the sound along with Wallace on keys and Joanne’s solo is stretching and superb. Keep On Lovin’ Me is a jazzy Blues with Joanne imploring us to love her. She doesn’t need to worry, we do! The keys are there as ever and Steve Mackey’s bass is playing a big part. Her guitar rings like a bell confirming her as a strong player. Things are slowed down a tad for the smooth Blues of If You Gotta Make A Fool Of Somebody. Piano is prominent but drums are high in the mix too. Rob McNelly shines as he matches his tricks to those of Joanne. Can’t You See What You’re Doing To Me is the second of the singles and features the wonderful addition of Kenny Wayne Shepherd. This is sheer class and he is such a great live performer, matching Joanne herself, especially during a stunning key change. Wallace’s keys are integral to the sound and the rhythm section of the aforementioned Mackey on bass and Nick Buda on drums are on top form. She slows it down again for the soulful Let Me Down Easy and Joanne’s pleading husky voice sells it. Sax and organ are to the forefront as Joanne’s guitar really does ring like a bell this time with a big, ballsy solo. The mid paced shuffler Two Time My Lovin’ has a Kansas City feel with sax and organ becoming big features. This just makes you happy. Mike Farris guests on I Don’t Know What You’ve Got as sax and organ take the front stage. This is a slow R&B/Soul with the backing singers turning in a powerful performance and a big sax solo leading into some slick guitar from Farris.

Three Time Loser is a Boogie with ubiquitous organ and backing vocalists matching Joanne’s vocal and intense guitar and Dyin’ To Know, the third of the singles gives a brief respite with guitar and percussion only to back her vocal at the start before it explodes into life as a driving Boogie. Hypnotic, with slide guitar, this is an excellent highlight with peaks and troughs making it interesting throughout. Mackey’s bass leads us into Just Another Word before the rest of the band joins in giving an altogether slinky, feline feel. Her voice suited to this as she smooths it out and then relaxes us with calming guitar. The slow and moody I’ve Been Loving You Too Long features jagged guitar with long sustained notes showing control throughout and a power chorus. Grungy Blues Rock appears in the form of I’m In Chains and Buda’s pounding drums makes this very good. It’s all about being locked in an unwanted relationship as Wallace rips it up on keys and Joanne matching it. Don’t Go Away Mad is the first of 3 with Joe Bonamassa to finish the evening with. This is upbeat and up tempo with Bonamassa so distinctive and makes it different from the rest of the album. It’s light and airy but that takes nothing away from the mastery of their guitars with both playing very well. The classic Summertime features crisp guitar with drums and keys leading the way. Joanne’s hot, raspy voice is great for this and along with Joe’s superb fills it makes for two players on top form on an excellent version of this great song. The concert closes with Only You Know And I Know with Joe taking the vocal first on this R&B. Joanne quickly answers him and this is a good one to finish with. Wallace shows he is not being outdone with a superb solo and the sax is in there with drums pushing it as usual. It’s a great team effort all around as Joanne and Joe play it out to the finish.

Live albums can be hit or miss but this falls firmly on the hit side.

www.joanneshawtaylor.com

www.ktbarecords.com

19/12/2022

Giulia Millanta – Woman On The Moon (Ugly Cat Music)

I had a first introduction to Guilia’s music on her 2021 album Tomorrow Is A Bird, which was number 20 on our non-Blues charts for last year. So it was with great excitement that I set out on this, her 8^th solo album. She opens with the eerie and stark Mad Man On The Moon which starts with just voice and electric guitar. Gabriel Rhodes and Giulia share guitar and piano duties as the piano plucks some haunting notes as it starts to build. She has an expressive vocal, certainly not one in the classic sense though. We get a slight bass intrusion from Rhodes as everything goes all minimalist. Things turn acoustic for the theatrical Run Away. There is some more percussion from Rick Richards but not much. Rhodes chips in with backing vocals and the song has a certain rhythm to it. There is a ragged, eclectic, reverberated electric solo and this one does build. She’s not really getting out of first gear and The Ghost Of Yourself continues that trend. Giulia gives us a breathless vocal full of expression though. It’s acoustic led again but the bass more noticeable and percussion John Chipman remains at a minimum in fitting with the softer sounds. First of two versions of The World Is In Your Heart is the dreamy version. This is very clear and sparse with just vocal, acoustic guitar and keys. It is a beautiful song with some backing vocal and what could be a harp although Rhodes is credited with making ‘weird sounds’ so it could be one or other of the listed odd instruments. These include a wet towel in the bathroom sink, an empty pizza box (clean) with uncooked rice in it, puppet legs against a wooden box, chimes out of an old grandfather clock, a chain in a bucket and…..Giulia’s naked thighs! Looking For Bliss is slightly quicker but still uses acoustic guitar and keys as the backbone. Again, there’s some percussion and we still have that overall theatrical feel. She’s slightly rocking it up with electric guitar joining as the song builds. This will grow on you. Displaying her European roots, You Don’t Wanna Know has that jazzy, Euro feel. Wah wah pedal is deployed adding to the bouncy rhythm and Giulia throws in some of her native Italian.

Things are slowed down and it’s back to the acoustic guitar for the achingly beautiful The Guest. It feels like she’s baring her soul on this one. Percussion is still being kept to the minimum and there’s some striking piano, again minimal with backing vocals filling it out. Plucked guitar strings and what sounds like a bottle being hit are the main sounds of Go South and Rhodes’ backing vocals and ragged slide guitar are in demand again. Giulia is expressive and theatrical, again on the Avant Garde side, drawing comparisons to Edith Piaf, Norah Jones, Madeleine Peyroux and even a female Tom Waits. The song will grow and I don’t really know why. That’s what Giulia is all about, she always keeps you guessing. Vola Via is sung in Italian and it follows that it is very European in its execution. Jazz, Roots or something in between is how to describe it. It’s slow and rhythmic with electric guitar coming in again to pierce the scene. The Distance In Between remains in this space between Jazz and Euro. She will be, and has been, seen by some as an acquired taste but this is a set of songs that stay on the gentler side. However, don’t let that fool you as she has plenty to say. The rocking version of the earlier The World Is In Your Heart changes the song with a grungy electric guitar being the main difference. Drums and bass get a rare run out as they become a band and if they had speeded it up it would have made it even better. She finishes with The Way That You Are, which is just her and electric guitar this time. It’s a slow and sweeping love song which shows that composer Eliza Gilkyson is an impressive wordsmith and that Guilia has a unique vocal which is wonderfully cracking in the upper range.

If you are looking to rock it out then this isn’t the album but if you want an introspective night listening to the lyrics for a change then you might find something in here for you.

www.giuliamillanta.com

01/12/2022

Sammy Volkov – Be Alright! (Self Released)

Edmonton, Alberta based Sammy Volkov is probably unlike any other singer that you’ll come across at the moment. He is one for surrounding himself in old music and that has certainly rubbed off on his writing style. The gentle opener, Replacement, is a case in point. This is in the vein of the great singer songwriters and certainly has a retro sound although that’s no bad thing. His voice has a Roy Orbison tone and that’s not the last you’ll hear of that comparison. Blue Star is one of three singles on the album and there’s that Orbison similarity again. It’s a bustling song, merging 60s with R&B and bringing it to a new audience. Deep throaty baritone sax from Dave Babcock sets it up. The piano led, and pedal steel complimented, I Won’t Wait Anymore is a Country Ballad showing that he can turn his hand to a couple of genres. His voice suits the style and the Country subject matter too. Ryan Funk’s pedal steel complimenting the Brennan Cameron’s piano. Subject matter for Country too. The second of the singles, Weather Report, has echoes of girl groups such as The Shirelles with a bit of a percussive “Wall Of Sound” and Biggest Fool continues with the harmonies and backing vocals from Dana Wylie whilst keyboard led with acoustic guitar in the background. Vocally, he is in the higher ranges, comfortably so, and showing a little vibrato. Musically, straightforward, slow and well written.

Goodnight My Love is very 60s and set up for a crooner. It’s not what I was expecting but well done for what it is. Sax and piano with guitar, bass (from Harry Gregg) very unobtrusive and drums gently shuffling. This is lounge music with some good sax thrown in. The title track is an up-tempo shuffle with Brendan Lyons’ drums pushing it on. Track of the album by far where everything just fits and Chris Tabbert’s guitar is unshackled. Last, and best, of the singles, so more of this please. Back to the gentle acoustic sounds for Down With Me, another in the Country vein. It’s a lovely song with a thoughtful lyric and shows that he has a very good voice with vibrato on show again. No matter how hard you try you can’t get Orbison out of your mind and on In Spite Of The Night that’s a big compliment. It’s more contemporary than some of the others and another good song. He’s not showy, he just gets on with it. We get a short acoustic solo, Spanish style followed by an equally short piano one. There are not many solos on the album. On My One And Only Love he could be accused of being too sentimental but that’s the style of songs he’s writing to get that retro feel. It’s slow and swaying, maybe even going back to the 50s for his influences this time. Birthday Letter is a low-key finish but that’s not a surprise. Gentle acoustic again with mandolin from Brennan Cameron and painfully slow Not for me on this occasion.

I wonder what lies next for Sammy Volkov?

www.sammyvolkov.com

Copperhead County – Homebound (Continental Europe)

We reviewed their debut album Brothers in 2020 and it was one of albums of the year, bringing them to the attention of Southern Rock fans. No pressure then for this new album as the 10 tracks open with Sunny. They are straight into upbeat and up-tempo Country Rock. This is a rollicking start and it’s good to have them back. There is relaxed guitar from Robert van Voorden but don’t let that fool you as the solo is perfect and gives us their signature sound. Great start. Dreams Of The South is one of the singles. Dreamy and airy, it is slower than the opener but still harmonious and packed with clean sharp guitar. The pace is upped again for Quickjaw, a strong rocker with singer Corvin Silvester in fine voice. This is another highlight with van Voorden’s guitar the star again. The rhythm section of Alex Stolwijk (drums) and Johan van Dijk are on fire. Think Charlie Daniels without the fiddle. The other single, Solid Ground, is a better choice and this is a standout. They rock it out again with a big chorus and backing singers Ashley de Jong and Marja Boender fully onboard. It flows seamlessly and it deserves to be heard. Enjoy The Ride is much like Robert Jon & The Wreck at the moment – very good Southern Rock that makes you happy and let yourself go. Strong guitar again from van Voorden.

We have keyboards to the fore on Queen Of Vegas, another great Southern Rock. Guitar led with organ matching note for note at times. Rolling lead guitars, a la Allman Brothers and a highlight. The moody Tonight We Ride has a feeling of a Western movie in the guitar delivery but they Rock it out in the middle section and deliver another big expressive chorus. JamMan is a strutting Country Blues Rock with the guitar working it. Good fun with backing vocalists in fine voice again. We have Southern Rock of a high calibre again with Alpharetta Rain and these guys are not even from the US! It has a good pace and so well played showing how tight they are as a band and by tight I mean loose! They finish with Sound Of Summer and although that is a long distant memory now though it is a storming finish. Great Country Rock with Silvester on top vocal form fronting a band as good as any.

They’ve survived the pressure of the second album and have come out with a wonderful follow up showing even more maturity in their writing and playing. This deserves to be one of the albums of the year.

www.copperheadcounty.com

Johnny Rawls – Going Back To Mississippi (Continental Blue Heaven)

If you wondered where the title Soul Blues came from, you’d best have a look at Johnny Rawls first. You’ll not need to look any further as his music is the genre personified. With over 50 years in the business, he now brings us his 21^st release and there’s no sign of him packing it in just yet. With a backing band of the world-renowned Ozdemir trio (bassist Erkan and his sons Kenan and Levent on guitar and drums) and keyboard wizard Alberto Marsico he’s still on top form as shown immediately on Midnight Train. This has strong guitar, drums and horns (Peter Kehl on trumpet and Johan Bylling Lange on saxophone) from the outset with organ and bass in the background. Johnny’s gravel voice fits so well and if you didn’t know what Soul Blues was then this is it. Piercing guitar from Kenan Ozdemir shows how good he is and the song is filled with that classic sound and so full of Soul. Silky horns greet us on Reap What You Sow and Johnny has that classic voice which age hasn’t affected; in fact it’s made it more worldly wise. There are classic stylings in the guitar solo and this is a mellow highlight. He turns on the Funk a little on the driving and surging title track and this confirms him as one of the biggest stars of the genre still around today. Kenan’s guitar just goes right through you with Alberto’s Keys driving it through and the ubiquitous horns working with the rhythm section to quietly go about their work. However, the guitar is a star. He slows it down for a smoothie in the form of If You Ever Get Lonely. Horn and piano led; Johnny gets on his smooth voice for this Soul ballad. The strolling I Got It is in the style of the Soul classics. He has the voice that is synonymous with the genre and it’s got the hook in the chorus. The horns are so integral to the sound and this should be high on the list for the fans.

Whatever can he be talking about on Nooki Nooki? He tells us that he’d like to know what it means too. The song is a driving Soul Blues with some classic innuendo with horns playing a big part. I’ll leave it to you to fill in the blanks. There are joint vocals on Your Love with Johnny being more than matched by Ramona Collins. This is slick and heartfelt with Erkan’s bass more prominent, those horns yet again and some pretty good harmonies. The relaxing and soulful Amazing Love is comforting, like an old pair of slippers, with the horns just washing over you but he turns on the Funk again for Straight From The Bottle. This is Talking Soul as he and Elvin Bishop grind it out over Bishop’s superb slide guitar with Travis Geiman on trombone and Mike Williams on sax . The set closes with Love Machine and Johnny gets into a rock n roll boogie groove. This is a high action finish with Alberto rocking the keys and stealing the show. Horns and bass working well as Levent drives it on. I feel that he could’ve let himself go a little bit more vocally here but that’s a minor point.

I’m already looking forward to album number 22.

www.johnnyrawlsblues.com

www.gerryjablonskiband.co.uk

29/11/2022

Austin Meade – Abstract Art Of An Unstable Mind (Snakefarm Records)

The follow up to his Black Sheep album from earlier in the year, Abstract Art Of An Unstable Mind will confirm Texan Meade’s rise to fame. With fans such as Jelly Roll, ZZ Top and Shinedown then he’s certainly one to take notice of. The album can be taken as a day in the life of, a concept album or a series of individual stories that link up to give the full narrative. His morning starts with a short spoken track, LMAM Morning Drive, which is an excerpt of morning radio but on the weird side. Quickly on to Violation Delight which is heavy psych Rock. It’s eccentric and eclectic as he Rocks it out with grungy, overdriven guitars and a ragged solo. He’s taking great delight at getting back at someone as we start to get the narrative. Red Roof Estates is the first of a trilogy of singles (in fact, it’s the middle release) and he calms things down a little, adding a funky rhythm guitar but maintaining the power in the chorus. The strident, harsh sounds of Sinner Of The City is meant to be played loud. This is strong Rock and he plays it pretty straight up this time. It is a maelstrom of sound, turning Psych Rock in places. On Late Night Letdown he gets Spicy Stacey’s mailbox and that tells a story in itself. It has a jolly hook but that doesn’t hide the dark, sad lyric. It’s back to the radio for LMAM Midday Drop, another short stoner radio interlude as he goes through his day or maybe even a reminiscence on his earlier life. Queen Of The Letdown is full on Indie Rock and he’s coming over as a bit of an enigma. There are lots of influences throughout and although deep down he’s a rocker there are other little snippets in there which makes him contemporary Pop, hip hop too. He throws in grungy deep guitar grooves and thrashing drums just to mix the pot even more. The bass heavy Rose Romance is the last of the trilogy of singles to be released and second one here. The reverberating guitar heralds another pretty straight up Rock. He can turn it on vocally too as he tells us of relationships gone wrong and how wine was his downfall. The third of the radio pastiche has him as a guest on LMAM Exclusive Interview.

Varsity Type is the first of the singles trilogy and, like many others, is not for the faint hearted. This good Indie Rock has him railing against the world with plenty use of the F word. That said, it has plenty of melody, strength and power as he shows that you can be a bit different despite how difficult that can be. The final radio sketch is one with a late-night shrink, LMAM What’s Your Problem and then he’s off onto one of the album’s highlights, Loser Mentality. This Contemporary Pop Rock will bring him to the mainstream crowd with its strong harmony. He goes back to the harsher grunge guitar for Take A Trip. However, there is plenty of light and shade as he goes almost doo-wop in places. He’s a complete conundrum. There’s another goodie in the form of Dial Tone which starts with acoustic guitar over a dial tone before it explodes into life. Lots of influences here too, Foo Fighters and Biffy Clyro to name but two as the drums get a good going over. Acoustic guitar leads again on Abstract Art but this time it stays for a while longer. There is some lovely finger picking and a plaintive vocal as he surprisingly goes all gentle and warm. On Quicksand we have fuzzed guitars taking us into a strong vocal and a dark place. He’s losing it as he fights with his psyche; such a descriptive writer. He stays on that dark side for Darker Shade Of Blue with vocal effects deployed and a deep and grungy feel again. It’s all played in the lower register as he rocks it out. There are some operatic overtures in the backing vocal and it’s all very dramatic with a scorching guitar solo, which is something we haven’t had that often. The penultimate track, Forever Unfaithful, is a grinding rocker with a hypnotic riff and prominent bass. Good musicians throughout and they turn raucous at times. His acoustic returns for a short while on Rain Dancin’ but it soon turns into another forceful rocker to finish with.

I don’t exactly know what to make of Austin Meade but he’s certainly got something and I'm happy to have it in my collection.

www.austinmeade.com

www.snakefarmrecords.com

28/11/2022

Pure Assassins – Questions (Self Release)

Former Drum and Bass exponent Chris Rush has decided that Rock is where his heart lies and has left behind projects such as Calyx and his solo DJ’ing. After a few EP’s and singles he’s decided to bring us his first album, which he has pushed the limits. The band opens with the title track which is sedately paced and all right angled industrial sounds. There’s a wild sweeping guitar solo from Chris and Tm Hooper’s drums sound like they’re being scraped at times. It’s all a bit odd. They Rock it up a little for Time Machine but they still keep the oddness. The chord structures are visionary in places and although better than the opener it will take a lot of listens to understand it more. It goes all dreamy towards the end which adds a layer of texture. Dance With Me is a bit more conventional and will creep up on you. It’s still pretty sedate on the pace side but vocally, Chris fits the music and sounds good on this one. They open up a little on Heathen and give it a bit of a Biffy Clyro edge. Hooper’s drums thrash and Pablo Uccellatore’s bass throbs whilst Rush cuts through it all on guitar. There are more deep Rock sounds on the grinding By My Side with bass, this time played by Rush, to the fore. This provides evidence of his drum and bass past as it soars and sweeps. It’s vocally sound and his guitar pings throughout.

With a title Burn The Sun it’s always going to be a Rock tune, isn’t it? However, it’s not the best and is almost disjointed although I believe that’s the effect that they were going for. A strange one. Synths are deployed with heavy guitar for Spin ‘til The End and this is a true grinder. It’s light and airy in places though with plenty of rise and fall and is one of the better tracks as it goes off into a piano led segment before returning to the grunge and grind. Hooper provides some exquisite drum patterns on Easy Trigger, which is another on the good column. It’s fast with an interesting chorus and is something different, which has to be applauded. 3 Monkeys is more straightforward than most and with a big chorus. There are shades of Talking Heads in places, although not vocally. What it does do is that it shows Rush to be a good Alt-Rock singer. They bring in a choir for the closing track, Sing Their Song and this confirms that the second half of the album just edges it. It soars with good interplay between the choral and Rock formats and Uccellatore’s bass prominent again.

It's a bit of a curate’s egg but if you don’t try to push the boundaries then you never progress.

25/11/2022

Gerry Jablonski & The Electric Band – 105 (Self Release)

Gerry Jablonski & The Electric Band are no strangers to the Blues Rock community and are never afraid to speak their minds. This, their 5^th studio album, covers a number of topics and will fit in with their “money back guaranteed if you don’t like the show” ethos. The opener, Breaking The Stones, arrives with a bomb blast of guitar from Jablonski and it’s not long before Lewis Fraser’s thumping drums join him. This is Blues Rock on the heavy side and a strong start. Fuzzed harmonica from Peter Narojczyk plays with Gerry’s sharp vocal and we have light and shade with mellow patches. However, the harp lets loose towards the end along with ragged guitar. Possibly a reworking of the opening track of his 2009 eponymous debut album? Strange Love is rhythmic Blues Rock with Narojczyk’s harp to the fore at the start. When Gerry’s vocal comes in it changes style and turns quite bouncy although they return to the riff for the inserts. It fits all the classic styles but doesn’t have the impact of the opener. His guitar still has that ragged style, and that’s not easy to replicate. It's an acoustic start for the war themed Hard Road and with airy vocals it brings us a Rock ballad, and a good one at that. Harp takes lead duties where you might have expected a big guitar solo. However, that solo does follow and it’s epic with Fraser’s drums strong throughout. Dedicated to the late, great Free guitarist Paul Kossoff, Koss confirms how big an influence on their sound Narojczyk’s harmonica is. They’ve not gone down the road of trying to write a Free song and deal with the subject in their own way with a swaying chorus and the aforementioned harp. There are lots of Free song titles dropped in and some of Kossoff’s phrases are included in the guitar work though. Grigor Leslie’s bass shows up well and I’m sure that Andy Fraser would approve.

Tiny Thoughts, about mental health issues, is filled with strong Blues Rock riffs and is a classic British Blues Rock. The harp is becoming the focal point although we do have solid guitar and vocals from Jablonski and one of the best solos on the album with good interplay with Narojczyk. There is a straight up rocker in the form of Goddamn and this is a favourite as they up the pace. This has to be played at maximum volume. It’s nothing fancy, they’re just ripping it up with guitar and harp sharing some sharp lead. Breaking The Code is softer and musically I’m taken to Walter Trout. Obviously, the harp is an addition but otherwise very alike. This is another highlight and shows the versatility of the band. There is a moody opening to Heavy Water with both harp and guitar standing their ground. Rory Gallagher anyone? Certainly sounds as if it’s being delivered in his style and a grinding Blues Rock of a high standard. They close with a traditional Scottish classic in the form of Dark Island and many Scots of my generation will remember this being sung at family Hogmanay parties. Not like this though as Gerry and the band give it an electric guitar makeover! Think Jimi playing the Star-Spangled Banner and you’ll get how this old Scots song has been tackled. I like it.

With the opening and closing tracks this feels like a real good concert album and when they are good, they are very good with more highlights than not.

23/11/2022

The White Buffalo – Year Of The Dark Horse (Snakefarm Records)

Jake Smith aka The White Buffalo brings us his 8^th studio album in the form of Year Of The Dark Horse. This is his Four Seasons as he takes us through a year the life of one man and his relationship as it changes with the seasons. He opens with the double single of Not Today and Winter Act 2 and you immediately feel that there’s not many artists like him around today. His rich voice booms on the former and the expression on the latter confirms his status as one of the best songwriters around at the moment. He straddles genres but he is the epitome of Americana. Kingdom For A Fool is more recognisable as an Americana style song and although I don’t highlight too many lyrics I have to say that “I wish I’d find a better way to lose” is a great one. The song is acoustic led and is superb and mellow. It’s also very thought provoking as he lets loose towards the end and unleashes his full voice. The harsh, gritty vocals and drums of Love Will Never Come/Spring’s Song are so different from the mellow sounds that have just gone. The first part has him deep in depression before Spring comes with acoustic guitar and light. Definitely two sides of the coin. We get shades of Tom Waits on She Don’t Know That I Lie and he is every bit the storyteller. We have dark circus sounds, drunken images and sharp piano. Very theatrical. Another standout is C’mon Come Up Come Out and we’re back to the mellow sounds. I think that the line “I’m a wolf in a sheep’s sweater” sums him up.

Love Song #3 shows how good a singer he is and it is the perfect vehicle for his voice. Slow, emotive, evocative, wonderful. This album whisks past in the blink of an eye, it’s that good. He ups the tempo a little for Heart Attack, another astounding track. He goes full on potty mouth gallus on this punchy song that has me starting to run out of superlatives. We get an angelic voice for the atmospheric Am I Still A Child. Acoustic led again, it is deeply introspective as he questions his being. This is a beautiful song and there’s a surprise at every corner with this guy. The piano led 52 Card Pickup has him in commanding mood vocally as he throws out card analogies throughout with clever lyrics. He’s finishing the album in a strong vein. Donna is not the 10CC song but an up-tempo run through his leaving of Donna and wanting a better life. He doesn’t want her to be alone though but she’s dead to him so she’s not to mix up his good wishes for feelings. He’s in chirpy form here. He finishes with Life Goes On and its back to the acoustic for the finale. It’s a low-key finish but it builds beautifully. He’s a true wordsmith and makes it feel deeply personal as if you are intruding on his pain. Can’t make my mind up if this is a death song or not as it finishes with a few peaceful and calm piano chords.

The White Buffalo puts you through the wringer but that’s a good thing every now and then and this is an album that has to be heard in one sitting.

www.thewhitebuffalo.com

www.snakefarmrecords.com

17/11/2022

The Jujubes – Raging Moon (Self Released)

This, their sophomore album, has the band in typically stripped back sound mode and they start with a classic, Howlin Wolf’s Wang Dang Doodle. It’s not the booming voice that you’ll be used to but they do build it though and singer Nikki Brooks does howl it in parts. Picked guitars from Sandy Michie and Pete Sim with slide booming from Sim. A dustpan over a Dansette provides the sweeping percussion and this isn’t the last of the interesting percussion sounds on the album. This is an exciting and very good version of a classic. No harp until towards the end as they get to the aforementioned peak. Crocodile is a languid slide Blues with Nikki’s vocals matching the guitars note for note on the verse. Slinking up on you like a crocodile, images of the swamp abound. Percussion also comes from a cardboard box, foot stomps, a potted palm being brushed over with fingers like a harp and teeth gnashing – I’ll now leave it to you to find where those have been deployed through the album. Nikki delivers an almost sneering vocal on You Ain’t So Bad whilst Michie adds punchy acoustic guitar. Wailing harp and stinging electric join to provide an earthy and authentic sound and taking it to a crescendo. This is a resounding endorsement of the way they choose to deliver their music. True Religion is an achingly haunting tale of religion, death and everything else. It’s Gospel fuelled with Nikki singing in her lowest register and jagged guitar. This will creep into your mind. Next up is The Last Thing and this percussive song features Sim’s sinewy slide guitar and a slightly fuzzed vocal from Nikki. There is a sense of hypnotic foreboding running through it and there’s a warning contained in the lyric that you’d better heed.

The haunting feeling continues with High Fever Blues. It’s an old-style Delta Blues, stripped back and the most identifiable Blues on offer so far. There’s an interesting riff on the non-slide solo, some lovely notes coming from Michie. The slide from Sim on the other hand, more than holds its own. All in all, it’s in the dark in the tradition of some of the best Blues and is a highlight. Somebody’s Got To Go is acoustic led and another traditional Blues. The two guitars work so well together and the vocal is soothing yet menacing at the same time, like a punch from a velvet glove. All about warning off a love rival, the slide is the star on this. They play at a higher tempo for Devil’s Gonna Get You, which is based around the reverberating slide and hollering harp. There’s a pulsing harmonica break with all the percussion coming at us at once. The slide is again the star on this, which is another that carries a warning, this time for two timing. It’s back to the slower tempo for the melancholy and personal Make Me Cry before they finish off with Something More. This is a bit of a change from the Blues and Blues Rock of the rest of the album and almost feels out of place as it strays into the realms of Indie Rock. However, it does carry that acoustic feel and it also carries on the theme of love, loss, desire and rage that has pervaded the album.

I don’t think that they need to worry about second album syndrome.

www.thejujubesband.com

Dave Arcari – Devil May Care (Buzz Records)

For those of you who are unfamiliar with the work of Dave Arcari then pin back your lug holes! For his sixth solo album the Scottish Alt-Blues troubadour opens with the title track and on this we get some controlled aggression and a slightly softer version of Dave than you might be used to. We have rolling drums from Chris McMullan of the Northern Irish Punk/Blues duo The Bonnevilles alongside Dave’s trademark slide guitar. It is a song about two natural phenomena, The Whangie and The Devil’s Pulpit, close to where Dave lives in Scotland and the tales his father used to tell him about them. A good start. On the Celtic infused Blues of 1923, we have a tale of leaving home for a better life, a well-used theme in Scots Irish music. However, this is more than that as he sings about his Dad leaving home at the age of 15 in 1923 for adventure, including serving national service in the Italian horse cavalry. That said, you can hear the influence that this kind of music had on early Appalachians as it comes across on the Americana side. A softly sung tale, it’s just Dave, his guitar and reminiscences. Time Will Come is a sedate acoustic song which has a certain hypnotic effect. He is an honest musician, right down to using his own accent rather than some mid-Atlantic one. Is it a song about Brexit? A song about independence? Make your own mind up but it is certainly about the spin that both sides of the arguments put forward. He continues the gentle approach on Givers And Takers and remains acoustic. It becomes a bit conversationalist at times but I don’t mind that as it puts him firmly in the place of an old style Blues traveller with the delivery as he tells us about life’s users. A single from last year Loch Lomond (Home) has a return to electric guitar for this version of the famous traditional Scottish song. Making it his own he tells the tale of making his home there with locals adding the backing vocals for the chorus. Violin from Jamie Wilson is added to Dave’s slide making it quite ethereal in places. It’s not the rousing Runrig version but it does gain some momentum towards the end.

Stick To Your Guns is on more familiar Dave Arcari ground. Electric guitar getting a going over and added harmonica from old Radiotones band mate Jim Harcus is welcome. It’s still not full out mad man delivery though but it will give you an idea of what he can be like. I’d say that it’s a Scottish Delta Blues and although not mentioned, it’s a nod to his sponsors, Smokehead, who provide the whisky for Dave’s whisky driven Blues. Meet Me In The City is the current single and is one of two covers. The album is full of surprises and this Junior Kimbrough song is one. It’s not Blues yet it is. Again, this isn’t the rabble rousing Dave that we are all accustomed to but a reflective, introspective one yet a song, that has also been covered by the Black Keys, being made to sound like one of his own. Whisky is never far away from Dave’s music and on Whisky Trail he tips his hat to his previous sponsors, Glengoyne, who still use it on their Whisky Unscripted podcast. Played on the banjo, an instrument that doesn’t feature too often, this is mountain music, Scots style. Links between the Scots and the Appalachians are often through music and whisky. Guitar comes into it too as it comes across quite gently with Dave removing the grit from his voice completely. Looks Like You’re (Walkin’ On Water) actually feels like you are bobbing about like being on the water. There’s a little percussion, probably from his right boot, and it comes across a bit Spiritual but is, in fact, about Dave’s new found love of paddleboarding. His slide guitar is still of that high quality and this is one for a singalong in his live set with the crowd taking the roll of backing vocals. The second of the covers is Nine Pound Hammer, maybe best known for the Merle Travis version but in fact is a traditional song first recorded by the wonderfully named Al Hopkins and his Buckle Busters in 1927. It’s back to the acoustic guitar for this Country Blues and it’s another that is a spiritual work song in its feel. He closes with Walk The Walk and this gives us glimpses of Dave’s grittier side. It is moody, mean and menacing with stomping percussion and electric guitar. Dave is telling it how it is about people pontificating on things they have no knowledge of. It is deliberately slow as has most of the album but that doesn’t hide the fact that this one is John Lee Hooker for Scotland.

I said at the start to pin back your lug holes and although this is a different, more refined Dave Arcari you’ll get little insights to what he is about. Get the album but get to see him in person as the two experiences are completely different.

www.thebuzzgroup.co.uk

www.davearcari.com

10/11/2022

Rebecca Downes – The Space Between Us (Mad Hat Records)

Birmingham based Downes brings us her fifth album and her first full band album since 2019’s highly acclaimed More Sinner Than Saint. Opening with a short guitar Blues with vinyl crackles for effect in the form of Beccs Blues, she is quickly into the first of two singles, Hold On, and this power Blues Rock will shake you from your slumber. This is a killer song with such power in her vocal. Steve Birkett backs her well vocally and is the main man for the guitar too with a strong rhythm section keeping it all together. This Is How It Feels is airier and dreamier but it still has that power in the chorus and although they Rock it out it’s not the match for the previous track. Terrorise floats over you with Neil Ablard’s controlled power on drums and Vince Yarrington’s grungy bass driving it. It is rambling, hypnotic and swaying with a spoken section which has Birkett’s guitar ripping it in the background. I feel that she is pushing her boundaries with these last two. The title track has her back on familiar ground with a straight up rocking extravaganza. This is a favourite with its sleazy riffs and a down and dirty solo from Birkett.

The rhythmic Lights Go Out has a call and response from Downes and Birkett on the verse and a stomping, pulsating chorus. It’s driving and striding with tempo changes adding levels, all behind the excellent guitar of Birkett. Head Over Heart is a grungy rocker and this is where she excels. It’s full of sass and will be a great live song, as will a few of the others. The one cover on the album is a brave choice, that of Free’s A Little Bit Of Love. No pressure that my favourite Blues Rock singer is Paul Rodgers. Downes does very well with it though as she is a strong enough singer to carry it. They don’t do too much to it musically but there’s not really any need to. This is the second single and another favourite. Four Leaf Clover completes a trio of strong tracks. She has an energy about her voice that carries a song even if the song itself isn’t particularly energetic. This one meanders like a gently flowing river. Not On My Knees is the longest track on offer. With moody and atmospheric bells tolling and strong guitar strokes from Birkett, this means business. Downes gives us a soaring vocal with a song that’s about sticking to her guns and her own track. It’s deep Blues Rock at a crawling pace and it’s her best vocal; that’s saying something. This could be the track of the album. The set closes with a live recording of Rattle My Cage. I’ve had the pleasure of seeing Rebecca live and this captures her energy to a tee. It’s a classic Blues Rock with Nigel Darvill’s keys more to the fore than elsewhere on the album and which confirms her as one of the best Blues Rock singers that the UK has. If you get the chance, go see her.

www.rebeccadownes.com

07/11/2022

KB Bayley – Flatlands (Self Released)

This is the follow up to last year’s critically acclaimed Little Thunderstorms which came in at number 9 on our Non Blues Chart and the Geordie born and Southern raised singer and lap steel player brings us a mixture of originals and covers that he delivers in a raw form that begs to be listened to. He opens with the title track and you are immediately taken in by his warmth and conversational delivery. His Weissenborn guitar is excellent and the folksy nature of the track comes across well. He adds a mournful wail of harmonica to the opening of Driftwood Avenue, then his guitar joins for a strongly written reminisce of living in a seaside town. He has a keen eye for observation and this is a good song. There are no big productions on the album but the starkness is beautiful such as on Comet Girl. He keeps it close and personal and this is another where he draws you into his world. It’s just good gentle music, well written and well played with no vocal histrionics. Jean Ritchie’s often recorded The L&N Don’t Stop Here Anymore is the first cover. My favourite version is Michelle Shocked’s from 1988s Short Sharp Shocked and that makes me feel so old. Mind you, the original is from 1965 so that makes me feel even older! He gives it a very sympathetic treatment and does it proud, so much so you’d think it was one of his. This is very good and he shows how good a player he is on this tale which could be of a small town anywhere. The harmonica appears again on Year Zero, the only instrument to adorn the album other than his guitar. This is another gentle, conversational song delivered in his very descriptive style.

Tom Waits’ Johnsburg, Illinois has KB stepping out of his homeland again to sing another based on the North American continent. As expected, it is wistful and very personal although very short. Time Machine has him happy with his lot and just wants to live in today. It’s still the same gentle music and another with American slant. It’s beginning to feel like there’s a journey on this album. He’s a real storyteller but on The Black Crow Keeps On Flying it’s someone else’s story he’s telling. This time it's Kelly Joe Phelps and there’s tangible Americana and Blues vibes coming from it. Another favourite as his slide is flying. His final self-composition is World Without You which opens with crowd noises and birdsong. I feel that this is a truly deeply personal song with a profound sense of loss and how the feeling encompasses you. Simply beautiful. He wraps things up with a cover of Jason Isbell’s Maybe It’s Time and his warmth has continued to the end. Again, it’s just him and his guitar and a beautifully written song.

As second albums go, this is a peach.

www.kbbayley.com

04/11/2022

Great Willow – My Mystery/Only Two Ways (Self Released)

Americana duo Great Willow (James Combs and Erin Shawn Hawkins) bring us their latest single, the follow up to last year’s anthemic Together Again and a double A side to boot. On one side we have the heartbreaking old Country vibes of My Mystery with Abby Posner adding banjo and mandolin to James and Erin’s acoustic guitar to provide a gentle emotion filled song. Erin takes the vocal lead with James providing lovely harmony and it’s hard not to start singing along. On the other side we have Only Two Ways with James taking the lead on vocal. He has a certain style that makes him stand out and there’s those harmonies again as they both reach out for the notes. Strong pedal guitar from I See Hawks In LA’s Paul Lacques adds to the peaceful feel before it is joined by cello for a different dimension to the outro as Lacques makes whale noises in the background for an eerie finale.

All well and good but when are we getting an album?

www.greatwillowmusic.com

02/11/2022

The Phantom Blues Band – Blues For Breakfast (Little Village Foundation)

I first reviewed The Phantom Blues Band on 2007’s Footprints and it took until 2020’s Still Cookin’ for them to come back on my radar. The break this time has not been so long with the release of Blues For Breakfast. This is a 12 track, horn laden treasure trove of genres with the band in fine fettle. Although the majority of the album is Blues in the form of songs such as the upbeat running opener Take What I Want with its gritty sax solo from Joe Sublett, the bouncy OK I Admit It with Jim Pugh taking over and snapping into it on keys following the sad passing of Mike Finnigan last year, and the smoky late night Chicago style of Laughin’ And Clownin’ with its mournful vocal delivered with controlled power and harmonica and Johnny Lee Schell’s guitar playing off each other, they do cover other areas. These include Soul with the sultry Get Involved with its tale of don’t just sit there and complain, do something about it and its Isaac Hayes sounds with Fulcher’s bass on top and prominent horns, and the smooth and languid Still Be Friends. They also dip their toe into Country, albeit with a Blues slant for the strolling and meandering Country Boy, which is old style and nostalgic with female vocals adding a little grit, piano Boogie in the form of the rip snorting closer, Stuff You Gotta Watch with call and response throughout from both horns and vocals, although I feel that the vocal could have added a little more power, and Reggae for a top revamp of Curtis Mayfield’s classic Move On Up with muted trumpet from Lovitt and even some chatting.

However, it’s the Blues where they always come back to, as you would expect from a band formed to be Taj Mahal’s group and who are often first call for acts such as Bonnie Raitt and Robert Cray. That draw back to the Blues is personified on the shuffling, New Orleans vibe and varying tempo of She’s Into Something with its barroom piano, jagged guitar and sax solo, Stepping Up In Class, a mid-pacer with horns hitting the fills perfectly, especially the powerful sax from Sublett with Fulcher’s bass pinging and Tony Braunagel’s drums slapping throughout, the sleek I Know You Don’t Love Me where they raise the tempo, control the sax and tell us how it is, and the grinding, funky That’s What Love Will Make You Do with Fulcher’s bass on point, Schell’s sharp and pointed guitar and Pugh shining on his solo.

There are harmonies throughout the album and Schell and Fulcher swap lead vocal with ease. They make you feel comfortable all over and they are such as classy outfit with Pugh on keys, the sax of Sublett and trumpet of Lovitt forming the base of their sound.

Highlights are I Take What I Want, Move On Up, Laughin’ And Clownin’, I Know You Don’t Love Me and Stuff You Gotta Watch.

www.thephantombluesband.com

www.frenchyandthepunk.com

26/10/2022

Frenchy And The Punk – Zen Ghost (EA Recordings)

New York City’s cabaret Punk duo Samantha Stephenson and Scott Helland, otherwise known as Frenchy and the Punk, bring us their 7^th album which is filled with their signature movielike drama, spread over 10 tracks. They swing between alternative Folk and Rock as Stephenson turns in her best Grace Slick, Florence and Siouxsie vocals over Helland’s chugging guitars. The highlights are the single, Mon Souvenir, the dark If The World Doesn’t End First, the acoustic and airy Church Of Sound. It’s all very New Wave/Post Punk with Stephenson a powerful, unforgettable and expressive singer. There are theatrics throughout with Blood and Oxygen particularly formed by soaring, spectral vocals. It all closes with the stark I’ll See You Again, played with just voice and guitar.

This will appeal to many, especially fans of Siouxsie and the Banshees, Florence and the Machine and early Blondie.

Sara Niemietz – Superman (Self Released)

LA based songstress Sara Niemietz has formed a partnership, both writing and producing, with guitarist Linda Taylor and Superman is the first fruit to be borne from that partnership. She’s not content with sitting in one genre and explores a number of them through this 14-track journey which opens with one of the two singles, Locks. This is rhythmic, grooving, hopeful Pop voiced by the silken tones of Niemietz over some grinding guitar from Linda Taylor and lots of rimshots from drummer Leo Costa. The second of the singles is I Want You and you are immediately taken into a groove by bassist Daniel Pearson. There’s a bit more Rock in Sara’s vocal and the phase effect on the drums makes it ethereal in places. Ed Roth’s keys and Taylor’s guitar assist the driving drums of Costa on the snappy Tip Toe. Pearson’s bass is unobtrusive but a vital component of the sound. Lovely Lies has Spanish guitar and Sara turns in a lovely vocal performance on this slow and smouldering Rhumba. It’s just voice and guitar before bongos join in for a piece of percussion to make for a very good song. Fill Me Up stays on the slower side and the Jazz undertones in some of the other songs come to the surface here on this soulful Jazz Pop. Another thing to note is that this is a very loose and laid-back band. It’s difficult to pigeonhole her as there are elements of Pop, Jazz, Soul and Rock in her music and Four Walls is a case in point. This is smooth and very easy to listen to with Sara’s relatable voice. It has those Pop Jazz overtones again along with contemporary R&B and is currently being translated into Mandarin, a language that Sara has a big interest in having released several videos of her singing in Mandarin already. Her breathless, smoky vocal is used to great effect on Come To Me as she hits all the high notes. Full of heart and drenched in Soul, this is late night music, something to sit down to with a glass of wine and forgetting the cares of the day.

The slow grooving Names will get into your head as it turns a little rockier. She melds genres very well and this one has elements of modern R&B fused with a Rock chorus. Very good. Keep An Eye has almost a Steely Dan style beginning with keys and guitars very much on point. She’s on that side of the tracks and will appeal to you more and more the more often you listen. This is another that is very good and Pearson’s bass is special. She keeps on fusing the genres on GOODX3 and fills the acoustic led title track with Jazz elements and shows just how soulful a singer she is. The acoustic guitar stays for Every Light, a contemporary R&B with a Jazz feel. Nice harmonies, rimshots a plenty from Costa and Roth’s piano all add to that Jazz feel. The atmospheric and very expressive Words completes a trio of acoustic led tracks. Grungy electric guitar from Taylor adds to the feel as Sara shows her full range and rages against the world. The set closes with electric piano and The Dimming. It’s a low-key finish as much of the album has been. It’s Soul fuelled, another for the end of the day and is quite perfect as a closing track and that’s coming from someone who always likes a loud rocker to close out an album!

Sara Niemietz is a welcome surprise and will be a fine addition to your collection.

www.saraniemietz.com

25/10/2022

Chris Murphy – Two Rivers Crossing (Friendly Folk Records)

Having been born into an Irish Italian family it is no surprise that Chris Murphy was influenced early on by mandolin, Bluegrass, Folk and Latin music. This EP is his 19^th solo offering and brings us themes of love, loss, redemption, hope and fear with Chris giving us a one man show by playing all instruments himself. He opens with the single, Early Grave, a mid-paced, toe tapping Country Blues. He has a deceptively simple vocal which draws you in and his fiddle playing is excellent with plenty of bow strokes. Into The Past brings deliberate off key strokes to give an eerie feel. His vocal struggles at times but the fiddle more than makes up for any vocal deficiencies with mandolin giving good backing throughout. The up-tempo Complete Surprise has him drawing on his roots with a homely Celtic feel and the minimalist Long Ago has him in a wistful mood with pizzicato mandolin strings only backed with an understated foot stomp. There is, however, something else in there, harmonica or keys adding to the lovely flowing fiddle, perhaps his best. The Wolves Of Laredo is rootsy and whilst his vocal detracts from the song in places, the stark and sweeping strings make you listen. The closing track, Shantallow, is the only instrumental on offer and this medium paced jig is the best track on the EP. It’s just his nimble-fingered fiddle and foot thumping for percussion and you’ll be joining in before the end.

www.chrismurphymusic.com

19/10/2022

Blue October – Spinning The Truth Around Pt 1 (Megaforce Records)

The first part of a double album with the second coming early next year, Spinning The Truth Around is 11^th album from the Justin Furstenfeld led band. They open with the title track, a soaring and deeply personal song which sets the scene for the rest of the album. Driven by the strong vocal of Justin and the drums of Jeremy Furstenfeld, this is very, very catchy and with a sombre piano ending courtesy of Ryan Delahoussaye. The Shape Of Your Heart has a smokey, almost whispered vocal at the beginning but soon rises to a clear tone. Pizzicato strings add to the starkness of this break up song. The percussive and contemporary How Can You Love Me If You Don’t Even Like Me continues the theme of loss and the slickly produced Pop Rock of Don’t Say It Wasn’t Love is easily good enough for the charts of any day. Change is guitar driven (Will Knaak) with a heavy bass from Matt Noveskey and Jeremy’s drums always prominent. This grinds away with vocal effects adding to the harmony. Prince comes to mind. Acoustic guitar is deployed for the first time on Where Did You Go I’m Less Of A Mess These Days. This is just good Pop music with a soaring chorus for the backing vocal. We’ve had the breakup, now we’re trying to get the good days back.

The Kitchen Drawer is sombre, moody and atmospheric and that breathless vocal comes in before it explodes in a cloud of sound. It’s virtually a keyboard led instrumental and the band takes us through all of the emotions even without words. One thing that is special is Delahoussaye’s deeply moving piano at the end. Justin speaks the vocal at the start of When Love Isn’t Good Enough, an airy, slightly unnerving song where I felt that I was a bit of a voyeur. His vocal is croaky and whispery but there are surprises within the 7 minutes plus of the song. It goes all operatic at the halfway stage and it’s a good tenor voice at that. It bursts into life afterwards and is theatrical and symphonic in places. Add in the traffic noises at the end and you have the complete article! It’s back to earth with the slow and moody tales of love with Trust You and the atmospheric The Girl Who Stole My Heart. We get elements of Coldplay and others of their ilk with this being full of melody and drums. I will say that the vocal effects can be used a bit too much as times. Is there a harmony or just electronics? There’s a big, soaring chorus and Peter Gabriel influences too in there too. Pinging drums and sweeping guitar brings us to Shut Up I Want You To Love Me Back as they up the pace. It still has that electronic feel with the vocal being fed through the machine, 80s electronica style. It’s got another power chorus and well sung. Could easily be one of the best on offer and I do love that chorus. They finish with Big Love, not the Fleetwood Mac song, and this is a vocal and percussive extravaganza. It’s the end of his story for the time being but I’m sure that there’s more to come. Justin’s vocal hits the spot as he shows his tone and range for the last time.

www.blueoctober.com

www.megaforcerecords.com

18/10/2022

The Boneshakers – One Foot In The Groove (Take It To The Bridge Records)

On this, their first album since 2006’s Put Some Booty On It Vol 2, and celebrating the 25^th anniversary of their first release, The Boneshakers have recruited Moonshine Society’s lead singer Jenny Langer and she makes an immediate impact on the opener, Mr Alice Doesn’t Live Here Anymore. Bob Dylan and Don & David Was written, this has a funky, grinding Soul Blues groove with a storming vocal from Jenny Langer, jagged guitar from Randy Jacobs and trumpet and sax blowing it out. They cover The Rolling Stones’ Let’s Spend The Night Together with electric piano, horns and slide guitar. The main change from the original is that they turn it into a Southern grinder. I think the best cover of this remains David Bowie’s although this comes close with Langer in good voice, picking up on some of Jagger’s sleaze. This is the lead single with Bernard Fowler of Rolling Stones fame joining as do The Texacali Horns (Joe Sublett and Mark Pender) often seen with The Kenny Wayne Shepherd Band. The laid-back Julian Burdock song I Am The Blues has Jacobs’ guitar hitting like an arrow straight to your heart. Jenny’s smouldering vocal and the horns makes this a highlight. Steven Van Zandt’s Ain’t Got The Fever No More is a swaying, strolling Blues with a glitzy feel and slinky guitar from Jacobs and Big Legged Man, written by Jacobs and Langer is a funky Blues with a big vocal driving it, bass on form, fuzzed guitar and slapped drums.

The Donnie Fritts written title track is a grinder. Jenny has a great Blues Rock voice and this band is the perfect foil for her. Hammond is taking some lead duties and the sound changes so much because of it, for the better of course. Jacobs’ solo fits the pace of the song, and is quite a simple one this time. William Bell and Booker Jones’ I Forgot To Be Your Lover is given a sultry Blues Soul treatment with Jacobs contributing lead vocals and working well with Jenny. Ice Cream And Cigarettes, written by Sophie Baudry, is another laid back Soul Blues with electric piano filling out the sound superbly whereas More, More, More has drums and running bass driving a funky Blues. Horns and organ are backing well on this Clarence Reid written track and Jenny’s voice is so suited to this with just enough grit and dirt in the delivery. They close with Powerful Notions and they are certainly staying in the Funk area. We get Hammond again and a prominent bass along with Jacobs’ jagged guitar and the horns doing the fills well.

When you put a world-renowned guitarist with someone who was born to sing the Blues then you have the perfect marriage that is The Boneshakers.

www.officialboneshakers.com

12/10/2022

Davie Furey (feat Ellyd) – Downtown Parade (Self Released)

This new single has a piano led, atmospheric opening before Davie starts sharing lead vocals with Dublin singer-songwriter Ellyd. Her smokier vocal melds well with Davie’s crisp clear tones. This is the second time that the pair have collaborated, the first time being on Secret Light in 2017. Downtown Parade surges when it gets going, despite maintaining a moderate pace. It does, however, spark at the end in a swirl of guitar, drums and vocals. It’s a story of how city centres have that certain energy although not always positive, but it does paint a picture of how you get that buzz when you are in a city centre.

www.daviefurey.com

10/10/2022

Silent Partners – Changing Times (Little Village Foundation)

Silent Partners are Tony Coleman (drums and vocals), Russell Jackson (bass and vocals) and Jonathon Ellison (guitar and vocals) and they bring five decades of experience to these ten tracks, nine of which are originals. When I say experience I mean it. Individually they have been band members for BB King, Albert Ling, Bobby ‘Blue’ Bland, Johnnie Taylor, Otis Clay, Denise LaSalle and Matt ‘Guitar’ Murphy. That’s experience! The opening track, Ain’t No Right Way To Do Wrong, is a creeping, stealthy Blues with a strong lead vocal from Coleman. He has a voice like chocolate wrapped in velvet. There are swaying strings from Don Dally over a punchy and percussive soundtrack with Ellison’s guitar and Jim Pugh’s piano giving that percussive sound as Coleman’s drums keep the beat. This is so smooth. Post Traumatic Blues Syndrome is more of an up-tempo Blues with rolling drums from Coleman and Jackson’s bass more prominent. There is a piercing guitar solo from Ellison and there’s that vocal again. They can switch it about and on Road To Love we get a classy Soul Blues with a powerful and pleading classic voice, this time from Ellison. His guitar is also making some telling notes. The cover, albeit with updated lyrics, is that of BB King’s Never Make Your Move Too Soon. There is a spoken intro from Coleman as he goes into the story of how he got together with BB King. It’s a funky shuffler with bouncing bass from Jackson and suitably BB King style playing from Ellison. Keys and drums hold it all together perfectly. Dancin’ Shoes is a high energy Blues with Ellison picking out the notes on guitar, and shining, whilst the rhythm section goes wild. Jackson takes lead vocals for the first time and he has just the perfect vocal for this. Pugh’s keys answer the guitar with an epic riff to produce a highlight.

Love Affair With The Blues is power from the outset with vocal backing from Lisa Leuschner Andersen who joins her husband Kid Andersen who has been providing guitar throughout. This is a gritty Blues with subtle tempo changes. Those keys from Pugh are there again along with steamy guitar which is growing in presence. They can Funk it up too as they show on the Soul Blues of Proving Ground. Percussion is on top with bass and guitar joining the drums to produce a rhythmic beat. Ellison’s guitar solo is so crisp and the added congas from Vicki Randle are a treat. There’s more from the Soul side of the Blues with Teasing Woman and you certainly can’t trust the woman from this tale one little bit. It’s sleek and Ellison’s guitar is becoming the focal point as it makes another telling solo. Ellison also takes on the vocal and he soars as we get the message that he’s been taken for a fool but he won’t be the last. Good To Myself is a Chicago style swinger with all components equally well heard. This is good, with a singalong chorus, and will do well live. Some lovely runs on the guitar again from Ellison. They close with Beale Street Shuffle and it does what it says on the tin. It’s a slow shuffle with guitar leading the way and they show that they are very lithe and loose band. It’s about Memphis but there are shades of Sweet Home Chicago too. A great finish to a very good album.

www.themightysouldrivers.com

07/10/2022

The Mighty Soul Drivers – I’ll Carry You Home (Hog Heaven Records)

Drummer, singer and Blues DJ, River City Slim formed The Mighty Soul Drivers with singer-songwriter and New England Music Hall of Fame inductee Bob Orsi in 2012. I’ll Carry You Home is their second album and brings us seven originals and four covers. They open with one of those covers, The Temptations I Can’t Get Next To You and they are immediately into a slow groove with backing vocals adding to Orsi’s lead. The rhythm section of Tony Delisio on bass and River City Slim on drums is sleek. This will sneak into your consciousness as Orsi shows how good a vocalist he is and with a good tone, which is well controlled in the higher range. Full of Soul and a great start. The title track is the first of the originals and, written by Orsi, it contains some classic Soul sounds. His vibrato comes through strong and he hits the notes. His voice matches well with the backing singers too. Neil Tint gives us a rich trumpet solo with organ and guitar from Steve Donovan and Larry Willey in backing roles, all adding up to a warm feeling. The smooth and slightly more up-tempo Party By The Tower takes us back to the historic Shaboo Inn where James Cotton often held court. John Smayda’s sax takes on solo duties and Willey’s guitar is finally unleashed. Both handle it well. A Little Bit Of That has a fuzzed guitar lead as the intro before they carry us off on a good groove. Horns join in as the rhythm section keeps it going. Orsi and Donovan then take us through this 8-minute epic with Donovan’s Hammond unmistakeable. Smayda unleashes a deep sax solo and Tint’s trumpet takes over, followed by the Hammond as they all get in on the act. I know who wins (it’s the Hammond). Smayda takes us out to the end. This will be a live staple I’m sure. Betty Harris’ signature song, Cry To Me is the next cover and they slow it right down. It’s emotional and well sung by Orsi with his vibrato on show again and a slinky solo from Smayda.

Bobby ‘Blue’ Bland’s I Wouldn’t Treat A Dog is a funky Soul Blues with a bass line to bend your back to and a horn section and guitarist working a treat. Those horns feature again and sell the upbeat funky Blues of Cold Cold Night so well. Throw in a scorching guitar solo from Willey and pitter patter organ from Donovan and you have another cracker. Tell Daddy is the last of the covers albeit a male version of the Etta James classic, Tell Mama. It’s up-tempo, as you would expect, with horns leading the way and is a great version of the song first recorded by Clarence Carter. It’s one of my favourite songs and is here too with bass and drums high in the mix as they have been throughout and a wailing sax solo. Parking Lot Blues is a sweet, soulful one and so well played and sung. They are the real deal. Pinging guitar from Willey but horns and organ are the leaders here. There’s an unexpected turn with the barroom piano on Piece Of My Pride. It goes off into a medium paced shuffler and is Blues on the rhythm side. This is another favourite with Delisio’s bass chiming it out and Smayda’s sax taking on lead duties again but Donovan’s piano doesn’t let him have it all his own way. They came in on a groove and they’re going out on one too with Dressed To Kill. You can make some feline moves to this (but only if that’s your thing). That bass, man, what can I say. Smayda has his obligatory solo and Willey plays a ragged guitar solo along with the horns as they truck on out.

2 albums in 10 years? Maybe don’t let us wait too long for the next one!

Vernon’s Future – Aquaplaning (VF Records)

UK Indie Rock veterans Vernon’s Future bring us their new album, which is in fact a series of singles from 2019 onwards plus a couple of new ones. The Liverpudlian crew, formed in the 1980’s under the name of The Vernons and releasing one album, reincarnated as Vernon’s Future in 2015. They start with the lead single, Call To Arms, with pronounced bass, weary vocal and sharp guitars. This is good Indie music from the Pop side of Indie. It’s a political song to a certain degree and a plea to save the planet before it’s too late. Just Can’t Help Myself is upbeat and rolling with keys from Jon Fiber playing a part. I detect some Eels influence with a good hook and drummer in the form of Tom Le Bas playing for his life. This is good. Church bells and organ introduce Holy Joe, which is guitar based Rock, courtesy of Simon Burchill and Andy Harding. Fiber’s keys are keeping the rhythm going throughout on this endearing track. They produce some catchy hooks on Honeysuckle Love which harks back to the height of Indie in the 80's and 90's with some good patterns from Le Bas on drums and chiming keys from Fiber. The mellow Lights Have Changed has a classic Indie vocal from Burchill, not quite on point but that’s the required effect. They are indeed a good band; nothing flashy, just everyone doing what they are expected to do.

The bass heavy and staccato B Movie is filled with voice clips giving the impression of a disaster movie and the keys are great from Fiber. He also leads on Waiting At The Station and Simon ‘Hoops’ Hooper’s bass is vital again. They all play their parts as Le Bas’ drums get slapped, Harding’s guitar flitters away and Burchill gives his best ‘I can’t really be bothered’ impression on vocal. It works. Seek Shelter Now has public information excerpts over a soundscape of eerie keys and tapping drums. It’s not the best and, although there will be a valid reason for its inclusion, I can’t see it. There’s a new one in the form of Just Can’t Help Myself (Lazarus Mix) and this leans more on keys, giving an electronic version of the original taking them into the realms of those types of bands from the 80’s. It’s got acoustic guitar added later and is still good but the original mix is better. They close with Disco Oasis (Live in Leeds, April 2022) which is surging and guitar led. They like their spoken vocal inserts. Fiber’s keys are on form again and Burchill’s vocals sound so familiar but it’s that Indie sound more than anything else.

A welcome return to the land of albums!

www.vernonsfuture.co.uk

06/10/2022

Erja Lyytinen – Waiting For The Daylight (Tuohi Records)

European Blues Award-winning guitarist Erja Lyytinen is back with her first post pandemic album, her last being her Lockdown Live 2020 set which went down very well. She explodes on to the scene with the crushing groove of Bad Seed, which soon moves into a smooth melody for the verse. She is a classy performer and proves it with a big chorus with slide to the fore. This was released as a single and it’s not hard to work out why as she throws out some interesting runs in the solo. Last Girl is a storming, head bobbing rhythmic Blues Rock and is the other single on offer. Erja gives us a pointed vocal and is a consummate guitarist with her guitar like the wings of a butterfly at times, almost Satriani like. A highlight. There’s an atmospheric opening to Run Away before Erja unleashes the power. We get light and shade to say the least although she controls the power well and knows where to go for it. This is another favourite and you should blow away the cobwebs with this one as Tatu Back’s bass thumps it out and Erja provides some marvellous slide guitar. Everything gets thrown at the title track and most of it sticks. It’s like coming out of a dark dream just at the cusp of dawn, one of those where you shudder as you awake. Erja can take you from the highest high to the lowest low in the space of one verse with a deeply personal song that is full of mythology and a rhythm section that can grind it as good as the best.

Never Really Had You is a steamy Blues ballad with Erja on top form throughout bringing intense and wonderfully played guitar. There are so many very good female guitarists around just now and Erja is one of the best. We get an expansive chorus, soulful through the verse and another big solo. There is some deep, grungy guitar on Diamonds On The Road as they set out a groove. Lots of Blues themes in the inserts and super charged as it gets going. This is another highlight with her guitar just superb. Sometimes a title tells you what you are getting, sometimes not, and You Talk Dirty is a case in point It’s dirty, relentless Rock but Erja’s telling somebody to take a step back and in no uncertain terms. Her screeching vocal is a surprise and will take you aback. What might also take you aback is that this song first appeared 20 years ago! Love Bites is deeply personal and how love affects you. She’s not falling in love again, so she says. Expansive musically and sharp lyrically it’s maybe not the best but it does show her theatrical side. The End Of The Music is a sombre and soft finish. The guitar is there doing its stuff with lovely Southern Rock slide interludes and solos but special mention has to go to the drums of Iiro Laitinen.

Erja shows her Rock side on this album and it is very pleasing.

www.erjalyytinen.com

05/10/2022

The R Train Band – The Raven (Self Released)

The R Train Band goes all 60s cinematic on us with this latest release. I can imagine this as the theme to a thriller and Edgar Allen Poe’s Raven will be to the front of many listeners, as it should be as this was the inspiration for the song. Their all-enveloping sound has distinct echoes of Neil Young’s Hurricane and the lyrics are full of haunting themes of lost love and despair which only add to the theatrical feel of the song. It won’t be everyone’s cup of tea but I like it.

www.thertrain.com

04/10/2022

Robert Jon & The Wreck – Wreckage Vol 2 (KTBA Records)

A hybrid live album with some tracks played in front of an audience and other live streamed. No matter which way the songs have been delivered you do get the impact that Robert Jon & The Wreck have when they are playing live. They open with a couple from Ancienne Belgique in Brussels, the first being She’s A Fighter, one of a few of this year’s singles on show, and you immediately get that power that they generate. There’s a strong vocal from their leader, Robert Jon Burrison and the band is so tight, they are loose if you get where I’m coming from. The second performance from Brussels is a barnstorming version of Waiting For Your Man. This is one of the singles of the year and the energy produced is palpable. Another of this year’s singles is Rescue Train and this live streamed performance from Shuffle Brother Studios sees them relax the pace a little but the power is still there. They have a presence about them as the song grooves along like a slow train running. Guitarist Henry James is wonderful player, so expressive and Warren Murrel’s bass and Steve Maggiora’s keyboards are vital components to the song. There’s a cover of The Band’s The Weight, again from Shuffle Brother Studios, and drummer, Andrew Espantman, sets down the groove. Maggiora is there again on keys with electric piano a nice touch. This is a good version of The Band classic although it’s hard to rival Levon Helm on lead vocal though. The vocals are not quite as harmonic although the come very close. There are four tracks from a session at Sunset Sound. The first of these is a new song, Old Hotel Room and it’s another single. This has a melodic, soaring vocal from Burrison with the song setting them firmly on that cusp of Southern Rock/Americana where they truly belong. A hard-working talented band for sure.

The other new song, Dark Roses, is probably the weakest track on offer but that has more to do with the high quality of the others, not that this is bad in any way. I’d say it’s not the Premiership but a Championship one. They can belt out a chorus however. On The Run heralds a ramp up in the pace and power again. Another from the Sunset Sound session it features a breathless performance with James’ guitar screaming out, Espantman’s drums like a blur and Maggiora’s piano to the fore. This is one for the audience to get involved with and is already a fans favourite. Highlight. Another of the fan’s favourites is Cannonball and this nine minutes plus instrumental from the Sunset Sound session has dual guitars from James and Burrison delivering a crushing Allman Brothers style Rock with Blues overtones. It speeds up approaching the 2-minute mark and when the guitars let loose, they let loose. Maggiora’s keys play an important part too with Murrel running out the notes on bass and Espantman keeping it going all the way to the end on drums. This is another fans favourite. Something To Remember Me By has some funky sounds. From DJE Livestream Studio, this has Organ, bass and guitar working in unison as they match each other note for note. Robert shouts out the vocal sharply and they all try to out Funk each other, making for a great sound. The finale, also from DJE Livestream Studio, is a 10 minutes plus version of Witchcraft. Another instrumental, it has an atmospheric intro which then goes into that Allman Brothers sound coming over again. Jazz, Rock, Funk it has elements of them all with long held guitar notes to the fore and sustain on top. James shines on guitar.as does Maggiora with the distinctive sound of electric piano.

If you want to hear what a great live band sounds like, check this out!

www.robertjonandthewreck.com

www.ktbarecords.com

03/10/2022

Rory Gallagher – Deuce: 50^th Anniversary Edition (UMC)

50 Years, where has the time gone! This sumptuous 4 CD, 55 track set celebrates Rory’s sophomore solo album from 1971 and digs deep into the archives as well as bringing us a new mix of the original album. Johnny Marr does the foreword of a 64-page hardback book which also comes as part of the package. The original album is remixed for the first of the four CD’s and opens with Used To Be which shows the flashing brilliance that he had promised from his days in Taste. Rattling drums and bass feature from Wilgar Campbell and Gerry McAvoy respectively. These two formed such an impressive rhythm section and gave Rory so much to work with. The package is replete with their sounds. Rory was as comfortable on acoustic as he was electric as he shows on I’m Not Awake Yet. He had a presence no matter what he was playing. This is a great Rock song, showing that he was a master of all guitars and he always had that little Celtic spark. He stays acoustic, 12 string this time, for Don’t Know Where I’m Going and adds harmonica. It’s just Rory on this bouncy, Blues based classic. Maybe I Will sees him return to electric and back to the Rock. It’s probably not the best track on the album but there is no mistaking his artistry on the guitar though. Whole Lot Of People is a stomping storming Rock that gave an indication of what his style was to become on the whole. Slide guitar deployed for the first time and he was an extremely good slide player. The first of his most recognisable songs is In Your Town, which was used frequently in his live performances. This is high octane Blues Rock and brilliant all around as his slide rings with Celtic influences throughout. Should’ve Learnt My Lesson is a straight up Chicago Blues with doleful vocal before he unleashes the power on There’s A Light. This is a master of his instrument just showing what he can do with it. There are Jazz overtones and some South American influences too. Bass and drums are excellent throughout but excel here. Carlos Santana would have been proud of this. It’s back to acoustic for Out Of My Mind and this beautiful song could easily have come out of the Appalachians. The final track of the original album is Crest Of A Wave, another that became one of his most well-known songs. This is Rory personified; strong vocal and soaring guitar. We have patches of light and shade and changes of tempo that keeps the listeners on their toes. Slide guitar par excellence and rolling, rambling brilliance.

CD 2 is a 16-track collection of alternate, often rawer, takes of the original album tracks with different mixing levels and solos. You can also hear the process and what his mind must have been going through when finally selecting which take to use. Highlights are I’m Not Awake Yet Alternate Take 1 which is electric, Whole Lot Of People 6 String Alternate Take 1 and an epic 9 minute In Your Town Alternate Take 1.

CD 3 takes much the same route with a fourth Alternate take of In Your Town leading the way with slashing slide guitar. Should’ve Learnt My Lesson Deuce Album Session Alternate Acoustic Take 1 is up there with the best of the tracks and the added mandolin gives it a different dimension. Should’ve Learnt My Lesson Deuce Album Outtake is an extra mournful, electric version of the song. 4 versions of the song all totally different in their playing style. We have three alternate takes of There’s A Light, the best being the guitar work on Alternate Take 2 and three versions of Out Of My Mind, each excellent in their own way. The third one has Rory saying We’ll have one more go and then we’ll go for a pint – inspiration! These are followed by two versions of Crest Of A Wave, the best being the second one and three home demos finish it off; Don’t Know Where I’m Going shows the differences of home recording now and then as he finger picks his 12 string and has more than one attempt. An acoustic version of Maybe I Will has his voice straining with the falsetto. Again, we get him trying out different ways to do the song, and a final, raw, version of Should’ve Learnt My Lesson acoustic played in a Delta Blues style.

CD 4 is a series of live tracks. From Radio Bremen and BBC In Concert. This opens with 7 recorded for Radio Bremen in 1971 and starts with the now ubiquitous Should’ve Learnt My Lesson and showing all of his live passion on this grungy Blues. This is followed by a powerful version of Crest Of A Wave then steps away from the Deuce tracks with a dirty slow Blues I Could’ve Had Religion with added harmonica, a rousing version of the Blues based rocker For The Last Time and a storming version of Messin’ With The Kid (a live favourite) before going back to Deuce for Don’t Know Where I’m Going and finishing with another live favourite Pistol Slapper Blues. The final 6 tracks from a BBC In Concert session from the Paris Theatre and comprises, along with some wonderful commentary, an in full flow Used To Be, Should’ve Learnt My Lesson, Out Of My Mind where he gets the crowd going, I Could’ve Had Religion with a slide guitar masterclass, Crest Of A Wave and signing out in special fashion with a rip snorting version of Messin’ With The Kid.

This is a collector’s dream with some hidden gems.

www.umc-music.com

30/09/2022

Status Quo – Riffs/Heavy Traffic/Quo’ing In (UMC/earMusic)

The first of two reissues, Riffs was originally released in 2003 and opens with their classic Caroline. What can be said that hasn’t already been said about this song? This is a clean version with added piano and not as grungy as the original on 1973’s Hello. It’s not all about Quo riffs and that’s where the album kind of fell as they became a covers band. There are very good covers and some less than good. I Fought The Law is one that is good but it’s not Bobby Fuller or The Clash. They give a Quo makeover for Born To Be Wild and this contains some of the most recognisable riffs around. They turn it into a rolling Boogie although it’s not changed out of recognition from the Steppenwolf original though. Bachman Turner Overdrive’s Takin’ Care Of Business is perfect for them and they turn in a very good version. Quo does Iggy on Wild One and they try their best to get the signature sneer. Another good one. Canned Heat’s On The Road Again is another made for the Quo and just as hypnotic as the original. Tobacco Road is as stomping as the original was from The Nashville Teens with Rossi giving it plenty on the riff. J. Geils Band’s Centrefold is a strange choice for them. It’s a competent version but it just doesn’t click. The Kinks’ All Day And All Of The Night is instantly recognisable and whilst this is a good version, it strangely has less of an impact than the original. Their version of ELO’s Don’t Bring Me Down just doesn’t work. This needs the ELO theatrics. Junior’s Wailing is one of their own and they are on safer ground here. This could easily be Rory Gallagher, it’s that good. Class. It’s a fans favourite and this version is as good as the original from 1970’s Ma Kelly’s Greasy Spoon. It’s Elvis next, Costello that is. Pump It Up is a great try but as soon as the vocal comes in then it’s lost. If you haven’t heard Costello’s original then you’ll think this is good. It’s another updated version of one of their classics in Down The Dustpipe. Originally from 1970 and only appearing on an album for the first time on the 1998 re-issue of Ma Kelly’s Greasy Spoon, they can’t go wrong with this well-loved song. Whatever You Want is one of their biggest and loses nothing on the original from the album of the same name in 1979 with that classic Rossi Parfitt interaction. The last track on the original album was Rockin’ All Over The World. They add more piano on this and again it’s one made for their style although it’s a John Fogerty song. It’s probably the one that most non-Quo fans will relate to, particularly after Live Aid.

A second CD is included in this new package and this includes a further 16 tracks starting with You’ll Come Round, one of their lesser-known singles. It harks back a little to their period before the 12 bar Boogie. We get the B Side to with Lucinda and this is a romping rocker with Parfitt taking the lead vocal as he often did. There’s a remix of the Thinking Of You single, one from their Big Country influenced Celtic Rock period. As with these bonus CD’s you often get demos, unreleased versions etc and we have an alternate version of Caroline here. It’s live and the difference is the atmospheric keys at the beginning, with a little reference to Pictures Of Matchstick Men, before we’re off into the familiar song we all love with plenty of riffing. More live versions follow with Something ‘Bout You Baby I Like capturing them at their best as they swap lead vocals and Break The Rules, which is one of my favourites. The latter is energy personified and the extra piano adds to that barroom feel. Forty-Five Hundred Times is another originally from the Hello album. This is a great live version of one of their concert staples. Parfitt struggles a little on the vocal as the start but that is soon forgotten as they ramp it up. They follow it up with another of their big songs, Rain, and they don’t disappoint. Hold You Back is another of their lesser-known tracks but often a live inclusion on tour. It’s some more Celtic sounds but you’ll know it’s the Quo. Bands often use a medley to get more of their hits into a stage show and the Quo were no strangers to one. On Mystery Medley they throw in Mystery Song, Railroad, Most Of The Time, Wild Side Of Life, Rollin’ Home, Again And Again and Slow Train. You can tell when a band has so many good songs, even their medley’s go on for over 11 minutes. It’s 11 minutes of pure joy though. Another of the old ones is Gerdundula from 1971’s Dog Of Two Head. This is still a classic and not what lots of people think of as Status Quo. Beautifully played. Another of their live favourites is Roll Over Lay Down, the opening track to Hello. I’ve never heard it played anything other than brilliantly. Down Down was their number 1 single. Suitably frenetic on this live version as the audience goes wild as they always do. The hits keep on coming with live versions of Whatever You Want with the audience egging them on and Rockin’ All Over The World where they show how good they were at getting a crowd going. This extended package finishes with another of their medleys and they come out blasting on the Encore Medley with Rock N Roll Music before slipping into Carol and Bye Bye Johnny for a Chuck Berry trio to say goodnight. Will this satisfy dyed in the wool Quo fans? Maybe not but it does show a bit of their diversity whilst giving us some classics that we may not have heard for a while.

The second of the two reissues is Heavy Traffic, originally from 2002. It opens with the familiar sounds of the Quo on Blues & Rhythm and the enduring sound of Rossi and Parfitt is what they’ll be remembered for. The rocking and rolling All Stand Up (Never Say Never) has them in their element and the grinding The Oriental is one of their better later songs. There are more classic sounds on Creepin’ Up On You and whilst they were vilified by many for their 12-bar boogie they were more complex than lots of people thought. I’m sure that there are lots of bands out there that have been influenced by them. You’ll never mistake when you are listening to Status Quo and none more so than on the title track. Rossi’s voice is so distinctive. Solid Gold includes harmonica which was used more than you’d think in their songs. They were, and still are, a party band and one for getting folks up on their feet. Acoustic guitars used, and they weren’t often, for Green and it gives a West Coast USA feel. It’s not a typical Quo song and you wouldn’t know it was them. They are back on familiar ground with Jam Side Down, a melodic Boogie from an underrated album. Diggin’ Burt Bacharach grows on you and they’re not taking themselves too seriously, like they’ve ever done that. Do It Again is the rolling and tumbling Quo that were well loved and Another Day is a mid-paced grinding Boogie with harmonica again. They did this so well in their day. It’s straight up Rock N Roll for I Don’t Remember Anymore with Parfitt taking the vocal as he often did on this type of song. This is a highlight. There’s a move away from their trademark sound for Money Don’t Matter. This is a straightforward soft Rock song showing that they could do it when they wanted to. Rhythm Of Life is the last of the original album. A moody close to the set with stern riffs on guitar and another non-Quo like song.

The new set includes 2 bonus CD’s which start with The Madness, the B Side to Jam Side Down and a rocker. Another B Side, this time to All Stand Up, is You Let Me Down and they almost go into Folk Rock. It’s a different side to the band and a typical B Side. They could write in different styles but they hit on that formula which was so successful. There’s a few 2001 demos on offer such as Let’s Start Again, where Quo fans will recognise the untypical, jaunty style used, All Stand Up where you can hear the bones of the song that became one of the tracks of the album and Solid Gold with Rossi mucking about on the vocal. There’s a bit of overlap with Riffs with the same alternate versions of Caroline, Something ‘Bout You Baby, Forty-Five Hundred Times, Rain, Mystery Medley, Gerdundula, Roll Over Lay Down, Down Down, Whatever You Want, Rockin’ All Over The World and Encore Medley. Maybe a bit of overkill with duplicating these tracks. However, we do get live versions of The Wanderer, classic Dion and so perfect for them, Don’t Waste My Time which was one of their favourite live songs and for a long time too, All Stand Up (Never Say Never), well we’ve had the studio version, the demo so why not a live one – all great, Solid Gold which transfers well from the studio, the title track which is another that transfers over well and Creepin’ Up On You, another live version of the album track. I can see why they added these three to their set. The extras album finishes with live versions of two big songs, Big Fat Mama and Junior’s Wailing, staples of their live show for a good number of years. Like Riffs I’m not sure that the hardened Quo fan won’t already have these tracks in their collection.

The third of the recent offerings is Quo’ing In: The Best Of The Noughties, another 3 CD behemoth which opens with Backbone (Out Out Quo’in mix 2022). It’s lighter than the earlier stuff and not the Quo we know. Following on quickly is Looking Out For Caroline, from 2013’s Bula Quo, where they went for a more mainstream, striding Rock sound. Two Way Traffic is more like the Quo of old. From 2011’s Quid Pro Quo, it’s rapid and one of the best. There’s a re-envisioned version of their big hit, In The Army Now (Studio Version 2010), which still conjures powerful visions. They show their light-hearted side as they have a go at themselves on the rocking Beginning Of The End which is also taken from Bula Quo. Round And Round is quickfire and it’s Quo but it’s not! From Under The Influence which was on the cusp of the noughties. We’re more like the old Quo on Rock n Roll n You, a melodic Rock with a Boogie twist and another from Quid Pro Quo. Next up is Raining In My Heart. Ok, it’s a pleasant version of the Buddy Holly classic and it’s got Brian May on it but it is not the Quo. Back to familiar sounds for Liberty Lane, striding Rock with the accustomed hook. Jam Side Down is from Heavy Traffic and already mentioned further up. It’s another melodic Boogie and it does grow on you. The jarring Running Inside My Head, again from Bula Quo, doesn’t do anything for me at the start. It does get going but not the best. Electric Arena is Blues based with a stinging guitar and piano leading the way. From 2007’s In Search Of The Fourth Chord, this is surprising. Twenty Wild Horses is an up and down romp. Celtic based and again from Under the influence, this is a highlight. The familiar sounds of the Heavy Traffic opener, Blues & Rhythm follows before we get a throwback to their 70’s sound on the excellent Gotta Get Up And Go from 2005’s The Party Ain’t Over Yet. The Way It Goes is a fast-paced rocker and another from Under The Influence. They keep it simple and it's one to get the crowd going. Deep chants of Polynesian extract opens up Bula Bula Quo (Kua Li Lega). Another from Bula Quo, this is very upbeat, good fun and you wouldn’t know it was them.

Disc 2 opens with Caroline (Studio Version 2022) on which we get a few different guitar licks but you can’t really add much to this classic. Another classic to get a makeover and one of the first songs to turn me on to Quo is Paper Plane (Studio Version 2022). The third one for this treatment is Rockin’ All Over The World (Studio Version 2022) and although there are some tweaks they sound much the same, albeit without Parfitt. Face The Music is bouncy, it’s ok and it’s got some good guitar work. Cut Me Some Slack (Out Out Quo’in Mix 2022) is a typical Quo Boogie and a good one at that. The title track from The Party Ain’t Over Yet comes with Folk Celtic overtones but the Quo sound is there and they recruit The Beach Boys for a version of their classic, Fun Fun Fun. It’s all good fun with the harmonies in there and it comes alive when The Beach Boys take over. You may remember their acoustic album from 2014 and the strings and acoustic guitars add so much to the classic Pictures Of Matchstick Men (Aquostic Studio Version). The acoustic led and upbeat grinder That’s A Fact actually comes from the 1976 Blue For You album and is a top track. I’m Not Ready is a vibrant chugger from a bonus disc of The Party Ain’t Over Yet and Tilting At The Mill, from 1996’s Don’t Stop has all the best Quo characteristics. Think Quo lite though. There’s a few bands that you recognise as soon as you hear them and Status Quo are one of those. Take I’m Watching Over You from The Party Ain’t Over Yet for example. It’s just that Quo sound from the outset leaving you in no doubt who is coming. This is a good one. Two more from the Don’t Stop album are the acoustic led sweeping Rock of Mortified and the Bob Seger style Rock of Temporary Friend. Their cover of Johnny Kidd & The Pirates’ I’ll Never Get Over You is up next and they can rarely be accused of being sickly sweet, but this comes close. However, it’s a great song and they do well with it. On Down Down (Aquostic Studio Version) the added accordion is a genius stroke and gives us a great version. The disc closes out with another version of their Mystery Medley, this time called Live Medley and they rock it out yet again and with It’s Christmas Time they give Christmas a Quo makeover. I’m sure they polarised plenty of people with this.

The final disc on this 3-piece set is a 10-track live collection recorded at Westonbirt and includes The Wanderer, Rain, Don’t Waste My Time, Don’t Dive My Car, Hold You Back, Creeping Up On You, Paper Plane, Living On An Island, Roll Over Lay Down and Rock N Roll Music/Bye Bye Johnny. It’s live, it’s the Quo, enough said.

www.statusquo.co.uk

www.umusic.co.uk

www.ear-music.net

26/09/2022

Troy Redfern – The Wings Of Salvation (RED7 Records)

Troy Redfern’s latest offering, The Wings Of Salvation, is not for the faint hearted. This firebrand of a slide guitarist only knows one way to play and from the outset of the high-octane Gasoline you’ll know what I’m talking about. He’s right at you from the start of this, the first of three singles, and he’ll have your heart pumping. Moody in parts, his slide rocks it. The second of the singles and the most recent is Sweet Carolina. This is a rocking, strutting triumph. It’s a cross between the Stones and Primal Scream with a soaring chorus and romping, stomping drums from Paul Stewart. Redfern throws out the notes on slide as if there are no barriers. The last of the singles is Come On and there’s no let up. This may well be the best of the three as it reverberates through your head. The rhythm section of the aforementioned Stewart on drums and Dave Marks on bass gives him a base to fly free with his superb slide and classic Rock vocals. He’s a bit ragged in places on the vocal of Navajo but it doesn’t detract from the song as he rocks it out once again. Banjo and tubular bells can be heard from Marks as a slight native American tones filter through (inspired by the 1864 Long Walk of the Navajo Nation), but the slide is the star as usual. Mercy is a grinder and he had to let up on the pace at some point. This rumbles along like a juggernaut and there’s getting in his way. This is top class Blues Rock with a cracked, pleading vocal and stunning guitar work.

Troy keeps the pace slow for Can’t Let Go as he grinds it out again. He’s not a one trick pony though as he shows here with more melody and mainstream sounds. He scorches it on guitar just to remind you who you are listening to. Dark Religion isn’t going to be a sweet one with that title. It’s percussive and brings a little Sabbath ethos to the table. There’s no increase in pace as I’d have expected but there is some very intricate guitar work. It’s another with a strong melody and the key change is smooth. The pace is back and with a vengeance on Profane. We get elements of Motorhead Metal throughout but also Rockabilly in the interplay with bass. The stinging, screaming slide guitar is one of his best. The swaying and rhythmic Down doesn’t always reach the heights of others but it improves play on play. Don’t be taken in by the gentler section as you’ll be assaulted quickly by some manic slide playing. Before you know it you’ve reached the end with Heart & Soul, a hypnotic slide Blues offset by gritty vocal. Slapped drums and handclaps are effective as a counterpoint to Troy’s unnerving, ethereal feel to his slide playing. Ethereal. This one will set you on edge and although it’s not a classic closing track, it does grab your attention.

Troy Redfern deserves to be mentioned in the conversations about the top British slide guitar players.

www.troyredfern.com

23/09/2022

Senja Sargeant – EP (Self Released)

Erstwhile member of the Canadian Country band Ladies Of The Canyon and star of The Voice Holland, Senja Sargeant has set off on a solo career that is beginning to blossom with the release of this new EP. The four tracks give us an insight into the different facets of Sargeant with the acoustic led Never Gonna Turn Away on the edge of Country with added Rock and highlighting her velvet vocal to the most Country of the four on Now I Understand, which, whilst still maintaining the acoustic approach, adds pedal steel, is very strong vocally and musically and has a solid rhythm section making it possibly the track of the EP. In between we have Still Dreaming Of You which is still acoustic led and still edgy with a soaring vocal, thumping drums and sweeping strings. There are shades of Stevie Nicks in places with her powerhouse vocal. Add in a raucous guitar solo and we have a top song. The piano ballad Thunderheads is the other track and is on the Rock side of Country with a power chorus and plenty of attitude. She is another great Canadian export and takes us through the highs and lows all within four tracks. I can’t wait for the album.

www.senjasargeant.com

22/09/2022

My Glass World – Tree Shadow Piano (Luxury Noise Records)

My Glass World is the brainchild of Jamie Telford who has credits with the likes of Paul Weller. He is ably assisted on sax and other woodwind by Sean Read whose credits include Edwyn Collins, Dexy’s Midnight Runners and Dave Gahan. Last year’s Still Life With Machine Gun reached our top 40 Rock etc albums of the year so Tree Shadow Piano has a lot to live up to. Jamie describes the album as “a jaundiced, jowly look at the world” and there’s certainly elements of that but there is a feeling of release sometimes too. Opening with the striding intro of Moving To A New Town, you immediately get that familiar Indie sound with its catchy guitar hook. Piano led, I can see this in an orchestral setting and is a rousing opener. This Is Not A Love Song is not The Damned classic but it is a damning indictment of modern society. Snappy drums and the use of sax and harmony don’t distract from the lyric. Russian Doll is next and like the doll this has many layers. It starts out as a straight guitar rocker but moves into electronica quite quickly. Lyrics such as “Box within a box within a box within your mind” bring visions of Talking Heads. This is a grinding and hypnotic highlight and will grow on each hearing. They draw it back a little for Under The Skin which is piano led again albeit a bit moodier. Twanging guitar adds to the panoramic soundscape, making it sound a bit like a 60s style film or television theme in places. Trumpet adds to the atmosphere on The Only Thing and those ubiquitous keys lead us through. Bass a bit more prominent as we get elements of Jazz throughout. This is deep and percussive to the point of distraction.

Car horns herald the approach of Amerika Is Here. Can you recognise America from this? I’m sure you will as you’ll recognise the Americanisation of everything with their global outreach; blink and it’s here. Funky backbeats, throaty sax and trombone make this compelling. This will grow on you. Read’s sax is there again on Over The Horizon and the bass joins him along with a pointed vocal. I can see why Guy Garvey is a champion. It’s very much like the big 80s Electronica bands, musical and melodic but hiding a strong message. Full of soul it has elements of ABC and their ilk in their prime. Let’s Talk About Us has keys, bass and drums to the fore with said drums throwing out a pattern. It's low key with slurred trumpet and jagged guitar but slides along like oil on water. Very noir. What We Call Love continues that strong sense of melody that has gone throughout the album. He likes to play with sounds and I can hear some Middle Eastern influences in here. I would say that this is a very different album to their last. Opened by Read’s sax, Take Me Back To The Start has Talking Heads and Human League to the fore. It has all the classic Indie sounds and a deep vocal from Telford that has been prominent throughout. Bass, drums and guitar drive it on but it’s the keys that give the overall feel and sound. A Blue Rider is a low-key finish but the build up of sound layers is worth it and well worth taking it right to the end.

Electronica/Indie Rock/something else, you choose but there must be a place in your collection for it.

08/09/2022

John Mayall – The Sun Is Shining Down (Forty Below Records)

For his latest in a long line of albums, John Mayall has recruited a diverse crop of musicians to help him through 6 of his own originals and 4 carefully selected covers. The whole shebang opens with the pinging guitar, big band swinging Blues of Hungry And Ready and you immediately know that you are in the presence of John Mayall! That pinging guitar is courtesy of Chicago bluesman Melvin Taylor and, along with Mayall’s harmonica, produces a smooth harp and guitar interlude. Starts with a highlight and I wouldn’t have expected anything less. The horns of Ron Dziubla (saxophones), Mark Pender (trumpet) and Richard A Rosenberg (trombone) remain for another strong Blues in the form of Can’t Take No More. Mayall may be getting on in years but he’s not done yet. Strong bass lines from Greg Rzab complement Roots rocker Marcus King’s very strong guitar and we have another highlight on our hands. The tempo is turned down for the Bobby Rush classic, I’m As Good As Gone. Classic echoed Mayall vocals show that he is still leading the pack. It’s getting that the whole album could be a highlight, this time with Americana icon Buddy Miller on tremolo guitar. Got To Find A Better Way is a shuffling Blues with added violin from Scarlet Rivera. It’s difficult to say anything new about John Mayall but he continues to be impressive and he’s still the Godfather; so many have been influenced by him. He funks it up a little for Bernard Allison’s Chills And Thrills. Again, it’s the keys that stand out but although it’s very good, it’s not a match for others even with an effective solo by a top guitarist in the form of Heartbreaker Mike Campbell.

The up-tempo shuffler One Special Lady features Hawaiian ukulele star Jake Shimabukuro as he vies with Mayall for top billing before John takes over for the Tinsley Ellis/Margaret Sampson written A Quitter Never Wins. A slow, harmonica Blues with a deep vocal. This is a tale of try and try again and is simple mastery. We get a reworking of John’s classic Deep Blue Sea and Scarlet Rivera is back on violin, adding that different and funky dimension. Melvin Taylor returns with some punchy, piercing inserts on the Roosevelt Sykes classic, Driving Wheel. Bouncing bass from Rzab, Mayall’s organ in the background and then there’s the horns of Dziubla, Pender and Rosenberg to produce sweeping brilliance. The moody and atmospheric opening to the title track reminds me of The Thrill Is Gone to a degree. It rumbles along and is a very good end to the album. He has shown that he still has it and hopefully will do so for some time to come. Lush, moving guitar from Carolyn Wonderland is a feature as she steps out from the rhythm guitar duties that she performs on the rest of the album.

John Mayall? He’s still the man!

www.johnmayall.com

www.fortybelowrecords.com

01/09/2022

Delbert McClinton – Outdated Emotion (Hot Shot Records/Thirty Tigers)

Four-time Grammy winner Delbert McClinton celebrates his musical heroes and influences with this, his 27^th studio album. It’s not all about the oldies though as Delbert brings us five new songs, written or co-written by him. Named by Rolling Stone as the Godfather of Americana, he has a career that has spanned six decades and he has played with some of the best. When you can say that you have played in the backing band for the likes of Jimmy Reed, Muddy Waters and Bo Diddley then you know you have the chops. He stopped touring last year, the first time in 64 years he wasn’t travelling the country, playing his special style of music. However, that hasn’t stopped him recording and Outdated Emotion shows that he has lost none of his class. Things open with Lloyd Price’s classic, Stagger Lee and this is a great version of a great song. One of three singles it hits us with that New Orleans Swing and characteristic piano bass. This is a highlight of an opener with Delbert’s vocal showing no signs of age and a horn section with sax leading. Hank Williams made Settin’ The Woods On Fire a hit and Delbert says that Hank made him the songwriter that he is today. This is Texas Country and a complete change from the opener with female harmony vocal and steel guitar (Chris Scruggs) almost matched by fiddle (Stewart Duncan) and upright bass (Mark Winchester). Another highlight though. Jimmy Reed’s The Sun Is Shining is a slipping, sliding Blues and there’s no let-up in quality. Delbert’s harp gets its first outing and he says that hearing Reed’s Honest I Do was what made him take up Blues harp in the first place. He stands up to be counted here. One Scotch, One Bourbon, One Beer is known as being a John Lee Hooker classic but Delbert prefers the original Amos Milburn version and keeps it as a piano bar crooner. Released as a single, it’s good to be different but I prefer the way John Lee played it. Long Tall Sally is played at breakneck speed as you’d expect and although it doesn’t have the vocal impact of Little Richard, it’s a great version anyhow and you just can’t help but be happy. Two Step Too is a Delbert original even though he wrote it 20 years ago. It’s an old style two time done in a Hank Williams style and crossed with Delbert’s panache. Country fans will love it with fiddle and lap steel the stars. Almost mimicking the Ray Charles version of I Want A Little Girl, Delbert goes all lounge Jazz with piano and double bass as he swaps genres again. His slightly left of centre vocal suits all styles. Another Jimmy Reed classic comes around in the form of Ain’t That Lovin’ You, a harp led R&B. This is a classic version of the classic song and the last of the singles. Blow that harp, Delbert. Straight up good fun.

The often-covered Hank Williams standard Jambalaya should only be played in one way and Delbert does it. Fiddle and lap steel are heavily involved as he plays it old style. You don’t need to do much to this song to make it sing and this is a very good version as he maintains his vocal class. Good backing vocals too but the fiddle of Stewart Duncan just tops it all off. Connecticut Blues, written by Delbert in conjunction with Kevin and Yates McKendree is a smooth, polished piano Blues and he’s back to his old favourites on the Jimmy Reed performed, Calvin Carter written I Ain’t Got You with a percussive staccato delivery, a wailing harp and a rhythm section on top form. He can’t do it like Jimmy but then again, nobody can. I’d like to hear some of Delbert’s stories about Jimmy as I’m sure he's got plenty. Move It On Over is one of my favourite Hank Williams songs and he does it credit. This is another highlight with pinging guitar and lovely lap steel. It’s back to piano led Jazz for Hard Hearted Hannah, another from the Ray Charles songbook. Slick bass and shuffling drums are very good but top credit goes to the pianist. Co-written with Sharon Vaughn, Sweet Talkin’ Man is a trundling Boogie. He makes it sound so easy and brings us another highlight with piano and guitar going for top billing, drums driving it and a jagged guitar solo. Another that is co-written, this time with Gary Nicholson, is Money Honey and we’re back to the Bayou with fiddle and lap steel excelling yet again as Delbert goes through his paces to match them. No matter the genre, Delbert excels. This excellent album finishes off with the last of a trio of co-written tracks, Call Me A Cab. His co-writers this time are again the father and son duo of Kevin and Yates McKendree. Yates plays double bass plays behind Delbert’s spoken, almost beatnik, vocal of 36 seconds as he ends another night.

He’s over 80 now but Delbert McClinton can still show the young bucks how to do it.

www.delbert.com

29/08/2022

The Dig 3 – The Dig 3 (Self Released)

Andrew Duncanson, Ronnie Shellist and Gerry Hundt form The Dig 3 and they could be considered a Blues/Roots super trio. The play raw, deep and dirty Blues that pays less attention to the long winding guitar solos that we often get nowadays. Take the opener, You’re The One, and you are immediately taken into their world of shuffling guitar and fuzzed harmonica Blues. There’s minimal percussion and Shellist’s harp leads it over Duncanson’s vocal. It’s hypnotic, authentic and sounds like there’s more than one harmonica on offer. Top opener. The bass heavy and rhythmic Every Drop features Shellist’s harp again but this time Hundt is slapping the drums good style. This is straight out of the Delta and into your ear with the harp the seminal sound. Classy. The harp continues to be the alpha instrument and Shellist continues to show how good he is on it on Christmas Coming. I know it’s a bit early but it was actually a single last year. They are an easily relatable band with a soulful singer in Duncanson fronting a trio that is so comfortable with each other. We get down and dirty on harp and guitar (Duncanson) for the Chicago Blues of Double Cross. If you hadn’t worked it out already, this is a good band! Muddy would be proud of this as Duncanson’s guitar gets the chance to shine with a fragmented solo. One Left, One Right is a Sonny Terry and Brownie McGhee style bouncy upbeat Blues and the bass of Hundt will get your head nodding. They slip into a John Lee Hooker rhythm and suck you in from the start of the hypnotic Don’t Slip before Shellist hits us with his harmonica again on Rock That Boat. This is the kind of band that you could imagine playing in your local bar and having a riot with the audience. There’s something charming and unassuming about them. Duncanson’s guitar getting more into it as they verge on Rock N Roll in places. It’s old style, it’s comforting and that wailing harp solo just reaches into your soul.

Chicken Kiss is upbeat Country and brings out more of their Roots side and they swap genres at will with Southern Fantasy to give us soulful Southern sounds. With the ubiquitous harp and bass heavy sharp sounds again. Reposado Rock is another shuffling Blues, an instrumental that allows the harp to moan and I’m still getting two harmonicas! It may be the mix, it may be the style of playing but I like it anyhow. Bouncing bass and drums from one man band Hundt are the features of Run & Hide, an up-tempo Blues. This is the last of the album tracks but we also get 3 bonus tracks to finish things off. This would be a fine closer in its own rite though with percussion thumping it out and with their sense of authenticity throughout. The bonus tracks start with Love Me Some Of You and Hundt continues where he left off on drums. This 60s style rhythmic, electric Blues also features a striking and stark guitar from Duncanson as the harmonica goes AWOL for once. There’s another Chicago style Blues in the form of Tell Me The Place and Duncanson switches to slide guitar to produce a highlight. He's also got the voice for this kind of strolling Blues and there’s the first hint of backing vocals which fill out the sound. This is strong with guitar taking the lead again. They complete the trio of bonus tracks with In My Kitchen, a Country Blues played with upright bass and mandolin added to the shuffling drums. This is good fun, played with verve and shows that they are comfortable in a number of styles. It’s a great finish to the very good album.

www.facebook.com/thedig3trio

26/08/2022

Bob Margolin & Bob Corritore – So Far (Vizztone)

Long-time friends Margolin and Corritore get together as an acoustic duo for the first time with this new album, So Far. With 7 new originals from Bob M and 1 from Bob C, they flesh out the rest of the album with some of their favourite songs. Muddy Waters is a vital component in the lives of both these artists with Bob C having his life changed when he first heard him at the age of 12 and then 6 years later saw Bob M playing in the Muddy Waters Band. They are Blues heroes in their own rite and coming together for this set of songs is special. The opener and lead single, Steady Rollin’ On, is the first of the originals and is underpinned by the line “It’s too late to die young” as life indeed steadily rolls on. Sweeping harp from Corritore is a feature of this first thrust and his harp is speaking to you on Running Through High Water. This is a highlight with Jimmy Vivino’s on guitar. It’s a modern-day version of the old guitar and harp duets such as Sonny Terry & Brownie McGhee, even though there are three of them here. Vivino remains on guitar and vocal for a full sounding and less gritty version of Robbie Robertson’s It Makes No Difference. This represents a little change in style with mandolin being added to slide and harp. Vivino’s vocal is angelic with Margolin backing him well. Margolin gives us a preaching vocal on Outrage And Inrage, an indictment of modern day living with Margolin also giving us a treat on slide guitar before we move onto Now And Then, which is a fast paced, straight up Blues Boogie with Corritore’s harp the star.

Memphis Minnie’s Broken Heart is predictably a mournful Blues. Painfully slow and painful on the whole. That’s not a bad thing though as they prove to be the perfect foils for each other. Corritore’s writing contribution is Salt River Stomp and he blows up a storm. Margolin plays second fiddle at times as he picks out the bass line as well as the lead. The up-tempo Margolin written One Hundred Hearts Later has both of them vying for lead duties but they manage to find a true balance as two masters often do. Margolin turns in an expressive vocal performance. Lillian McMurry may not be a name known to you all but it was she who discovered Elmore James as well as producing Sonny Boy Williamson II. She also wrote Red Hot Kisses, to which Margolin adds a mournful, doleful vocal. This is a real Blues for reminiscing and one with the old topic of gold digging. Margolin’s slide is back out again for What If?, a tale of an accident that could have ended a fledgling career. It’s not the best on offer but the rest have been of such a high standard. Blessing And Blues has them back on track with particularly strong playing on this Delta Blues. I said Muddy Waters was a component in both their lives so it’s not unsurprising that we get one of his songs here. They’ve chosen I Wanna Go Home and the Delta feel and Terry & McGhee style again is not immediately recognisable as a Muddy Waters song as they play it pretty straight up. They close with a bombastic version of Sonny Boy Williamson’s My Little Machine. I’m also getting elements of Elmore James and John Lee Hooker as Margolin picks out the tune and Corritore’s screaming harp bringing us some oh so special notes. A highlight to end with, we couldn’t ask for any more.

You can tell these two are friends as they sound so comfortable with each other. Being a master of your instrument helps too, of course.

www.bobmargolin.com

www.bobcorritore.com

25/08/2022

Various Artists – We All Shine On: Celebrating The Music Of 1970 (Spyderpop)

1970 is the year that I first started taking a real interest in music. Before then it was noise in the background at family parties that I didn’t really appreciate until later. Spyderpop’s compilation celebrates the start of the glorious decade of the 70s with a 22-track bundle of covers of what 1970 had to offer. It has some glaring omissions but I’m glad they have curtailed it at 22 tracks as this reviewer’s life is hard enough already. There are omissions but what is included more than covers the spirit of the year 1970. First up is Petsche and Raines’ version of Are You Ready. This is a rousing version of the original from one hit wonders, Pacific Gas & Electric. The gruff vocal, delivered preacher style sets it off well and it’s a good start to the album. Bill Lloyd takes on Randy Newman’s Mama Told Me Not To Come, made famous by Three Dog Night, and turns it into a jangly Rickenbacker triumph. The jarring guitar in the solo turns it into a highlight. Yellow River, originally a UK number 1 by Christie and still danced to by old ladies to this day, is covered by The Armoires. There’s a little lilt of viola in there and if you listen hard enough you’ll also hear the producer’s dog barking. It’s a decent version that you can’t help your spirits lifting to and it takes you back to more innocent times. Straightforward and there’s not really any need for anything else. Sunshine is a little-known track from The Archies and sparkle*jets UK give it some Glam Rock stirrings. It’s harmonic and pounding. I don’t know the original but it has such a catchy chorus. Current Brian Wilson band member Darian Sahanaja brings us his version of Mark Lindsay’s Arizona. This is slow and sultry and definitely of its time. It’s an orchestral, medallion man ballad and I could imagine Tom Jones and his ilk singing this back in the day. Originally a Soul classic from The Delfonics, Didn’t I (Blow Your Mind This Time) is turned on its head by Mitch Easter. He rocks it and fuzzes the vocal although you can still plainly hear the original melody, especially in the chorus. You might not recognise the next tune until the chorus but Danny Wilkerson’s version of Ray Stevens’ Everything Is Beautiful encapsulates the ethos of the early 70s as Flower Power hadn’t yet receded. Lannie Flowers (he’s one of my favourites this year) takes on the often-recorded Joe South classic Walk A Mile In My Shoes. Lannie gives this an expansive acoustic alt-country makeover and it’s a highlight. Irene Pena brings us the McCartney written Badfinger hit Come And Get It and it’s a change from the original. You’ll recognise it but it’s given jarring electric guitars and female vocals. Not to be dismissed though, it’s short and to the point. Riki Tiki Tavi, a lesser-known Donovan song about a mongoose, is given a subtle Reggae treatment by Richard Barone. His clear vocal delivers Donovan’s pointed lyric “The United Nations ain’t really that united” and that is as true today as it was in 1970. The Guess Who’s Share The Land is another that I wasn’t aware of before and Popdudes bring a rockier approach than those that have gone before. It’s still 70s Pop though and there’s that hippy ethos again with Michael Simmons giving it his best Paul McCartney vocal.

One of Neil Diamond’s biggest hits, Cracklin’ Rosie, is left in the hands of The Brothers Steve and they stay quite close to the original. It’s one of the more famous songs in the collection so it’s best not to muck about with it too much. This can’t be anything other than a highlight, the crowd pleaser that it is. The sounds of the 70s come through strong on the orchestral infused Tighter, Tighter from Pat Buchanan. A Tommy James song, this is another for the crooners. You’ll pick up on What Is Life immediately as the guitar riff is so familiar. The Legal Matters take up the challenge of this George Harrison classic and deliver another highlight with a very good version. Sweeping and soaring vocals are a pleasure and confirm that it’s not only the 70s that were a very harmonic decade. R Dean Taylor’s Indiana Wants Me is brought to us by Bobby Sutliff. Sirens open it and we should heed the sirens as this isn’t the best version of this classic from the American songbook and it is vocally not powerful enough for this power song. Another UK number 1, in fact the first new number 1 of the 1970’s, is Edison Lighthouse’s Love Grows Where My Rosemary Goes. The Test Pressings have the honour of bringing us this one and it’s a great version, hooking you in from the first guitar note. Reflections Of My Life is brought to us by Starbelly. Originally made famous by Marmalade, they do a good job but maybe not getting the full pathos of the original but well done on taking on what is actually quite a complex song. Very good guitar solo from Bryan Ewald has to be mentioned. I wasn’t aware of Melanie’s Lay Down (Candles In The Rain) before I heard this Marc Jonson version. Tambourine clashes, strong acoustic guitar and airy vocals make for a Phil Spector styled 1970 song if you’ve ever heard one. The Partridge Family’s debut song, and I believe the biggest selling US record of 1970, was I Think I Love You and Jonathan Pushkar is given the unenviable task of reproducing it. He needn’t have worried as this is a great pop version of a great pop song. Theatrical and expressive, it fits the bill. The Kinks’ Lola is one of my favourite songs so Diamond Hands are under a little pressure not to spoil it. It’s not the usual intro but as they get into it, it grows on you. To be fair, it is difficult with such an iconic song and they do produce a very good version despite not having the often-manic voices of Ray and Dave Davies. I’m not familiar with Fresh As A Daisy, an Emitt Rhodes song tackled by Chris Price, who incidentally produced Rhodes’ final record in 2016. It’s all pleasant with bouncy and perky keys and well sung. Pop personified for the early 70s. The massive set closes with Loose from The Used Electrics and they are going out with a bang. Crashing, scorching guitars hint that Glam and Punk Rock is a coming! They Rock it out to the end and they do ham it up a little vocally. It’s all good fun and I’m sure The Beastie Boys must have sampled the original Iggy and The Stooges at some point.

If, like me, you like a bit of nostalgia but also brought up to date then this could well be for you.

www.spyderpoprecords.com

24/08/2022

Charlie Musselwhite – Mississippi Son (Alligator Records)

A man steeped in the Blues as anyone, Charlie Musselwhite has been a respected and revered player for many years. Mississippi born and Memphis raised he is a Grammy winner and a harmonica player that everyone wants to record with. He’s approaching 40 albums in his career and on his latest, Mississippi Son, he adds his Country Blues guitar playing to 14 tracks, 8 of which are originals, of timeless Blues. The album was recorded in Clarksdale on his return to Mississippi and he opens with the autobiographical single, Blues Up The River, which features not only his iconic harp but also gives us the first hearing of his guitar. He has a straight from the heart velvet vocal ably backed by Ricky ‘Quicksand’ Martin on drums and Barry Bays on acoustic stand-up bass. Immediately, we get harp and guitar work well on this strolling Blues with John Lee Hooker influences. Speaking of John Lee Hooker, Hobo Blues is up next. Written by Yank Rachell, this was made famous by Hooker and Charlie preserves that resonating, reverberating feel of the original grinding Blues. Martin’s snare gets slapped and Charlie turns in a good performance on guitar. Acoustic guitar and harp are order of the day for In Your Darkest Hour and images of Sonny Terry & Brownie McGhee come to mind. Charlie’s vocal is suitably world weary and you can tell that he has learned from some of the best by turning in a great performance. You can’t tell if he’s a guitarist or a harpist, it’s that good. It’s acoustic guitar and harmonica again for Stingaree which is full of old Blues innuendo around bees and honey. This is good fun with harp and guitar in harmony and making for two highlights in a row. Martin and Bays return to slap the snare and pluck a laid-back bass on When The Frisco Left The Shed. Charlie is on top form on the harmonica and whilst the song seems so familiar, it’s an original and another highlight. The percussive guitar of Remembering Big Joe is a fitting tribute to his friend Big Joe Williams whose guitar he plays here, showing plenty of skill.

Guy Clark and Robert Mondlock’s The Dark is one of the covers and Charlie’s spoken vocal evokes the sounds of a house and its surroundings in the dark. One for the camp fire. It’s back to the electric side of things with the band for Charley Patton’s Pea Vine Blues. This is up-tempo with Martin’s drums driving it and guitar copying Charlie’s plaintive vocal. John Lee Hooker features a lot on this album and although Crawling King Snake was written by Big Joe Williams I think that everyone recognises the Hooker version. Charlie adds harp to it but remains faithful to the master’s style. It hard not to like this song, he performs it so well. The other single on the album is Blues Gave Me A Ride and he ups the pace again for this strolling Blues. He has some different facets to his vocal delivery and this one is delivered gently. It goes without saying that the harmonica and guitar are well played. My Road Lies In Darkness shows why he is considered a master Bluesman in his own rite and the intimate feel of just voice and guitar shows the song in its best light. Drifting From Town To Town is a Chicago Blues in the slow to mid-pace region and when the harp is deployed it just lifts everything, although his guitar playing is not to be sniffed at either. The rhythm section provides a solid base when called upon. The one blight on the landscape is his reimaging of the Stanley Brothers sung, Albert Brumley written Rank Strangers. In an album of great tracks this just doesn’t come up to the mark. There’s no harmonica but that’s not the reason as there are others here without it. He’s back on form and the harmonica is back for the low-key finish of A Voice Foretold. On this Lee Breuer and Robert E Telson composition he speaks of his final resting place in true Blues fashion.

Charlie Musselwhite has to be in your record collection, it’s the law!

www.charliemusselwhite.com

Jadea Kelly – Roses (Darth Jadea Music/Tontree)

Jadea Kelly has been described as “one of the shining jewels in the crown of Canadian songwriters”. That’s a bold statement considering the wealth of Canadian songwriters that are around at the moment. Her songs have brought her a number of awards and her heart tugging style is sure to win many fans across the globe. This new album features 13 original songs, some co-written with a number of celebrated writers, and opens with Driveway. This makes for an atmospheric opening with its slow and brooding style. She’s certainly taking a stance with lyrics such as “cause I’m done runnin’ from all that I’m runnin’ from”. It’s beautifully sung Contemporary Americana/Canadiana and sets the album off well. Temporary Farewell remains contemporary but with more of a Country Pop sound. It’s airy with the pedal steel of Aaron Goldstein giving it that Country vibe. Shades of early Taylor Swift too. The acoustic Stupid Goddam Face is a gentle tale of young love lost. It’s harmonic as all have been so far and Suzanne Vega comes to mind. There are no instrumental breaks as she sings it from start to finish. Good stuff. The sombre paced title track underpins the darkness running beneath the surface of her songs. She sings “learning how to love with my arms open wide, threw away the thorn twisted in my side” as she grapples with good and bad in relationships. The stern drums of Lyle Molzan accentuate the overall dark feeling and there is an orchestral feel as she builds the sound. This isn’t an album to put on if you are needing a lift and Across The Stairs is another sombre one. Jadea’s vulnerable voice sweeps across the moody soundscape of the melody. It gives out Country themes but in a modern way with pedal steel and keys prickling in the background. Pitch Black brings us a grungier guitar sound and although she Rocks it up a bit the pace remains quite sedate. Slightly menacing, this is a favourite.

Happy is a return to her acoustic side and she plays acoustic guitar too for the first time. Simple and effective, this builds well and will grow on you. She knows how to build a song and the use of her haunting, on this occasion, vocal is effective. Joel Schwartz adds mandolin to Jadea’s acoustic guitar for Any Old Boat as some true Country roots come out. Schwartz also adds Resonator guitar and it could well be the track of the album. Another one that is simple and effective. Beautifully sung and gentle brilliance. There is some more Contemporary Country on Room For Me and piano (Mike Evin) is more to the fore on this one. There’s still not any pace but she does stretch her vocal to produce another beautiful song as she looks for her place in the world. We get some bouncy acoustic on Picking Flowers and she’s putting in some real strong songs on the latter part of the album. It feels like the old two sides of an LP done in different styles as she makes the most of minimal instrumentation here. Ten Roses keeps up the run of acoustic songs and she is certainly at home on this style of gentle, melodic songs. Schwartz adds banjo to his repertoire here. Jadea doesn’t disappoint and despite the lack of pace, gives out a warm and happy feel on a lot of her songs. The acoustic theme continues with When I Fly and this, plus others, will go down well in small, intimate surroundings. She is proving herself to be a very good, concise songwriter. Song for her mother of whom she asks “how many falls until I fly”. The set closes with the piano ballad, Running To You and she keeps that atmosphere that has been there throughout until the end. This is achingly beautiful with just her and Jason Sniderman’s piano with some haunting keys creeping in as she builds it to the end.

Put this on and relax. Let your cares drift away.

www.darthjadea.com

23/08/2022

Kiki Dee & Carmelo Luggeri – The Long Ride Home (Spellbound Recordings)

Kiki Dee is well known to worldwide audiences for her wonderful voice but perhaps she isn’t as well known for her lyrical prowess. Together with Anglo Italian guitarist, composer and producer Carmelo Luggeri she uses her lyricism on this beautiful album, The Long Ride Home. Starting with the title track, it becomes clear that even in her advanced years she still has a powerful voice. The song immediately brings us Carmelo’s stunning acoustic guitar over a smooth and sultry soundtrack. Their voices go well together on a lyric that tackles faith and what is to come. A very good start. The Latin tinged Peaceful goes into a dream sequence before coming back with guitar as part of it. Carmelo rocks up right at the end. There is a slight increase in tempo for optimistic Small Mercies but the style remains gentle with those sounds accentuated by guitar. The introduction of slide guitar is complementary to the dual vocal and the lyric is one of a glass half full message. The forward looking What You Wish For is a Latin Blues with Bhangra drums, strings and synths. It’s genre straddling with exemplary playing throughout and I could listen to this again and again. The Ballerina Inside is touching and the production, showing Kiki’s rich vocal, makes you feel all warm inside. The bass is a feature here and the slide guitar is effortless.

Kiki explores the lower areas of her range on Light Of Eden. I’m not sure about this one although top marks again go to Carmelo for his wonderful playing. Can’t Fix The Maybe is Blues based with a percussive guitar getting into a groove. This is a highlight and another that has a bluesy feel is No Angels Tonight with its acoustic slide creeping up on you and gospel singers adding to the depth of sound. There is a slight injection of pace on Eyes Of Understanding which has an acoustic Rock vibe but still in that gentle style that they’ve been bringing us since the first track. This is on the edgy side of Country/Rock/Americana and that drum features again. It’s back to the slower songs for the sweet I’d Be Undone. Out of character slightly, this is simply a love song and a very good one at that and deserves to be sung in front of a hushed audience to get the full impact. They close with Happy Now and they remain in the soft, gentle vibe that has been through most of the album. They’ve been on a journey and ending it happily. It does build as it goes and make no mistake, it is grown up and serious stuff.

www.kikiandcarmelo.com

Durham County Poets – Out Of The Woods (Self Released)

There is a lot of good music coming out of Canada at the moment and Durham County Poets are riding that wave. This new album, their fifth, is a collection of 11 songs penned by one or other of the band and one carefully selected cover. A Québécoise outfit, they excel in Blues, Soul, Folk, R&B and Gospel giving a distinctive Canadiana sound. They open with Working On It, written by guitarist David Whyte, a smooth and slick Rhythm & Blues with horns (Mark Leclerc on tenor sax, Patrice Luneau on baritone sax and Andy King on trumpet), organ from Bob Stagg and Whyte and Neil Elsmore's guitars working hard on it. Kevin Harvey’s lead vocals are smooth and there’s a punchy solo from the guitar to boot. Together In The Groove, written by Elsmore, has a slow and moody Blues opening and the keys of Stagg are already becoming an integral part of their sound, as are the horns. It quickly evolves into a mid-paced groove with the rhythm section of Carl Rufh (bass) and Rob Couture (drums)providing a solid backbone. This is full of Soul and the snappy guitar and trumpet will melt your heart. Mean Old Dog Blues is a gritty rolling and tumbling Blues, written by Whyte, with a good tempo driven by Couture’s drums and horns blowing a storm. This is a highlight with both sax players superb. The slow Blues of Love’s Got A Hold On Me is descriptive with Harvey, who also wrote it, bringing an almost conversational style at times. Karen Morland joins him this time as they join in a little tête-à-tête. This is good with fractured guitar adding to the atmosphere and the chemistry. It’s almost as if the keys have become a third part of the rhythm section. The title track, also written by Harvey, and single is a soulful Blues. They are warming to the task and this is another triumph. It builds throughout and maintains its class from start to finish with peaceful elegance and it gives a warm feeling all over. Horns and organ along with backing vocals from Morland and Sonja Ball provide the depth. The band gets a little funky on the Whyte written Back At The Groove Shack. They are certainly back into a groove on this and Harvey’s voice is like velvet. This is chilled out music from laid back musicians.

They are back in the Soul Blues arena for Through The Glass and they are excelling there too. Written by Elsmore, this is no frills, good music that is well played and well sung with an expressive guitar player to the fore. Whyte’s Good Kind Of Crazy is straight out of the Louisiana swamp. It’s gritty and moody with horns and guitar swapping licks. This will grow and grow. The only cover on the album, and maybe a strange choice, is Bob Dylan’s Not Dark Yet. The Poets used this song in their set when the Covid restrictions were finally lifted and they were performing to an audience that included 500 Dylan fans. No pressure there, then! The acoustic sounds here are quite different to the rest of the album and they do give it a makeover with a powerful guitar solo. It drifts towards Country but the Dylan lyric writing style is unmistakeable. As far as Dylan covers go, this will be in the good pile and is another grower. What We Got Going On, written by Harvey, has classic R&B stylings and this is one of the reasons that they will appeal to fans across the spectrum. Lively guitar and concise sax add that extra something. Harvey produces a vocal full of Soul on his own song, I’ll Fall Too and the song itself has a spiritual feel. This will give you tingles and is yet another that will increase in stature the more you listen to it with effective slide from one guitar and the sound of raindrops coming from the other. The up-tempo That’s What Makes Me Smile, written by Elsmore, brings the album to a close. We get acoustic guitar and harmonica along with a brushed snare drum and they are straddling the genres again. They give us a list of happy things and I’m sure that you will agree on quite a few. It’s a happy way to end the album and just let the gentle sounds wash over you.

This album will grow and grow, play upon play.

www.durhamcountypoets.com

19/08/2022

Walter Trout – Ride (Provogue Records)

Ride is Walter Trout’s 30^th solo album and he promises to take us on a musical rollercoaster with it. It’s his first since 2020’s Ordinary Madness and draws on his darker days as well as the good times. He opens with the first of three singles, Ghosts, and it’s Blues Rock only the way that Walter can do it. Throbbing and driving, he grinds it out with his long-time rhythm section of Johnny Griparic (bass) and Michael Leasure (drums) beefing it up and Teddy ‘Zig Zag’ Andreadis just on the periphery on keys. Vocally, he sounds as good as ever and when he opens up on guitar he just blows you away – the ghosts don’t stand a chance. Sharp and incisive, he starts with a gem. The title track is another of the singles and we have harmonica blowing like a horn as the band go off at breakneck speed. This is very Allman sounding and another excellent song with Andreadis on piano. It’s a train song at the end of the day but one filled with superb guitar and it’s another highlight making it 2 for 2. There’s a change of pace and intensity for the ballad, Follow You Back Home. It’s standard stuff but done with Walter style. It’s heartfelt with a vocal full of pathos but the guitar separates it from other ballads. He's back on the Rock for So Many Sad Goodbyes and the band gets into a slow groove. Tales of loss and making the most of your time can be taken from it. Oh, and that deep growling guitar confirms he’s lost none of his passion. He’s such an expressive player. The harmonica is back for High Is Low, a more straightforward Blues. It’s grungy with a gritty vocal - ladies and gentlemen, this is Walter Trout! Slow and swaying, this is special and will excite you. Organ fills the sound but it’s all about that guitar. The last of the trio of singles is Waiting For The Dawn and this slow Blues has more of a classic Chicago nightclub sound. Walter picks out the notes and makes you listen to every single one of them, making it another favourite.

I’m sure that we all welcome the sentiment of Better Days Ahead. Grinding, grungy Blues Rock is the order of the day as Walter spits out the vocal. It’s bass heavy and the drums pound with the sound of the organ just on the fringes. He goes a little Country/Southern Rock on The Fertile Soil which has good harmonies, as there are elsewhere on the album and stylish guitar. Nice piano, organ and acoustic guitar touches add flavour. I Worry Too Much is a swaggering Blues Rock with Walter strutting his stuff and another favourite. They are such a tight band and by tight I mean loose, if you know what I mean! Keys are higher in the mix this time. This is superb and surely he has got to be one of everyone’s favourite guitarists. He keeps it up with the rocker, Leave It All Behind and this will get the crowd going. He certainly puts some Roll into his Rock. I’ll say it again, a favourite! It’s a lighter approach with added horns, or keys sounding like horns at least, and a top rate piano solo. However, everything is blown away by Walter’s guitar. It’s back to the heavier style for the penultimate track, Hey Mama, on which he has a chat with his mother. It’s pleading and descriptive vocal has a human touch as he speaks to his mother through voice and guitar. I’d say that on the evidence of this album, his set list has grown considerably. The way that he builds into the solos is exceptional. The final track is Destiny and I wonder what destiny has in store for Walter. A ballad to finish with wouldn’t be my choice but if you’re going to do one then might as well make it a good one. This is all about how it was his destiny to meet his wife and how he’s been through it and she’s helped him come out the other side. Lovey sentiment in the song which is effectively a love song for her. I hope that he continues to stay strong. The vulnerability in his voice is shown on this type of song and he shows a good tone and reaches the higher notes well. He signs off with some signature guitar and although I’d have loved a rockier finish he has left me wanting more.

30 albums in and Walter Trout is still standing tall. I’m already looking forward to number 31.

www.waltertrout.com

18/08/2022

Yulian Taylor – Blues Friends (Self Released)

Argentinian bluesman Yulian Taylor has gone from drums to bass and finally guitar as his chosen instrument and he has gathered a select group of musicians to back that guitar on this, his first album. He opens with I Will Sing, a bombastic Chicago style Blues. Lorenzo Thompson, who has sung with Lurrie Bell and Hubert Sumlin, joins on vocals but I’m not too sure about whether this is a good fit. The extended vocal notes seem unnecessary and whilst the guitar sings, I’m not sure that the voice does. Carlos Johnson joins for Rolling Blues and there is a cleaner vocal on this, albeit not that powerful. The song itself is a quick shuffle with jarring guitar from both Taylor and Johnson. New Zealand vocalist Chryssalynn adds vocals to You Are Asleep which has shades of 60s Psych Rock with its grungy guitar and pounding drums. You’ll not be falling asleep here as Yulian throws in some raucous guitar and a soaring chorus.

Start is a smooth Blues with Yulian adding backing vocalists for the first time and giving a fuller sound. The sound of the organ adds to the late night feel of the song and Dexter Allen on guitar rounds the whole thing off just fine. Angie Nero is the next guest vocalist on I’m Going To Get Together and this quick walking Blues suits her sharp vocal. We get harmonica and piano and a strong bass line backing a drummer who is throwing out some patterns. The harp takes some lead duties and is does well as Taylor’s guitar answers, subdued to start but soon gets unleashed. Things get a little heavier on You’re Free with deep, fuzzed guitar from Taylor and a smouldering vocal from Leilani Kilgore. This is the highlight of the set with a soaring vocal in the chorus and a fluid solo from Taylor. He closes out with I Want To Fly, an up-tempo jazzy Blues with horns and Tia Carroll produces one of the best vocal performances. Taylor’s guitar is on par with the rest of the set, the guy can play. He certainly likes his Jazz notes and going off piste on this one and nobody will blame him for doing so.

There are plenty of green shoots on this album and it bodes well for the future.

17/08/2022

Shemekia Copeland – Done Come Too Far (Alligator Records)

Born and raised in Harlem, Shemekia Copeland first took to the stage at the age of 8 beside her father, the late great Johnny Copeland and she’s practically not looked back since releasing her debut album in 1998. On this new album, Done Come Too Far, she has the music and lyrics of John Hahn and Will Kimbrough permeating throughout with a couple of covers and one from Susan Werner thrown in. It opens with Too Far To Be Gone which features the sublime slide guitar of Sonny Landreth. It’s a heavy Blues Rock with Shemekia matching Landreth’s guitar and alongside pounding drums and bass from Pete Abbott and Lex Price they set this up as an excellent opener. Shemekia is in very good voice as she puts forward political views via a powerhouse performance. Pink Turns To Red is a rocking Blues with a message on gun control. Vocally, there are echoes of early Tina Turner and it continues the strong opening with Kimbrough, Kenny Brown and Kevin Gordon on guitar. This is already becoming a favourite. The emotional and gut-wrenching The Talk is a tale of a mother speaking to her child about the dangers of the street. Shemekia lets her vocal rip to match Kimbrough’s piercing guitar and she turns in a great vibrato. Charles Hodges also contributes some special Hammond B-3. I had to dig to find out the meaning of the next song, Gullah Geechee, and it turns out that they are the descendants of West and Central African slaves brought to the East coast of America. You’ll get the story of slavery through the lyric and with just voice and Cedric Watson on African gourd banjo along with minimal guitar from Kimbrough, it’s a powerful song. Hand claps come in for percussion along with backing vocals and Shemekia shows how strong a vocalist she is. The Susan Werner written Why Why Why is an acoustic led spiritual ballad and Shemekia sounds like a parent or teacher in the way that she delivers it. Kimbrough’s slide guitar breaches the serenity and lifts us higher. I hope that a smile comes to your face when you listen to Fried Catfish And Bibles because one came to mine as soon as I heard its Cajun sounds. Fiddle (Cedric Watson) and accordion (Andre Michot) makes this a happy song and a favourite.

The title track is a down and dirty Blues with echoes of the Delta. Cedric Burnside guests and their voices fit well together. The subject matter may not be too easy to listen to for some but it needs to be heard and things need to continue to change. A powerful and thought-provoking song that will keep on pricking at the collective conscience. Ray Wylie Hubbard’s Barefoot In Heaven is delivered as a strolling and sweeping Soul Blues and with a voice so suited to the genre. Slide guitar plays a big part on the album and Kimbrough shows that it’s not just Sonny that can excel. Another top song and there’s not been a dip in form so far. The title Fell In Love With A Honky takes me back to the Huggy Bear days and I’m not sure if it’s too PC these days. It’s good fun Country, another genre for her, and she turns her hand to it again with ease. I feel that this is so unlike her but it works well will name checks for Hank and Otis. We get a smoky voice for The Dolls Are Sleeping which is acoustic led again with Hahn joining up with Oliver Wood to write. Wood also contributes acoustic guitar on this slow Soul with a Funk and Blues edge. Shemekia can turn her voice from a whisper to a thunder in an instant and has total control. The Funk laden Dumb It Down is a scathing indictment on popular culture. D Lattanzi joins Hahn and Kimbrough in the writing team and it’s a groover with Shemekia holding back nothing on her vocal. She goes out in style with Nobody But You, written by her father. This is a strong embellished Chicago style Blues, and driven on by guitar and rhythm section, Shemekia rises to the occasion. This is a big finish to a big album with strong guitar work from Kimbrough.

www.shemekiacopeland.com

08/08/2022

Katie Henry – On My Way (Ruf Records)

Katie Henry first came to everyone’s attention on her 2018 debut album, High Road, and she’s back with her new one which is certainly keeping your attention with 10 original tracks. The title track is a booming opener with pounding bass from Antar Goodwin and drums from Greg Wieczorek. We get a storming chorus with Katie on form vocally and a stinging guitar on the short solo. The acoustic led Empty Cup has a barroom feel with Katie’s accessible voice and Kurt Thum’s piano making it and guitar unobtrusive. Without A Fight keeps up a decent pace. This is Country Rock and a good example at that. Katie has a bit of a rasp in her voice and this is another good track with solid guitar and a driving rhythm section. Thum’s organ playing is integral. We get back to the grinding, pounding Blues Rock of the opener with Bury You. This is remorseless and rhythmic – job done!

Setting Sun is acoustic with just Katie and guitar to begin with. She’ll be likened to many, including Bonnie Raitt but other non-Blues based artists too. The band joins in with Thum’s piano to the fore and sympathetic lead guitar from Ben Rice. The single, Got Me Good, is another that has a Country influence and another that is so easy to listen to. Her voice comes across a little breathless on Blessings and that makes it all the more endearing. Another in the Country vibe, it’s a sweet and simple tale of giving thanks for what you’ve got. Straightforward Country lead guitar rounds it all off. Another of her Blues grinders is Too Long, which is often thunderous with Giles Robson’s harp wailing and warbling. Katie swaps genres with ease and long may she continue to do it. Thum’s Hammond adds to the vibe as the track washes over you. She finishes with the piano led Running Round. A ballad that highlights a vulnerability to her voice in fitting with the song. The power comes vocally as we get into it as it builds to the end with guitar taking us out. She finishes with the pacy Catch Me If You Can, with slide guitar from Goodwin punching through and drummer Wieczorek driving it on as Katie crosses genres again.

No second album syndrome here.

www.katiehenrymusic.com

www.rufrecords.de

Derrick Procell – Hello Mojo! (Catfood Records)

This is the label debut for Chicago based Soul Blues harmonica and piano player Derrick Procell. You may not have heard of him but you’ll certainly have heard his music before as his songs have been used for TV on such shows as My Name Is Earl, True Blood, Criminal Minds, Boston Legal, Saving Grace, The Office, This Is Us, The Americans and King Of The Hill and for the Oscar nominated film, Lady Bird. His songs have been recorded by the likes of Melissa Manchester and Shemekia Copeland and he has a wealth of experience in advertising from writing commercials to singing them. His first album for Catfood opens with Skin In The Game, with deep horns and guitar, thumping drums from Richy Puga and a smoking voice which hits us from the start. This is a slick, strong opener with guitar, from Zac Harmon, to match. The title track has a swaying New Orleans feel with a touch of Latin which gives it a strangely seaside feel. The piano, played by Derrick, takes on a higher profile as the horns provide excellent fills. There’s a call and response chorus with Dan Ferguson on the organ getting the opportunity of a short solo which he takes well. This is a classy artist and he just makes you happy. Peter Neumer on sax is excellent on another short solo, as is trombone of Steve Duncan. Harmon’s driving power guitar on The Contender takes us through a heavy Soul Blues. It’s too late for the Rocky films but it’s perfectly set up for a new boxing film. It’s not Eye Of The Tiger but just as soul stirring with such a strong baritone voice. This will stir the blood and grow on you, especially with the cutting guitar from Harmon at the end. Harmonica is deployed for Broken Promise, a smooth and sleek soulful R&B. Horns and organ, again from Ferguson, along with backing vocalists, make for a lovely run into the. Derrick plays a mean harp and there are some more Latin rhythms giving it a swaying touch. A Tall Glass Of You is a drinker’s song with lots of namechecks for the drinks industry. The title is a bit twee and the song doesn’t reach the heights of the others.

Derrick uses his soulful voice to full effect on I Can’t Say No and with its singalong chorus with horns in full flow, especially the sax of Andy Roman, he is back on form with this grower. The strong vocals continue on Color Of An Angel, which although it is of a slower pace, it loses nothing of the impact. He draws you in, like a warm blanket on a cold night, and reminds me of the style of Marc Cohn at times. His harmonica returns for the shuffling, Baby I’m Lost. His voice carries the songs but the songs fit the voice in perfect synergy. The only cover on the album is the strolling Who’ll Be The Next In Line. Originally a Kinks song, this features jagged guitar from Johnny McGhee with horns joining as it slithers into your world. Derrick is almost conversational as he asks who’s getting the heartache next from this girl. I have a feeling that this is a relationship that hasn’t ended well but it makes for one of the top tracks on the album. Special mention to the smooth guitar solo from McGhee too. He closes with a slow one in Bittersweet Memory but to be fair he’s kept the pace pretty even throughout the album. This is an anthemic finish and one that is certainly going to be a favourite in his live set. We get strong horns yet again and his voice will melt your soul. A sweeping guitar solo from McGhee adds to the feel of a very good closing track with Roman’s sax coming in afterwards to challenge for top spot.

I think Catfood Records have snared themselves a top artist.

www.catfoodrecords.com

27/07/2022

Eliza Neals – Badder To The Bone (E-H Records)

Badder To The Bone is an album of nine originals and one special cover from an artist with a voice that demands to be heard. Detroit-born Eliza Neals is an artist that is surely on the cusp of higher things and this album will cement that. She opens with United We Stand, co-written with Michael Puwal and HJ, which has a speeded-up Bo Diddley beat and slide guitar. Eliza’s voice like treacle on this slick, exuberant opener. Queen Of The Nile on the other hand is a slow, sultry Blues with Lance Lopez adding his guitar and Peter Keys also guesting on Hammond B3. She has a vocal to match the best as she growls her way through this at times. Keys in the background adds depth and the searing guitar from Lopez is marvellous. There’s a river of notes flowing from his axe on this epic track co-written with HJ. We get shades of Beth Hart on Lockdown Love which is co-written with Puwal, who also contributes guitar. Eliza delivers a classic Blues Rock vocal and Puwal’s guitar scorches the earth. King Kong, the first of her wholly own compositions, is an up-tempo Blues rocker with a smoky and gritty vocal as on the others. Eliza can cope with anything that is thrown at her and there’s plenty on this track with lots of Rock N Roll guitar licks thrown in from Lopez. The shuffling and reverberating Bucket Of Tears isn’t the best on offer although the slide guitar does help it along. Co-written with Puwal, it’s not that it’s bad in any way, it just doesn’t reach the heights of the others.

Billy Davis is guest guitarist on Got A Gun, a 60s style R&B with John Galvin’s Hammond adding to the effect as it swaps licks with guitar on another of her own compositions. Fueling Me Up, the other that she co-wrote with Puwal and HJ, is a stomping and grinding Blues Rock and although Eliza’s voice remains true throughout, she is definitely back on top form with this. The slide guitar burns it up and when added to a Kris Barras style chorus then you have a winner. Maggie Bell and Janis Joplin come to mind as Eliza swaggers her way through the slow Blues Rock of Heathen. Piano (Eliza) and organ are prominent with piano playing in a slightly barrelhouse fashion. Very good and the best of her self-penned songs. Lopez returns for the cover of the Steve Winwood classic, Can’t Find My Way Home and he helps turn this into a superb version as he lights it up with epic solos. Eliza plays it different as she grunges it up a little and her vocal is even grittier too, if that were possible. This is probably the track of the album although others will be growers. She finishes with a shortened version of Queen Of The Nile, this time Queen Of The Nile II. Lopez is again on guitar duty this time and we are treated to another scintillating guitar solo to finish with.

This is an album that will bring Eliza Neals to the attention of many.

www.elizaneals.com

www.e-hrecords.com

The Wise Monkeys – This Is Our Record (Anglocentric Records)

The Wise Monkeys are a 33-year-old Folk and Roots collective band led by ex-Members stalwart JC Carroll and having gone through many line ups are currently running with JC on accordion and guitar, former Chris Jagger Band/Kangaroo Moon and Blue Midnight’s Elliet Mackrel on violin and didgeridoo, Steve Grocott ex-The Drones on guitar and mandolin former Members drummer, Nick Cash. After losing a few members over the years they have finally decided to release an album of their work. This Is Our Record is the result and contains some material recorded with the band’s longest standing member and now sadly departed, Lee Fergusson. They open with the single, Vive Le Rock, which is loosely based on Chuck Berry’s Promised Land. It’s the story of The Members’ big hit Sound Of The Suburbs done in a rootsy style. Accordion led with electric guitar driving it and an honest vocal makes for good fun. London Cajun! Joli Blonde has violin, mandolin and acoustic guitar added for a two-step Cajun. This is down to earth and brilliant for it with a tenor vocal, stretched to the limit at times, piercing and bass and drums unobtrusive. The violin and mandolin remain for Nashville Blues and take the lead. It’s slightly more up-tempo but an unassuming Country Blues. Mackrel is excellent on violin and it’s hard not to like these guys, they are infectious. Carroll’s accordion duels with Grocott’s mandolin at times as they hark back to other, simpler times. Iko Iko is a famous old song but not often heard like this. They’ve slowed it down and given a rootsy treatment. Mackrel’s violin features again and JC’s accordion just fits. Call and response in the vocal as you would expect. The strolling, folksy and descriptive Uncertain In Principle brings sounds of The Stranglers in parts but with the mandolin high in the mix and a haunting keyboard riff they have their own sound.

3 Jigs does what it says on tin with violin and mandolin starting things off at a moderate pace. Celtic influenced as you would expect, it starts to speed up in true fashion at half way. The vocals come asking if we love fried chicken, amongst other things. It doesn’t get to a full speed though and that is my only complaint although I suppose that would have made one of them a reel. There’s a Mexicana feel to Lea Valley with mandolin, strings and accordion playing their part in that. It’s so easy going and a strange juxtaposition between the Lea Valley setting of the lyric and the melody. Slide guitar is added to the mix for Pines, based on the old Leadbelly song. It’s folksy and sung in their own accent, not trying to put on a mid-Atlantic vocal, which I like in this context. The song itself is slow and acoustic and tells a harrowing tale. Sam Hall is a combination of music hall, Folk and storytelling. It’s a tale of chimney sweep Sam Hall who was accused of murder, probably correctly, and his curse on all who brought about his end on the hangman’s noose. The music is gentle behind the grisly story and is good stuff all round. Damn your eyes! Hangman follows on from the previous but a different tale. This is someone hoping to stay the hangman’s noose. His brother and sister arrive and he asks if they brought gold, silver, anything, but they just came to see him swing from the gallows pole. Families, eh! His lover brought the gold and silver but there’s a twist. The descriptive vocal is backed only by acoustic guitar and mandolin which really draws you into the tale. It’s earthy and rootsy and more good stuff. They finish with Westfalia and you get a sense of an oom pah band, fitting for the title, with accordion lead. Violin sweeps in as it builds and then mandolin comes in for a lovely trio. This is an ambling instrumental to finish with and it has a gentle sway and bounce to it. Close your eyes and you could easily be in Westphalia, driving a Westfalia.

Some say the definition of a gentleman is someone that knows how to play the accordion but doesn’t. Unfortunately, that makes me a gentleman but fortunately it means that JC is no gentleman and I’m glad that he, and the band, has decided to release this material.

www.anglocentric.co.uk

25/07/2022

Davide Pannozzo – Be Blessed (Self Released)

New York based Italian Bluesman Davide Pannozzo has been building a following over the last decade culminating with his critically acclaimed album, Unconditional Love. From that album he brings us his latest single, Be Blessed. This is a chilled out, slow, guitar led instrumental with a little groove in there. Produced by legendary Steve Jordan, who also plays drums, and featuring Will Lee on bass and Clifford Carter on keyboards, it shows Davide to be a high class and expressive player. There are Jazz overtones on a Blues theme with sweeping strings courtesy of Davide Rossi with bass and drums stitching everything together behind the eloquent playing of Pannozzo.

www.davidepannozzo.com

Jessie Kilguss – Great White Shark (Self Release)

It’s been four years since New York based and Irish rooted Folk rocker Jessie Kilguss’ last album and as a taster to her next one, What Do Whales Dream About At Night?, she brings us the first single, Great White Shark. It’s a lo-fi intro with just electric guitar and Jessie’s clear and airy voice. As the bass and percussion joins the song begins to build expectantly whilst still maintaining a gentle, pedestrian pace. This is delicate, no-frills music and the influence of Marianne Faithfull can be heard throughout.

www.jessiekilguss.com

20/07/2022

Rune Robert Friis – Built For Comfort Vol 1 (Self Released)

Danish Bluesman, Rune Robert Friis, may be a new name for many of you but he has been building quite a reputation for himself as a live performer and has gathered the cream of Danish Blues musicians for this, his debut album. The 9 tracks contain 7 originals and 2 well selected covers and start with Never Comin’ Down. Written by Rune, this is bass heavy with horns (Kasper Struck), electric piano (Rasmus Lohde) and snappy guitar (Uffe Steen) all playing their part. Veteran Danish Blues singer Nils-Ole Poulin provides a slightly guttural vocal. This is tight all round with Rune providing those deep tones on bass. Summertime Ghost is like a soulful old R&B and another of the originals. Deep dulcet tones from Poulin leads us on a path of reminiscence that slowly flows from beginning to end. Rune’s bass is high up in the mix again with Rasmus Stenholm picking away on the organ. Oscar ‘Big O’ Martin Eriksen appears on harmonica for Cold Water, a slightly funky straight up Blues. Poulin doesn’t get the higher range in his vocal but it is a good enough song though with the rhythm section pinning it. Things are slowed down for the solid, if unspectacular, Truth Don’t Rhyme.

Say You Will is another that flows well and Rune’s bass is the reason for this. Co-written by Kanye West, this is not a Blues but has a Latin feel to it. It’s another that will grow on you and an unexpected winner. Slide guitar from Jesper Heinz is added to saxophone and trumpet from Struck and Kaj Schmit-Boisen respectively for Fresh Start. Sarah Jana Westphal is brought in on vocal and offers a different dimension on this groover. Heinz provides some good runs on his guitar. Falling Skies is an epic, 7-minute slow Blues with Heinz and Perry Stenback providing some of the best guitar work here. Stenholm on organ, Rune’s bass and the drums of Kristian Hoff build the scene and provide the canvas throughout with the matter of fact vocal from Poulin and Tom Boll very effective. The band is on a roll, guitar wise, for Uphill. It’s staccato this time with piano, this time provided by Rune as well as bass, and Hoff’s drums providing a rhythm to back it. Westphal is on backing vocals this time to answer and cajole Poulin. Chris Grey provides guitar on this one and keeps up the high standard. The album ends with the other cover, the brave selection of Bruce Springsteen’s classic Dancing In The Dark. Rune slows it right down and it’s effective in some ways, not so in others. This needs the Boss’ vocal but it’s an interesting take on the song with Heinz on acoustic guitar working in unison with Rune on electric.

I’m sure we will hear more of Rune Robert Friis based on this first outing.

Iain Matthews & The Salmon Smokers – Fake Tan (Continental Song City)

Iain Matthews is one of the leading lights of Folk Rock having been a founding member of Fairport Convention and vocalist for their first three albums. He went on to form Matthews Southern Comfort, who had a UK Number 1 with Joni Mitchell’s Woodstock, before forming Plainsong with Fairport colleagues Sandy Denny and Richard Thompson as well as releasing albums on a solo basis. This new collection features revisited songs from his solo outings along with Plainsong and Matthews Southern Comfort albums and one new track. It opens with Same Old Man and it’s an eerie, percussive start with Eivind Kloverod on drums and percussion. Deep guitar tones from Omar Ostli and strings from Freddy Holm add to the effect but when vocal arrives it arrives as a folksy, rootsy one and not what the beat suggested at all. It’s not a classic opening song by any means but it is very intriguing. Ballad Of Gruene Hall is a jazzy soft shoe shuffle. Iain still has an expressive voice and he uses it to good effect here. There’s a little Dire Straits style in here and there is some good fingerpicking and slide guitar from Ostli and Holm. Overall, a smooth and calming effect. I Threw My Hat In is the new song and confirms him as a master storyteller. This classy Americana has Holm’s mandolin tinkling away with a strong chorus as its centre. A highlight. The pulsing and sweeping, yet soothing, Something Mighty follows with more strings from Holm and more than a passing resemblance to the styles of Paul McCartney and Paul Simon. Woodstock rings a bell ha-ha. From his Matthews Southern Comfort days and brought up to date but a classic nonetheless. His vocal and harmonies are not as on the original but closer to a spoken tale. I guess we’re not 60’s hippies anymore. It still has the riff though and the guitars of Ostli and Holm are so laid back.

Reno Nevada is one of a couple of previously unrecorded songs, this one from the Fairport Convention days. It opens with strong, surging, driving drums from Kloverod joined by an easy going and descriptive lyric and melody. This will take you back in time. The piano, also played by multi-instrumentalist Holm, is prominent on this one and makes for a welcome change. Southern Wind is Folk focused Americana with gentle sounds drifting in. Iain turns in a strong vocal an makes it another highlight. Guitar and banjo (Holm) manage to mix the genres whilst strings, Holm again, enhance the tune. I could listen to this for quite a while. Another previously unrecorded song but one that features often in his live shows, is It Takes A Lot To Laugh, the Dylan song but without the ‘It Takes A Train To Cry’ part of the title. This is stripped back to Holm’s piano and Kloverod’s snare to back Iain’s voice and is a very different, almost haunting, take on the song. Backing vocal and slide guitar come in but it is still very slow and one of the times a Dylan song is made to be very different. Mandolin is added with effect to the swaying Following Every Finger. He’s got one of those voices that doesn’t age and just washes over you, leaving behind lovely memories. The dreamy lead guitar on If You Saw Thro’ My Eyes helps us drift off on a feather pillow. This is an end of the evening song with Iain again on good vocal form. Keep On Sailing is a gentle finish but I didn’t expect anything else really. It’s Americana on the Country side with banjo and lap steel guitar, both from Holm, playing prominent parts.

This is an album that will delight current fans and will help to gain lots more.

www.basinstreetrecords.com

14/07/2022

Kevin & The Blues Groovers – Something Old, Something New, Something Borrowed Blues (Basin Street Records)

At 23 years of age, pianist and vocalist Kevin Gullage is fast becoming a big name in the Blues arena. He fronts a band of seriously experienced musicians in the form of Tony Gullage on bass (Henry Butler, Dr John), Hammond B3 player Brandon Adams (Kenny Neal), guitarist Carlton Ross (Glenn David Andrews), saxophonist Roderick Jackson (Kenny Neal) and Mac Carter (Jon Cleary) on drums. He’s been on American idol, featured in a film with Chevvy Chase and held a residency at BB King’s Blues Club and now he is bringing us his debut album. Opening with Shakey Ground, a jazzy, funky groover of an opener, he immediately lays down his strong vocal. Tony Gullage’s bass line will bend your back and the horns of Jackson, Jason Parfait and Ian Smith jump in and out. This is a top class start with Ross’ guitar toying with the horns. Ronnie Baker Brooks adds his guitar to Movin’ On, a deep Soul Blues with Adams’ Hammond B3 supplementing Brooks perfectly. It’s smooth and fluid and if you weren’t already aware, Kevin has a voice! His piano break is gentle and plays well off Brooks’ guitar and the subtle horns add to the flavour. This is the first of his own compositions and a move in the right direction. Brooks remains for the Robert Johnson standard, Sweet Home Chicago and Kevin gives us a little family background to begin with, preacher style. From there on we get a classic song done in a classic shuffling style. His vocal inflection at the end of each line is up rather than the norm which gives it just a little twist. Carter’s drums are slapped appropriately as Brooks’ guitar takes it to another level. Those horns provide such a good base along with the rhythm section and Parfait’s sax solo has some lung bursting notes. This is a very good version of this often-recorded song. Another of Kevin’s originals is So Called Friends Of Mine and it’s back to the gentle, smooth sounds of Soul Blues. This is classy as he shows some different aspects to his vocal and the lap steel guitar of Terrel King is a new turn. This hits the highs.

Another classic song is Titus Turner’s Grits Ain’t Groceries and Kevin funks it up heavily to produce a brilliant version. I dare you not to move to this with the horns on form and Kevin belting it out, confirming his status as one of the best new singers around. Ain’t Nobody’s Business If I Do is another that has stood the test of time. It’s a horn laden slow Blues and dedicated to all the nosey people out there. It’s well played, well sung and not too much changed in the arrangement, just the way that it should be. Kevin’s piano is out front with a succulent solo. There have been a couple of big hit versions of Valerie and this is different again – There have been a couple of big hit versions of this song and this is different again. This is one of my favourite Zutons songs and Kevin slows it right down with piano and horns to the fore. It showcases his voice very well and although I still prefer the original, this is a stand out in the genre. Sean Willis also merits a mention on Hammond B3. My Baby Gave Me The Blues is a powerful Chicago Blues featuring Norman Sylvester. Kevin’s piano notes are pinging out under a slick and a wonderful vocal. This is another highlight, again written by Kevin, with some often understated, yet beautiful, guitar work from Sylvester. They round things off with another classic, Little Milton’s The Blues Is Alright. Gary Moore had a big hit with this and there’s a lot to live up to when picking this song. It’s a bit of a change with piano taking a lead role but still great with Ross providing some sublime guitar. No need to worry as this is another highlight and a great finish. It sweeps and swings and you’ll be singing this all night.

As debut albums go, I’ll be pushed to hear a better one this year.

12/07/2022

Kristian Montgomery & The Winterkill Band – A Heaven For Heretics (Self Released)

Born in Florida to a Danish father and American mother, Montgomery was raised in New England and started singing in the church choir. He moved on to shanties and the Celtic and Scandinavian songs of his heritage before moving on to Rock, playing in a number of local bands. Nominated for the best male vocalist at the Boston Music Awards whist playing in a metal band he eventually found his rootsy destination after travelling to Nicaragua and back to his father’s homeland of Denmark. His latest album, A Heaven For Heretics, brings out all that is good in Roots music and opens with the dark and brooding I’ll Break Your Heart Again. This is a classic album opener, menacing at times and is a great start. Come Carry Weight With Me is slow but full of hooks and percussive with drums high in the mix. This will grow on you as will Kristian’s worn in voice. The rapid Times Like These features a Country style lead guitar and edges on Rockabilly at times. Great harmonies, sharp guitar and rolling bass and drums add up to a bundle of energy. The exceptionally long titled Here’s To The Men Who Have It All And Still Want More is on the dark side again. I hear a different language in there, perhaps Native American, and it is very powerful. This is a tale that needs to be heard. Ain’t Got Nobody But Me is an in-your-face rhythmic Country/Americana that pops in the breaks and shows how good a band they are. A thought-provoking song.

I feel that they are one of many bands of this ilk that will struggle for bigger acclaim and on The Year The Bottom Fell Out they show that they deserve a wider audience. I am reminded of bands such as Wrinkle Neck Mules here. There aren’t too many lead solos so far but we do get a short one here. Harmonies, as ever, are good. Family Owned is grungier and on the Rock side of Americana. It’s a story of no matter how you roam, you are still family. They Funk it up a little for If I Live To See Virginia and the pinging bass, snappy drums and gritty vocal all add to the flavour. It comes in at a mid-pace but the rousing running solo is classy. The single, Secret Watering Hole, gives us tales of the South. This is strong Americana with a rhythm section that is on form again. Although short in tempo this has a bounce and a stern guitar solo. They finish on a high tempo with Peach and add banjo to good effect. I feel that Kristian sounds a little like Joe Bonamassa vocally at times and that’s no bad thing. They go all out for it and it’s my kind of finishing track. It’s a great ending and made even better by their nod to The Beatles’ In My Life.

www.kmwkb.com

11/07/2022

Supersonic Blues Machine – Voodoo Nation (Provogue/Mascot Label Group)

Big name power trio, Supersonic Blues Machine, return with their third studio album and with Kris Barras taking the place of Lance Lopez. Gone, to a certain degree, is the 60s flower power ethos and in comes the Blues Rock of Barras. Supplemented by a barrage of guest guitar talent, this is an album of many twists and turns. It opens with a classic power trio tune in the form of Money. They grind this one out as they bow to the filthy lucre. We get a trademark Barras chanting chorus and flurries of his guitar over a solid rhythm section of Kenny Aronoff on drums and Fabrizio Grossi on bass. One of the three singles on offer is Too Late, a scorching rocker with a big chorus. Hand claps and harp keep the rhythm with a storming guitar lick thrown in to make it a first highlight. The harp remains for Coming Thru, a riff laden Blues Rock and tale of a battle against adversity. Barras is on form vocally (he rarely isn’t to be fair) as they rock it out. You And Me has a stomping, grinding groove and is Blues Rock of a high class. The backing vocals on all tracks are quite choral but also childlike in places and they do love a chorus. Young Harlem Blues sensation King Solomon Hicks is the first of the guest artists and an immediate impact is felt. A song about the struggles of completion, Get It Done, is a romp with thumping drums from Aronoff. This is a classic rocker with slide guitar implemented and Josh Smith guesting. Another of the singles is 8 Ball Lucy, which has slide guitar supremo Sonny Landreth on board. This is another grinder and a good one at that. A hypnotic chorus and distinctive slide from Landreth make for one of the top tracks. It’s a story all about how vulnerable people can easily fall into temptation.

Devil At The Doorstep has, quite unusually, a keyboard intro. Aronoff’s drums and Grossi’s bass come in with guitar to build it. It’s slow, with a soothing chorus and backing vocals. However, the best of the lot is a controlled power solo from one of the best in the business in the form of Eric Gales. Joe Louis Walker adds his considerable talents to Is It All. We get a vocal in the higher range over a percussive track, leading into an almost Gospel style chorus. This is a grower and will get better with each listen. On Do It Again we are back in the welcoming arms of an all-out rocker. This is yet another highlight with Ana Popovic adding a scorching solo. Things are slowed right down again for the sultry, soulful Blues Rock of I Will Let Go with Barras showing his range and Kirk Fletcher adding some significant guitar. The title track has an atmospheric intro, leading into a powerful and surging grinder with howls appropriately placed. Slide guitar is pivotal and Grossi’s bass is prominent. The chorus is very Barras as is his superb guitar work. The screamy section towards the end turns it all very earthy and primal. To close out we have Blackberry Smoke’s Charlie Starr guesting on All Our Love. This is an acoustic led up-tempo finish with slide guitar and harp in again. It's the last of the three singles, almost Country Rock its style and topped off with another big chorus. A highlight to finish with.

www.supersonicbluesmachine.com

www.friendlyfolkrecords.org

28/06/2022

Dave Edwards – Many Rivers (Cadiz Music)

Dave ‘Spud’ Edwards isn’t a name that comes to mind when mentioning great British guitarists but the fact is that he’s one of the best Rock guitarists ever to have come out of London. Having played in bands with Rory Gallagher and Iron Maiden’s Dennis Stratton there is no doubting his pedigree. Many Rivers features songs culled from his archives over the past 40 years and two recent songs with members of The Cockney Rejects. We open with two songs from his early 80s band, British Isles and on Maybe This Time we are taken straight into a Phil Lynott bass line from Chris Glenn of SAHB and Michael Schenker Group fame. It’s a percussive start with Rod de’Ath of the Rory Gallagher Band and his fellow band mate Lou Martin on keys. Dave delivers a strong vocal and slicing guitar solos. It thunders on in the second half as Dave unleashes his full might. Enemies is the second of the British Isles songs and this is a pulsating rocker. Classic Rock with driving drums from de’Ath and Hammond from Martin to the fore. Never Want To Hear You Say Goodbye is a Rock power ballad in the Whitesnake mould. Dave’s tenor is well suited here and the obligatory sharp guitar breaks, well performed, show how good a player he is. Steve Goff’s bass high in the mix on this one. The title track is a version of the classic Jimmy Cliff song and he has that timbre to his voice that lends itself to this song. Cliff’s version sends shivers up my spine – this comes close. There’s a strong solo but you don’t need to do anything to this song and he plays it pretty straight. It’s a highlight, for the song alone and is from when he was playing in the Gerry McAvoy Band along with Ted McKenna (SAHB) on drums and Gerry McAvoy (Rory Gallagher Band) on bass. Party In The Back Seat Of My Car is a Rainbow style rocker. Storming guitar as the basis of strong, driving Rock; what’s not to like? Highlight. He can Rock, that’s for sure and he shows it on It’s Our Time. Straightforward, no nonsense with throbbing bass from Goff, driven on by Clive Brookes’ (Groundhogs) drums and Dave’s guitar producing a sliding solo. He keeps the rocking up and increases the pace for Dreaming. This is high octane stuff, not the best lyrically but a dramatic solo more than makes up for it. From his days in JoKev in 1995 we get the ballad, Forever. Piano and keys led; it allows Dave to show how good a voice he has. The expected guitar solo comes in late but what a heady solo.

Feels Like Ice is another from the Whitesnake/Rainbow/Graham Bonnet stable. It’s funked up a little with synths but still a pretty straightforward 80s style British Rock. Featuring another powerful solo, this is another from his JoKev days. There’s an atmospheric, bluesy opening to Railway Station, which then turns into an 8-minute British Blues Rock epic with Dave on top form. I have nothing but praise for this. It’s well played, well sung, well written and one for the playlists for sure. John Mayall would be proud of this, a powerhouse, controlled performance on guitar from his 2015 band Three Piece Suite. He goes for it again on the full-on rocker, Love Won’t Fool Me Again. This is full of pace and passion and he shows how good he is again with a soaring solo and a vocal to match. Another highlight. There’s a touch of Punk at the start of Baby Says but it then goes into a more conventional rocker with a piercing vocal and driving solo. The acoustic led Can You See It is a Rock ballad and built for stadiums. Full of tempo changes and twists we get a dual guitar with Tom Dunn and taken from his 1981 band, National Grid. Birdsong greets us on Don’t Tell Me Lies before piano comes in from Carlo Villa. This is a very pastoral start and goes this way for a couple of minutes before additional keys and acoustic guitar join along with Dave’s soft vocal. It does build with bass and drums added from Steve Murray and Martin Johnson respectively. Overall, quite Folksy and ends again with birdsong. This is from when he was playing with Union Jack in 1996. The first of the two newer songs is The Old Man Of Canning Town which opens with grungy guitar and thumping drums from Jason Eviritt. This is heavy Rock and what Dave is best at. It’s an amalgamation of Classic British Heavy Metal bands with his shredding solo confirming his continuing credentials and calling themselves TNT with Vince Riordan and Micky Geggus of The Cockney Rejects on bass and guitar respectively. He closes with a rocker in the form of Davey’s Eyes and you can bang your head all the way to the end.

This doesn’t feel like a compilation as it flows so well and it is a great introduction to the music of one of the UK’s finest guitarists.

www.cadizmusic.co.uk

13/06/2022

Rod Picott – Paper Hearts & Broken Arrows (Welding Rod Records)

Rod Picott is back with 12 original tracks, 8 by his own hand and 4 co-written, on the follow up to his critically acclaimed 2021 double album Wood, Steel, Dust & Dreams. He says that his beard has gone completely grey because of stress but there is no evidence of that on this latest album, his 14th. This is an album of gentle introspection which begins with Lover and his lived-in voice immediately draws you in. The song is haunting and gut wrenching and he knows how to tug at your heart strings. A beautiful reflective beginning. The brooding Revenuer is a stark tale of bounty hunting. It’s electric and harsh in parts but that suits it down to a tee. It’s back to his trusty acoustic for the thoughtful yet self-deprecating Mona Lisa, a love story about searching and waiting. Dirty T-Shirt has his gruff vocal, which has changed over the years due to over use and over gargling of Jameson’s. He tells a tale and in such a way that it gets heard. Steel guitar from Juan Solodzano and shuffling drums from Evan Hutchings carry this along but it’s all about the voice, the lyric and that lovely chorus. Frankie Lee is a tale of deprivation and a boy getting out of it any way he can. Co-written with up-and-coming songwriter Jennifer Tortorici, it’s a highlight of the album and is sung in the true tradition of the troubadour with just Rod and his guitar making you think about those who haven’t had the best of starts. Sonny Liston is, unsurprisingly, a song about the famous boxer and tells of the good and bad in his complex life. This is song that demands that you listen to what is being said and will put you through the emotional wringer. He is a songwriter’s songwriter and this is great.

We get a lift in the tempo for Through The Dark and we hear that he’s a true performer, in the sense of there’s no gloss, just great music played by a great musician. Co-written with his long-time writing partner Slaid Cleaves, this is another in their long line of very good songs. He can captivate you so easily and on the starkly beautiful and heart aching Valentine’s Day he took an original faster version played with the band and slowed it down with just his guitar and plaintive vocal to move it away from what at first sounded like an “Eagles track with a guy who can’t really sing”. Washington County, written with Mark Erelli, plays out the stark reality of life for some and confirms Rod as a true observer of the human race. It’s a tale of degradation, poverty and industries closing and although he delivers a sympathetic treatment of the topic, it does hit hard nonetheless. Another with a hard-hitting lyric is Lost In The South. It’s played in his well-known gentle fashion but tells the tale of a man out of his comfort zone, a Yankee in the South and how he’s perceived. The album is one of looking back and introspection and Mark Of Your Father is certainly one for reminiscing. This feels a very personal song but one that could be applied to any number of people, that’s his skill. All in all, a beautiful song with Marvin Gaye used an example of how complicated father son relationships can be. A gentle album ends with Make Your Own Light and Rod sounds like he has been through the wringer. You can imagine the hush when he sings this live. Also written with Slaid Cleaves, this is powerful and motivating.

Rod is going to be in my area on 22^nd June but I can’t attend the gig. If you can, catch him when he visits yours.

www.rodpicott.com

06/06/2022

Chris Murphy – Early Grave (Friendly Folk Records)

Born into an Irish-Italian family near New York City, Chris Murphy was influenced by Italian mandolin, bluegrass, and folk to Latin music. Now based in Los Angeles, Murphy has made a living by writing, performing, and recording original music. Throughout his 30-year career, Chris has released an extensive catalogue of 18 solo albums, with an additional 20 collaborative albums as a musician/producer. To coincide with an extensive tour of England, Chris has released Early Grave, the first single from his upcoming Two Rivers Crossing album. This is a pared back fiddle and vocal performance with just the occasional foot stomp to pass for percussion. He shows that he is a master of Bluegrass fiddle without the need to add any pyrotechnics. His voice is welcoming and makes you feel that there is a story to be listened to. I’ll call this Bluegrass Blues and I’m already looking forward to the album.

www.chrismurphymusic.com

03/06/2022

The Bad Day – The Bad Day (Crackerjack Records)

I’ve been with The Bad Day since the start (The Bad Day Blues Band) and for their second offering they have gone old school and released a concept album in two parts. These, of course, would be side A and side B of a vinyl LP in the old Prog Rock days and would have been one track per side sometimes. The Bad Day consists of 11 tracks though, part 1 of 5 songs and part 2 having 6. We open with Wake Up Carolina, the second of the 3 singles released this year and a Blues rocker in the Southern style with guitar from Nick Peck and Sam Spranger on harmonica immediately making an impact. They’ve rounded off some of the rougher edges from the first album but have done so without losing any of their power. It’s a swift move onto The Queen Of The Dirty Minds with jarring guitar from Peck, reminiscent of The Jean Genie in parts but only briefly, wailing harp from Spranger and dirty Rock vocals from Adam Rigg. This takes us to the title song with a Spanish guitar intro. It is slower at the outset before it bursts into life and becomes a true rocker as they go for it with power all the way and Spanger blowing up a storm. Devil’s Lullaby, the lead single, is Springsteen-esque and a rousing anthem for driving down the motorway at as fast as you can go. This stands out on its own and is confirmation, if you needed it, that Spranger the harmonica man hasn’t lost his verve. Part 1 finishes with another top-notch Blues rocker, Get Out, to round off 14:41 of non-stop music with Peck rocking it out to the end.

Part 2 opens with the third of the singles, When The Cage Comes Down. It’s a rollicking rocker with the band at full stretch and Peck’s guitar on top, playing as only they know how and turning in their own inimitable sound. Half Now Half Later is up next and there are images of Free floating in and out as Peck rings his guitar like a chime. Spranger’s warbling harp then takes us to Yeh Boi, a striding rocker with him and Peck playing in unison before we go to New York, which adds a little Funk to the mix. The rhythm section (Rigg on bass and Andrea Tremolada on drums) have taken everything that has been asked of them and thrown it back with interest. Son Of A Bitch has Rigg spitting out the vocal as the band goes into overdrive and brings us another highlight of Blues Rock 21^st Century style. Broken Hands brings us to the end of the 15:52 part 2 and it’s a break in the onslaught for a wee while at least. It builds, again with a Southern Rock influence, with the introduction of Spranger on harp, the bass of Rigg and the drums of Tremolada. A neat and clean guitar solo from Peck rounds off this anthemic tune and an album that is bound to add many new followers.

The band say that this is “a tragic story of love and freedom set against the overarching concept of a broken society”. I say, it rocks!

www.bad-day.net

02/06/2022

Mighty Mike Schermer – Just Gettin’ Good (Little Village)

12 original songs mark the debut album on Little Village for Mighty Mike Schermer. Like his song, Gypsy, which we’ll come to later, he’s a bit of a traveller; born in New York, raised in New Mexico and lived in California and Texas. He has soaked up the influences of these places, and others, to bring us his brand of Blues, Soul and Rock N Roll which opens with the title track and a rallying call to those of us in advanced years. This is a fluid and funky horn laden starter that will ease its way into your life. Mike’s stinging guitar offsets the pounding rhythm section of Derrick D’mar Martin on drums and Steve Ehrmann on bass. You sing it Mike, we’re not getting older, we’re just getting better! The funky Blues of Leave More (Than You Take Away) has a bit of a Spiritual feel and theme to it. It’s invigorating and brought to life by Jerry Jemmott’s thumping bass and backing vocals from The Sons Of The Soul Revivers. Spend The Night With You is an uplifting and up-tempo swinger with a charming Louisiana feel and a twanging Duane Eddy guitar. He slows things right down for This Is Where My Love Is and pares it back at the start with just picked guitar, Austin DeLone on organ, Paul Revelli on hi-hat and Ehrmann on bass. Revelli then brings out the full kit to give a steady beat although the song itself is sedate and all enveloping. Mike’s heartfelt vocal has just enough grit to carry it through the emotion. The Hungry Dog is Latin tinged fun and you’ll find yourself moving very quickly. There’s also a strong Caribbean fleck to it and the added melodica from Kid Andersen almost takes your mind off the barking dog as it wants more. It’s back to business with Tired Of Travellin’ and a return to the strong, horn backed guitar Blues. This reminds me a little of Albert Collins with Mike storming on guitar. A tale of grubby truck stops etc, it could well have done without the chat section at the end but is a highlight nonetheless.

Gypsy Ways is a rocking Blues a la Fabulous Thunderbirds so crank up the volume and get this played. This will do me! It’s got it all with Andersen’s bass high in the mix, stinging guitar and perfect vocal from Mike, rolling piano from Tony Stead and organ also from Andersen along with Revelli, who just keeps on going on the drums. Mike shows his soulful side on Let’s Make Time For Love which has Stead switching successfully to organ. Mike turns in a relaxed performance on guitar and that’s ultimately what the overall feel of the song is. It’s a stringent guitar opening to Cook Up A Little Love before he goes into a grinding Soul Blues full of innuendo. There’s good vocal interaction with Ms Kimmy and also some good action between guitar and Stead on organ. Kimmy Gimmee is another rocker, more Rock n Roll this time and a good one at that as he throws himself into it. He shows that he is a good guitar player if there had been any previous doubts and Terry Hanck’s tenor saxophone adds the additional depth. Silence is not something I’ve come to associate with Mike but this Country flecked tale of drifting apart speaks for itself. His voice fits the song very well and he shows that he can turn his hand to a few genres and generally succeed in them all. It’s Not Me, It’s You is a Country title if I’ve ever heard one but don’t let that fool you. This one is a romp through a Latin tinged rhythmic Blues and it’s an up-tempo finish, I thank him for that. This is one to move your feet to and there’s a little Ska influence in there too. The horns just keep it coming at you and it makes you happy. The fairground organ from DeLone gives us Fabulous Thunderbirds meets Nick Lowe meets Los Lobos and The Mavericks. Uncle Bernie on sax, Mike Kobrin on trumpet and James Cody Arnholt on trombone all get their chance to shine and with Kid Andersen on acoustic guitar, Mike on electric and the wonderful vocals of John Nemeth they all get together to swing it out to the end.

This is an immensely enjoyable album.

20/05/2022

Kenny Neal – Straight From The Heart (Ruf Records)

Recording for the first time in his hometown of Baton Rouge, Kenny Neal is back with his 17^th album and his first in six years. Straight From The Heart has been worth waiting for and you only need to listen to the opener, Blues Keep Chasing Me, to hear why. It’s a horn laden soulful start with a voice of experience and a laid-back guitar from Kenny that will melt your heart. It’s a team effort though and the piano is an excellent addition with a rhythm section that are on point. Mount Up On The Wings Of The King is an homage to the king of kings, B.B. A swinging Blues with Christone ‘Kingfish’ Ingram duetting on guitar which produces more notes than the great man would’ve had in there but we’ll forgive them on this occasion as they explore different tones. There are plenty of name checks for B.B.’s songs in this highlight. The sultry, smoking Blues of I’ll Play The Blues For You confirms that horns are a big part of his sound and they back him well as he makes you believe every word he says, using his experience to mould the song. His smooth guitar style makes it sound effortless and it fits in so well with the rolling piano. Two Timing has the classic Blues theme of infidelity and it is set against a backdrop of a soulful, rounded sound provided by horns, drums and backing vocals. Kenny shows us some different facets to his own voice too and his atmospheric guitar pings the notes out of the clouds. We get the accordion out for Louise Ana, a slow and swaying Louisiana Swamp two step. His world-weary vocal conveys his consternation over his troublesome woman. We get a big bass line, well played accordion and Kenny also contributes warbling harmonica for another highlight.

Kenny’s harp stays on to join the ubiquitous horns for It Don’t Cost Anything, a strolling Blues with big impacts from piano, organ and bass. However, it is the harmonica that is the star here. It’s back to Louisiana for the accordion and guitar led romp, Bon Temps Rouler. I dare you not to move your feet to this as the drummer drives it do the end. This is followed by the Fats Domino style stroller, It’s Been So Long which has Kenny’s harp hitting the high notes and leading the way. Someone Somewhere is an old style, piano led ballad with tinges of Gospel in the music. The sax lets loose and steps out from the background to match Kenny’s piercing guitar and pleading vocal. You can tell that B.B. King is a big influence and you can almost hear him on the big band swinging Blues of I’ve Got To Tell Somebody. It’s all about the guitar but the rhythm section keeps it all going with piano and organ playing their parts too. Rolling drums give us that distinctive New Orleans sound of the eponymous closer and when bass, piano and horns join in then you are there. He is finishing with another highlight. It’s up tempo and upbeat with big bass lines and Kenny giving us his best Dr John vocal with the horns throwing in little vignettes of Down By The Riverside for good measure.

Straight from the heart of Kenny Neal to the centre of yours. Enjoy!

www.kennyneal.net

www.rufrecords.de

18/05/2022

Esbe – I Might Be Dreaming (New Cat Music)

From her London studio to the far reaches of the planet, Esbe brings in influences from across the continents for her latest offering, I Might Be Dreaming, a selection of songs that each tell a story, often personal but in the long run, optimistic. On the painfully slow opener, Cry From The Soul, she immediately introduces Jazz and Soul influences to her Electronica and Alt-Rock vibes. Keyboard led, as you would expect in the Electronica field, it gives a first feel of her haunting vocal. The title track sees no increase in pace and that is the case for the rest of the album. The dream like sounds continue giving an ethereal feel and her piercing, on the point, vocal is the centre point. Don’t Say Maybe continues with the feeling that we have half awakened from a dream and ambient, slumbering electronic Alt-Rock is where she has planted her flag. If you are looking for a wake-up song, no pun intended, then you’ll not find it on No Desire, or any of the others come to that. This is soothing, ambient electronic Rock and although the pace is quite pedestrian it suits her. We get some Middle Eastern influences in the vocal and that adds a little intrigue. There is a slight beat to I Needed You with shuffling percussion and the odd bass note. The use of guitar appears for the first time as she turns in a theatrical vocal.

I feel that the album lacks a little light and shade as too much of the same thing can wear you down. Could this be classed as a concept album? A Lonely Star seems to fit this and although it is all well played and sung, it needs to have some contrast. That said, this would lend itself to an orchestral mix. Angry Sun is music to relax to and sandwiched between a couple albums of rockers will sit in fine on an evening. Choral vocal effects and soaring lead vocal over the electronica gives a very theatrical approach to some of the songs, this included. She shows the other end of her range on Whisper In Solitude as deeper tones take over. The song itself is more of the same as has gone before but each has its own story to tell as she lays herself bare at times talking about lost love, life aspirations and her fear for the planet. If I’m being honest, Breathe could already have been played and the closing track, Restless, could well be how you are feeling by the end of the album. She has been consistent throughout the album with well-played and well sung songs but with no real pace and sometimes a lack of feeling, we need to wake from this dream.

This will have a following in those fans of ambient electronica. Not really for me though.

www.esbemusic.uk

13/05/2022

Alpha Twin – Gaze

Belfast power trio Alpha Twin have been building a reputation for themselves since 2018 and they are back with this new single which opens with surging, powerful riffs lead by a heavy bass line and augmented by smashing drums and slashing guitars. The vocals are clear and exact, maybe not what you’d expect on such a raucous track. One for turning up the volume on when you’ve had a bad day.

The Bablers – You Are The One For Me (Big Stir Records)

One from the Power Pop revival of the 1990s and remastered for 2022, Finnish group The Bablers bring us You Are The One For Me, previously only released in Japan and Finland in 1998 and made them a big name in Japan as a result. The remaster brings out the big and bold Pop Rock of the time and gives off a slight Liverpudlian vibe. Big guitar sounds match the well sung falsetto to give a rounded finish. This is good.

www.benjaminadairmurphy.com

12/05/2022

Jo Dog & Paul Black’s Sonic Boom – Everybody Rains On My Parade (Black City Records)

Jo Dog and Paul Black are well known figures in Rock circles, the former being a founding member of Dogs D’Amour and the latter the original singer and songwriter for L.A. Guns. The pair have got together under the Sonic Boom banner for this album of joyous Rock N Roll which opens with a 34 second welcome, Put On The Kettle, to come in from the cold and it’s a nice homely start. The proceedings really get off the ground with Tree For Shade, a mid-paced rocker with vocals from Paul in the higher range, supplemented by Muddy Stardust. Swaggering slide guitar from Jo fits the song perfectly and it’s a very good start. The pace is increased for the melodic Rock of Up For The Late Show. Jo provides some stinging guitar whilst Muddy’s keys are a vital constituent. Paul’s vocal is particularly good here. Blue In The Morning is a slow, slumbering Stones style Blues Rock and a consummate performance whereas You’re Home is an energetic and frenetic rocker with Country overtones and banjo and burgeoning guitar from Jo. They calm it down again for High Price To Lead A Low Life. This has echoes of The Faces in the slide playing and The Stones in the song itself. It’s expressive and theatrical with the drums of Dennis Morehouse a feature. Paul is almost preaching to us in his mid-section vocal as the whole thing builds to the end.

Dead In The Water is a surging rocker with a snarling, pumping vocal from Paul and stomping drums and bass from Morehouse and Tony Babylon respectively. The Stones influences pervade this record and that’s no bad thing as this track is a highlight. This is a Rock band you’d want to play with. The pomp and stomp continue on the title track which is like The Fratellis meet Randy Newman. Ragged guitar from Jo combines with horns from Scott Williams giving a New Orleans feel. The Rock never stops as they continue the feelgood factor with Sugar Mama, a raucous bar room song with barrelhouse piano and shoo be doo wops too! They are having a blast and we are too. This will make you happy. It’s mandolin and classical guitar from Jo on Mi Vida Loca. This shuffling Latino smoothie is not quite Mariachi, but it’s close. It’s a slow, smouldering start with just vocal and guitar for Jesus Drives A Schoolbus but it soon bursts into life with full band and backing vocals. This pattern alternates to the end of the song, which itself has Blues influences and, just for good measure, The Stones are in here again. There’s a big solo from Jo as they up the speed with Morehouse’s drums and Chris Joyner’s Hammond B3 playing big parts to rock it out to the end. An entertaining album finishes with the low key With Regards From Hell. It does pick up as it goes along but I feel that they should have gone out with some of the swagger that they have displayed earlier in the album.

This is a must for your 2022 collection.

10/05/2022

Benjamin Adair Murphy – Old Chords EP (Independent)

Former frontman for the Blue Eighty Eights, Benjamin Adair Murphy has a number of solo projects behind him and this latest EP of Country and Folk songs shows the diversity in his music, further examples of can be heard on the film 9 Bullets which was released a fortnight ago. This EP opens with I Got You All Wrong, a slow one but one that is full of strength, atmosphere and contemplation. The penny drops like it does with many of us, many times over. Bass heavy, provided by Juan Victor Belisario Figuera and Roy Gurel, which matches Benjamin’s vocal as it comes over as a growl at times. Allison Langerak provides the backing vocals but takes on lead for Throw Those Thoughts Away, an uptempo, uplifting and hopeful Americana. This is one of a few highlights on offer. Benjamin is back on lead vocal for That Ain’t Nothin’ as his acoustic guitar leads the way with scratchy lead electric from Gurel in competition. He has an easy way about him as he brings out his inner Dylan. Wyatt Tuzo adds lap steel and 12 string guitar to proceedings as it all builds sweetly.

The One I’m Waiting On is confirmation, if you needed it, that he doesn’t follow the pack and often goes his own way. This is Western fuelled Americana with a rapid vocal and a strong chorus and mid section. Gurel is on drums this time, shuffling his way through but it’s his short lead guitar solo that catches the ear. Another highlight. They interchange their vocals with ease and Allison returns for the haunting title track. All six songs are short little vignettes but this is the shortest at 1:33. There is a sense of saving the best for last with Get Out Of Here, a relatively straightforward Americana, for Benjamin at least! It is deceptive however, as they come over as a modern jug band at times, avant garde at others, and one that you need to let yourself go with. They are a unit and I could listen to his style of music all night. Another highlight, of course.

Get your thoughts provoked!

09/05/2022

Craig Gould – Burned (Craig Gould Music)

The third of a trilogy of singles leading up to his upcoming debut album, Burned is a rousing drinking song that tells the tale from both the drinkers and his cohort’s perspectives on their night out on the town. It’s all good fun with a singalong chorus that is sure to get played at many a party this year. Gould takes on vocal duties as well as acoustic and electric guitars and mandolin, ably backed by T-Bird Jones on drums, Jez Jordan on upright bass, Chris Baldwin and Jackson Lake on backing vocals and last but not least, Craig’s son Sonny Bruce Gould with the last words on the track. All profits will be donated to CALM (Campaign Against Living Miserably) so there’s your first reason for buying the song.

www.craiggouldmusic.com

www.thecalmzone.net

05/05/2022

Diunna Greenleaf – I Ain’t Playin’ (Little Village)

Houston’s Diunna Greenleaf hasn’t released an album in 10 years and it is testament to Little Village that they have managed to bring us this new album, the first that Diunna hasn’t released on her own Blue Mercy label. Steeped in Gospel, Diunna has a plethora of Blues awards nominations and trophies that have recognised her stunning voice throughout her career. The new album, which is filled with hidden treasures, opens with the Koko Taylor song, Never Trust A Man. Horns (Mike Rinta on trombone, Aaron Lington on flute and tenor sax and Jeff Lewis on trumpet), snappy drums from D’Mar and a powerful voice that exudes Blues experience, what more could you ask for? Jim Pugh on piano and guitar (Kid Andersen) are pinging away alongside a deep bass pattern from Jerry Jemmott to make sure that this glides along very well. Tales of infidelity and heartbreak but we’re not all in the same boat, are we? We get a softer side to Diunna’s voice on Running Like The Red Cross. This Motown/Stax influence Soul is highlighted by the prominent keys of Pugh. Mighty Sam McClain’s funky Soul Blues, If It Wasn’t For The Blues, features chiming guitar from Igor Prado and Jemmott’s bass is high in the mix. The horns of Rinta, Lington and Lewis are in there again and give a deep, rich tone. Her voice is like velvet and is a great counterpoint to Kid’s wicked guitar breaks. Diunna next gives us Answer To The Hard Working Woman, a flip to the woman’s perspective on the Otis Clay track. This striding R&B is driven along by her power vocal and the band grooving in the background. The classic Nina Simone song I Wish I Knew How It Would Feel To Be Free is given a good treatment. You don’t have to do much to this song, just make sure you sing it well, and Diunna delivers. Like the original, it builds well and gives you that spiritual feeling. Sunny Day Friends is some slinky piano bar Jazz Blues with prominent sax from Eric Spaulding and Jemmott’s top bass playing fronting a swinging band. The message is, watch your back.

The Country Gospel of Vince Gill’s When I Call Your Name is taken to a different place by Diunna’s voice, especially in the soaring chorus. It is full of woe, a real tear jerker and a throwback to the songs that my parents listened to. Church organ sounds from Pugh playing off the guitar of Andersen complement the powerful voices, both lead and backing harmony from Alabama Mike. I Don’t Care is a smouldering, moody Blues where she lets us know that her guy’s had his last chance. Stinging guitar from Andersen that will delve to the depths of your soul are a highlight of this Long John Hunter song, a fellow Texan of Diunna’s. She creates an atmosphere around her songs, none more so than on the Joe Medwick written Damned If I Do. It’s a soulful Blues but on the edge of menacing. Jemmott’s bass is there again as are the horns of Rinta, Lington and Lewis and expressive guitar from Andersen. She sounds like a woman not to be messed with and her storming vocal makes this a highlight, showing just how underrated a songwriter Medwick, another Texan, is. I Know I’ve Been Changed is spiritual, Gospel and powerful. You can’t help but be moved by its feel. It’s painfully slow and there’s nowhere for the vocal to hide as there is minimal accompaniment. She is assisted again by Alabama Mike on the song best known for The Staples Singers version. She picks up the pace for Back Door Man, a funky Soul Blues with a driving rhythm section. We get controlled power and all the components are there, Pugh on Hammond, Jemmott’s pinging bass, horns, Andersen on guitar, D’Mar’s drums and that voice, all leading to a cutting solo from the sax. Let Me Cry is a strong and moody Blues, written by fellow Texan Johnny Copeland. Some of the phrasing that she comes out with is superb and it is another highlight. Pugh’s piano and Jemmott’s bass are to the fore but Spaulding’s sax and Andersen’s guitar are never far away, especially on Kid’s stinging solo. Drummer D’Mar just keeps everything in place. She closes with a song from her friend, Deltra Farr and I dare you not to move to My Turn, My Time. It’s an up-tempo finish filled with Motown R&B themes. The horns of Rinta, Lington and Lewis make this a top finish and it just makes you feel good. I’m reminded of Jackie Wilson in places, musically but this is her tale being told so sing it sister. One final word for the band – great!

An album deserving of a place in any collection of great Soul Blues singers.

www.diunna.com

04/05/2022

Davie Furey – History (Davie Furey Music)

Following on from last year’s excellent Haunted Streets album, Davie Furey is back with a new single that whets our appetite for more. Building on strong, pounding drums from Andrew Quinn, Furey delivers a crystal-clear vocal over a surging. Celtic, Folk-Rock roots infused belter with a rousing chorus. Those roots come out in the fills and are driven on by the sounds of multi-instrumentalist Martin Quinn and Furey on guitar. This deserves to do well.

www.daviefurey.com

02/05/2022

Robin Trower – No More Worlds To Conquer (Provogue Records)

Robin Trower is one of Rock’s survivors and at the age of 76 he still manages to do “the best I can do at that particular time” when tackling a new album. On his latest, No More Worlds To Conquer, you could be excused for taking the title as a statement that he’s been there and done everything but nothing could be further from the truth. He is pulled to the Blues but his influences are far wider than that as his last album, United State Of Mind with Maxi Priest and Livingstone Brown shows. However, for the new album he is back into a Blues Rock vibe and opens with Ball Of Fire and I can immediately hear why I have been a long-time fan. With a wispy vocal in the verse and a little more open in the chorus, Richard Watts provides the voice but it is Trower’s guitar, which is as good as ever with strong notes throughout, that is the star and it’s not hard to hear why he is so much respected and an influence on so many. The title track is classic Trower with wah wah and piercing solo merging Blues and Prog Rock along with a great vocal from Watts. This is the Trower of old but also right bang up to date too. He’s at his best at the head of a power trio. This is a new classic and a highlight already. The grinding, immovable and unrelenting Deadly Kiss has a bit of a Funk edge and falsetto vocals in parts. This is a slumbering, moody and atmospheric giant of a song with Trower’s guitar buzzing around like a bee. The mood remains for Birdsong which is slow and follows the theme of destruction and loss that is prevalent on the album. He has such a tone on his guitar and his note bending and holding is as magnificent as ever. This is followed by some more grinding Blues Rock on the stunning and heart-breaking Losing You but he ups the pace a little for Waiting For The Rain To Fall. This features smooth guitar, in fact it’s smooth all over and the solo is heavenly.

Wither On The Vine has echoes of Hendrix style Blues fills. With a soulful vocal and superb guitar, there’s nothing more to be said other than just lose yourself in this. Cloud Across The Sun is an up-tempo and funky Blues Rock with striking guitar. Watt’s voice has a way about it here but you have to just sit back and listen to one of the finest guitarists that Britain has ever produced. He is such an expressive player and this can be heard on Fire To Ashes, where he belies his years. Sympathetic backing from bass, played by Trower himself, and Chris Taggart on drums gives the power trio feel. The other single, The Razor’s Edge, is a pounding, thumping and grinding Blues Rock with a menacing feel befitting the title and he finishes with complete opposite, the low key I Will Always Be Your Shelter. Complete with those signature fills, this features a smooth and calm heart wrenching solo and soothing vocal. This has to be up there with Blues Rock’s top classic ballads.

If after all these years you haven’t listened to Robin Trower then this is a perfect way to start.

www.jasonleemckinneyband.com

27/04/2022

The Pawn Shop Saints – Ride My Galaxy (Dollyrocker Records)

New England based and fronted by Jeb Barry, The Pawn Shop Saints are not your typical Americana band. Their brand of sparse, weary tunes is not for the faint hearted yet they have moments of hope and joy sprinkled throughout their music that serves to lift you from the doldrums. Their new album, Ride My Galaxy, was recorded in such a way as to get as much of a live feel as possible and I think they’ve achieved that. Previous listeners will note a more expansive and electric element to some of the songs that is new but their acoustic ethos remains too. They start with some of that electric, twangy guitar on Chevy Nova (That 70’s Song). This has an all over retro, homemade feel and immediately you are drawn to Barry’s weary vocal. The rhythm section (Josh Pisano on drums and Chris Samson on bass) is unobtrusive throughout but the keyboards of Alan Taylor do challenge Jimmy Blister’s guitar for top spot. Pisano’s drums are more to the fore on Stop Breaking Your Heart and whilst Barry’s vocal still has that easy way about it, this is classic Americana with piercing guitar and organ its backbone. They are fully in the Americana genre now with I’ll Be Missing You Again. Slow and painful, aching and haunting with pain dripping from the vocal. It's acoustic led with telling electric interludes from Blister. Outlaws is an off-kilter Country song and there’s no hiding here as the vocal has sparse accompaniment in the verse. The chorus is a little grungier but the vocal remains high in the mix. This quirky one will creep up on you. The acoustic Diane is less quirky and more straight up Americana but I’m also getting some Lou Reed influences. It’s just guitars, tambourine and voice with a bass that is so quiet it’s almost not there.

Too Low For Tupelo is lo-fi and minimalist and a bit of a curate’s egg, good in places, not so in others. They are back in the groove with the piano led Jenny Why? and its echoes of The Rolling Stones. Barry is not trying to be the best singer in the world but his homely and heart aching delivery can’t fail to move you in some way. Slide guitar is introduced for the dreamy Wicked and they play it almost straight as a die on this oasis of a song. Raucous electric wakes you from your comfortable slumber so don’t get too comfortable. Exits is suitably irreverent and whilst they could play it straight, that off kilter vocal just makes it sound like it’s the guy next door and makes it strangely alluring. Ain’t No Mama Here is listed as a slow version but there’s not a fast version on the album to compare it with! However, this fractured Americana, Rebel Country, call it what you will, with just voice and guitar and sombre death drum is gut wrenching. The addition of Amy Attlas on fiddle gives it more gravitas. A sparse and solemn highlight. They finish with Half Ton, which still has that slow, acoustic world-weary style that is their trademark and I wouldn’t expect anything else to close things out.

This album may well not be one for the purists, but one that will find a place in many a collection.

www.jebbarry.com

22/04/2022

Alice DiMicele – Every Seed We Plant (Alice Otter Music)

This is a sixteenth release for Oregon based Americana/Folk Singer Songwriter Alice DiMicele and brings us tales of how life is today whether it be unpredictable, hopeful or unfulfilled. She opens with the only co-written song on the album, For Granted, which she wrote with producer, Bret Levick. This is a slow, sultry, Soulful Blues in the vein of I’d Rather Go Blind with a hint of I Shall Be Released. Featuring her deep, dulcet vocal, this a winning opener. A highlight. Her strong, deep voice continues on the first of two singles, Long Dry Winter, which is acoustic led Folk Rock and most powerful and heart aching. Acoustic sounds stitch the album together and on Free they come over on a contemporary Americana that also shows a vocal range not expected from opening two tracks. Skip Edwards on Hammond B3 and Mikey Stevens on electric guitar fully complement the sound. Her vocal becomes more pronounced on Alone, the second of the singles, which has her acoustic blended with the cello of Barry Phillips. It’s a sombre song befitting the subject matter. Strong bass from Rob Kohler and very good, sharp harmonies settle us before we are released into the uplifting and soaring sounds of Sunrise.

Kohler’s bass is very much pronounced on Rise and is ably backed by Gene Black’s electric guitar and Matthew Kriemelman on drums. However, that acoustic guitar is never far away. I think that Alice has a rebellious streak in her, just a feeling I have, and this sweeping Americana with electric guitar has a little of that defiance. Even within an acoustic Americana setting she has a style of her own and that can easily be heard on Communication. Her cultured vocal is only matched by her own dulcimer and the dobro of Bob Evoniuk; and in answer to the lyrics, I think that she has mastered communication. Dispatch is a song about emergency and response workers, and a story of someone not wanting nor needing their help. This first brings to mind mental health issues but as you go further into the track you find that it is race issues that surface with some quite powerful words to describe the scene. It’s the true story of the tragic death of Kenneth Chamberlain and all I can say is, take heed. The modern Americana of Jersey comes across, quite appropriately, in a Bruce Springsteen style. It is up-tempo and a shout out for her home state of New Jersey. It’s a highlight with guitar (Black), organ (Edwards) and drums (Artie Watson) the stars. It’s a switch to Country for the slow and epic Sweet Elaine and Alice’s vocal assurance is palpable. There are tones of The Stones’ Wild Horses in places and a powerful, soaring chorus. This will grow on you very quickly and is another highlight with a short but big electric solo from Black. This is becoming a strong finish to the album and the final track, Every Seed, does not diminish that. Inspired by Alice’s dear friend and elder of the Takelma Tribe, Agnes Pilgrim Baker, this Celtic rooted song is one where slide guitar, played by David Jacobs-Strain, makes its mark on her sound and fits in seamlessly.

There may have been a little change in direction for Alice on this album but there’s enough there to make me want to find out where she’s come from.

www.alicedimicele.com

21/04/2022

Held By Trees – Solace (Tweed Jacket Music)

Sitting between Post Rock and Prog, Held By Trees is a new instrumental project boasting some of the most respected musicians in the British Rock fraternity. Led by David Joseph, the band features seven veterans of Talk Talk and Mark Hollis solo albums along with former members of, and collaborators with, Pink Floyd, Dire Straits, Blur and many more. The stellar cast start with Next To Silence, which opens with birdsong, occasional piano chords and guitar notes. It’s like the new day awakening and as the day awakens, the music begins with strings from Mary Apperley (cello), Oskar Apperley (Viola) and Tristan Apperley (violin) and woodwind from Andy Panayi (flute and clarinet) joining. A peaceful beginning. Things remain peaceful and ambient for In The Trees, which brings together keys (Laurence Pendrous), drums (Martin Ditcham, ex Chris Rea, The Waterboys and Nik Kershaw), bass and guitar (Robbie McIntosh, ex Pretenders, Paul McCartney, Tom Jones, John Mayer and Norah Jones) very well. This is music to reflect upon. There are no solos, just continuous, maybe sometimes improvised, playing from all. We get raindrops as expected on Rain After Sun and lots of rainforest noises to go with them. Dire Straits founder David Knopfler’s guitar is the mainstay but bass and Pendrous’ keys, along with Hammond organ from Steve Smith, are never far from the surface. Ex Blur, Damon Albarn and Gorillaz horn player Mike Smith’s sax is heavily involved as are Ditcham’s drums. Look inward to this. Outro is raindrops too to round matters off nicely. This is an album of soundscapes and Wave Upon Wave has us connecting further with nature. Blues master Eric Bibb’s acoustic guitar is prominent as the waves break on the shore and will send you to sleep joyously.

Pipe organ and guitar lead us through An Approach and there’s no change to the sedate pace as they encourage you to relax and reflect. Whilst there is no change in pace, there is a change in approach on The Tree Of Life with grungier electric guitar from former Pink Floyd, David Bowie and Eric Clapton sideman, Tim Renwick and a track in the mode of the aforesaid Pink Floyd. Having said that, it has to share with acoustic guitar on the lead sections. It is a true collective with horns (ex Noel Gallagher, Kasabian and Super Furry Animals trumpeter Gary Alesbrook), piano and Ditcham’s drums playing their part. The single, Mysterium, is more of the same as they use nature to bring their message and do so without words. They all play equal parts with Pendrous’ piano, McIntosh, Bibb and Knopfler’s guitars, Ditcham’s drums and bass taking the lead. This is the most relaxing album I’ve heard this year. They close with The New Earth and is this what there will be after we save the current one? Do we have the time or the will to save it? If music can be the catalyst then maybe this is it. Panayi’s clarinet and McIntosh’s guitar play over a hypnotic beat from Ditcham. Joseph’s piano provides a lovely melody and it’s worth noting that he is the only musician who contributes to every track with piano, guitar, harmonium, seagull and kalimba. It almost breaks out of the slow pace but not quite, yet proves to be upbeat and giving hope. Smith’s sax is high in the mix and after half way they do break out a bit of pace with guitar and sax flowing and drums driving it to the end.

If you are looking for an album to kick back the day and ease all of your woes then this is it. De-stress your life and a tree will be planted for every album sold.

www.heldbytrees.com

20/04/2022

Jason Lee McKinney Band – One Last Thing (Bonfire Records)

Nashville based Jason Lee McKinney and his band bring us some Southern Gospel-tinged grooves on their new album, One Last Thing. The stained-glass window on the front cover should be a big clue to what is inside but it’s not a fire and brimstone kind of album by any manner of means and it’s the first venture by the band into this genre. They open with Jason leading on acoustic guitar for Cross Over. It’s Gospel as mentioned before and a song about passing on but when the band joins in with drums, horns, organ, handclaps, whoops and hollers then all you get is a sense of euphoria. There’s a funky guitar and rhythm section (Billy Wright and Logan Todd on bass and drums respectively) on Sing A Prayer. Jason’s pinpoint vocals are ably backed by Barry Strauser, who also contributes all keyboards, with a choral feel. The horns are in there again to give it great depth. Add in a sweeping, uplifting chorus and a gritty guitar solo from Sam Berce and you have a great song, no matter what the message is. Strauser brings a deep and eerie keyboard intro to Freedom which then bursts into life with strong vocal and grungy guitar. It's another choral background, this time with Biblical overtones and slide guitar. What we do have here is a band that is full of Soul. Strauser’s keyboards are excellent throughout and the change of pace towards the end adds that sense of intrigue. Unified is what I would call Churchy Soul Rock and you can’t ignore the spiritual direction of these songs whether you believe or not. Musically, they are very good, lyrically it’s up to you. The surging and swaying Promises is carried by Strauser and Berce on keyboards and guitar before we come to When I’m Gone with its horns and slide guitar giving a relaxing start before it grooves into action. It’s soulful and striding with a slower middle section which helps to give a base for them to push it out to the end, starting with a powerful guitar solo. The rhythm section is high up in the mix on this one. Jason hits a strong falsetto in parts of Paperback Novels and the pleasant sounds and punchy guitar will just wash over you. The Country Blues Rock of Sing On were chosen as the single and you can hear why. With a singalong choral chorus, the song has a powerful and spiritual feel with a preaching vocal and sharp, piercing guitar. The Hammond organ is unmistakeable and excellent, making this a highlight.

Doubters Prayer is acoustic led and Steel guitar gives that Country feel. It builds well towards the chorus. I believe this to be more overtly Christian than the others but as I have said before, it doesn’t matter your beliefs as the music will come across anyway. A strong and aching vocal from Jason is the centre point. When you mention Gospel then scenes of US churches in euphoria will come to mind for many and in Liturgy you will get that feeling. It will be uplifting for many with its rocking piano and drums going like a runaway truck. It’s back to acoustic led for Lighthouse and you can take what you like from the lyrics; a God, a focus point whatever. People might get some comfort from the lyric here and elsewhere from this tale about a child and the advice that can be given. Another musical highlight is the funky Soul and contemporary Blues Rock of Make No Mistake. This is full of top guitar fills, grungy solos and backing vocals. This is probably the best vocal on the album. They stay in the Funk and Soul arena for Song Of Songs and Jason’s voice fits in well with those of his family. It’s got a slow, slinky groove and the guitar work is strong again. It’s Southern Rock for Voice For The Voiceless and this is another highlight with its striding, surging and soaring chorus and the choral section is top notch. Jason turns to his acoustic guitar and sings us Without End. On this he shows us what a good voice he has and the song is simple, effective and mesmerising. It’s a short acoustic break as we return to full electric for the title track, which is another funky offering and slinks about like an alley cat. The band follows a strong, grinding groove and the message gets through with the religious among us able to take plenty from it. They close with a radio edit of Sing On. It’s just shorter than the previous one but just as excellent.

No matter your persuasion, you are likely to be able to take something from this album.

18/04/2022

Rupert Wates – For The People (Bite Music)

London born and New York City resident Rupert Wates has been on the Folk scene since the mid-90s and is a much sought-after songwriter and performer. On this, his 11^th solo album, he returns to his roots in English Folk with a series of songs that are loosely based around old English Folk tales. He opens with For The People, an old school start with the title track opening the album. Just guitar and voice, this brings up flavours of John Martyn, Fairport Convention and Richard Thompson to name but a few. His deep vocal and fingerpicked guitar are exquisite and fit the old English Folk theme to a tee. There is a more pugnacious approach on To The Sea. It’s more percussive and contemporary and, personal choice, I prefer it to the opener. On the medley, All Fair Ladies/Spanish Galleon, Wates sings with Rorie Kelly on the former as they go back to traditional English Folk. The latter segways in perfectly with lovely fingerpicking and a gentle reminder that this is a thriving genre. He adds a contemporary feel to The North Road yet also makes it sound that it could’ve been from years gone by. There is a rhythm to this that is complemented by some wonderful guitar playing and a lyric that is straight out of the Folk storyteller arena. Oh Captain has a familiar naval theme to it as it does on many Folk songs and on this we have the mermaids a tempting! Strong fingers playing that guitar too.

Adrianna Mateo joins on violin for Ullswater Cove, a sombre Cumbrian style Folk song which is perfectly delivered by Wates’ descriptive and expressive voice. We get a little up-tempo on Thirty Thousand Guineas (A Smuggler’s Tale) and this shows his fingerpicking style to its best. It’s another familiar theme for a Folk song and this is a very good one. The powerful and poignant World War One Medley: A Florin To The Beam/Hills Of Blue Heather (The Nightingale’s Song) tells of a young man going to war and his hopes of coming back to spend the florin. It’s uplifting yet very sad at the same time. The second part is slower but even sadder as it’s a tale of one who didn’t make it back. Another smattering of contemporary Folk comes along in the shape of Justified and Rupert lets loose a little on his albeit, pleading vocal. He brings things to a close with The Dance Of Joy and its vibes of old English Folk which are brought into the modern day. It has a nice chorus with familiar vibes. Rorie Kelly and Stacey Lorin plus friends and family provide backing vocals to give it a warm feeling to back his gentle, harmonious guitar. These are sweet sounds and another for the playlist.

This hasn’t just been an album for old Folk fans, take my word for it!

www.ruprtwatesmusic.com

08/04/2022

Kevin Buckley – Big Spring (Avonmore Records)

Multi-instrumentalist Kevin Buckley brings us his debut solo album, Big Spring, which follows 4 releases under the name Grace Basement. It is also the first time that he has featured the fiddle and some of the traditional songs associated with the instrument. He opens with the Jackie Daly written instrumental reel, Sweeney’s Wheel, and a fine one it is too. Guitar and fiddle both played exceptionally well by Buckley and it lifts the mood immediately. The self-penned Ryder’s Block is a nice play on words but with it being an instrumental we don’t get to know why. What we do get is gentle Celtic fiddle sounds from Buckley added to by bouzouki from Alan Murray, Buckley’s guitar and banjo from Gerard Erker. As already said, this is his first release featuring the fiddle and it makes you wonder why, he is so accomplished. There are a few genres covered on the album but they are all linked in some way or another. Bluegrass comes out on The Blackest Crow and we get our first vocal from Kevin and damned if he’s not great at that too! This is classic Americana Roots music with great harmonies from Alex Sinclair and Dan Lowery. The fiddle and guitar play in unison along with bouzouki (played by Buckley this time) and mandolin (also Buckley) on this traditional tune. Three stunners to begin with. NO pressure for the rest! Another traditional tune is the short instrumental Hardiman The Fiddler. This is more gentle paced Celtic/Bluegrass fiddle with guitar there as accompaniment as usual, along with Murray’s bouzouki and harp from Eileen Gannon. Marcelle et Marcel sees a French theme added to the fiddle. You could be in the Champs D’Elyssee! No matter the style, his class shines through. Jon Ferber takes over on guitar as Buckley plays everything else; he is a maestro. It's another instrumental, written by Manu Galvin and JJ Milteau. Never Tire Of The Road, written by Andy Irvine, is already establishing itself as a favourite of mine. With only bouzouki and sweet vocal, both from Buckley, it mixes Folk with Celtic and Bluegrass to give a heady Americana mix. It’s an excellent song, full of storytelling and often reminds me of Bruce Hornsby in its musical phrasing.

Another traditional tune, The Queen (Of The Rushes) And The Cook (In The Kitchen), has Scots-Irish tones and the high standard of playing continues. A gentle paced instrumental with a key change, it has a nice middle section. In fact, it’s nice all round with Buckley playing all instruments. Traditional song. La Rubia (An Chuilfhionn) has a feel of Spanish classical music with an added rustic element. Nothing phases this guy. Yet another instrumental with his own backing superb and Eileen Gannon on harp again. The Celtic influences are never far away though on this traditional offering. The Scots-Irish theme runs through this album, again shown on The Belles Of St Louis, and this is of course where Bluegrass and Appalachian music has its roots. An enjoyable, traditional short little reel with just Buckley’s fiddle on show. City Of Savannah is Celtic Jazz! I’d be quicker mentioning those that aren’t instrumentals. Buckley’s hands are a blur as are those of Ferber who returns on guitar for the Frank Livingston written melody. We have a real departure for Miss Bailey; vocals and electric guitar. Dan Lowery’s guitar gets a chance to shine with the fiddle restricted to short solos. Traditional Folk with gentle harmony from Alan Murray who also provides bouzouki and a honied vocal from Buckley. The final track, Ships Are Sailing (Followed By Laington’s) features rapid guitar from Buckley and Murray and three fiddlers with Eimar Arkins and Ian Walsh joining Buckley to make for an excellent ending. Finishes with…an instrumental. He is a wonderful fiddle player, as he is on everything else he plays. This is music for a Scots ceilidh. Ally Bain would be very proud of this guy and all it needs is a whoop at the end!

A blend of styles, all of them played magnificently.

www.kevin-buckley.com

07/04/2022

Speedfossil – No Anesthesia (Red On Red Records)

Boston’s Speedfossil are back with their third album and their first on Red On Red Records. The creation of singer/songwriter Garret Vandermolen, Speedfossil have been mentioned as being a return to the days of great Pop songwriting in the vein of The Replacements and The Kinks as they have built their following in New England. No Anesthesia opens with the infectious single, The Luckiest Man In The World. The keyboard hook is the main cause of the infection but Dan Jordan’s jagged guitar adds to the raucous sound, giving it a New Wave feel. This is a tight band with good vocals from Garret and Jordan and a top rhythm section in Michael Scotti (bass) and Hector Saint-Hilaire (drums). A great start. It’s a complete change of pace for the acoustic led Rag Doll. We still get a power chorus and the addition of harmonica gives a Dylan and Tom Petty vibe. The song is more Petty than Dylan though. The pace is upped again for You Got A Lot Of Nerve but that fails to lift the song which seems to have lost a bit of their vocal verve. The other single, Livin The Dream, brings Clash and Police style strumming guitar but this is the only comparison. It’s middle of the road Rock in places too and horns elsewhere. A real mish mash of a song with bass and piano filling the sound and some select drum patterns. On Disconnected, they sound like an 80s Brit band, all jangly guitars and wispy vocals. There are obvious influences in there from that genre.

And Now… is a weird little track at 22 seconds long. It’s just crowd noises and a strange voice over it. There may be a point but I don’t get it. Back to the music with the rhythmic guitar Pop and Rock of Simple Simon. Joe Jackson and XTC come to mind and it’s one that is definitely influenced by New Wave and what followed. Bass and drums high in the track and the chorus is vibrant. Check out the Beatles chords at the end. We get a full-on Rock opening for The Verge and they don’t stop there. It’s got an independent feel to it as they take you through the wringer with lots of peaks and troughs. They are an expressive band, no more so than on The Devil You Know. This has lots of unexpected turns as they continue to genre straddle with Barenaked Ladies often coming to mind. Solid, sharp guitar from Jordan is a bonus. That stringent guitar remains and leads us into Pieces Of Eight. It’s a classy rocker with the Speedfossil twist and certainly not the worst that I’ll hear this year. Blink and you are at the end of the album with Count Me Out and they are going out with a bang. Vandermolen throws himself into the vocal at last as horns blow and Jordan rocks his guitar with a great riff. They get in your face with this and they have topped and tailed the album very well.

Will this be the album to break them out of New England? Time will tell.

www.speedfossil.com

04/04/2022

Michael Tinholme – Singled Out (Independent)

Michael Tinholme may not be a name that is familiar to you. However, his story will resonate with many and some of the musicians who have joined him in this latest venture will certainly be known to lots of you. Immersed in music from an early age Michael played his first professional gig at the age of 12. Things were not to go smoothly for the young Michael though and after leaving home at the age of 15 and spending 6 six years homeless, he put down roots and formed a band. He gained plenty of recognition and was courted by a number of top labels but his teenage experiences picked away at him and he gave up music for a number of years. Since returning in 2007 he has produced sporadic Jazz and easy listening releases with some big names assisting. Singled Out is the latest release and covers Jazz, the American Songbook, Christmas and all things crooner. He opens with one of the singles, and a tribute to David Bowie, Lady Stardust (A Songscape Tribute). He gives this a crooning makeover with Mike Garson (Bowie’s pianist) playing lovely piano. Brandon Fields plays an emotional sax solo and the backing singers lend a further depth. Tinholme has a good voice and has put his own slant on this although he doesn’t take on some of the higher range notes. The first of the American Songbook classics is Brother Can You Spare A Dime and his dulcet tones and percussive treatment give it a different dimension. The backing is mean and moody backing with piercing guitar against the soft vocal. The organ playing is strong and there is a complex guitar solo to contend with too. All in all, this is a good version of the song and different from what you’ll have heard before. Xsamba (The Full Story) is a jazzy samba with a full big band. This is where he goes into full Jazz crooner. It’s good for what it is but I’m not sure of its origins. The acoustic guitar is excellent with bass and drums driving the samba beat as the bass, guitar and trumpet exchange licks. The classic standard, Georgia is smooth and relaxing and Michael gives it the respect that it deserves with his silky voice. Another standard for the crooners is A Nightingale Sang In Berkeley Square but I do find him trying to be too much like Michael Bublé on this. That said, there is a market for him because people like good songs, well sung and that is what this is. The trumpet solo is very good, followed closely by piano and bass. The American Songbook is out again for The Party’s Over but I’ll say this, and it’s not a scathing criticism, the problem is with this kind of album is that it’s been done before and unless there’s a unique twist it’s likely to fall into the mire of all the others. He sings well, his song choices are good and the band is superb but there’s nothing that grabs you specifically on this one.

We get a couple of originals in the form of My Romance West Coast and My Romance East Coast. They swing and the trumpet sells them. It’s like Sleepless In Seattle and You’ve Got Mail in song format with this duo of songs with a contemporary feel. On Make Someone Happy he shows that he has a decent range and he takes on this classic well. The string arrangements have been very good and his vocal is sweet here. The album is completed with 4 seasonal songs, which were relevant when the album came out at the turn of the year, maybe not now as the review is being written. These types of songs can fall into a love or hate choice quite often and I’ll be brief on each. I’ll Be Home For Christmas is a schmaltzy Christmas tune, nothing else needs to be said, When Winter Falls On New York is another Winter/Christmas song which is not as good as the previous but does have a smoking sax, Happy Christmas War Is Over is not even spelled as per the original and is the wrong song to try and change but with a good female vocal and finally, Maybe Next Year, which is another for looking forward at the end of the year and strange to be listening to it now. It’s not the best but his wistful vocal and the hopes of what is to come carries a heartfelt, though very short message. The album kind of peters out for me but that’s mainly due to the time of year for reviewing rather than anything else.

Apart from the aforementioned Bowie pianist Mike Garson and Steely Dan sax player Brandon Fields, others who contribute to the album are guitarist Mike Miller (Bette Midler, Quincy Jones), drummer Gary Novak (Alanis Morrisette, Natalie Cole), Steve Lukather (Toto) on guitar, trumpeter Randy Brecker and producer Tom Fowler (Frank Zappa, Ray Charles). An all-star cast, I am sure you will agree.

www.michaeltinholme.com

31/03/2022

Space Age Travellers – Satellite Shuffle (Continental Europe)

The Space Age Travellers sound like a band for the future but they are firmly rooted in the instrumental music of the past. Call it Rock n Roll, Surf, Jive or Spaghetti Western soundtrack they cover it all on their new album, Satellite Shuffle. It opens with Cabin Fever and we are immediately transported back to the 50s and 60s instrumental Surf Rock of Dick Dale and The Ventures and their likes. BJ Baartmans plays so well on guitar for this uplifting opener. The funky Rundown has strong, bold guitar from Baartmans and it’s a track befitting the end credits of a 60s spy movie. Monk’s Mood is slow and brooding but slide guitar brings the feeling of Hawaiian music and with Sjoerd van Bommel’s cymbals crashing like waves gives a great counterpoint. Charlie’s Pick Up makes reference to the pick up on a guitar and we get the different sounds from different settings at the beginning. Slide is deployed again and Baartmans shows how good a guitarist he is. The others support him well as the whole thing is energetic and will get your feet going. It’s very short though. The slow and meandering title track gently gets into a shuffle groove as the rhythm section (the aforementioned van Bommel on drums and Gerco Aerts on bass) joins. Van Bommel is all over this with some interesting patterns as Baartmans plays out the melody and Aerts backing both. They show here that they are more than a Surf Rock band. Van Bommel’s drums are to the fore at the start of Sandology but Aerts’ bass is perky and Baartmans’ guitar is in and out like a wasp at times with plenty of hammer being used. This has lots of contemporary sounds and almost goes into Jazz in places.

Who Framed Roger Flint may be about the Shawnee man who was involved in road accident deaths but then again, it might not be. Anyway, the song is black and sombre with military style drums and deep guitar. Baartmans’ tremolo arm comes into its own on this slow burner from the dark side. The lead single, The Saturn 3, is about a Ska band from Holland in the 1960s. Baartmans’ light fingers on guitar could easily fit into Ska itself with this. We get a running commentary on the short history of the band that flits in and out of the track. Turns out they are the Saturn 3! Not sure if this is autobiographical or not. We are back to music made to be a soundtrack on Ferrini’s Trap. This is jazzy, Brubeck style and superbly played, as all the others are. We get birdsong and raindrops at the start of Rewired but then we get the familiar moody, twangy guitar of Baartmans. It’s quite a percussive sound with van Bommel on cymbals, maracas and using his kit sparingly yet with telling effect. They lift the mood slightly with Mile Inbetween and they stay in the Jazz idiom. The nimble-fingered guitar is the star but the rhythm section are as good in their own rite. The album finishes with The Waiting and it’s a slow, calming end. The introduction of Spanish guitar is quite unexpected but it fits so well.

The album didn’t follow the path that I expected after hearing the first track and it’s not a bad thing to keep the listener guessing. This is a tight knit band who use their experience well and I’m sure that there’s more to come.

www.www-reverendfreakchild.org/bananafish

30/03/2022

Bananafish – Boston Bananafish (Treated And Released Records)

This double album features recordings only previously available at live performances of Boston’s Rock N Roll jam band, Bananafish. Released to celebrate the 25^th anniversary of the band, the album uses all the best modern techniques to bring the songs back from the abyss and preserve them for modern and future listeners.

Split into two sections (Songs and Instrumentals), one for each album, the Songs album opens with the Country Rock of What’s Been Going On? but don’t let them fool you into a false sense of security as many changes will unfold throughout the album. As for this mid paced strummer of an opener it brings us a band who clearly liked to have humour in their music and one that liked to play and sing with freedom. Think of this as a cross between The Allman Brothers and The Barenaked Ladies. The frantic Red Car Coming follows with Frank Zappa influences and a Rockabilly/Garage ethos. It’s the drums that drives this but electric piano and guitar are welcome passengers. However, blink and it’s over. In another change of style, they find a slinky groove for Luck & Work which has Soul, Funk and Blues all represented. Fordham Murdy (now known as Reverend Freakchild) delivers an expressive vocal over pointed keys. Slide guitar also makes an appearance as the overall feel finally becomes that of late 60s Rock. They Funk it out from the start of Casey And Hayes but again the styles change within the song and they revert to the sounds of Grateful Dead, Blood, Sweat & Tears, Chicago, Doobie Brothers et al with the rolling piano giving it a Southern feel. Holding On is standard soft rock played at a slower pace. It’s not the best on offer although Murdy does let loose vocally in parts but a bit lazy in others. The guitar work from Matt Rae is good though and again the Allmans come to mind on that particularly. Dreamy psychedelic sounds herald Underneath The Porch with its spaced-out guitar and keys and drums to the fore.

They could be as laid back as they were frantic at times and Nobody’s Fault certainly falls into the former category. They certainly had a style of their own but there are many influences that contribute to this uniqueness. Piano and guitar lead but the rhythm section are a force to be reckoned with and the vocal, at times in the style of Talking Heads, often feels secondary. If there was ever a title for the pandemic then Keep On Keeping On has to be it. The track is sultry, funky soft rock with a very retro sound, even for the time that it was recorded over 20 years ago. This just keeps coming at you, metronomic and mesmerising. They throw in a live recording to let us hear how they sounded in that forum and the 8 minute long Talk Good About Me has bluesy guitar and piano and a suitably moaning vocal from Murdy. It’s atmospheric with a Jazz inflected and Doors influenced repeated riff. Murdy turns on the power vocal in places and the guitar is strong and drums are powerful as usual. There are more Talking Heads influences on Penumbra (Thank You – I’m Sorry). The bass player is very good and his rapid playing keeps up as the guitar and drums force the pace. There is a fun keyboard and guitar interlude which includes part of The Bonanza theme. For whatever reason, perhaps the strong bass and the humour, Ian Dury comes to mind. Belpre At Night is soulful and jazzy and is one destined for late night playlists. Bass is showing up well again and this has the best vocal so far as Murdy goes through the emotions. The extended bluesy guitar break is fine as they change tempo more than once before the piano takes over and calms things down again. The guitar then returns to speed it up again and inject those Blues Rock vibes towards the finish. They close the first album with a cover of The Beatles’ With A Little Help From My Friends. Guitar led and vocally amended with sweeps and sways, it gives enough of a change to make it different but not too much that you can’t recognise the original.

The instrumental album kicks off with Mrs Moriarty and sees a return to high impact energetic Jazz sounds. All elements of the band feature with piano leading frantic guitar, pinging bass and rapid drums. It’s got plenty of tempo changes but leaves the listener with a strange feeling. The bass is high in the mix as it spars first with the keys and then Rae’s guitar on Planet Garbonzo. It has a space age feel and fits firmly in the Jazz Rock arena. Neat and tidy guitar, which is a trademark of the band. Smoking Gaia is an extended Rock, Jazz inflected guitar led track with light and shade and subtle tempo shifts. The drums, as usual, keeps them on course as the bass pings and guitar and keys swapping lead roles. These are excellent musicians, excelling and producing a riff laden melange although the ragged percussion section is less good. Mauve opens with rapid guitar from Rae before everyone joins in on the fun. The Jazz feel that they get on so many of the tracks comes through again and had they continued in this vein then they could well have been up there with the top Jazz Rock protagonists of their era. Familiar themes run through on guitar as they have done elsewhere. In a further change they bring Celtic sounds with the keys reflecting a flute on Avereen. They like their changes of tempo and feel within the song. Celtic Jazz Rock with rolling guitar from Murdy and Rae and drums as the backbone. The influence of Frank Zappa returns on Crazy Karma, a short, bass driven and manic instrumental which introduces xylophone and the bluesy acoustic guitar is a surprise. Crazy indeed. This instrumental second album closes with the fast paced and high energy of Nobody. Freeform Jazz Rock with lots of highs and lows. You don’t know where they’ll take you next and there’s a surprise waiting around each corner. They share it out with each member performing key tasks high in the mix. You’ll get lost in this as it almost goes into another track at 4 minutes but they keep the same theme to stay on track. Mayhem.

I feel as if I’ve been put through the wringer after listening to these songs but it is an experience that I’m willing to try again.

25/03/2022

Amy Correia – As We Are EP (Independent)

LA based, award winning singer songwriter Amy Correia brings us her new EP, which is full of introspection, reflection and will make you think with subjects such as mortality, loss and regret. The 5 tracks open with Bow To The Fire, a smooth, Jazz flecked contemporary song with backing vocals from one of last years BluesBlues favourites, Kimon Kirk. Their voices fit well with Amy’s slightly gruff at times. Mike Castellana on guitar jags it outwith Kirk contributing bass too, forming a solid rhythm section with Andy Plaisted on drums. Acoustic is favoured for most of the songs and the classic singer songwriter comes out in the relaxing Sunday Driver. Amy’s wispy vocal shows different facets to her voice and is a lovely counterpoint to the strong bass and percussion. Sweet Things come with Beatles, Joni Mitchell and Alanis Morrisette (the gentler side of) influences. Its acoustic again with Castellana picking out some lovely notes. She is comfortable in the Folk Americana arena, as she is in other genres, and The Beggar is a good example of this. Full of light and shade, peaks and troughs, this well constructed, eerie and theatrical song could easily fit into a musical somewhere, maybe even a Rock Opera as I feel that it could easily have been written by Pete Townshend. On the final track, With All Of Us, Amy demands to be listened to as she harks back to the classic singer songwriters of the 60 and 70s. This is light and airy and again, theatrical, folksy and tells her tale.

Ok, it’s 5 tracks on an EP but I do believe that although Amy Correia has been releasing music over the last couple of decades, albeit sparsely, she should be exposed to a wider audience and I can’t wait to hear her next album.

www.amycorreia.com

Dan Krikorian – Brighter Side (Independent)

Already a veteran of 5 albums, Dan Krikorian is already established as a thoughtful and often humorous songwriter. The Summery Pop of Brighter Side will only add to that reputation with its jangly guitars, shuffling beat and youthful vocal. It’s full of hooks and makes you want to sing along, so just what you want a good Pop record to do.

www.dankrikorian.com

23/03/2022

The Remittance Men – Scoundrels, Dreamers & Second Sons (Blonde On The Tracks Records)

From in and around the city of Boston, Massachusetts, The Remittance Men formed during the pandemic and recorded their 10-track debut album filled with 8 gentle, self-penned Americana such as the opener, 1973 (Life On The High Seas). This piano and violin led acoustic sound is one that we will become familiar with as we go. Singer and song writer Tom Robertson delivers a weary vocal on this Folk based Country although they prefer Northern Country and that kind of sums them up, I suppose. No matter what you call it, it’s harmonic with drums, bass and organ making up the sound. We get that same worn in vocal on the flowing Down South, written by Tom Petty. One thing already apparent is that their harmonies are very good. I’d expect nothing else when one of the harmonic contributors is Kris Delmhorst The piano is prominent on this highlight and the guitar solo just flows in. There are elements of Tom Petty, as expected, but also of John Hiatt and many others. This is music worth listening to. The Latin tinged Hacienda Santa Rosa has a cracked vocal from Robertson and is steeped in Americana. James Rohr brings us rolling piano and melodica which, added to Dan Rosenthal’s trumpet, gives a certain Mexicali feel. Another of the acoustic led tracks is the gentle and excellent Lonely & Silent. They are so easy to listen to, it’s the kind of music that you want to play along to. Robertson delivers a welcoming vocal with violin from Joe Kessler and harmonies adding to the overall feel. Robertson cranks up the vocal on the endearing waltz, Widow’s Walk, a tale of leaving and sadly not returning.

A Room In Birmingham England, 1919 is probably the weakest so far, but that’s not too much of a criticism as the others are very good. Andy Santospago does try to stir things up on mandolin and pedal steel and the chorus does momentarily lift it but it just doesn’t get there. Robertson delivers a whisky vocal on the moody and brooding Sweet Thunder. This builds well with familiar harmonies and with Kessler on violin again and David Andrew Moore’s drums driving it on, it resonates with those trying to get home. They do the gentle side of things so well as evidenced by Avery Hill. Guitar voice and violin lead it off and it rises with harmony. Robertson’s mournful harmonica adds to that feeling of melancholy. Horns, Rosenthal’s trumpet and Russ Gershon on tenor sax, introduce Lila Page 8. Guitars and drums join, again showing how tight a band they are. This is another that builds well with BluesBlues favourite Danielle Miraglia adding harmony vocal and belting it out towards the end. It doesn’t happen often but Santospago gets to let loose on guitar. These are songs that will grow on you. This will become a favourite, I have no doubt. They finish with the Tim Gearan song, Nobody. It’s a low-key finish but they haven’t really ripped it up at any time really. Santospago contributes effective slide guitar as we drift gently away to the end of the album.

A very good debut.

www.theremittancemen.com

Various Artists – Legacy: A Tribute To Leslie West (Provogue Records)

Leslie West passed away in December 2020 and when he did we lost one of the most important and powerful guitarists of the Rock era. In honour of the man, a number of admirer’s who also happened to be friends, got together to lay down a tribute to him. The irony is that he was supposed to start recording a retrospective of his music with friends and peers but passed away two weeks before recording started. This tribute helps to fill the gap that the retrospective left and opens with Zakk Wylde on Blood Of The Sun. This is a surging, rocking opener to an album of 12 select tracks although 12 was never going to be able to pay full tribute to West, one of the largest figures in Rock. Wylde’s stabbing and slicing guitar is matched by thrashing drums from Bobby Rondinelli, giving it a contemporary feel. Released as a single, this is a great start. One of West’s most famous songs is Nantucket Sleighride (To Owen Coffin), which this time features Joe Lynn Turner on vocals and former Megadeth guitarist Marty Friedman. Rapid drumming and Friedman’s pinpoint guitar feature highly in the mix as does Rev Jones on bass (West’s long time rhythm section of Jones and Rondinelli laid down the tracks for most of the album). Turner turns in a typically gritty vocal and Friedman’s flurries in the solos make this an epic highlight. Theme For An Imaginary Western is another of the singles, this one with a strong, theatrical vocal from former Twisted Sister vocalist Dee Snider and in a rare change of rhythm section, ex-Dream Theater drummer Mike Portnoy and Rudy Sarzo, the former Quiet Riot bassist. Piercing guitar is supplied by Eddie Ojeda, former band mate of Snider in Twisted Sister. Turner remains and is joined by Jethro Tull guitarist Martin Barre on For Yasgur’s Farm. This haunting Prog Rock matches Turner’s vocal to the extrovert style of the song and Barre is simply magnificent on guitar. Dixie Dregs/Deep Purple guitarist Steve Morse and classic Rock singer Ronnie Romero join up for Why Dontcha. The pitter patter loops of Morse’s guitar open this and then we are onto a classic power Rock with Jones’ bass on point and Rondinelli’s drums thrashing. Each guest brings a little of themselves to West’s music. Romero remains for Sittin’ On A Rainbow and he is joined by former Cars guitarist Elliott Easton. This is percussive and quickfire, rhythmic and hypnotic with a slightly Country solo from Easton. Another highlight.

Never In My Life is grinding Blues Rock with Snider returning along with that deep, throaty vocal and he is joined by George Lynch of Dokken fame. They rock this out in true Leslie West style with long held notes in the sweeping, stripping solo from Lynch. Things stay in the Blues Rock arena for the rapid, obscure outing from West’s 1972 super trio West Bruce & Laing, The Doctor. Doors legend Robbie Krieger contributes his mighty guitar and we see the return of Ronnie Romero. There is a good pace to this and they show they can rock it too. This is a highlight with Jones’ bass and Krieger’s lead exchanging notes before the latter just blows everything out of the water. Blackberry Smoke’s Charlie Starr takes over for Silver Paper, the last of the singles, and he delivers a classic soul filled Southern Rock infused beauty. Full of light and shade with suitably laconic guitar breaks, this was made to be heard. Father and son Randy and Tal Bachman join for a medley of two of West’s classics, Money (Whatcha Gonna Do)/By The River, a rhythmic grinder of a Blues in the former which fits perfectly with the latter Blues Rock. First class on both counts with pinging guitar and an expressive vocal. The penultimate track, Long Red is a song that you might not know but you will likely have heard bits of it before with the likes of Kendrick Lamar, Kanye West, Ice-T and even Mariah Carey sampling it over the years. All that from a track from West’s 1969 solo album. Anyhow, the big stars keep on coming, this time it’s guitar behemoth Yngwie Malmsteen joining with Vanilla Fudge’s Teddy Rondinelli on vocals. Malmsteen turns on his own inimitable style with a flurry of notes as they shred the Blues. All of the vocals have all been perfect Rock styles with plenty of grinding, growling and grunting. Who could ask for more? Malmsteen is a note machine as he rips up the fret board and this is not one for the faint hearted. It is fitting that they have chosen what is unquestionably West’s most famous song, Mississippi Queen. This one joyfully brings Slash and Dirty Honey frontman Marc LaBelle together. The cowbell gets a thumping alongside the glorious grinding of ripping riffs in classic Slash style to set up one of the best vocals on the album by LaBelle. This is a fitting end to a fitting tribute.

The album shows that West’s songs stand the test of time and if you listen closely you might even think that he is playing in there too.

www.100percentrecords.com

18/03/2022

Steve Dawson – Gone, Long Gone (Black Hen Music)

Seven-time Juno Award winner Steve Dawson brings us the follow up to 2016’s Solid States And Loose Ends. The Vancouver native and Nashville resident is a busy man whether it’s recording & touring under his own name, producing for others or working on his podcast, Music Makers and Soul Shakers. He’s managed to fit in the time to write, mainly with Matt Patershuk, nine new tracks for this album however and added one carefully chosen cover. In fact, he’s written enough material for three albums with Gone, Long Gone just the first. The opener, Dimes, is a groove of a start with electric guitar (Dawson) and horns (Malcolm Aiken, Jerry Cook and Dominic Conway) laying it down with great backing singing from Allison Russell and slide guitar also from Dawson. It's reminiscent of The Band in places and he’s lost none of his humour as he sings about turning dollars into dimes. It all sounds like good fun was had. The wonderfully titled King Bennie Had His Shit Together is a leisurely Country Blues. He has a homely style, very easy to listen to and he is a talented storyteller as he recounts the tale of King Bennie Nawahi, the flamboyant Hawaiian steel guitarist from the late 20s. The barroom piano from Kevin McKendree adds some atmosphere as Steve’s slide guitar breezes through. He rattles out the notes on the acoustic guitar for Bad Omen. This has excellent lap steel too as we remain on that Country Blues vibe, this time with a sense of foreboding. You can hear how good a guitar player he is and when you throw in crisp drums from Jay Bellerose and the joyful, dulcet tones of McKendree’s Hammond B3 then you have a highlight. The title track is given a string introduction from Ben Plotnick and Kaitlyn Raltz before Steve’s rapid, fingerpicked acoustic arrives. This is a classic Americana road song with Steve’s pedal steel picking out the notes in the background. Gentle brilliance. Reverb guitar introduces fingerpicking again on I Just Get Lost with its swinging chorus and change of tempo. It’s well played although it is it isn’t up to its predecessors, a hard act to follow I grant you. However, Steve’s slide guitar is again excellent.

Kulaniapia Waltz is played in waltz tempo as you would expect. His acoustic slide is top notch and although I’m not a dancer, I might be persuaded to get up and shuffle along to this beautiful instrumental. Chris Gestrin joins in on pump organ with Gary Craig’s drums keeping the beat along with ukulele from Steve and bass from Jeremy Holmes. The solos are magnificent and round off a lovely song. The brooding 6 Skeletons In A Car has excellent vocal backing from Allison Russell as she has been throughout. Organ is there again from Gestrin but it’s all about guitar and whilst the percussion is as unobtrusive as ever, it does let you know it’s there when we reach the heavier mid-section where electric guitar joins the pounding drums from both Craig and Bellerose in raising the heat. A sort of true story about 6 teenagers in a car that had a crash. They were ok but passers-by thought that they looked a bit skeletal. The only cover is that of The Faces’ Ooh La La. It lacks the originals’ ‘cheeky boys’ style and Rod Stewart’s rasping vocal but it’s a good version despite that. It’s gentle and rolls along at its own pace with excellent guitar work from Steve, both electric and acoustic. Casey Dawson and Allison Russell’s backing vocals along with McKendree on organ round off the sound. Steve treats us to a guitar masterclass on the acoustic instrumental, Cicada Sanctuary before rounding off the album with the low-key Time Has Made A Fool Out Of Me. This has just Steve and electric guitar to begin with until he starts building it with Russell gradually joining in as slide also becomes more involved. Shuffling drums from Craig come in towards the end to take us to the finish with just Russell and guitar rounding it out.

Steve Dawson is a jack of all trades and master of them all.

www.stevedawson.ca

www.blackhenmusic.com

17/03/2022

Delbert McClinton – Ain’t That Lovin’ You (Hot Shot Records/Thirty Tigers)

Taken from his new album, Outdated Emotion, Delbert McClinton shows that he has lost none of his vigour with his latest single. This has the drive to take you through from start to finish. Classic song, classy version and great harmonica. Short, sweet and packs a punch.

www.delbert.com

www.thirtytigers.com

Nick Andrea – Blues @ Dark (Self Released)

Released as an 8-track vinyl and 13 track CD, this is Nick Andrea’s debut solo outing. Originally meant to be a Law & Chaos album with TJ Sullivan, circumstances dictated that Nick go out on his own with the tracks and then add a few for good measure. The smoky Jazz of Now All I Do Is Play The Blues opens proceedings. Nick’s plaintive vocal immediately hits you smack in the face with tinkling piano (Jeff Paris), stabbing guitar (Sullivan), lightly crashing cymbals, horns (Jim Scimonetti) and muted trumpet from Nick prominent. This is late-night, grown-up music and is the first of 3 original Law & Chaos singles on the album. The second of those singles and our Blues single of 2021 is Whiskey Whispers. I’ve said plenty about this song in the past and Nick has remained true to the Law & Chaos version as he has in the others that were meant for that album. It’s Blues inspired and strips Nick down to his soul as he tells the tale of the depths that he has reached in his life. TJ Sullivan’s guitar is still as sweet and Nick’s vocal and trumpet fully complement the song. Craig William’ echoed saxophones bring us Motherless Soul and herald a change in style. This is more up-tempo and funkier than I’ve heard before but it still has that Blues base and that strict sounding guitar from Sullivan. Nick shows a certain vulnerability in his vocal and he’s not what you would call a conventional singer. The last of the singles released under the Law & Chaos banner is Missus 2^nd Place, a mid-paced shuffling trumpet and guitar Blues. Nick’s elongated Jazz vocal suits this well as he sings in the higher ranges. TJ rocks the guitar and it should be said that piano (this time from Craig T Fall) is a big component in this band. Nick takes on the Stevie Wonder classic, Superstition, with Truth Jones contributing vocals. On the whole, keyboards are replaced by Williams’ sax and Sullivan’s rocked up guitar (Fall’s Hammond B3 is there in the background) and it is slowed down from the original with slide guitar another unexpected addition. Nick grinds out the vocal to complete a very different version and that’s what will make it a favourite of the future. Truth Jones is simply wonderful. This is one of my favourite Stevie songs and Nick has shown it in a new light with this epic version which is out as a single. Back to Jazz for Skeletons In My Basement with upright bass & piano from Fall, sax and drums prominent. Nick’s smoky vocal is perfect for this style of song. Is there a clarinet or two in there? Yes there is and Scimonetti will please my daughter, the clarinet player of the family. Nick’s trumpet and TJ’s guitar swap licks as the track grooves on.

The acoustic slide Blues of Half-Of-A-Man is another of the current singles and Nick’s clear and sharp vocal fills this all too short jewel. He stays acoustic for Somebody Not You, the last of the tracks on the vinyl album. This is Blues based Jazz with Scimonetti’s clarinet in the background, although I may be mistaking this with his saxophones on this occasion and apologies if I have. Barrelhouse piano from Fall and Sullivan’s slide deployed once more. The song makes me think of Louis Prima in places. The first of the extra tracks for CD is Bittersweet Blues and Nick’s distinctive vocal is hard to ignore. He’s no mean trumpet player either. Shuffling drums, guitar and upright bass give this song a ‘feel’. We get the full horn experience on Something Bad Is Gonna Happen To You along with keys and rhythmic guitar as he funks it up. The rhythm section drives it on with some Latin grooves in there too. The Bill Is Coming Due is an acoustic Delta Blues with a twist. The guitar is well played, beside minimal percussion and authentic crackles in the background. This is a highlight. I’m not particularly a Jazz fan but after stumbling across a Chet Baker album a number of years ago I have to say that I became a fan of his. Nick has produced a stunning version of Baker’s I Fall In Love Too Easily with Jeff Paris’ piano playing soundboard to Nicks vocal and trumpet with the rhythm section are just in earshot. This is another favourite and Nick’s voice was made for this song. We get enough little vocal blemishes/wavering’s to make it original. I can see why he released it as a single. The album finishes with Last Time Blues, a Charlie McCoy song if I’m not mistaken. It’s an electric Blues with strong guitar and one of the slower songs that pepper the album. It’s a strong finish with a horn fuelled crescendo of a chorus.

You may take a little time to tune into Nick’s vocal but don’t just play the album once, or listen to a couple of tracks, as it will grow on you as will the art of listening to an album. The warm feel of vinyl is great but you have to get the full experience of the 13 tracks on the CD. Buy both!

10/03/2022

Ali Sperry – In Front Of Us (Self Released)

The people’s champ of the less is more ethos and one of Nashville’s rising stars, Ali Sperry, brings us 10 original songs, delivered in her own unique way. The set opens with Climber, all strings and jangly guitar from Kristin Weber and Audley Freed respectively to begin with before acoustic guitar, also from Freed, comes in. Ali’s clear and precise vocal cuts through the instrumental backing making the song light and expressive whilst Freed’s guitar streams across the plane. As for the subject, we all know one of these, one who uses you to make the next rung on the ladder. The light and airy Lucy is a song of someone looking for themselves in these hard times and the theme kind of continues on the piano led (Jen Gunderman) I Know You’re Scared. On this, Ali has a peaceful, almost Karen Carpenter feel about her vocal at times. It’s beautiful and aching and it’s a highlight. Excuses is more up-tempo and driven by the drums of Jamie Dick. Gunderman’s electric piano is prominent along with a strong chorus and it’s another top song, even with some naughty words! She has a good band behind her, picked from some of the best Nashville has to offer and we get some nice guitar work from Sadler Vaden. Fleetwood Mac would be proud of this, especially as it is a story of someone that you always give the benefit of the doubt to, but always lets you down. Next up is Hope, and we all need some of that just now. This is gentle and beautifully sung. It’s pleading yet at the same time hopeful. The pedal steel guitar from Rich Hinman is plaintive and the acoustic guitar, played this time by Ali, is simple and effective. There are some pleasant harmonies from Jill Andrews too. Ali’s inspiration for this came from an Emily Dickinson poem.

The acoustic led and up-tempo Cool Under Pressure shows that Ali is a polished performer and the song brings a feeling of freedom with political messages about some positive progressive change in the USA. Safe has an orchestral feel and is piano led. Strings abound from Weber and Owen Biddle on Moog adds to that overall sound. There is a comforting vocal but the underlying theme is you can’t keep everyone safe all of the time, no matter how much you try. We still get that all-encompassing feeling of safety on In Your Dreams and you feel that you can trust this voice even though I get a darker feel to the song at times. It’s back to the lighter side for Peace By Moonlight where she displays her skill of drawing you into the song. Back to the lighter side. Has the ability to draw you into the song. We close with the title track and this is great Americana. It gets us thinking of those who have passed and how we miss them and the things they did, whilst looking at what is in front of us. It’s harmonic, it’s wistful and we get a bit of a brassy, New Orleans style ending with horns from Kai Welch.

This will leave you wanting more.

www.alisperry.com

09/03/2022

Friendmaker – You, Me And Everything Else (House Of Strange Vinyl)

Ireland’s Friendmaker bring us their debut single, You, Me And Everything Else. Described as a five-piece Indie, Alt-Folk, Pop-Rock band they seem to have most of the bases covered. Acoustic and dreamy, giving the listener plenty of time to have a think. One for the end of the evening as it meanders and builds well. David Marron’s guitar and vocal runs the risk of being overrun at the top of the crescendo built by bandmates Maoliosa McMahon (vocals/keys), Paul Finn (guitar/vocals), Paul Markey (bass) and Fintan Marron (drums), but thankfully comes out the other side.

www.friendmakermusic.com

Jose Ramirez – Major League Blues (Delmark)

Recorded in two segments, tracks 1 to 4 on August 23^rd 2021 and 5 to 10 between 1^st and 8^th September 2020, Major League Blues is Jose Ramirez’s debut for the major league label, Delmark. Ramriez is Costa Rica’s premier Blues artist and has been making a name for himself further afield for the past couple of years. Major League Blues is the follow up to his Blues Music Award nominated 2020 debut, Here I Come (also reviewed on BluesBlues) and opens with the title track in which he namechecks all of his heroes with a wavering voice at times as if he is in awe of the names. Ramirez is a stunning guitar player and he’s playing with one of the best here in the form of the legendary Jimmy Johnson. The Delmark All-Star Band who play on the first four tracks provide Hammond B3 (Roosevelt Purifoy), bass (Bob Stroger), drums (Willie ‘The Touch’ Hayes and guitar (Billy Flynn) in varying support roles. I Saw It Coming is a slow Blues up there with the best, guitar wise. His voice suits this better and Purifoy’s Hammond pitter patters – wonderful. Eddie Taylor’s Bad Boy is a shuffling Blues and a highlight of the set. Flynn excels with Ramirez on guitar as the Hammond vamps in the background and Hayes’ drums shuffle like a coasting train. That sound just makes a band, don’t you think? The brooding My Love Is Your Love, a Magic Sam song, has Jose excelling in the slower Blues with his intense guitar playing. His voice has come on in leaps since the opening track. Another highlight. Whatever She Wants, which was the lead single, brings us a soulful, slow and sultry Blues with his aching vocal telling a tale of a man who will cross the line for his love. With keyboards from Andre Reyes Jr and the rhythm section of Kenny Watson Jr and Antonio Reyes providing a solid base, Jose entertains with stinging, and often screeching, guitar.

The moody and grinding Here In The Delta, co-written with Shelly Bonet, is full of guitar artistry with Jose playing like a hot knife through butter. Hammond again is wonderful from Andre Reyes Jr and Jose’s voice has matured since his 2020 debut. On Forbidden Funk he shows that he can Funk with the best with this funky Blues. He adds some of his natural Latin flair and passion to the song and there’s that Hammond again with a superb extended solo. Jose more than matches it on guitar with his Albert Collins style though. His Latin roots come out in full force for Are We Really Different, a sultry Samba and another co-written with Shelly Bonet. Partly sung in Spanish, this has all the Latin sounds and feel with Evan Hoffman providing the percussion. It’s back to the Blues for Gotta Let You Go, a smooth and floating tale of longing and making the break all at the same time. Jose’s guitar pinging as usual and works so well with the Hammond. We have a ballad to finish and the seductive Hammond is the making of After All This Time. Bonet joins on vocals and belts it out with atmospheric guitar from Jose in support.

I said on the review for the single, Whatever She Wants, that the future is bright for Jose Ramirez. That future just got a few more lights added to it.

www.delmark.com

08/03/2022

Bubba And The Big Bad Blues – Drifting (Fullerton Gold Records)

Christopher ‘Bubba’ Clerc is a Southern Californian guitarist and singer/songwriter who has been leading his own band for over a decade now and this, his second album, is filled with the styles that have influenced them over that time. First up is the big band intro to I Want To Make Love To You Baby. The horns, Hammond (from Mike Finnegan) and guitar stoke it up beneath Bubba’s velvet voice. It’s all played at a slow, striding pace with piano tinkling in the background, a stinging, pinging guitar from Bubba and oh, those horns! What’s not to like? Great start. There’s a chaotic beginning to Don Nix’s Helping Hand as Nick D’Virgilio’s pounding drums leads us into a striding Blues Rock. It’s completely different from the opening track as they Rock it out with Doug ‘Mug’ Swanson’s bass thumping and Jacob Dupre's Hammond gets a work out, Jon Lord style. I can’t believe the difference in the opening two. Bubba throws in a fluid solo on guitar to give us two highlights to start with. Finnegan's Hammond and horns are back in unison as they slow it down for the title track. Johnny Bazz’s bass is prominent and there is a nice tone to his vocal. It’s a third different style, this one being deep Blues influenced Soul. Bubba hammers the bass strings on his guitar solo as he rings it out. The rocking guitar is back on Do What’s Right as he hits a storming solo. It’s horn and organ backed with Bubba giving it enough grit in his vocal to cope with this. A driving Blues Rock highlight. She’s Your Problem Now is a classy shuffling Texas Blues and I’m struggling to find any faults. This is in your face and sounds great with that Hammond doing as it does and just makes a song sound so much better. Don’t take anything away from Bubba though, he is a good guitarist. We get a big, bold introduction to Paul Weller’s Amongst Butterflies but it appears not to know where to go before it settles down to a mid-paced, Soul infused breeze. Dupre has the Hammond sounding like the flapping wings of a butterfly as the speed increases with a Keith Emerson style solo before the guitar follows and hits us with a plethora of notes along with lots of rise and fall.

More influences surface on Keep Moving On with Southern influenced Rock bringing The Band to mind in particular. I Own The Road is high octane Rock N Roll with Rick Solem on piano and another that will become a favourite as will the sleek, shuffling Blues of Lose Those Blues. In the lyric he mentions Amazon boxes and bottles of wine – sound familiar to anyone? Rolling guitar and a fine sax solo from Joe Sublett feature here. The grungy and grinding I’ve Been Down lowers the mood a little before the pace is increased again for If You Need Me, a high energy, high impact Southern rocker with slide guitar deployed. The closing track is the acoustic led Rock ballad, My Love. This is pretty standard stuff and may have been better placed earlier on in the album. However, Bubba shows his skills to the end with some soaring guitar.

Second album? I’m off to find the first and already waiting on the third!

www.bubbablues.com

07/03/2022

John Illsley – VIII (100% Records)

Not surprisingly, given the title, this is former Dire Straits bassist John Illsley’s eighth solo album and to celebrate he brings us eight new tracks plus one carefully selected cover. With a career that has spanned so many years it could be difficult to come up with new material but the enforced isolation of the last couple of years has refreshed his outlook and given him time to look back also. That reminiscing hits us on the first track, It’s A Long Way Back and its atmospheric opening. It then speeds up in an all too familiar way with the introduction of acoustic guitar then drums and bass. Illsley’s whispering, croaky voice comes as a little surprise but not the sounds of Dire Straits as he tips a nod to his former band. For those of us who followed Dire Straits from the start this is a wonderful step back in time and some appropriately great guitar too. Accordion and steel guitar join John’s bass to give a shuffling Latino feel on Love You Still. There are castanets and acoustic guitar too with electric guitar jabbing through every now and then. It’s played at a slower, yet comforting, pace with smoky voiced John playing his part. Acoustic guitar features quite often on the album and on 21^st Century it joins with piano, violin and sometimes crashing cymbals to deliver a gentle, warming, Green message. He’s got himself another good guitarist and John’s almost spoken vocal comes from a voice of experience. The piano led Market Town is another trip down memory lane, this time about his early life in Leicestershire. He has that skill of making you feel at ease no matter what he’s singing about.

Reggae beats and horns bring us The Mission Song and along with jabbing guitar and his smoky voice, delivers an indictment on modern living with its coffee shops and too much sugar amongst others. “Waste and hypocrisy, is this our legacy” says it all. It’s hard not to but there are so many Dire Straits influences throughout the album where musically he makes you smile and lyrically makes you think. There are some more gentle sounds on Wondering, an acoustic based song with electric guitar flitting in and out. Lap steel is playing a big part on some of these songs too and some of the solos sound like Mark Knopfler himself. There’s a slight increase in pace for the shuffling Which Way Is Up and its cutting guitar before we get the though provoking None Of This Was Planned which washes over you. This is just lovely, gentle music with searching guitar and a hint of how we all have felt over the past couple of years. The closing track, and only cover, is John’s version of The Beatles’ I’m Only Sleeping, which he played at a virtual concert in 2020 to commemorate what would have been John Lennon’s 80^th birthday. It’s an acoustic, sweeping and tender version of the song with female backing vocals as there have been on a number of tracks.

www.johnillsley.com

06/03/2022

Bob Corritore & Friends – Down Home Blues Revue (VizzTone/SWMAF)

Harmonica player/producer Bob Corritore has lovingly assembled this collection of old school down home Southern blues and juke joint dance numbers, the rough-edged predecessors to modern Chicago Blues, all recorded between 1995 and 2012 and drawn from his vast vault of recordings. Proceedings begin with Rooster Blues and what a great opening it is. It’s a rocking Blues with Corritore the perfect foil for the crisp vocal of Robert ‘Bilbo’ Walker, drums and guitar. Clara Mae is a classic Chicago Blues with just Tomcat Courtney’s vocal and guitar with Corritore’s harp. There’s such an authentic feel to the recording. The Arthur Crudup classic, Mean Old Frisco, is given an earthy treatment by T-Model Ford and Corritore blowing up a storm. Henry Townsend’s wailing vocal brings us one of his own compositions, Nothing But Blues. With a screaming harp we get some harsh sounds for your ears as Henry tells it like it is. The mournful piano Blues of Didn’t Know What I’m Gonna Do features Smokey Wilson. Piercing bass is a feature of this stripped back track with understated guitar and Corritore replying to the vocal. Written by Smokey Wilson himself. Still A Fool is set out in a funereal pace. A classic Blues tale, Muddy Waters written and featuring Robert ‘Bilbo’ Walker for a second appearance of three.

The third track with Walker is Sam Cooke’s Baby Baby Baby and this is more up-tempo, almost euphoric with bouncing guitar and harp ebbing and flowing. Honeyboy Edwards features on Take A Little Walk With Me, the Robert Lockwood song, and he turns in a pleading vocal and gritty guitar with Corritore happy to be the sideman. We have Bob in the high ranges of the harp for the classic, Let’s Work Together. Pecan Porter takes the vocal and sings in the familiar range a la Canned Heat. It’s more stripped back than their version and although often recorded, I’m sure you’ve not heard a version like this. This is bare bones with stinging guitar. My Money Dun Run Out is a true Blues. Written and performed by Al Garrett he proclaims, no money, no woman! Deep harmonica from Corritore maintains the slow and steady pace with Garrett replying with fractious guitar. Dave Riley brings his gruff vocal to his own song, Home In Chicago, a strong, vibrant Blues with Riley also picking out some great notes on guitar. Sad to say that he is the only one left alive from the featured performers. The classic theme of Howlin Wolf’s I Asked For Water is taken on by T-Model Ford. He has the howls, growls and rhythmic metronomic feel of the original. A highlight. Big Jack Johnson comes in for the final song, Blue Bird Blues and this Sonny Boy Williamson classic is the best on the album. It’s as if he was saving the best for last as Johnson’s strong vocal makes this a stunning version of the song with guitar and harmonica playing in unison.

Another great album from Bob Corritore’s vault. How many more can there be?

03/03/2022

Kris Barras Band – Death Valley Paradise (Mascot Records)

When Covid hit, Kris Barras decided that anything goes so with no preconceived plans for his next album he hit the studio and Death Valley Paradise is the result. They open with the full sounding, big and ballsy Dead Horses. This is one of a trio of singles released last year and is a great introduction to Kris Barras and his band. He always gives 100% and rarely disappoints. Highlight of the song is a barnstorming, yet melodic, solo. First song, first highlight. Long Gone is a Blues Rock grinder with a big chorus. It’s industrial, like a steel mill pounding the metal and hard not to like. Another of last year’s singles is the singalong, anthemic My Parade. This is striding, stringent and superb. This isn’t music to drop off to as you’ll feel the energy run through you. The last of 2021s singles is These Voices and there are plenty of Bon Jovi style influences on this one. The songs just keep coming at you and there is no respite. The high octane Who Needs Enemies is the current single and confirms that Barras has a vocal that can keep up with the classic Rock singers where he can add grit where needed and sing a melody with the best. This is a Blues Rock band in the stratosphere with flowing effortless guitar from Barras too.

Grungy guitar from Barras and Josiah J Manning herald in Devil You Know, another from the school of Bon Jovi. Big guitars, big vocals; the only thing missing is the big hair! A festival of strings. Wake Me When It’s Over is the obligatory ballad, albeit a Rock one that thunders into your earhole in the chorus. Strong solo from Barras. He has the skill of remaining musical as he tries to blast through you as shown on Hostage and I can’t pick out a bad track so far. Cigarettes And Gasoline - never a good mix, apart from here of course. Controlled power with the new rhythm section of Billy Hammett on drums and Kelpie Mackenzie on bass fitting in very well. Keys lead for a change on Bury Me and there’s a different tone to Kris’ vocal. The song itself is standard mid paced Rock but the vocals are great as ever. Kris’ guitar unleashes a flurry of notes as he lets rip on vocal towards the end. Speaking of the end, this one has come very quickly and the striding, driving Chaos takes us out with Kris producing a lovely tone in the solo.

A very good album and one that will be challenging the ‘Best Of’ lists come the end of the year.

www.krisbarrasband.com

www.fortybelowrecords.com

02/03/2022

Sugaray Rayford – In Too Deep (Forty Below Records)

The first I came across Grammy nominated Soul man Sugaray Rayford was on Bob Corritore’s ‘From The Vaults’ series of albums just last year so I am pleased to be looking at his latest work under his own name. In Too Deep is his fifth album and he opens it with big horn laden intro of Invisible Soldier. Sugaray is gonna tell you a story and you’re gonna listen! Hammond and bass to the fore along with Sugaray’s classical Soul vocal. This was a single from last year and included on one of two EP’s this year and is all about his struggles with PTSD following his stint in the US Marine Corps. The title track is a striding Soul Blues with a deep, strong vocal from Sugaray. The riff just keeps on going with the guitar picking out notes and throwing them at us. You’ll be nodding along to this one very quickly! He slows it down and brings in some sexy guitar for No Limit To My Love. We get silky Hammond and an endearing vocal which shows another side to him. It’s smooth with a laid-back solo from Eamonn Ryland on guitar. Another which is on one of the EPs from this year. He’s in a groove on Under The Crescent Moon and the horns are to the fore again, along with some mesmerising keys. Sugaray has a strong and powerful voice which is matched by the robust rhythm section. He is putting the Funk into funky on Miss Information with keys, guitar, drums, bass, percussion and horns all coming together in a festival of sound. Sugaray can’t help but hit out with a top vocal with that backing. Another of last year’s singles and included in this year’s EP’s.

There is a stern opening to Please, Take My Hand, which gives us a Spiritual feel. Sugaray’s voice is precise and perfect for the song. It’s just voice, harmony and percussion in the form of bass drums, handclaps and cowbell, making it stark and dramatic. It’s the current single which has him singing about love in the face of oppression. Next up is One and this is quite ironic given the current situation in Ukraine – just listen to the lyrics. What is does do is it also gives us hope that things can be different. The voice is more powerful than the gun and this carries a message for you and no hiding it. Gonna Lift You Up is a full-on funky Gospel infused Soul with a Jackson 5 feel to it in places. Horns, bass and keys all driven on by drums show how good a band he has assembled and Sugaray is the perfect frontman with his dulcet vocals. Piercing guitar adds to the infectious feel and the last of the tracks out on EP this year. The ballad, Golden Lady Of The Planet, has him singing to all the ladies with a voice that I’m sure will turn a few heads. Horns fill the sound and the all too short Hammond solo melts your heart. It’s back to the Funk for the big finish of United We Stand. Rolling bass drives it on and the horns are a big part yet again. This will be a big one for audience participation in the live set.

Good times are to be had with Sugaray Rayford.

Marillion – An Hour Before It’s Dark (Racket Records)

An Hour Before It’s Dark is Marillion’s 20^th studio album and it is one of their most upbeat, despite it containing some pretty bleak subject matter. The opener, and lead single, Be Hard On Yourself opens with choral sounds and Mark Kelly’s piano. Soon joined by Steve Hogarth’s soaring vocal and Steve Rothery’s piercing, stabbing guitar they build a soundscape of Prog Rock par excellence. Reprogram The Gene has sounds of children playing in the background, just like that last hour before dark and they get called in, before the spark into action with Hogarth proclaiming that he doesn’t want to be a poet. Some might say, too late. This is classic Marillion, all pomp and ceremony with sweeping guitar from Rothery. It’s forceful, with plenty of highs and lows. The future is not orange after all. I feel that Only A Kiss is very un-Marillion like at only 39 seconds long. That said, the gentle guitar and keys from Rothery and Kelly give us a little breathing room.

The current single, Murder Machines, has an infectious, emotional and heartfelt chorus which will go spiralling into your brain. It’s a powerful song about the pain of break ups and seeing a partner with another and is a highlight. There’s another choral beginning for the atmospheric The Crow And The Nightingale. Kelly’s piano then takes over as they show again how expert they are at building a song. Prog Rock isn’t for everyone and I don’t profess to be an expert but their longevity speaks for itself. They are harmonic with fluid guitar and keys sending this song to another level. Believe it or not at nearly 11 minutes long, Sierra Leone, isn’t the longest on offer. Then again, it’s Prog Rock, so we shouldn’t be surprised. I’ve been to Sierra Leone so does the song reflect the country? In parts, yes as they mention the white sands and that I do remember. It’s calming and comforting, descriptive and will allow you to drift away. Again, classic Prog. The closing track, Care, comes in at over 15 minutes long and takes us back to the old days when one or two tracks could fill one side of an album. It is relentless in its hypnotism with Rothery’s soaring guitar a trademark. Hogarth shows his full vocal range and the expressive rhythm section of Ian Mosley (drums) and Pete Trewavas (bass) give the others the platform to go on and perform, as they do throughout. The album was recorded at Peter Gabriel’s studio and his influence is almost palpable. It’s full of light and shade with more peaks than the Cairngorms.

www.marillion.com

25/02/2022

Reed Blue – Shadow Trip

Released earlier in the year this deserves a mention. Much like the music from One Thousand Motels last year this has a rhythm like a flowing stream and there are keys giving us notes where we don’t know where the next one is coming from. In the meantime bass and drums are driving it on albeit slow to mid pace hip hop soundscape. Instrumental on the whole and not what I would expect from a Swiss artist. Promising.

https://reedblue.bandcamp.com/

Greenslade And Thomas – G&T (Angel Air)

The two Dave’s, Greenslade and Thomas need very little introduction. The former is a veteran of Chris Farlowe & The Thunderbirds, Geno Washington’s Ram Jam Band, Colossuem and his own band, Greenslade. The latter is best known for his stint in Blonde On Blonde although he has also graced the stage as a member of Reign, Shortstuff, The Diplomatics and Shake Down Blues. Both have also released a number of solo albums. A few years ago, Greenslade heard Thomas play at a theatre in Suffolk and asked if he could work with him. The answer was yes but it took some time to sort out their diaries. G&T is the result of what happened when they finally got together. They start with She Wants To Talk To You, a shuffling smooth Blues. Horns (Aaron Liddard on sax and Giles Straw on trumpet) give it a rounded sound as the duo give us the benefit of their years of experience. Greenslade’s Hammond and Thomas’ guitar work very well together as Thomas throws out name checks to Buddy Guy and Toronzo Cannon in the lyric. It’s Wallace Coleman’s time for a name check on Sabotage PBM and the lyric says “Listening to Wallace Coleman live at Joe’s Garage”. Good choice guys, I’ve got that album too. The song is atmospheric with Spanish style guitar and Thomas’ lived in voice. They come away from the Blues for Freefall, a Rock song which firms their reputation as two of the UK’s best over the past decades. It’s back to the Blues for the sharp and jazzy Late Coming Love. Thomas’ guitar is pinging over Dana Gillespie’s easy-going vocals. They are two elder statemen of British Blues and Rock and they slip and slide this one into your consciousness. Hammerblow is smooth and silky with pronounced bass from Bob Skeat. It drifts into Prog Rock, a genre they are both familiar with, and gives an eerie, dreamlike feel at times with the sounds of Thomas’ stabbing acoustic guitar. The piano led Elsienna Avenue continues a theme of very little pace on the album. It’s a kind of a finding yourself song, touched with an emotional vocal from Thomas and is impressive.

Bass is upfront again on the metronomic Green And Pleasant Land and Thomas is using acoustic/Spanish guitar quite often and carefully picking out his notes. This is one that would have had the old cartoon playing behind it on the Old Grey Whistle Test. Otis Rush’s Day is a smooth shuffling Blues with a gentle vocal from Thomas. Greenslade’s piano and Thomas’ guitar both put in impressive, though short, solos and Thomas throws in some familiar Blues riffs at the end. TLC is another smooth, nightclub style Blues with fluid guitar confirming that they have been there, seen it and done it. Borderline has a comfortable vocal with Greenslade’s keys backing it well. Brendan O’Neill’s drums are unobtrusive as they have been on most tracks but you’d notice if they weren’t there. Suave guitar from Thomas has him still performing to a high standard. They are hard to categorise as we get elements of Blues and a few sub genres of Rock on show. A suitably Latin sounding guitar opens Last Tango and we are presented with a little bit of pace, matching the other shufflers. Vocally not that great to begin with but he works into it as the piano gives lovely support. They finish with the sentimental and emotional One More Time. This is a bit of a wistful tear jerker to end the album. It fits in with the pace of the rest of the album so not out of place. The drums are up front keeping it together and there is a sympathetic guitar. I think they are playing within themselves on this one but they do expand with organ and choral singers coming in for the build up to the end.

www.angelair.co.uk

24/02/2022

Lannie Flowers – Flavor Of The Month (Spyderpop Records)

From an idea of releasing 14 free downloadable singles in 2018/19 to fill in time between albums, Lannie Flowers garnered enough to release them as an album in their own rite. The process involved remixing some of the songs as he felt them to be better suitable to an album and the results have become Flavor Of The Month. Opening with the energetic Pop Rock of Don’t Make Me Wait, Flowers brings us a set of songs that raise feelings for the past whilst reminding us of where we are today. The Beatles influence pervades the album, none more so than on Lost In A Daydream. He has such a clear vocal and you’d swear he was from this side of the Atlantic on this hearing. Beatles fans may well like this as it’s 3 minutes of Sgt Pepper era. The short and snappy Good is filled with strong, jangly guitars that are a feature of his music and further UK influences whereas the uplifting Summer Blue, the lead single, is general Pop Rock with a soaring chorus. The album is full of classic 3-minute Pop songs with every one under 4 minutes. Lannie throws in a slightly gritty vocal on The One but he's still sticking to his formula; harmonic, pulsating and not doing anyone any harm. The acoustic led Let It Go takes us back to 70s West Coast USA and bands like America and their ilk. It’s very good when you listen to it in that context. The harmonies are good within the laid-back feel. The energy is back on Where Did All The Fun Go as he returns to electric. This has a familiar riff and a cosy, striding chorus. It’s good fun, despite the title.

The title track is a little rockier than its predecessors and there’s a hint of mandolin on What Did I Know, another good Pop Rock song. His songs just make you feel good. As I said before, he has a formula for his music but he steps out of it once or twice and Day Glow All Night is an example of this. This is more grinding and pulsating that the others and is just on the edge of Pop and Rock. Power Pop doesn’t really describe him as he glides through the songs. Another on the Rock side is Doin’ Fine as he dirties it up a bit. He still returns to the soaring harmonic chorus though. It’s a return to acoustic guitar and bongos for About You although the strings are a new addition. The electric instruments soon join though for a strong performance. Slide guitar is added and is another that is not often heard. The songs all hark back to 70s on both sides of the Atlantic and everything he does is filled with harmony. Those Beatles influences surface again on Anything But Love. This is pure Pop Rock and very short. In fact, it is the shortest on an album that doesn’t have anything over 4 minutes. He finishes with the acoustic led My Street (Front Porch Version) and its gentle, swaying sounds. Harmonica and slide guitar are added but this ain’t the Blues.

He’s not political, he’s not downbeat and he’s not going on about Covid; you don’t get that often nowadays.

www.spyderpoprecords.com

23/02/2022

Beth Hart – A Tribute To Led Zeppelin (Provogue Records)

Grammy nominated powerhouse Beth Hart takes on one of the iconic vocalists of all time in her tribute to Led Zeppelin. It’s been a long time in the making after forming a friendship with Jeff Beck who is friends with Jimmy Page led to a sensational performance of Zep songs in 2012 at a Buddy Guy honour ceremony at which she received a standing ovation from the remaining Led Zeppelin members, the aforementioned Page, Robert Plant and John Paul Jones. It was only a matter of time before the idea of an album came about. There are not many more iconic openings to a song than on Whole Lotta Love and I don’t know many singers who could take it on, but Beth slays it! Grinding, pounding, thundering drums from Dorian Crozier, bass from Chris Chaney and guitars from Rob Cavallo and Tim Pierce give as much power and emotion that Beth does. Kashmir is so evocative and is one of my favourites. There’s no need to change it that much and Beth sings it well, giving it a little bit of Plant in the process as she growls it out at times. Special mention has to go to her band who could easily be Led Zep themselves. She paints us a picture and keeps it going. This is a new favourite version of one of my favourites. Stairway To Heaven is the budding guitarists graveyard. However, this is beautifully played beneath a smouldering vocal from Beth. She has such a powerful voice and there’s not many around today that can match her. Listen closely and you’ll pick up on her subtle vibrato. We have storming guitar as you’d expect as it plays with the vocal. Sweeping and soaring brilliance. Slapping cymbals and bass feature on The Crunge, which is full of funky vibes and elongated vocal notes. Keys from Jamie Muhoberac add to the Funk Rock and listen out for Beth’s primal scream at the end.

The first of two medleys is Dancing Days/When The Levee Breaks, the former a straight up rocker which moves along well enough with Beth getting into fine voice but it’s only when we get to When The Levee Breaks that we get that Zep feel. Grinding and chugging excellence as Beth spits it out. The classics keep coming and next up is Black Dog, another of my all-time favourites. Beth does it proud with a superb and storming. Get this on at full volume. The second of the medleys is No Quarter/Babe I’m Gonna Leave You and it is slowed down as per the originals. Beth throws out a theatrical vocal before acoustic guitar comes in for the latter as the pace stays relatively sedate but it soon explodes into a raucous extravaganza. Good Times Bad Times is another of my favourites and the scorching guitar and even more scorching vocal more than stand up to inspection as do the drums, which are thrashed to within an inch of their life. The final track is The Rain Song, quite a sedate and relatively calm one to finish with as Beth shows different contours to her voice. Swaying strings add an orchestral grandeur before the grit comes into the vocal half way through as the power and strength begin. There’s no increase in pace, just the power before it eases off towards the end.

Messers Plant, Page and Jones will be on their feet again after listening to this.

www.harleykimbrolewis.com

www.bethhart.com

Dan Patlansky – Shelter Of Bones (Virgin Records)

South African Blues Rocker Dan Patlansky is already known for his searing guitar and expansive arrangements but the time given by the lack of touring over the past couple of years has given him the opportunity to explore his sound even more for his new album, Shelter Of Bones. He opens with Soul Parasite, a loud, striding and rhythmic start. You can already hear that he has finessed his style a little but he is still that energetic and vibrant guitarist that we all know. He puts in a strong vocal and you can tell that he has been working on his style and it has paid dividends. Pounding drums from Andy Maritz and bass from Dan himself play the backdrop to his surging guitar on this scathing tale of world leaders. Snake Oil City is a shuffling, sleek rocker with Dean Barrett’s Hammond playing its part. We have a deep, burgeoning and intricate guitar solo with some interesting percussion along with bass (Rixi Roman) and Hammond in partnership as Dan digs at the South African government’s lies and corruption. A highlight. Selfish Lover is ground out like the Dan of old. This will be a staple of his live set and we get glimpses of his new style in the chorus. He shows a gentler side to his voice on the ballad, Lost, and it works. There is neat and precise guitar with the Hammond in there again producing an anthemic feel. The fuzzed, marching and relentless Bad Soul will make you feel that you’ve been put through the grinder – in a good way, of course. It’s a tale of nature versus nurture and whether we can change the bad ways in us.

Presence is lighter than its predecessors, more of a mainstream Rock if you like. The fluid guitar is still there as Dan shows how good he is as he tells us to live more in the present. The slow and brooding I’ll Keep Trying reveals a fragile and vulnerable vocal from Dan. The guitar is sympathetic guitar and the atmospheric middle section has him showing that he has a lovely touch as well as hammering it out. Funky bass from Roman is matched by Dan on guitar and the thumping drums of Maritz on Devil’s Dopamine, a rail against social media. This just sweeps everything aside with its sharp, punchy solo. Another highlight. It’s not all about the power though and on Sweet Memories he brings another softer track. This is very easy to listen to and get lost in with Dan’s sweet guitar. Yet another highlight. It doesn’t stay peaceful for long as they rip it up on Hounds Loose, one of the singles and a take on the old Blues theme of selling your soul to the Devil. This is more evidence of Dan’s new style whilst keeping his old ethos. He closes with the title track and continues with the light and shade shown throughout the album. It’s slower and piano led but piercing guitar and spot on rhythm section soon join to build the tension. Dan adds some superb guitar as the song builds into a class act.

Shelter Of Bones may well be the album that takes Dan Patlansky to the next level.

www.danpatlansky.com

www.virgin.com

22/02/2022

Nelson King – Word Is Out (Rebel Rose)

A renowned surname in the Blues genre, but is Brighton’s Nelson King the latest in line? Broody, grinding Blues Rock that is always just on the edge. Rhythmic. Not a classic singer but has the attitude of a classic frontman. No solos, just all about the song and the grinding grooves. There is promise here but we will need to hear more of what Nelson King can offer before we can say whether he will live up to that surname or not.

www.rebelroselabel.com

Harley Kimbro Lewis – Harley Kimbro Lewis (HKL)

Three artists with individual styles of their own, Martin Harley, Daniel Kimbro and Sam Lewis have come together to form a collective that is the sum of its parts. From the Appalachian porch comes the bouncy opener, Grey Man with its acoustic slide, double bass and great harmonies. This is one for relaxing and joining in. They slow it down for Neighbors but it still has that bounce. As I said earlier they are the sum of their parts and they are all excellent musicians and singers. They are so laid back with their down-home tales as shown by this and Creepin’ Charlie, which is old style Country and is just like a comfortable old suit. By the way, what is a creepin’ Charlie? Some suitably Hawaiian lap steel guitar heralds in Cowboys In Hawaii, another from a bygone era that smacks of times gone by. The ragged slide on this is marvellous. Staying with the laid-back feel we move onto the Western Country Blues of Good Guy. They are a classic acoustic trio with percussion kept to a minimum with washboard, much akin to a jug band. These guys could be sitting in the corner of your local bar and you’d be having a great time. Jug band. Rosary is simply played on Dobro/acoustic guitar and has a more contemporary feel. No matter what your tastes are, classic or contemporary, this is a highlight with beautiful sounds.

Things change slightly with the elegant Who’s Hungry, which is mid-paced with an R&B feel and a jagged electric guitar. They are back to the homestyle however with I Gotta Chair and they tell a tale that will resonate with many, including each of us probably having a chair that they describe. There are some Celtic influences which manifest through the Appalachian style with slide and banjo backing the velvet lead vocal. There’s a return to the foreground for electric guitar on Tokyo. We also get a comforting upright bass and banjo. They are a true Americana band with all of the component influences in there. There are harmonies again and this is one area where I feel that they could give us more or are they rationing us? Whiskey Decisions is a slow two step with a world weary vocal. Like the rest, it is laid back and excellent with some sweet guitar. Another from the top drawer is What To Do, an acoustic Country Blues with an electric slide bursting in on the calm every now and then. All too quickly we come to the finale, Man Get Ahold Of Yourself, which is out as a single at the moment. Upbeat and up-tempo it is a song of the mountains with added Tennessee and UK to give us a special sound.

Their tone throughout has been superb. Simple, unadorned with no modern-day baggage, this is an acoustic classic.

18/02/2022

Kathy Murray & The Kilowatts – Fully Charged (Blue Heart Records)

Fully Charged is the fifth album from Texas singer songwriter Kathy Murray and her band, The Kilowatts. A Grammy nominated songwriter in 2020 she brings us eleven new songs and three covers which straddle the spectrum of Texas styles. She opens with the Texas shuffle of Expense Of Love, which highlights a smooth vocal from Kathy and a slinky guitar from Bill Jones and confirms already what a tight band they are. The famous Texas Horns make the first of four appearances on My Mistake with Kathy’s elongated vocal phrasing stretching out some of the notes in conjunction. Jones’ guitar is pronounced and deliberate on this occasion. They up the pace for Changing Lanes and Kathy purrs out the vocal. It’s ok but not setting the heather on fire as I would’ve expected but the guitar keeps things up and the piano does get a hammering. They pay homage to Freddie King and his years of playing at The Armadillo World Headquarters in Austin with The House That Freddie Built. Jones’ guitar work is fine, with some Freddie licks but Kathy is vocally limited, staying within a certain style in which she is comfortable. The band drives it on, particularly the drums and in the organ solo. Get A Hold Of Yourself is a rocker and the best track so far with everyone playing their parts. Very good guitar from Jones, driving bass and drums and Matt Farrell’s barrelhouse piano providing hammer and glissando everywhere a la Jerry Lee Lewis. Kathy’s vocal suits this song with her descriptive style and makes for a highlight. The old-style R&R ballad, Breakup Breakdown, brings Kathy’s best vocal so far as she adds a little grit to proceedings. Again, her voice suits this style of song. The Texas Horns play big part as do the ubiquitous guitar and piano with the bass to the fore also. The bass remains in the foreground for the smooth and sleek Henny Penny Blues which features a sultry vocal from Kathy and stabbing, picking guitar on the extended solo from Jones.

Kathy has a distinctive vocal style and on Wash Away The Pain, although she goes a little wayward at times due to the drama of the song. However, that will add to her charm. The sexy horns are there to seduce you, in particular Kaz Kazanoff’s languid tenor sax solo. Doc Pomus’ Suspicion is given a 60s style R&B Pop crossover treatment rather than that of the Elvis original and it’s not the best. It’s just not up to it and could easily have been left out. However, they are back in the game with Hard Act To Follow, a strolling Blues with piercing guitar Jones and the rhythm section pounding out the beat. Animal Magnetism is another that doesn’t quite come up to the mark. This time the guitar can’t save the shuffling track with the voice and lyric not really matching up. Tampa Red’s It Hurts Me Too is probably best known for the Elmore James version. Although the vocal power is not there it is a good version of the classic with accordion and washboard adding a Tex-Mex flavour and Jones giving a good account of himself on slide as they chug and grind it out well to the end. Another one where Kathy’s voice works well with the style of song is Anyone Who Knows What Love Is with its slow, sensual horn laden backing. Jones exchanges vocals with Kathy on the closing track, Extra Nice as accordion comes in again for a slinky yet strange combination. It’s not the best on offer with it being too sugary for me even though they encourage us to ‘pour on the sugar and bring on the spice’.

More to like than not but could’ve been 3 tracks less and a better album.

www.kathymurrayandthekilowatts.com

www.nola-blue.com

Louisiana Red & Bob Corritore – Tell Me ‘Bout It (VizzTone)

It’s almost 10 years to the day that Louisiana Red passed away and this album, the latest in Bob Corritore’s excellent ‘From The Vault’ series is a fine testament to him with 11 tracks written by him and his wife, Dora. Close friends for over 20 years, Corritore and Louisiana Red made many recordings together and this album covers seven different sessions between 2000 and 2009 and feature such artists as Bob Margolin, Little Victor’s Juke Joint, Chris James and Patrick Rynn amongst others. They open with a classic guitar and harmonica Chicago Blues duet in the shape of Mary Dee Shuffle. Corritore hits us with some trademark lung busters as we get the world of experience in Louisiana Red’s vocal. Next up is Early Morning Blues and we’ve all been there. The song brings up memories of getting out of bed with a hangover - it’s slow, methodical and hard to get going. Full of authenticity with Red unleashing his slide guitar and Corritore filling rather than leading. The shuffling groover, Alabama Train, has Red in full voice with the rhythm section and piano getting involved. This is a standout with harp and guitar working in unison but when Corritore lets loose then he excels. I’ve also got a version played with Little Victor’s Juke Joint on the Back To The Black Bayou album of 2009 on which Corritore also plays. This may be from the same sessions. Red is in Howlin Wolf style with Caught Your Man And Gone and turns in a vocal which nearly matches. Corritore blows a mean harp and Red percussive guitar means that only minimal drums are required. Despite the title of New Jersey Blues, it is played in a Chicago style. Deliberate playing and deep blown harp with a live feel makes this the real deal.

Elmore James style slide guitar greets us on Freight Train To Ride and Red turns in his best Blues shouter vocal to make this boisterous Chicago slide Blues a highlight. The comparisons continue on the title track with them moving over to a Muddy Waters style. Red is in fine voice with the piano tinkling away in the background and Corritore showing that he is the perfect foil. The Boogie of Earline Who’s Been Foolin’ You is wonderfully shambolic in places before they return to the slow, Chicago Blues of Edith Mae with slide guitar more prominent and Red going through his vocal range. Corritore is excellent as usual but being the sidekick again this time. They work so well together. Bessemer Blues takes him back to the town in Alabama where he was born. It’s a standard Blues about old haunts with Corritore excelling again. Red picks out the notes with power on his guitar and his voice just adds that certain gravitas. His slide is out again for the closing track, the ponderous Bernice Blues. Played in the Chicago style again, Corritore saves some of the best for the end and Red’s ragged guitar fits perfectly with the track as he lets rip, playing lead more than anywhere else throughout the set. Bernice gets more than one mention on the album and the message to take from this is to never touch a man’s Flying V!

This is a fine way to commemorate the passing of a fine Bluesman.

www.bobcorritore.com

King Of The World – Royal 10 (Continental Record Services)

With 11 new tracks for their 10^th anniversary, King Of The World bring us Royal 10, an album which crosses genres with ease. Starting with a big impact on Pressure we get strong guitar from Stef Delbaere, the throbbing bass of Ruud Weber and Govert Van Der Kolm’s Hammond in the back. Throw in Weber’s smoky voice and big backing vocals from the rest of the band and you get a great swinging start of funky Blues. The guitar of Delbaere makes you feel it as he goes through a storming solo. Van Der Kolm’s deep Hammond tones backed by snappy drums from Marlon Pichel announce the arrival of Money Talks. Guitar and bass are in synch as they ramp up the Funk. Weber is already showing just how good a singer he is and when you add the organ solo (love it) and screaming guitar then you have a serious contender of a song. Soulsearchin is grinding Soul Blues with a Country element and soaring harmonies whereas the sweet and smooth Someone Like You is a swinging Blues, almost Kansas City style, with pinging guitar and sweeping Hammond. A further change is the crushing, heavy Blues of Time To Say Bye Bye which features Weber’s gravelly voice and more top guitar from Delbaere.

Pichel throws in some lovely drum patterns on Unsung Heroes as they go back to the funky Blues tones. Delbaere’s guitar is the star of the show, closely followed by the keyboards and drums. No failures so far. They step away from the Blues for Eyes Of A Child, which is soulful Soft Rock. The musicality is still there but it’s so different from the rest and may suffer as a result when compared. Well played and well sung though. It’s hard to believe that they are a European band at times. They are back on track with the throbbing, marching Blues Rock of Judgement Day. Expressive guitar and a thumping rhythm section bring this one to life. They continue their genre swaps on Love Motel with electric piano joining the organ and pinging guitar riffs for a funky Soul giving some light relief. Run Run Run is played at a suitable speed for the title and this old-style R&B with just a splash of R&R is rollicking good fun. They close with the eight-minute epic that is Let It Roll. It’s just Hammond and voice for the first minute or so before the rest of the band join in with guitar leading to turn it into a soulful, slow Blues. There is a sweet, extended Hammond solo in low and high ranges and Pichel’s drums keep it going. Delbaere’s guitar gets a bit of the action at the end but on this occasion it is Van Der Kolm’s Hammond that is the star.

They are celebrating their 10^th anniversary but my question is, where have they been hiding?

www.kingoftheworld.eu

www.stonefoundation.co.uk

16/02/2022

Chris Pope & The Chords UK – Big City Dreams (E-POP)

14 new tracks await us on this, the third album from Chris Pope & The Chords UK who have been operating under this name since 2013. Initially formed to perform classic Chords songs they have pushed forward to establish a new sound with new songs. The trio, Chris Pope (lead vocals, bass, guitar, piano), Sandy Michie (lead guitar, bango, backing vocals) and Kenny Cooper (drums, percussion), have certainly achieved their objective. Take the opening track, Listen To The Radio, for example. We get Power Pop with Punk overtones. The energy is palpable as the power trio blast it out with a big chorus, sneering vocal and lots of 70s namechecks. They are straight into it again on The Last Great Rock Star with authority from the start. Strong, marching sounds and rocking drums from Cooper as they rip into it. The strident Hey Kids! Come The Revolution, a previous single, confirms Pope to be a lyrical sage for the masses. He really does capture the feel. They are a formidable trio and this is a highlight. Ricky McGuire steps in on bass for the bass heavy Keep Calm And Carry On. This isn’t as in your face to begin with but they soon ramp it up for the chorus. You might get Glam Rock for the drums or it might just be me. No doubting Pope’s preaching vocal though. Veronica Jones is rapid and filled with Power Pop chords. There’s no lack of melody though as all three go at it. Michie provides short, sharp guitar fills and runs that compliment to style of the song. The subject of White Van Man is a much-maligned figure in the UK but they give him a voice in this slice of ordinary life filled with Punk and New Wave echoes. They go almost Folksy at the beginning of Life Got In The Way before Ska, Punk and Rock take over. Pope’s cracked vocal just fits so well with the song along with Michie’s sharp, ripped solo. This is a big song and will be a great one live, as will others from the set.

A Billion Things To Do is delivered in a marching, machine gun style akin to The Clash before we get the sweeping and surging Turned And Walked Away. They manage to bring that live feel into the studio. Excellent, with soaring guitar from Michie. The bouncing Ska beats and raucous backing vocals of 21^st Century Girl just make it so much fun and they bring a singalong feel to the Kinks influenced Portobello Road, which is a little slower than most. They even slip in a mention of The Kinks in the lyric. They are a likeable lot and songs like this will endear them to many. Punk and Power Pop chords abound on All For Nothing At All and you certainly get you money’s worth with them as they don’t hold anything back. I’m not sure they meant to sound a little like the Friends theme at the start of Down And Out In New York City but it is only a vague similarity. We get a big shouty chorus again and although acoustic guitars are used at times it is their raw power and energy that comes through every time. The clock is ticking, the alarm is ringing, it’s time for the blockbuster finish but Great Expectations may not be exactly what you are expecting. This grinds, prods and pushes towards the chorus and although they play this one pretty straight, it is the perfect power trio song to finish with.

If you need a lift, stick this on!

www.popemusic.co.uk

Stone Foundation – Outside Looking In (100 Percent Records)

Outside Looking In is Stone Foundation’s 10^th studio album and the eight-piece Midlands outfit hope to continue their hot streak as each of the last three have made the Top 40. Recorded, as usual, at Paul Weller’s Black Barn studio the album is full of life, energy and hope with Weller himself adding backing vocals and instrumentation throughout the album. Opening with Soon You’ll Return and its slow a Capella introduction moves you smoothly into reverbed electric piano and pronounced bass from Neil Sheasby. It's an atmospheric opening where they build the levels with a smooth lead vocal to produce a strong, airy start. Things get going on the funky mid pacer, Turning Up The Hurt. This has prominent bass again along with pinging drums and guitar. A bit of a throwback to the best Funk and Disco sounds of the 70s but with a contemporary twist. The Funk continues with the up-tempo title track. This is all pops and noises with lots of Talking Heads influences as they get into a groove. The sax gives it out big time prior to it strangely going off in a short neo-Classical break before speeding up towards the end with Funk all the way and flute and horns showing us the way. Now That You Want Me Back features Disco diva Melba Moore, remember her, on vocals. This is full in Funk and Disco, all done in a soulful way with a strong bass line. It drifts along very well and will be a great Summer song with those horns helping you to kick it back. It’s back to the vocals of Neil Jones for I Need Your Love. This is all horns, organ and electric piano. Grinding Soul to feed your soul. Next up is the upbeat and up-tempo Echoes Of Joy, another that fits into the Soul Disco arena. Piano led, this is a groover.

Talking about piano led, we have Movin’ On and this slips into the familiar funky Soul groove with silky vocals and Marvin Gaye vibes. The piano is like raindrops at times fitting the percussive feel and the rampant sax. They Rock it up a bit for Stylin’ and they come out with a grungier sound. It features Sulene Fleming on vocals, we get Sly Stone and Isaac Hayes influences along with Funkadelic. A definite highlight. Feel The Colours comes across as a standard Soul ballad, the kind that The Real Thing were so good at back in the day. Stone Foundation nail it with that sax featuring again. Laville and Sheree Dubois guest on Heaven Knows Why, a funked up Contemporary Soul. Their voices go so well together as horns abound over a Nile Rogers style guitar. Slick and another highlight. Dubois is back for Reach Up Higher, this time with Graziella Affinita. It’s slower but still has those contemporary sounds with Sheasby’s bass showing up well again. There are parts of this that sound so familiar but I can’t just put my finger on it. We get a slow, fluid finish with Somewhere A Voice and there’s that bass and horn sound again which is so prevalent in the album. It’s a low-key finish whereas I’d have expected a full Funk overload to depart with. Still very good though.

10 albums in and no sign of slowing down.

15/02/2022

Dean Owens – Sinner’s Shrine (Eel Pie Records)

Recorded with desert noir Latin rockers Calexico, Dean Owens’ first album since 2015 has been eagerly anticipated. His journey has taken him from Scotland to the American South West as he adds the distinct sound of those South West states to his already well-known tones to produce tales of love and lust, the displaced and border ghosts. He opens with Arizona which immediately has that desert feel and Latin influences courtesy of the horns. Dean is in fine form vocally with an understated performance of classic Americana. It’s more of the same, with the added attraction of Grant Lee Phillips, on The Hopeless Ghosts whose evocative horns transcend the beautiful simplicity of the song. The big production number, New Mexico, is markedly different from the original which was on his debut album, The Droma Tapes. It’s mid-tempo Americana with Latin themes as you’d expect from the title and it’s got all of the components including horns and accordion, played by Jacob Valenzuela and Joey Burns respectively. Dean’s sharp delivery fits in superbly with the theme and it’s a highlight. Companera is a very intimate, slow Rhumba with a trumpet that stirs the blood before Here Comes Paul Newman arrives as if straight out of a Spaghetti Western, all whistles (provided by Dean) and horns Mexicali style. It’s a short instrumental inspired by one of Dean’s favourite films, Hud, along with the music of Elmer Bernstein and Ennio Morricone.

The Barbed Wire’s Still Sleeping is dark and atmospheric with more whistling - we don’t get enough of that nowadays. There’s a different tone as he makes you feel that you are his only audience. Dean puts a little sass into La Lomita, a Latin shuffler that I dare you not to move your hips to. This is class, with political tones, fuzzed vocals and added female vocals, it has it all. Those female vocals, courtesy of Gaby Moreno, remain and are more prominent, for the sultry Land Of The Hummingbird. We have sharp piano as the song shuffles along with Latin beats. It’s all very gentle, just like a breeze going through your hair on a sunny day. We Need Us is more up-tempo than most, albeit remaining acoustic based. There is something about Dean’s music that is of the people and the addition of strings and trumpets giving that Mexicali sound is the perfect foil. I can imagine Summer In Your Eyes, as well as some others, being played at many garden get togethers this Summer. Just relax and kick back after 2 years of sorrow. He finishes with the current single, After The Rain, and this smouldering closer builds gently with lap steel wailing in the background. Again, it feels as if he is just singing to you and with the addition of piano, minimal percussion and acoustic guitar, you don’t need much more.

There’s not a weak track here and the wait was more than worth it.

www.deanowens.com

11/02/2022

Martin Barre Band – Live At The Wildey (The Store For Music)

This extensive 29 track 2CD collection captures The Martin Barre Band performing the acclaimed 50 Years Of Jethro Tull show at the Wildey Theatre in Illinois in 2019.Joined by original Tull band members Clive Bunker on drums and Dee Palmer on keyboards they take us through the history of Jethro Tull. The albums contain many of the band’s biggest hits and some that will be only recognisable to big Jethro Tull fans. The added commentary as the band goes through the phases of Jethro Tull’s career is a good touch, albeit a bit spooky the first time you hear it. Going back to 1968 for the pounding opener, Song For Jeffrey, they produce a very good live version of the song, originally featured on The Rolling Stones’ Rock & Roll Circus. Barre’s guitar is mighty fine as is the acoustic section and they get the vocal phrasings down to a tee. 1968 was also the year for My Sunday Feeling, a striding Prog Rock flecked with Folk, Jazz and Blues which shows how good a guitarist Barre is. They plunder 1969’s Stand Up album for four tracks, the best of which are For A Thousand Mothers and To Cry You A Song, the former treating the diehards with very good flamboyant guitar and the complex latter featuring dual guitar from Barre and Dan Crisp and sounding so authentic. Highlights both. Aqualung was one of the first Jethro Tull songs that I heard and the album of the same name will be 51 years old next month! Three songs from that album in this first section are Cross Eyed Mary, a quirky Folk title but not a Folk song, Hymn 43 which is powerful in every way and the aforementioned title track with its descriptive lyric, grinding beat and superb guitar. An excerpt of Thick As A Brick comes in at 10 mins, boy could those Prog Rock guys write a long song! From the album of the same name and one much loved one by fans. This is originally from 1972 and was the album, some say, that pushed them worldwide. Full of epic Celtic influences and big guitars from Barre and Crisp.

There is an acoustic section to the first CD which will come as a surprise to most. The girls get their chance to shine and Alex Hart and Becca Langsford step forward to take on lead vocal duties. There’s a Blues vibe to Someday The Sun Won’t Shine, from the 1968 This Was album and it shows that Barre has a lovely way with his arrangements. A further four tracks are taken from Aqualung with the mesmeric guitar and vocalists making Cheap Day Return a beauty and the band goes full on Folk with mandolin from Barre on an acoustic Locomotive Breath as the best two. I do get a touch of It’s Raining Men in parts – just me? Probably! One White Duck, beautifully sung by Alex and Becca, is the sole track from 1975’s Minstrel In The Gallery and another entrenched in Folk showing the roots of Tull and what they, and The Martin Barre Band, could and can do with a song.

The second CD has less tracks but is not any less of treasure trove. Here we get three tracks from the 1974 album Warchild, the best being the pounding Sealion with its very good dual guitar work. The 1978 album Heavy Horses was seen to be by some a turning point for Jethro Tull and the title track continues that dual guitar sound which is becoming a feature. They take two tracks from Songs From The Wood (1977) and they become increasingly Celtic as evidenced by the excellent Hunting Girl. A further change, and perhaps one back to some of their 1968 music, comes in the shape of Steel Monkey and Jump Start from 1987’s Crest Of A Knave. Here they go in a heavier Rock direction rather than the Celtic Folk influenced material. The latter in particular is Blues influenced Rock with a Tull twist and sweeping guitar from Barre. It’s back to the 1969 and Stand Up for New Day Yesterday, a heavy Blues Rock which was covered brilliantly by Joe Bonamassa. This is a highlight. A full-on electric version this time of Locomotive Breath sees the girls back on backing vocals as they show how different two versions of the same song can be. The closing track, Dharma, is included as a bonus track. Part of Dharma For One from the This Was album in 1968, this expansive instrumental has them showing all the skills with guitar and drums having extended solos just like they used to do in the good old days.

If you are a Jethro Tull fan then this is one for you, unless you only listened for Ian Anderson’s vocal and flute and if you are new to Martin Barre or Jethro Tull then this will give you a great introduction to the flavour of what he is and they were.

www.thestoreformusic.com

Angela Easley – Rise (Class A Records)

Short album or long EP, at six tracks it could be either. No matter, this new release from Mississippi’s Angela Easley is filled with original material that takes us through the genres and confirms a contemporary voice that can take them all on. She opens with the emotional piano led ballad I Can Let Go, which features the legendary Gospel singers The McCrary Sisters. It features a big and powerful guitar, horns and a big chorus. Angela turns in a good vocal which brings out the power of her voice. Runnin’ Out Of Time is funky and up-tempo with horns warbling and a sharp vocal. This is more than passable R&B and features the impact that a saxophone can have. Shelly Fairchild joins Angela on vocals for the powerful title track. She appears to be more comfortable with the slower tracks and big chorus’. The striding rocker Don’t Let The Devil Down is not the best on the album and loses a bit in the chorus but the impact of the sax from Matthew Gros and Micah Holman is there again. One More Last Time is piano led with smoky sax from Gros once more. It’s slower again and I have to say that this is where she excels. There’s that controlled power again and she doesn’t lose any form when turning on the power. The song has a more straightforward structure allowing Randall Scott Peterson to excel with his fluid guitar. This is the highlight of the set. The Country flecked Crazy Rain opens to the sound of rainfall and we don’t need that here in the West of Scotland. Angela keeps this closing track on the slower side and turns in a clear vocal which makes for a dramatic finish with slide guitar adding effect.

www.angelaeasley.com

10/02/2022

Naked Gypsy Queens – Georgiana EP (Mascot Records)

Tennessee’s Naked Gypsy Queens are well on their way to join the heavyweights of the modern Rock N Roll revival and with this, their debut EP, they are going to cement their place sooner rather than later. They start with the title track, which reached number 14 in our Top 40 non-Blues singles last year and is now back as the opening track to the EP of the same name. Swagger, slide and sass with a middle section played at breakneck speed as drummer, Landon Herring, and guitarists (Chris Attigliato and Cade Pickering) rip it up. This is still as good as when I first heard it. The rocking Down To The Devil harks back to classic Southern Rock style and what a band they are. They have all the parts to make it big and are Rock personified. Strawberry Blonde #24 is grinding, grooving with a pounding rhythm section of the aforementioned Herring on drums alongside Bo Howard on bass. We get raucous and riff laden guitars backing Attigliato’s strong Rock vocal. The phased guitars of Wolves announce another grinder, this time even slower. However, it’s still got the attitude and it ramps up in the chorus. The intriguingly entitled If Your Name Is New York (Then Mine’s Amsterdam) is acoustic led and keeping in step with the older style feel to their music. It’s a bit Stones come Led Zeppelin here with controlled power in the chorus, a more prominent bass and a fluid solo. Things are rounded off nicely with a live version of the title track and this shows that they are not just a studio band. They sound like they will be a force to contend with in the live arena even though this sounds a bit like it was recorded in a tunnel at time. However, this does not detract from the impact of this song or the band.

That’s us had singles, an EP and they still leave us gagging for an album. Better not be too long!

Old Salt – Live In Room 13

Like Blues, Americana music has travelled the globe and a point in question is Old Slat who hail from Ghent in Belgium. Inspired by the music of New Orleans, the Appalachians, North East USA and Europe this 5 track EP of covers brings us their first music since their Commons album in 2019. Each of the songs are well known in their own rite and start with Jimmy Cox’s Nobody Knows You When You’re Down And Out. Played in a traditional acoustic fashion, this is a strong version with a pronounced vocal from American, Dan Wall (the only non-Belgian in the group). There is a good interaction between them on harmonies as they produce jazzy Folk with a wailing violin from Lotte Remmen. Wall also contributes banjo and on the first part (Woody Guthrie) of Pastures Of Plenty/Charlie’s Dog he takes it slow before whipping it up alongside Remmen and Johannes Wannyn (guitar) for a self-penned reel that blows up a gale. Alfred Reed’s Always Lift Him Up And Never Knock Him Down has been recorded many times and Old Salt’s gentle Americana treatment, with Wall’s banjo and Remmen’s violin playing big parts, gives us an idea of how good a live band they are and how they can create such an intimate feel. The famous St James Infirmary Blues must be one of the most covered traditional songs around and Lara Rosseel’s spectral upright bass fits the mood perfectly. That is joined by violin before the familiar shuffling guitar comes in. Walls voice fits perfectly and the harmonies are superb. This is quite possibly one of the best versions that I’ve heard with the fast section executed well, the violin adding that extra dimension and Wannyn’s acoustic guitar laid back in the lead and frenetic elsewhere. They finish with Cyril Tawney’s Grey Funnel Line, an old sea shanty and again, one sung by many in their time. The one version that I do remember is one under the name of The Bona Line sung by Scottish Folk duo The Corries. This is a very good version; short, sweet and a cappella.

www.oldsalt.us

03/02/2022

Tony Valentino – Barracuda (Big Stir Records)

Garage Rock legend Tony Valentino of The Standells brings us a fresh take on their classic, Barracuda. He retains that Garage and sometimes Surf sound, heavy on the organ, Tony of course, and a striding beat giving us the 60s vibes with his sharp vocal celebrating the Garage and Punk roots of the original.

www.keepingthebluesalive.org

Joanne Shaw Taylor – Stop Messin’ Round (KTBA Records)

Husky voiced, guitar toting Joanne Shaw Taylor takes on a Peter Green classic and blows it out of the water. This is a storming version that should be in everyone’s collection as the piano rolls away and the rhythm section drive it on, but it is when Joanne gets to it on her guitar that the whole thing lights up. She is one of the best and proves it here on what is the opening track of her much lauded ‘The Blues Album’ from last year.

www.joanneshawtaylor.com

Prakash Slim – Country Blues From Nepal (DeVille Records)

The Blues is known worldwide and to emphasise the fact here we have a bluesman from Nepal. This debut album owes as much to Mississippi as it does to Mahakali as Prakash has done his research and has embedded himself in the Blues. He is certainly well versed but he opens with one of his own, the Country Blues instrumental, Blues Raga. This is Country Delta Blues with an Eastern flavour, played on dobro with slide and very well played at that. Good start. I say he is well versed and that will come to light when you hear the covers on the album, the first of which is Bukka White’s Jitterbug Swing. He has the drone down to a tee and his slide guitar is very good. Vocally, it could be better but I like the natural feel. Living For The Memory is another of his originals and although the slide is good again, the song isn’t up to the others so far. Vocally, it’s not there, showing that singing in what is not your natural language isn’t always a success. However, I won’t decry anyone for singing in their natural accent. There is no lack of technical ability on offer on Villager’s Blues, another original, and he sings about the things that surround and affect him and that’s what the Blues is all about. We get some harsh sounds on the bottom string on Charley Patton’s Moon Going Down and it does detract a little. This is a straight up Country Blues with a vocal is an amalgam of Sub-Continent and United States. Part of me wants him to retain his own vocal but there is likely to be limited success in doing so. This is a good song, but maybe cut out some of the harsher notes. Robert Johnson’s Me And The Devil Blues is one of the most famous Blues songs around and Prakash adds Fabrizio Poggi on harmonica for this version. Unfortunately, it’s not a patch on the original and his stylings speed up the vocal too much for the song in places.

He’s back to slide guitar again for Corona Blues and like the others this is very well played. Once he smooths out the top end of his vocalisms then he’ll be fine with songs like this, another original. Crossroads Blues has been recorded hundreds of times but this Robert Johnson classic won’t have had many like this one. He’s too precise in some of the words and again, this is to do with the way that English is spoken, and sung, in different parts of the world. With a couple of tweaks, this could be straight out of the Delta and is a highlight. Poggi is back on harmonica for Poor Boy. Although the song is original, the topics are the same the world through, just sung in a different way. If you get past that then you have a very good Bluesman. Mississippi Fred McDowell’s You Gotta Move was famously recorded by The Rolling Stones and this is a very good version of the song. Suitably sombre, it gets the mood. You can’t do a Country Blues album without a Blind Blake song and Prakash comes up trumps with Police Dog Blues. His fingerpicking style is very good and although he throws in the American namechecks, he could maybe do the Blues thing and drop in a Nepalese one or two. This is another very good song, all he needs to do is just round off the pronunciation. There are two bonus tracks, the first of which is Bhariya Blues and he sings in his native tongue. Immediately it sounds so much better and is another highlight as he manages to marry the voice and the guitar. This is perhaps the best track on the album. He’s finishing strongly with another in Nepali, Garib Keto. Although not as good as its predecessor, it is good enough with the addition of Poggi’s harmonica.

There is no-one quite like Prakash Slim around today, that’s for sure.

www.prakashslim.com

Hollis Brown – In The Aftermath (Cool Green Recordings/Mascot Label Group)

You can imagine the conversation around New York based Hollis Brown’s table. Let’s do a Stones cover. Tell you what, let’s cover an album. Many would think them mad to take on such a project but the result is a version of Aftermath, The Rolling Stones’ fourth UK studio album (ninth overall) and their sixth in the USA. Released in 1966 on both sides of the Atlantic, it is considered to be the most important of the early part of their career. Hollis Brown have chosen to cover the 11 track US version, which they did in one 24-hour session, with Mother’s Little Helper, Out Of Time, Take It Or Leave It and What To Do dropped for the inclusion of Paint It Black, which opens the album. They stay pretty faithful to the original but they don’t try to out Stone the Stones. That said, it’s not got Jagger’s swagger but if it was an original you’d be thinking, that’s pretty good. Stupid Girl is of its time and a 60s Pop rocker. It’s well played but the urge is to try and compare to The Stones rather than think of it as a new version. The acoustic led Lady Jane is one of my favourite slow Stones songs and they do it proud. It’s not the exaggerated Jagger vocal but singer Mike Montali does well with it. It’s been tweaked and actually for the better, making for a highlight. It’s a minute longer than the original but they don’t mess about with timings too much elsewhere. Another Stones classic is Under My Thumb, a single for Hollis Brown last year. This is slightly funkier than the original but needs Jagger. I’m not decrying Montali at all but there’s just something about this song that needs the original. They are bringing the songs back though and getting them back into the limelight where they deserve to be. The guitar fills are different as they Rock it up a little and the percussion of the original has been amended substantially. The current single, Doncha Bother Me, is one of The Stones’ Blues based tracks. Hollis Brown brings in slide guitar and harp to produce a storming rocker and another highlight.

Think is a striding rocker and a sign of what The Stones were going to become. The songs are making it but Hollis Brown are making the songs and they could have roughened this up even more. Rocking lead guitar from Jonathan Bonilla and thumping drums from Andrew Zehnal are a feature. Another of its time in the mid-60s is Flight 505. This has shades of 19^th Nervous Breakdown coming down the line. Rocking and rolling guitar and piano bring it to life. High And Dry is acoustic led and Skiffle influenced. The Blues harp is very good as Montali turns in a blustering vocal. You’ll feel suitably rabble roused with this one and its barroom piano but I’m sure you won’t recognise it as a Stones song unless you are a big fan. It’s Not Easy is a rolling rocker and another well played one with Montali’s vocal on top. So much so that he almost outdoes Mick even though the intention wasn’t to. Now, this is a Stones song and I’m sure Keith in particular would like this version. Another instantly recognisable as a Rolling Stones song is I Am Waiting; they’ve just got that thing about them. Hollis Brown retain that quintessential UK feel of the song. It’s acoustic led again with minimal percussion for the first minute or so before it bursts into life. Chris Urriola’s bass is understated but the song would be a much lesser one without it. They finish with the jaunty Goin’ Home. Blues based, with harp returning, it has some of the sneers and note bending that Jagger is so famous for. Strong guitar from Bonilla features throughout the seven-minute epic, although the original was over 11. 7 minutes but the original was over 11. It speeds up approaching five minutes for a raucous finish to what is a superb set of covers.

It was a brave decision taking on a Stones album but overall, Hollis Brown have managed to retain the ethos of the songs and put their own slant on them at the same time.

www.hollisbrown.com

02/02/2022

Lyia Meta – You Think About Me EP

I first brought Lyia Meta to your attention last year with her single Daylight from her 15013 EP. She’s now back with a new five track EP co-written with Nashville based Bob McGilpin and she’s not taking any prisoners. The set starts with Uptown Tonight, a funky Soul Blues showcasing Lyia’s deep vocal and wailing sax for a strong opener. Her distinctive voice is on show again on the Jazz flecked Black High Heels and the sax is integral to her sound albeit one of the sampled variety. You Think About Me The Way I Think About You is in the style of classic Motown with McGilpin showering us with classic Hammond B3 sounds and A Real Man Can follows with Lyia’s late night sultry Soul Blues. This is smoky voiced lounge music with a powerful vocal, showing that she can carry such a song. The EP is rounded off with You Always Come Home To Me and it’s an up-tempo finish. A funky Soul Blues sung with gusto alongside that sax loop.

Maybe Lyia’s next release will be an album and I will be looking forward to that.

www.lyiameta.com

Jack Francis – Jack Francis (Good Deeds Music)

Jack Francis is one of a number of new artists in the burgeoning UK Americana scene and the nine original tracks on his eponymous debut album show that he is likely to be here to stay. Beginning with A Little Love he introduces us to his acoustic based sound and his velvet voice. When the band kicks in we get a smooth, soulful Americana with horns, keys and the rhythm section adding depth to what is a very good vocalist with a good range. A great start. The rhythmic Silver Lining was a single from last year and if you haven’t checked out the video then have a look. Keys and backing vocals are high in the mix but there’s that voice again, a triumph. Holiday has a sombre mood but Jack’s powerful vocal, full of light and shade, makes you forget that and the fact that you probably also haven’t had a holiday recently and are badly in need of one too. He is a star in the making. Another single from last year is Wild Eyes and he has the voice of an angel on this. It’s all acoustic based but keys and backing vocals raise it to another level. The rhythm section is the backbone with horns and a brief electric guitar lead giving us one on the Soul/Rock side of Americana. Superb.

Driftwood isn’t the Travis classic but it is very much in the same vein thematically. Slow and gentle, it’s a beautiful song, just Jack and his acoustic guitar. Power in a velvet glove. The last of the singles from last year is Helena, written after a dream that Jack had where Bruce Springsteen was outside his house singing this song. Jack woke up and wrote the whole thing in five minutes and then spent hours making sure that it wasn’t already a song. It’s upbeat with organ and drums driving it showing that he can do faster ones too, albeit it’s not at breakneck speed. Despite the lyric, it has a feelgood factor. Violin starts To Mean As Much To You and brings a certain Celtic feel with it. It’s adding another layer to his already multi-layered sound and is simply wonderful. The voice does it again for me on The Wheel, which is the current single. It gently moves along with a big slide guitar break, strings and a great production. This album closes much too quickly with Cold Hearted Little Man which is a bit of a break for Jack, it being an up-tempo Rock N Roller with seaside organ. It’s much in the style of Nick Lowe and it’ll have you singing along to it before too long. A good finish.

Jack Francis is one for your diaries and playlists this year.

Eric Krasno – Always (Provogue)

Seven-time Grammy nominated and twice winner Eric Krasno brings us his fourth solo album, Always. Not tied down to one genre he has played with The Tedeschi Trucks Band, Lettuce and Soulive along with producing/song writing for, amongst others, Norah Jones, 50 Cent and Aaron Neville. Always begins with Silence, not literally, which is a smooth, silky opener with Steely Dan vibes and contemporary Soul sounds. It’s grown-up, late-night music with a laid-back vocal and fluid guitar from Eric. One of the singles released last year it’s a slick start to the album. So Cold is a bit more gritty with Blues inflected guitar over a sliding Soul groove. Another that was a single last year. He funks it up on Lost Myself with horns and the rhythm section (Otis McDonald on bass and Curtis Kelly on drums) upfront on this, the current single. He straddles genres, making it harder to categorise him but his Jazz/Soul/Funk roots combined with a little Rock and Blues gives him his overall sound and on Man In Me he uses all of this with a soulful vocal and smooth musicality. There is no doubting his skill on guitar, or as a producer. Everything just fits in place perfectly with Wil Blades’ keys playing a large part of the sound here. Alone Together is a slow grinder with Eastern effects on the guitar. He’s very melodic and on this, hypnotic too. There’s a Blues element to the guitar but it’s Soul/R&B all the way and you can hear why he is so sought after as a producer and why he’s a Grammy winner. A further single from last year.

Leave Me Alone is the last of the singles from 2021. A mid paced Funk/Soul with a gentle, calming vocal. This has the best guitar work so far, albeit in a short burst and it is this guitar that brings us the Blues element of his music. The pace rarely gets above a slow groove and it is the same on Where I Belong. This is certainly not an album for raising the heart rate but has its place at the end of an evening when you are throwing it back and chilling out. This is the most bluesy track thus far but firmly in the Soul Blues category. It is significant that the use of guitar is more upfront now. Good Thing has a slinky, funky percussive groove with Kelly’s drums leading. Again, there is no pace but the smooth backing vocals, including from James VIII, and those horns more than make up for it. Man, what a sound from them as they spar with the guitar. Blades’ keys are not to be outdone as a New Orleans vibe comes through along with a deep Funk outro with McDonald pinging away on bass. Kelly leads us in with a funereal beat on the mellow Hold Tight. Melody is so important to Krasno’s work as is harmony and you will float away on those with this one. Blades is becoming a larger part of the sound and Eric’s guitar pierces the mood like an arrow through the air. There is a lovely bluesy interaction between guitar and keys at the end. The album is rounded off with Always With You which has a floating, airy start and becomes a beautiful soundscape; perfect relaxing, chill out music.

It's not hard to get why Eric Krasno is so well respected as a songwriter, producer and collaborator but Always reminds us that he is a top-class artist in his own rite.

www.erickrasno.com

01/02/2022

Andy Lindquist – My Name Is Mud

It’s the now annual Blues album from the most prolific recording artist you’ll ever come across. Andy’s 2022 Blues ensemble opens with the Scottish tinged Whatever Lifts Your Kilt. It’s a raucous start with Andy drawing on his love for Scotland to give us a Tartan Blues, Lindquist style. Short, sweet and hits you right between the eyes. He’s added more steel to his playing as evidenced on Silver Linings, which is full of Southern Rock stylings and scorching guitar as he grinds it out. The slashing drums are also a feature of this one. A deep, almost growling vocal greets us at the start of The Devil’s Mast before he returns to his more stringent vocal in the chorus. Andy has a style, it’s not traditional Blues but he has the heart of it with lots of references. The swinging, walking pace Blues Rock of That Old Crow leads us into the chugging, percussive and stomping bass heavy Swamp Blues of The Barrel In My Bones. The heavy vibes on this remind me very much of John Kongos, remember him? I can imagine Andy walking off stage to this one’s rousing exit. Very good. When You’re Yesterday’s News is, to the core, a piercing and stunning slow Blues Rock. Played in the classic style with a vocal that goes from a whisper to a scream very easily. Sleeping In My Shoes features slide guitar and is a laid back, trademark Andy slow Blues.

Blues Remedy has Andy’s well known stinging guitar and although I listen to hundreds of albums I can’t think of anyone who writes and delivers in the way that he does on the Blues Rock scene. The grinding title track is highlighted by a soaring, searching guitar. It’s filled with social commentary as Andy’s songs so often are but all formed around his Blues stylings. He lets it rip on Things Could Be A Whole Lot Better with a great riff, strong vocal and a tone to his guitar that I don’t think I’ve picked up before. A nimble-fingered introduction to Sundown Town leads us into another song of social observation. He’s playing more lead on this album and he is so distinctive when he does. Just Like A Bullet is another slow, grinding Blues Rock with signature Andy backing vocals (by himself, as everything is) and searing notes in the short solos. There are keyboards involved on The Truth Hurts, not something you hear often on his Blues albums. It’s a ballad with a Gospel feel in the choral backing and his slide guitar is heart wrenching. The storming, rhythmic and unyielding rocker, Marauder’s Light is not for those of a faint disposition but he calms it down for the final track, Irma. This is a slow, acoustic backed finish and another with Southern influences and not necessarily Blues. Maybe not the best one to have finished with.

I don’t know how he manages to maintain his productivity but long may he have the stamina.

28/01/2022

Chris Church – Darling Please (Big Stir Records)

This is Big Stir’s first major album release of the year although Chris Church originally recorded the album in 2011. However, he wasn’t happy with the audio and only 50 copies were pressed, all without his name on them. Now re-recorded and re-mastered it is seeing the light of day in its full glory and a fitting tribute to his brother Mike who played drums on many of his songs. He opens with History and the bell tolls at the start for an eerie beginning. He soon ramps up the volume for a slow, rocky 2-and-a-half-minute opener. It’s power from the outset on We’re Going Downtown. This is forceful Power Pop and we are starting to get those soaring guitars and strong vocals that we are expecting. The expansive Pillar To Post has a soaring chorus played over that power guitar sound and that guitar and sweeping vocal becomes his sound on Never So Far Away. He’s got a rocking rhythm section and although there’s not a lot of lead guitar solos, these are short sharp power songs and there’s no need for it, it’s effective enough without. He does get a little samey on Atlantic but he slogs out a Neil Young style and REM style grinder.

There are REM overtones again on Bad Summer, even in the vocal. This is punchy with a harmonic chorus and is a highlight. I can’t stop thinking REM and on I Wish I Could Say I Was Sorry it doesn’t stop. They are a great band to be compared with nonetheless and Chris’ mid-paced power carries him through. I had to look up what Nepenthean meant and found out that Nepenthe is a fictional drug for grief, mentioned in the Odyssey. I can see where it fits in on this sorrow filled track which Chris has slowed right down to add to the effect. He is always melodic, even with the power chords. The power continues on We Could Pretend but it’s not his best one. It does pick up in the chorus but at times the vocal is too deep for his voice and he struggles. It’s a low-key finish with Triple Crown. The controlled power is there, as are the REM influences but wait for the end, it’s a strange one. If you like your Power Pop on the Rock side then Chris Church is your man.

www.willeandthebandits.com

Wille And The Bandits – When The World Stood Still (Fat Toad Records)

This is the Cornwall-based Roots Rock band’s 5^th studio album and I’ve been following their progress since their 1^st. Listed by BBC Radio 1 as one of the Top 10 bands to see at the Glastonbury Festival, they must be doing something right. They open with the heavy sounds of Caught In The Middle and let’s say this from the outset, this is a band who don’t like to be pigeonholed. There are traces of hip-hop, Folk and Rock in here with Wille delving almost into a rap at times. It’s got rise and fall to keep your interest as you don’t know what is coming next. Wille also throws in some staccato guitar as another layer on this politically charged opener. They have matured into a very good band and on I’m Alive, they show it. Wille’s guitar gets a good work out and the Eastern dreamscape halfway through is a great change of direction. I get bits of Paul Simon’s 50 Ways To Leave Your Lover in parts of the vocal but the song is nothing like it overall. The 8-and-a-half-minute epic, Without You starts acoustic then explodes for a few seconds and you know how this is going to go as it builds. We get rebel yells and a full-on Rock vocal from Wille and thumping drums from Tom Gilkes as they grind their way through this dark ballad. There is an echoed, graveyard feeling middle section and Wille’s slide gets free will in another dream sequence. This song sums them up. Heavy in parts, melodic in others and always keeping you guessing. Good Stuff is as straight up as they get. It’s a rolling rocker with Gilkes’ drums keeping the track going. This is one of the best on the album and I can see why it was chosen as a single. Wille’s slide guitar is in there and Matthew Gallagher on keys is never far away. A feelgood song with a singalong chorus. That is followed by the rousing beat and striding Rock of the Punk hybrid, In This Together before they move onto another of the singles, Will We Ever. This is the Wille of old and on the rockier, dare I say Southern Rock, side. We get his slide guitar over electrifying beats with that keyboard again and the powerful Gilkes all over it.

The title track is another like Wille of old as he gets his dobro out to deliver a gentle track with a soulful vocal. It has a climate message but it’s not preaching. Gallagher’s keys are again a big player. Move Too Fast has a funky opening with Harry Mackaill on bass and Gilkes’ drums up front. They get into a groove right away and the band has the ability to merge Funk, Rock and Soul here. Gallagher’s keys play a big part yet again. They like their dreamy middle sections and this one gives Wille’s slide a further chance to shine, almost mimicking the human voice in places. The funky and airy Broken Words has Wille in fine voice with an added grit. This bursts into life after the intro with Gilkes’ percussive input top notch (I hear he even used a bird house as percussion) and Wille’s floating guitar mesmerising. Daylight is another of their straight up rockers with a power chorus, apocalyptic middle section and the road out of it. Mackaill’s bass and Gilkes’ drums take us through the verse along with Gallagher’s keys and there’s an airy lead into the heavy chorus as Wille’s guitar joins for this song dedicated to Wille’s second daughter. This is excellent. The hard rocking, Springsteen influenced penultimate track, Refuge, is pretty straightforward and is a cracker, leading us into Solid Ground, which was released as a single last year, to end the album. Slow and brooding, this could be Wille’s November Rain. Full of atmosphere with a heartfelt vocal from Wille and thudding bass from Mackaill, augmented by Peter Green style guitar pinging against the backdrop. You can easily drift away on this one, which shows their gentler side.

27/01/2022

Steve Vai – Inviolate (Favored Nations/Mascot Label Group)

Guitar legend Steve Vai is back and throughout his 40-year career he has turned the often thought impossible into the possible. He can be outrageous but, in his own words, “I don't sit around and say, ‘Okay, what can I do now that pushes the boundaries?” and “What I do say to myself is, ‘Okay, Vai – what are you going to do now that's going to interest you, that’s going to fascinate you, and that’s different than anything you've done before?” The result is his 10^th solo album, Inviolate. It’s all bells and whistles on the opener, Teeth Of The Hydra, as Vai turns in a superbly dramatic performance. Bass is prominent as is percussion and each track is a piece of theatre. It is stunning Jazz Rock full of highs and lows, light and shade played by a master craftsman. The first of the singles is Zeus In Chains and this continues the aural massage throughout this riff laden rocker. Vai’s music is not for the faint hearted nor those who don’t wish to hear artists taking their music to the edge. With lovely overlays he continues to be innovative with a band that are the perfect foil. The other, and lead, single is Little Pretty and Steve gets the Funk out to add to his Rock and Jazz stylings. You’ll get sensations and tingles throughout your body as he goes through just about everything that can be done on a guitar. You can see why he is cited as being an influence so often. He gets so many different tones on Candlepower. I get it that he uses lots of guitars and effects but his touch affects the tone too. It’s full of harmonics, string bending, bass and drums with Steve as nimble fingered as ever. He’s playing with the tuning keys too if I’m not mistaken. A wizard.

The alchemy continues on Apollo In Color, some more Jazz Rock. He is so technically gifted and he is a note machine. The running bass matches him in parts with a Jazz drummer extraordinaire in close contention. Avalanche is an apt title as we are submerged beneath an avalanche of notes here, and elsewhere. It’s heavier and faster and more in the heavy rock field. You get the feeling of it just like the snow careering down the mountainside. Fantastic. The drums going like a speeding train in places and there’s a bit of knob twiddling in there too (ooh-er). A highlight. Eventually, we get to the bottom of the mountain and we are drained! On Greenish Blues I’m not sure if it is a tip to Peter Green or the Green movement, maybe both. Perhaps I joke. What we get is a slow, Blues fuelled masterclass. No matter your opinion on Steve Vai’s music there is no arguing his prowess. It does ramble into places that are maybe unnecessary but we’ll forgive him that. Long, streaming notes are a feature here. The pace is upped again for Knappsack and it is electric at times. That rise and fall and light and shade are particularly prevalent here. He closes with Sandman Cloud Mist, which starts slowly with penetrating guitar. Like most of the others, this is intense and with some extraordinary notes. I’ve run out of superlatives for his playing. Let’s just say that this is another triumph for Steve Vai and his prodigious talent for the guitar.

www.vai.com

www.favorednations.com

Eric Gales – Crown (Provogue)

After 30 years and 18 albums, Eric Gales is widely recognised as one of the finest Blues Rock guitarists around. The passion shown on each of his albums is testament to the man who has had personal struggles at times in his career. This is my first review of an Eric Gales album since 2010’s Relentless and I have to say that my excitement levels went up a notch when this new album landed on my desk. The first few words of Death Of Me are “My name is Eric Gales, any questions?” So, no mistaking his intent as he goes off on a grinding, melodic Blues Rock. It’s not the explosive start that you’d maybe expect but it does have a power chorus and a middle section that is theatrical and leads us into the solo. If there were any doubts about his stature then this will blow them away as he burns up the frets. The Storm starts out with just Eric on vocal before going off on a soulful groove with horns and organ. It’s a Soul Blues and a guitar that is good for your soul. If he’s not on your list of the best guitarists in the world then get him on there. This is a solo played from the heart. Sheer bliss. There are three short vignettes on the album, the first being the 30 second shuffle of Had To Dip. It’s just a precursor to the squaring off of two behemoths on I Want My Crown. Joe Bonamassa joins Eric on this juddering fast funky Blues Rock, picked out as an earlier single. Eric’s velvet vocal meets a festival of guitar. Horns, backing vocalists fill out the sound and this is a highlight. Who’s the best? Who knows! He slows the pace down for Stand Up and electric piano leads. After the previous track we need to take a breath. Eric’s soulful voice is all over this and a gentle, yet powerful, solo shows his class again. The organ fills where needed as do the backing singers with the piano getting a short solo too and leading us out of the song. It’s back to the grinding, pounding Blues Rock for Survivor. There are thumping drums and deep reverberating bass backing a powerful, melodic chorus and sublime guitar. There is a political message in there but it’s not in your face. They do feel like a power trio at times, especially in the solo, in the vein of Hendrix and Cream. You Don’t Know The Blues is played at walking pace and Eric tells it how it is. His guitar is full of life and lifts your mood even if you do know the Blues. He lists many of the things that can give you the Blues – we’ve all had at least one, haven’t we? Rattlin’ Change is the second of the short interludes, a minute of raucous jam with drums, organ and bass going at it behind the guitar.

It’s not all about the power with Eric and on Too Close To The Fire we have a gentler and more soulful Eric, albeit one who still litters the song with little riffs and runs. It’s the longest track on the album at just over 7 minutes and is an epic. His piercing solos cut through the relative calm and you might just start to think, are we in the presence of greatness? Yes we are! Put That Back is a funky grinder as the band gets into a groove with horns and backing singers playing a big part. Bass and drums lay down the backbone and I dare you not to move to this. Throw in Eric’s storming guitar and we have another highlight. LaDonna Gales features on Take Me Just As I Am and she shows that she is just as powerful a singer as Eric. This has an urban Isaac Hayes feel, a slinky groover with a bit of rapping from Eric. The last of the trio of vignettes is the 45 seconds of Cupcakin’. It’s another jam and takes us onto Let Me Start With This. Eric Hits the effects pedals for this one and brings us more of his grinding funky soul Blues. He gets some interesting sound from his guitar effects. The addition of accordion on I Found Her gives a Euro feel. Eric plays some slow acoustic guitar with some nice chords in there. Do I hear a mandolin? The vocal is heartfelt and his guitar solo adds to that Euro feel but also shows his skills on acoustic too. He comes at us with the big electric solo at the end, I wouldn’t expect anything else, before leaving us with just the accordion to finish. My Own Best Friend is a sultry, smoky and sedate Blues. Sedate, that is, compared to others but it gives the light and shade contrast in the album. It’s a Soul Blues and still has the solo but it is more restrained this time. The second break, over the organ, is superb and with a wonderful riff. Simply beautiful. The closing track, the aptly named I Gotta Go has Big Band vibes with energetic bursts and is the perfect way to end the album. It’s got Eric having a chat like at the end of a concert. Just like the old Blues artists a la BB King ending a show. He’s gotta go but he’s gotta come back quick as he is sounding as good as ever. He’s Eric Gales, any questions?

Now, that is an album!

www.ericgales.com

www.chrispastoremusic.com

24/01/2022

Chris Pastore – Turn The Music Up Loud

Turn The Music Up Loud is Chris Pastore’s first album release in over a decade. During those 10 years Chris has been writing daily and, whilst some songs come to fruition quickly, others take some time. Only now does he feel that these songs are ready for release. The acoustic led The Way Me Met opens up the set with its funky soulful vibes and strong vocal. It becomes more of an urban Soul as it progresses with sax, electric piano and electric guitar coming more prominent. Here’s To Better Days again starts out with acoustic guitar. This is rhythmic and reverberating and he keeps those funky beats. It’s a funky Rock as his electric guitar stabs in and out with good vocals and a soaring chorus. That ubiquitous acoustic guitar leads us off again on I Do (Forever Want To Be With You), this time with a Steve Miller beat a la The Joker. He quickly moves away from that and off into another smooth, soulful and likeable track. It goes without saying that his acoustic guitar forms the basis of most of his songs and so it is on Deliver Me. This keeps up the strong start to the album, slightly slower but just as melodic. It’s a peaceful song that builds well and is very well structured. You can clearly hear the influence of producer, Steve Wright. Chris keeps up with the funky Soul vibes with Give A Little Bit. Think Jamiroquai meets Steve Wonder for this one. The sax break adds a little Jazz to proceedings and there’s not been a bad track yet as his guitar throws in a slinky solo. This will get you going with an excellent rhythm section and an electric approach throughout. His acoustic guitar is back for You’re So Peculiar, a wonderful soft Indie Rock/Pop extravaganza with a spiralling chorus and telling electric guitar. The sax is in there again and is becoming an integral part of his sound.

I mentioned how good Yearbook Quotes was last year on the website but I wasn’t aware of how good the rest of the album was going to be. This is Country influenced and if you heard this first then you would have no idea of what Chris is all about and the diversity he brings to the table. He is good at no matter which genre he turns his hand to. It’s back to urban Soul and the electric piano for Show Me Love before a fingerpicked acoustic opening to It All Makes Sense. This then drifts off into Summer sounds with wafting sax and gentle strumming of his guitar. Relaxing, it has all the elements of the great Folk/Rock/Soul/Jazz songwriters and he could well become one of them. Over 7 minutes but you will be left wondering where the time has gone. Seasons is a striding Pop Rock with a bouncy, effervescent feel to it and he injects positive thoughts throughout. There’s a nice guitar break, not over the top and well within the confines of the song. His positivity comes through again on the up-tempo Nothing Comes That Easily, which has some African influences in the guitar work. Before we know it we are at the end and although Where Did Time Go is downbeat, his use of just voice and acoustic guitar makes for a simple and effective ending.

Over 10 years since his last album. He’d better not wait another 10!

23/01/2022

Girlschool – From London To Nashville (The Store For Music)

This 2 CD set comprises live performances from 1984 on both sides of the Atlantic, one in London and the other in Nashville. Girlschool were formed in 1978 during the new wave of British Heavy Metal (NWOBHM) and went on to bring us Girl Power, long before The Spice Girls were even thought of. The first CD is a concert from the Camden Palace in London and opens with C’Mon Let’s Go which is like a challenge. Fans of Heavy Rock will be well aware of Girlschool and their approach and this energetic opener shows exactly what they were all about and that girls could rock too. The suitably raucous Nowhere To Run follows and proves that they could play, they weren’t just poster girls, and that they had everything a heavy rock band needed including the attitude. They were full on and not letting up on You Got Me. The vocals are top, guitars are great and the rhythm section is the foundation for it all but it’s not noise just for noise’s sake. The teasing and confronting Play Dirty has a piercing, stabbing solo before we are whipped off to Love Is A Lie with its A Kinks style guitar beat. They tell it like it is but it loses a little in the vocal in places. Another scorching solo though. Hit & Run proves that they were just a Rock band not a girls Rock band and that’s what they set out to achieve – recognition for that. They know how to set out a song and make sure that you hear it. Future Flash is like The Kinks on steroids as they venture into the Punk arena. We get a dual vocal attack on Rock Me, Shock Me but it’s not the best – too many shrieks for me. It’s bass heavy and robotic at times but the slashing guitar solo saves it. I suppose at times they felt they had to outdo the boys but on Running For Cover it’s just not the case. This is classic heavy rock, it’s just played by girls, and played very well. The rampant and driving Can’t You See? is a boy’s rock songs from the female perspective. They had good musicians in their band but none more so than the lead guitarist. There’s a low-key start, for a change, to Running Wild but it starts to build quite quickly. It’s rhythmic and pounding and one of their best. It’s got it all. I Like It Like That is striving, searching Rock and the aptly named Are You Ready To Rock has them rocking it out, big time. You can see why they were associated with Motorhead for so long. They finish by going at full speed on Emergency 999 and this is another that will have been loved by Lemmy and the gang. They were the ultimate Rock Punk chicks. Absolutely stunning.

The second album was recorded at The Brass in Nashville on 12^th January 1984 and sees a slightly different approach from the band. Perhaps it was because of an American audience. This time they open with Screaming Blue Murder which has a clip of The Hills Are Alive at the start and before they explode. The audience must have wondered what they were getting. They’ve still got that Metal Punk vibe but they are in the throes of moving towards a more commercial sound. Play Dirty is one of a few that make it to both sets. There are differences in the tracks, like it’s a bit more rounded and a certain amount of the free spirit has been honed down. About half of the first album is on this one and You Got Me is another. They are certainly more commercial sounding even though both concerts are from the same year. A rousing version of Hit And Run is up next before we come to another of the changes in the form of Nothing To Lose. This is headbanging of the first order with wailing guitar and audience participation. You didn’t get much opportunity to knock them back on that one. Future Flash comes across as it did in the London concert but Running For Cover is another where it is more rounded. One thing that hasn’t changed is the soaring guitar. A trio of different songs begins with Burning In The Heat. There’s a keyboard intro, not something that they used much, with stinging guitar following and the rhythm sections sparks it into life. This is followed by Demolition Boys and this does what it says on the tin as they rip it up. Storming, ears demolished, job done. The last of these three different songs is the classic ZZ Top song, Tush. They do it in their own inimitable style but it’s not a patch on the original. Three more from the first album start with I Like It Like That before they hit us with C’Mon Let’s Go. They opened the London Show with this but keep it to near the end of this. It’s still as raucous though and still achieves the effect. Emergency, without the 999 for the American audience, completes the trio and is as frantic as ever. The final two tracks, one cover and one original, are poles apart. The first is 20^th Century Boy, the T. Rex classic. Like Tush, this is again not a patch on the original as they Punk it up. The closing track, Race With The Devil sees them back on their own material and is a pounding, Iron Maiden style romp. Vocally not that great but full of energy to get the crowd bouncing and they were good at that.

Live albums can be hit and miss but this captures the energy that was Girlschool and a good place to go if you want to find out what their concerts felt like.

www.thestoreformusic.com

Graham Bonnet – The Historic Collection Of (The Store For Music)

This 2 CD set comprises of Here Comes The Night and Live Around The World, 2 albums that are quite different in their approach and content. First up us the studio album, Here Comes The Night, an album from 1991 and recorded while Graham was in Australia. He is almost unrecognisable as he steps away from being the Heavy Rock frontman to bring us a set of songs that are amongst his favourites. This change is immediate, for on the opening track, the Holland/Dozier/Holland written Something About You, he brings us Soul in the finest tradition of Motown. It’s not what you would expect of him but he still blasts it. There are some greats on this album and Here Comes The Night is one of those. This classic Them song is slowed down to crawling pace and shows the versatility under his classic Rock voice. He starts to get a little ‘rockier’ on Long Time Gone and the soaring vocal in the chorus tells us it’s all about the voice and that the band are just the foil, although there’s a little guitar solo creeping in. The expansive, organ led ballad, Only One Woman is another classic song, written by the Gibb brothers, and he gives it the full Rock voice that we all know. This is a great version of the song. Please Call Me is keyboards led again with slapped bass. It’s staccato. 80s Rock but showing the expression in his voice. The famous songs keep on coming and Sam Cooke’s A Change Is Gonna Come is a perfect song for such a powerful vocalist such as Bonnet. He puts his heart and soul into it and the Hammond solo is superb. The James Brown written, I’ll Go Crazy, is one where he might just have bitten off more than he can chew. He tries to outdo the Buddy Guy version but just doesn’t come up to him. It’s not a Blues voice, not bad but just not good enough. The keyboard solo again very good, along with the sax. He’s not afraid to take on difficult songs and The Pretenders I Go To Sleep is certainly that. It’s a decent version of the Ray Davies written song but you still imagine Chrissie Hynde singing it. Again, not a song for him and although he sings perfectly well, the voice just doesn’t go with the song. Look Don’t Touch is the kind of keyboard driven Rock that he is best known for and his vocal is perfect, even in the highest range. He follows this with another more recognisable Graham Bonnet song, the Denny Laine written Eyes Of A Child, before bringing out his best tenor for the ballad, Don’t, a 60s style crooner, written by Lieber & Stoller. The studio album finishes with What She Says, You Hear It Means and he goes full on 80s Rock, all pomp and circumstance. Keys, thrashing drums, spiralling guitar and Bonnet in full Rock vocal mode. This is an album that shows all the facets of Graham Bonnet.

The second album is a selection of live performances at various times and locations throughout his career. It opens with a less than one-minute introductory Night Of The Shooting Star, sang a cappella just to show you he can. From there its straight into Too Young To Die, Too Drunk To Live, classic heavy Rock from his time in Alcatrazz and co-written with Yngwie Malmsteen. His vocal gets stretched to its limits as everything crashes around him and it has all of the elements, screaming guitar and screeching vocal. He’s been in a few bands and the Rainbow version of Bonnet comes in the form of All Night Long. This Glover and Blackmore composition is a pounding classic, 80s Rock in all its splendour. There are a few vocal cracks but it is hard to keep that up in a live situation and, of course, we don’t know which segment of the concert this was taken from. Night Games, also written with Malmsteen, is one of his biggest solo hits. It’s from the early 80s but just the epitome of that decade as far as driving Rock was concerned. The bell tolls and then we are into Stand In Line from his Impellitteri days. It’s classic Heavy Metal and that is his forte but his voice does suffer in places. Co-written with Chris Impellitteri, it has all the required pomp though. Next up is SOS, no not ABBA hahaha but the Russ Ballard written song originally recorded by Bonnet in the early 80s. This is more of the same classic Rock with slicing, scything guitar. He calms it down a little, not much I grant you, on Island In The Sun. I suppose these songs don’t merit too much of a delicate touch. Another from his collaboration with Malmsteen.

Another Malmsteen contribution is Jet To Jet and it’s back to Alcatrazz days and the heavier tones, slicing guitar and rapid drums. He belts it out over a flurry of notes to produce a vibrant sound. The chugging Desert Song, Written with Michael Schenker, has him well in control vocally and performing admirably. Starr Carr Lane is more keyboard influenced even though Malmsteen is one of the writers. We do get piercing, rapid guitar as well though on this chugger. Bonnet is such an expressive vocalist and he really knows how to sell a song. Another co-written with Schenker is the bombastic Samurai and he returns to Impellitteri as co-writer on Goodnight & Goodbye with its frenetic keys, guitar and overall instrumentation. Unfortunately, it is one where he struggles in parts. The theatrical and keyboard led Skyfire, co-written with Steve Vai leads us back into another Rainbow classic, and probably their best known, Since You Been Gone. Written by Ballard again, it brings back many memories and great to hear the old song again. Assault Attack, co-written with SAHB stalwarts McKenna and Glen, is classic Heavy British Rock. With some live albums you get a cleaned-up version but I don’t believe that’s the case with Bonnet, you get it warts and all. Superbly performed. Graham Bonnet is one of the finest Heavy Rock singers we have ever produced and on the theatrical extravaganza that is Eyes Of The World he shows us why. Written by the Deep Purple/Rainbow pairing of Blackmore and Glover, we get the full gamut and it suits him to a tee. The final song from his Alcatrazz days and Malmsteen collaboration is Hiroshima Mon Amor and this allows him to show his range. The song is about the carnage of the American nuclear bombs and has all the necessary constituent parts. He’s finishing the album well and ends with a frantic and wonderful Lost In Hollywood, another Blackmore and Glover composition but this time along with Cozy Powell. These last three tracks are amongst the best vocally on the album with the staccato keyboard section in the middle eight fits very well and the rapid fingers on the guitar worth special mention.

2 CD’s and 2 Graham Bonnets; you can choose which one you like the best.

www.thestoreformusic.com

21/01/2022

Tinsley Ellis – Devil May Care (Alligator Records)

This is Tinsley Ellis’ 20^th album but there is no sign of him slowing down yet. Devil May Care is the follow up to Ice Cream In Hell, and the enforced cancellation of the tour for that album allowed Tinsley to revisit his long-forgotten guitars, amps and recordings of his heroes as he looked at his song writing in different ways. However, the Blues will always be at the heart of his sound and you can hear that on the opener, and lead single, the Southern Rock tinged One Less Reason. This is a strolling Blues with Tinsley’s gruff vocal and stinging guitar showing him as the consummate artist as he uses all of his experience in a 5-minute slice. Right Down The Drain is a mid-paced pounding Blues with Southern Rock overtones. He’s as strong vocally as I’ve ever heard and his slide guitar matches the voice; a strong player both ways. The slow, yet punchy, Blues Rock of Just Like Rain brings in electric piano and Hammond and this fills out the Southern Rock sound along with layers of horns (Jim Hoke on sax and Andrew Carney on trumpet). Tinsley’s guitar only needs to flit in and out to complete the sound. Beat The Devil has him channelling Gary Moore and delivering a powerful and striding Blues Rock with piercing guitar before he goes off into a slow, smouldering Blues with Don’t Bury Our Love. The atmosphere builds with his world weary, plaintive vocal and cutting guitar and Lynn Williams’ drums go from small taps to thumping thuds, adding add to the effect. Organ, from Kevin McKendree and Steve Mackey’s bass provide the backbone and context to allow Tinsley to turn in a wonderful performance.

The pulsating Juju heralds the return of slide guitar and we have elements of Ry Cooder, Dr John and others. There are also touches of the swamp and a rampant chorus as organ and piano from McKendree become big players. Tinsley delivers yet another powerful vocal on Step Up and layers it over a striding melody. This is funky Soul Blues with Hoke and Carney’s horns an excellent addition. Tinsley lets loose on guitar with a surging Hendrix influenced solo to complete the effect. There are some Wishbone Ash style guitars on One Last Ride but he’s his own man and there are no further comparisons. This will wash over you like the waves of the ocean as it builds well with Tinsley turning in another top vocal and guitar performance. He’s on form and the surging Blues Rock of 28 Days confirms this. On this kind of form, he is more than a match for most of the performers out there today and the solo here, again Hendrix influenced, is one of the best on the album. The final track, Slow Train To Hell, is the kind of slow Blues that Gary Moore and his ilk made their own. Its mournful guitar is perfect for this low-key finish as he tugs at your heart strings.

20 albums in and who knows, maybe there’s another 20 yet to come.

www.tinsleyellis.com

www.markharrisonrootsmusic.com

Bobby Allison & Gerry Spehar – Delta Man

Bobby Allison and Gerry Spehar have been friends as far back as the 70s and this album brings us songs from throughout that friendship. Texan Allison and Spehar from Colorado have been playing since childhood with both of them ending up in Denver with different bands. When those bands broke up in 1981 Gerry asked Bobby to sing on a demo album and their partnership blossomed. Some of the songs here came out of their original basement recordings but the opener, Kinda Like Love, came from sessions that they did in the 90s. This song is full of rich tones and reminds you of The Eagles in their prime, especially with George Marinelli’s guitar. Bobby’s vocal sounds authentic if you know what I mean and is as contemporary now as it was when it was written, with his great Country vocal and driving piano from Pete Wasner to boot. Covered by Molly Hatchett, it sits easily in that Country/Southern Rock bracket. Gerry and Christine Spehar provide backing vocals. Bite The Bullet is great fun but with the tale of how we can’t always do what we did before. It’s up-tempo Country with slide guitar. Short and wonderful, also from those 90s sessions, with Bobby on lead vocal again and also doing his own backing. Things are slowed down for Baby’s Got The Blues, an acoustic ballad with Gerry’s guitar leading. The smooth jazzy tones come from their original basement sessions and this version is from the 90s sessions. Bobby continues on lead vocal with Gerry and Christine on backing again. Gerry takes over on lead vocal for the jazzy Just Relax. Horns are added for a Kansas City vibe with Cousin Dan on clarinet and sax and Denny Osburn on trombone and trumpet. It’s laid back and another from the basement sessions which mimics that original recording. Still moving away from the Country sounds of the opening tracks is Money. There are elements of Rock in this Americana fuelled track with a world weary vocal from Gerry and Christine ably backing. It’s one of their most recent collaborations, played with I See Hawks In LA and, in particular, Paul Lacques on electric guitar. They are back on the Country route for The Good Life and Bobby returns on lead vocal. We get gentle, sweeping harmonies between Bobby and Lisa McKenzie and Lisa’s addition brings a different dimension. Another originally from the basement sessions and one of the songs that got them to the National Finals of the Wrangler Country Showdown at The Grand Ole Opry. This version is from their 90s sessions. They raise the tempo a bit for Delta Man and throw in a little Bo Diddley along with the Country beats. It’s another hit and one of their collaborations with I See Hawks In LA. Lacques on electric guitar and Gerry on lead vocal with Gerry and Christine on backing makes for a great track.

Rockin’ On A Country Dance Floor is strident, electric Country with Michael Grimm on guitar this time. You will be able to swing and sway to this one as they throw in a Beatles and Roy Orbison riff. Recorded when Bobby was following a solo career and he takes the lead vocal. Eye Of The Needle is a metronomic Dr John style shuffler. Brooding acoustic, led by Gerry but with tantalising lap steel from Lacques in places. Written and recorded when Bobby sought refuge with Gerry after Hurricane Katrina with Bobby on lead vocal. Gerry’s deep Country tones take us through River and although his acoustic guitar is the focal point, Wasner’s piano and Rick Plant’s guitar with telling contributions. This one makes me very nostalgic and is gentle, non-threatening music from their 90s sessions. Shuffling drums from Lonnie Wilson and Michael Rhodes’ bass show up in the mix too and there is a sweet solo. Lisa McKenzie returns on backing vocals, again adding that something different. If you are looking for a little rocking and rolling Country then look no further than the wonderfully named Bubba Billy Boom Boom & Me, a tale of the Nashville dream. Wasner’s Hammond adds its weight to the slapped drums of Wilson and walking bass from Rhodes. Originally from the basement sessions with this version from the 90s it’s good fun with Bobby on lead vocal and Gerry and Lisa on backing. 25 Miles To Brady is a different kettle of fish. They both take turns on lead vocal and the mood changes. It’s gritty, moody Americana and another highlight. The pounding drums from Shawn Nourse and electric guitar from Lacques come to the fore as they Funk it up. It’s one of Gerry’s songs and recorded with I See Hawks In LA with Chris Tuttle on keyboards. Train Train Train has electric pace and JJ Cale comes to mind, especially in the verse. Wilson keeps them going on drums and their voices all fit in well. Blow that whistle! Another cracker and another of the songs that got them to the National Finals of the Wrangler Country Showdown at The Grand Ole Opry. This version is from their 90s sessions. We get that classic Country voice from Bobby again on Balmorhea and Gerry’s acoustic guitar is prominent again as they regale us with tales of old America. It’s wistful and tells of days of better times. Gabe Witcher’s fiddle gives a Celtic feel. Written and recorded when Bobby sought refuge with Gerry after Hurricane Katrina. The final track, Here In The Pass, is a low-key finish with accordion giving a Cajun feel. We have subdued guitar but Lacques’ lap steel pings in and out to give the listener something to fix on. Wilson’s drums add levels of mood and it’s a sweet end to the album. Recorded in LA with Paul Lacques, Paul Marshall and Shawn Nourse of I See Hawks In LA and in Nashville with Chris Tuttle on keys, Gerry takes on the lead vocal with the pair of them on backing.

This is a wonderful testament to Bobby Allison and Gerry Spehar.

www.gerryspehar.com

13/01/2022

The 251’s – ‘Bout Time

Bringing their influences from Blues, Jazz and Swing, the 251’s have a gentle approach to their business and it comes across in spades on their new album, ‘Bout Time. Opening with Walking With Thaddeus, a harp infused, strolling jazzy Blues, they take us through their smooth delivery which is sometimes lounge music, sometimes dance floor. One Mint Julep is another smooth Swing/Jazz/Blues offering. The vocals could be stronger but that’s a small criticism. They are obviously a very tight unit with their many years of experience shining through. Maybe if they had played this slightly faster it would’ve produced a completely different result. The famous Jimmy Reed song, Ain’t That Loving You Baby, fits perfectly into their Swing/Jazz/Blues ethos. Wailing harp from Steve Tolton and his lungs of steel competes with Russ Cottee’s guitar in the mix and the vocals, with added grit, are better. Jacqueline, like others on offer, is full of 60s Beat and Blues revival themes. Tolton’s harmonica has a European (French) feel to it and Cottee’s guitar is Jazz fuelled. Cliff Macdonald on bass gets more of a say in matters too. They switch lead vocalists often with all four contributing at some point and this gives an air of expectation when each track begins. Next up is the shuffling Blues of Fake News and you can guess what this one is about. Harp and guitar play off each other very well and all it needs is a bit more body to it and it would be there. Saxophone (Graham West) is introduced for the classic Stormy Weather and a very good version it is too. Smooth vocals fitting the song exactly with West’s sax and Cottee’s punchy guitar bringing us what is likely to be a crowd pleaser.

Too Late is another with a 60s feel and I feel that Georgie Fame must be an influence somewhere. It’s got a good pace to it and is one of the best tracks on offer. They seem to have found a groove in the velvety, jazzy material like Exactly Like You and it won’t be everybody’s thing, sometimes coming across like a pub band that’s been let loose. However, we are back on form with one of the best self-penned tracks, She’s So Complicated. A shuffling syncopated Blues it gives us sharp guitar and rattling drums (Roy Webber) but is very clean for the Blues though. One thing I have to say is that harmonica player, Tolton, deserves credit throughout this and the rest of the album. She’s Gone (Long Gone) is another shuffling Blues with added moderate paced Swing. There’s nothing wrong with it but it might just not get you going. There’s more of the same on You Can’t Go Wrong and this softly voiced track is one for the late-night session. Payphone Down The Hall is a bit more striding than the others. A swinging Blues, it’s not an in-your-face style of music. Rolling piano from Josh Emdon confirms that it’s all from a gentler time but one thing is for sure, it’s very good. The closing track, Parkinson Theme, will be very familiar to those of us of a certain age. Jazz of the swinging variety as guitar and harmonica take us out to the end of the album. Shows what a good piece of music he had for his TV show theme music and they certainly do it justice.

The 251’s bring their experience and influences from Blues Jazz and Swing; Jazz and Swing win out on this occasion.

www.the251s.com

10/01/2022

Holt & Jones – Shadowman (Hojo Records)

Founder members of The Climax Blues Band, Derek Holt and Richard Jones, have known each other since primary school and their musical association, which started through local bands and led to them becoming members of The Climax Chicago Blues Band, continued until 1977 when Richard left the band, now known as The Climax Blues Band. After the band’s biography came out in late 2020 the pair decided to work on a new version of the song Shadow Man, an unused track on The Climax Blues Band’s 1976 album ‘Gold Plated’. Those sessions grew and ultimately became this new album of 10 original songs. They open with Playing For Love, an up-tempo tale of growing up in a band. It’s got a happy feel to it and keys have a big input as does guitar. The saxophone on Waiting For Pay Day makes for a Jazz Blues feel. It’s slow and rhythmic with some South American vibes helping the overall feel of gentle relaxation. The aforementioned Shadowman is given a moody opening and is a Blues based, slow acoustic Rock. Sax and slide guitar add to the atmosphere as it lumbers along. The vocal is probably a bit too clean for the track although it is one of the best on offer. There are elements of Jazz and Prog Rock in there if you listen hard enough and that makes for a good mix. I Gave All My Money Away is a short tale of giving it all up in the music business set to a Caribbean feel and fronted with a vulnerable vocal and things start to take an upturn with the acoustic led I’m Crying, a strong Soft Rock with another of the best vocals.

Come Over With A Kiss, which comes over as sentimental with a cracked, often stretched vocal and accordion for most part, isn’t the best track on the album and is so far away from the classic hit, ‘Couldn’t Get It Right’, which they co-wrote. It does build and ends better than it started with guitar and pronounced vocal coming more to the fore. On the other hand, Valentine’s Day is light and airy with the rhythm section on top. Bluesy, it needs a bigger guitar solo/input than there is but having said that, it could well be the track of the album on further listening and very easy to listen to. Sleepy Head gives us some smooth, jazzy Blues Rock and they are now coming onto a game. At times it can be a bit too precise but they do produce a nice clear solo. The lead single, Time’s Not On Our Side, is atmospheric and melodic Blues Rock with a hint of the 60s about it. It’s a cautionary tale about global warming and the tough times that we find ourselves in. The main concern that I have with the album is that it is a bit too lightweight at times and the closing track, Stormy Waters, is an example of this. We get slinky sounds and other redeeming features based around Blues Rock such as the guitar hook but it does need to be a lot beefier.

www.holtandjones.com

31/12/2021

Moira Smiley & Piers Faccini – Meeting Is Over

American Singer/Composer Moira Smiley and Italian/French Folk Blues guitarist/singer Piers Faccini join together on this old American song about meeting on the other shore. Moira drives it on her banjo as Piers joins in on guitar and West African guembri. The song itself is folksy with a Western tinge with their voices melding together beautifully and Faccini’s guitar playing is of a high standard, ably joined by Irish muti-instrumentalist Seamus Egan on guitar. An apt one to finish the year if you take it as a metaphor for Zoom which, of course, it’s not. Bodes well for an album in 2022?

www.moirasmiley.com

The 251’s – Staying Home

British Blues Rock N Rollers the 251’s bring us their own style of the genres on this debut album, Staying Home. They hit the road running with the opening track, Get On The Right Track, an old-style Rock N Roll with swinging, pointed guitar and wailing harp. It’s a high impact opener. The often covered, not often mastered, Hit The Road Jack is next. They give us a slinky version with suitably slinky guitar and it’s a decent try. I Need My Baby is harmonica led with a gruff vocal. It grinds along with guitar vying with harp to produce an excellent track. They turn to jazzy Blues for Comin’ Home Baby and bring us one of the best tracks on the album. It has a 60s Blues Club feel, think Georgie Fame and Alan Price, if you are able. The piano adds a vibe along with accomplished guitar and a funky rhythm section. The shuffling A Long Way From St Louis isn’t the best fare on offer but they are back on form with Moanin’, a 60s style British Blues with its roots in Jazz. Swinging guitar and shuffling drums are the highlights. Things are slowed down for One More For The Road, an apt song for the end of an evening that I’m sure many of us have had. The harmonica comes in at the end to add to the effect.

It’s back to the 50s for It’s Only A Paper Moon and well played as it is, I’m not sure that this is the direction they want to go in. It’s a bit sweet for me but the harmonica and guitar are plus points. She Walks Right In is Rock N Roll edging back into Big Band Blues and well executed at that. Drums keep the pace going and guitar is sharp for an energetic experience. It’s not the first version of Talk To Your Daughter that I’ve heard this year and this is a very good version. Played at a good pace, they are having a good old time to themselves. A highlight of the album with its Rockabilly guitar. Another highlight is the slowed down That’s All Right, a smoky Chicago style Blues. They stay with the Blues for the strolling Wee Baby Blues with the drums going like a slow-moving train. They are keeping up a good standard here and the harmonica is the star. They turn to the Jazz side again for Why Don’t You Do Right and this slides along very well before they finish strongly with Work Song. Sometimes the vocal is a little exposed sometimes but musically it’s excellent, with good harmonica. A decent first album so let’s see what the second one brings.

www.the251s.com

Mark Harrison – The Road To Liberty Part 1

Mark Harrison is one of the UK’s most unique Folk Blues artists and it is some time since I reviewed any of his work (2012’s excellent Crooked Smile) so is his current work as good? The opening song, Tribulation Time, brings out that certain old world feel that Mark has in his music. That said, he does it in such a way that it’s brought into the 21^st century. It’s an up-tempo start with guitar and drums being the first you’ll pick out in the mix. Vocally and lyrically sharp, he grabs your attention throughout. Everybody Knows is a gentle acoustic Blues and is wonderful, despite being deceptively straightforward. He introduces a little English Folk into Passing Through and this Folk Blues cements his stature as a true storyteller. Mark’s fingerpicking style, vocal delivery and musicality on Club Of Lost Souls take you away from all of your cares to a time that was so different and on Toolmaker’s Blues he shows the skill of bringing everyday stories to life. He is Dylanesque in that aspect and also through the anger in the lyric. Shuffling drums and slide guitar add to the effect.

Last Bus Home has washboard for percussion on this countryside Blues. It’s an instrumental showcasing his intricate fingerpicking and is quite simply superb. Bass gets a starring role on Same Roads as the shuffling drums return. There are some traces of Dylan in his vocal delivery and it’s all gentle, but don’t let that distract you from the musical prowess. There are lots of travel references in this second half of the album and they all link into the title in some way. On Wheels Going Round the inference is that we are coming out of the other end of the past 2 years. Here’s hoping. The contemporary sounds of Skip’s Song bring a more urban delivery but he still holds to his ethos of countryside Blues playing. There’s certainly a place in your collection for Mark Harrison’s take on acoustic Blues and the slide guitar is executed very well. The penultimate track, Better Day, has his trademark intricate guitar and possibly his best. It’s just Mark on this as he wraps you up and draws you in. He ends on an upbeat Blues, I’m Damned and this highlights the humour he often puts into his lyrics. It’s old style, music of the mountains with harmony in chorus. Damned if you do and damned if you don’t, we’ve all been there, Mark.

Engaging, encapsulating and enigmatic.

Lynne Hanson – Hold My Breath

A song about taking things for granted and taking time to wonder why. It has Lynne Hanson’s wonderfully pitched vocal and generous musicality Gentle, melodious and a great teaser for her upcoming album early in 2022. If you’ve not heard of Lynne Hanson then check out her back catalogue, before or after the new album, either way you will be completely captivated.

www.lynnehanson.com

Dries Bongaerts – Soothing Green

With American Bluesman and Grammy award nominee Guy Davis amongst his supporters, Dries Bongaerts already has quite a following after releasing his debut album, For The Light In Thy Heart. Now, with his second release he has captured the soothing sounds of the countryside after having moved out of the city. That slower pace of life certainly comes across on the songs of Soothing Green and on the opener, Certain Blue, it comes across as almost sombre in his voice. The tune itself is a moody, slow Blues Rock with hypnotic ragged guitar. The gentle and folksy Prove Me Right has a European feel, not so strange of course given that he is a European! That feel comes through again on Don’t You Leave. He has a swagger about him and it’s like he’s telling you a story on a one-to-one basis. Electric guitar tremolo, flute and upright bass all deployed under an almost spoken vocal. About A Rose is back to acoustic and he still has a gentle breeze about him. He’s not upped the pace at all and is a very intimate performer. He adds some deep vocal tones here along with shuffling drums as a light and airy electric guitar floats in and out. On the whole this is relaxing music, personified by Farewell Oblivion. Contemporary Folk, it builds well with another of his ragged solos. There is a certain bluesy feel to Time To Go but there’s no pace yet. What we do get is a soaring guitar with drums coming more into it. He has a hold on the listener, you want to know what is coming next.

The shuffling, homely Folk of Until I has you settling in until the jarring guitar lifts you from your comfort zone and there’s more of the same on the endearing Lay Down With You. That intrinsic European feel returns on the shuffling Foggy As Hell. That said, there are English Folk undertones on this along with effective guitar. Tomorrow Is Mine has acoustic slide and a bouncy rhythm, making for a lovely song and still staying with that gentle sound for To Feel The Blue. However, this has a little undercurrent with cello adding pathos. We get a change for What Love Can Do as piano leads on it and, I don’t know why, Dries sounds Irish as he sings it. The final track, Neanderthal, is definitely not describing himself. Staying on the acoustic line to the end, he builds a soundscape to back his clear, strong vocal and he sings with a social and environmental conscience.

Dave Specter – Six String Soul: 30 Years On Delmark (Delmark)

This 2 CD set showcases Dave Specter’s 30 years with the classic Blues label, Delmark and all of the top acts that he has collaborated with during that time. Opening with Buzz Me with the archetypal Dave Specter sound of swinging Blues and snappy guitar with added dulcet vocals, horns, organ and a smooth rhythm section. Barkin’ Bill Smith and Ronnie Earl guest on this to back up Dave’s liquid guitar. Earl remains for Wind Chill, a jazzy Blues with sax and guitar matching notes over a prominent bass. This instrumental is noted for the clean guitar sounds and slinky sax on their respective solos. Hammond gets in on the act too to add to the smooth hook. Barkin’ Bill Smith returns for Railroad Station, a slow Chicago Blues. Specter picks out the notes with clean precision and gives you pinpricks all over your skin as Smith turns in a classic vocal. Sax is in there again as the rhythm section stays in the background with piano. Another instrumental, Specter’s Walk, is up next and it’s smooth, on the Jazz side again with a sound just like someone strolling down the street. Horns and Hammond enhance his guitar as do the laid back drums and bass. He likes that sax and guitar duet, no doubt. No guests this time, which is a rarity. Fortune Tellin Man has the piercing vocal of Jesse Fortune and it’s back to the Blues. His sound revolves around his guitar, sax and Hammond and there’s nothing wrong with that. In fact, there’s everything right about it. He’s swapping instrumentals with vocals and Ridin High has Dave in fine guitar picking form as he attacks the fretboard at all points on this exciting instrumental. Sweet Serenity is a live recording with Tad Robinson guesting. It’s amazing how different vocalists change the effect of a song as he turns in a sweet honey vocal. Dave plays out over a walking bass line and crashing cymbals. Another switch to instrumental for West Side Stroll as Dave shows what a virtuoso he is. He is a true master of the instrument with his fresh, relaxed playing. The band is always there though, this time just the rhythm section for this live recording. Al Miller and Willie Kent join for Seventy Four, a classic Chicago Blues. Piano tinkling away as Dave does his thing and also gets a spot in the limelight with a wonderful solo. Dave reaches into your heart and plucks it with his playing. Tad Robinson returns for Can’t Stay Here, a surging soulful and funky Blues with Dave’s fingers doing overtime and the horns and Hammond never far away. On Get Back Home we have Lynwood Slim making a guest appearance. This time it is a sweeping, strolling, swinging Blues and they make it sound so easy. It’s just the kind of music you need to set you up for the evening with Dave at his best playing over some driving drums. The sophisticated sounds of Unleavened Soul find Jack McDuff joining for a New Orleans flavoured Jazz instrumental. Sax and guitar give an extravaganza of sound and it is a true pleasure as two masters showcase their skills. Not to be outdone, the Hammond speaks up. Trumpet too as they both get extended solos. This is a group of virtuosos and reminds me of The Crusaders in parts, Isaac Hayes in others. St Louis Blues is given a shuffling, Latin beat at the start before it slips into a smooth Swing Blues with Floyd McDaniel adding his vocal, all smoky and full of experience. They go back into the shuffling Latin beats throughout this live performance as Dave throws out the notes as only he can. Lurrie Bell comes in for the tale of break-ups, You’re Gonna Be Sorry. Full of clean notes as we have come to expect, both at the top and bottom ends of the fretboard, with a rhythm section that keeps everything bouncing along.

The second disc starts with Blues On My Mind, a slow, sophisticated Blues with Lenny Lynn adding his silky vocal. We get a whipped solo from Dave with Hammond and drums giving great support, the former laying it down on the solo. Texas Top has a 60s R&B feel and is a funky Blues instrumental. The playing is top class from both guitar and organ. Steve Freund joins in for Riverside Ride, another instrumental. You can feel the joy coming out of the guitar as we are treated to a masterclass. The organ is an essential part of his sound and provides another excellent contribution along with the rhythm section who are on point, as usual. Jimmy Johnson guests on Feels So Bad, an up-tempo Blues with sharp vocal and guitars crisp and clean as ever. Sharon Lewis adds her sassy vocal to the live recording of In Too Deep, a shuffler with rolling guitar and rhythm section. For Got To Find A Way it is Otis Clay who adds his smoky voice to this Soul Blues. The horns are back as are backing singers for the big production number and Dave’s guitar matches the big expectations of that production. Clay remains for This Time I’m Gone For Good, a slow, grinding, earthy Blues with echoed, sharp guitar. One thing you have to say is that Dave puts his soul into everything. The upbeat Chicago Style has Brother John Kattke leading a namecheck of the greatest Chicago artists. This is good time music with Dave doing some of the named artists proud on his guitar. There are no guests for the instrumental, The Stinger, which has a little Latin beat to it as drums and bass drive it on. No guests again for Blues From The Inside Out and we could have a rarity here with Dave taking on the vocal. It’s an everyday voice but when you can let your guitar do the talking then there’s no problem with that. The sweet voice of Brother John Kattke returns for March Through The Darkness, a song full of good advice with guitar and organ stealing the show again. The last instrumental is Sanctifunkious and it is as funky as the title suggests. Organ, drums and bass are very much in the mix as Dave does his thing. Jorma Kaukkonen comes in for Blues Ain’t Nothin and the full sound is there, horns and all, backing Dave’s slippy guitar. The closing track of this extravaganza brings things right up to date with last year’s single, Ballad Of George Floyd. Duetting with Billy Branch, the song has lost none of its impact. Slow, powerful and thought provoking, as it should be.

30 years? Here’s hoping for plenty more!

www.delmark.com

www.davespecter.com

Chickenbone Slim – Serve It To Me Hot (VizzTone)

San Diego based Chickenbone Slim aka Larry Teves is a guitarist, singer songwriter and exponent of a mix of Blues, Western Swing, Americana and Rockabilly, all of which he covers in his new album, Serve It To Me Hot. He opens with the title track, a trundling straight up Blues with pounding drums from Marty Dodson and a bass line from Andrew Crane to match it. Added to those we have some stringent guitar from Laura Chavez and a lazy, drawled vocal from Slim. It’s full of double entendre like a lot of good Blues and there’s nothing flashy, just straight down the middle good music. Wild Eyed Woman is a speedy, Magic Sam style Blues and a hypnotic story of a voodoo woman. The lead single, it bursts into life in the chorus and is good fun, so play it loud. Chavez throws in some pinging lead guitar and will sweep you off your feet. He’s getting into it now and on Queen Of The Wires he delivers a swinging, funky Blues. Guitar is very good with little Albert Collins nods in there and there is no doubt, this is a Blues band! The jazzy and vibrant Ought To Be Loved has piano vying with guitar but the latter is not to be outdone. The solos are top class as are the shuffling drums from Dodson. Love To Be True is heavier, a slow Rock with a deep vocal from Slim which has a 60s feel to it in parts. He slips into Rockabilly for Squares Everywhere and shows he is equally as comfortable in this genre as he is in others.

Top Of The Clouds is a strolling Blues with added harmonica from Aki Kumar. It’s nothing out of the ordinary, just well-played Blues with scorching guitar. Funky Blues, Albert King style, arrive with Laying In The Weeds and Kid Andersen, playing bass and Hammond organ, lays down a challenge to Chavez’s guitar with a little to and fro. The pace increases again for the Country Blues of Crying Tonight. It seems that no matter what he turns his hand to he does it with aplomb. Twangtastic! He turns to swinging, pulsing Blues for Hey Shakolo and this has hip swinging, grooving Samba rhythms in the middle section. It’s got all the drums and whistles. I Will Stand For You is ultra-slow, almost dipping into Gospel with the organ coming in on the chorus cementing that thought. The straight up shuffling Blues of City Girl leads into a Rolling Stones riff on Hook Me Up, a rocking Blues with a little Chuck Berry’s Tulane thrown in. It’s a great finish to a great album.

He says his sound is somewhere between Hound Dog Taylor and Dave Edmunds and he has got it spot on.

www.chickenboneslim.com

www.hazyshadeproductions.com

Dionne Bennett – Sugar Hip Ya Ya (Hunnia Records)

British Jamaican singer-songwriter Dionne Bennett teams up with producer, songwriter and artist Little G Weevil for her latest album, Sugar Hip Ya Ya. The 10 tracks cover multiple genres and she flits between them effortlessly. The 8 originals and 2 covers open with the first of those covers, Etta James’ Tell Mama. This is a big, horn laden opener (Tamas Sovari on trumpet and Zoltan Albert on sax). It doesn’t have the rolling guitar of the original but the bass of Attila Herr throws out a similar line. Dionne gives us a strong, ballsy vocal, full of soul and Herr’s sax becomes more prominent as the track goes on. The title track is a funky, grinding Soul Blues and she has such power in her voice it can easily take on the instrumental which has trumpet, guitar (Laszlo Borsodi) and organ (Matyas Premecz) all with telling contributions. Thumping drums from Lajos Gyenge opens up Spy Me and he is soon joined by bass and organ in unison. Dionne has a great range in her vocal and can go from breathless and wispy to full power in the course of one line. There is a superb solo from Premecz on keyboards taking it into almost prog rock arena. Herr gives us an intricate bass line on My Life and this slower track allows Dionne to show the facets of her voice. Soulful, reaching towards a Reggae beat, and heartfelt. The pace is picked up again for Full Time Job and this surging soul fuelled R&B features electric solos from guitar and organ as Dionne belts out the vocal.

Allen Toussaint’s Yes We Can Can is a mid-pace Urban Soul with horns to the fore. The band gets into a groove behind a growling guitar and sassy vocal. It’s back to the Reggae beat for the gritty Let It Rain. With a Martin Luther King speech sampled into the mid-section, synths and horns, it’s got it all. Dionne can do sultry and alluring and does so on Don’t Fall For Love with its snappy chords and deep velvet Hammond solo. Get It Right is funky and with an attitude and a stern telling. Fluid guitar, sizzling drums provide the action with organ and bass providing the backbone. We get that organ backbone again on the final track, Get Style, as it drives the song along as much as bass, drums and guitar do. They funk it up for this 9 minute closer and this’ll get the audience joining in for the chorus. Her superb band gets a chance individually to shine, guitar steps up first then followed by bass, keys and drums.

10 tracks and not a bad one in sight.

www.dionnebennett.com

The Haze & Dacey Collective – Letters From Gilead

One thing I didn’t think that I would hear is an album where all the songs are inspired by The Handmaid’s Tale. If you haven’t read the book or seen the TV series then the references won’t mean much to you. However, that won’t affect your listening pleasure as we are taken through a 10-track sweep of the tale of the dystopian nightmare state that is Gilead. We have stories of love, hope, courage and humanity through the most adverse of conditions and taking on many genres. They open with My Name Is June, named after the lead protagonist in the book, and played as a Country Folk song where harmonies abound. It would be easy to make these songs angry given the subject matter but this is not the case, just a strong point from June’s perspective. I’ve just finished watching the last series of the TV show just now so the songs hit home. Mandolin (Doug Austin) and guitar (Haze) are to the fore on Blue, which has more gentle Country Folk sounds. It has a homely feel to it but not in a bad way. The striding chorus makes you feel that there is something good coming from the bad. If you just listen to the music then you won’t know what is actually happening, there are bad things in the lyric. Closet Scrawl is piano led and their harmonies are good, covering a very descriptive lyric. I’m sure that you will be able to pick up what the story is just by listening to the songs, they are so strong and full of courage. No need to describe the meaning of Jezebel’s. Piano (Haze), drums (Blee Child) and double bass (Dacey) are to the fore as they add a little Jazz to the mix. There is a stinging electric guitar solo from Leslie Williams too. I can remember each episode as the songs come up, they are that descriptive. Austin’s mandolin leads out the Country flecked Sliver Of Joy and it’s almost euphoric as June gains hope. Child’s shuffling drums add to the happy feeling.

The piano led Feels So Good To Fly is pleading and haunting. Sax from Allen Burris is added as it starts slow but builds speed quickly as he arrives. They are stronger when backing vocals are there and this song relates to the feeling of the character wanting to end it all but is brought back from the edge. Under His Eye is electric with punchy guitar. They are building towards the end of the story as she waits her chance to escape (again). Another descriptive lyric and the theatrical performance could lead us to think that there is a musical in here somewhere. Hannah is about the daughter June had to leave behind as she fled to Canada. It’s piano led again with the mandolin picking away in the background and a suitably sad vocal as accompaniment. June is wondering how she is getting on and if she remembers her and her father. Full of sorrow you’ll find it hard to keep it together. They really get the feeling of the story in their songs and none more so that on the title track and on the final track, Oh Canada. Like many of the others, this final track is piano led but has a spoken intro this time. This has the American refugees in Canada sending out their message. I won’t spoil it for you by telling you the ending but Canada is the promised land for those wishing to escape the horrors in Gilead. Acoustic guitar added in along with keys as we go along and possibly the best vocal on the album.

Stash – Walk The Walk

Stash are a bit of an LA Country and Roots supergroup, the trio consisting of drummer Joey Peters (Grant Lee Buffalo, Cracker), bassist Ted Russell Kamp (Shooter Jennings, Tanya Tucker) and guitarist Rich McCulley. This is their first recording together and they play everything on it. Smoke And Mirrors starts things off. It’s a strong, rhythmic opener and the trio work well vocally and instrumentally. A great introduction to their combined talents. The pounding Catch Me If You Can is a strident Country Rock with a wailing harmonica that fires shots over the growling guitars. Queen Of The Highway is full blown Americana with a dusty vocal from Kamp and strong guitar from McCulley. Again, it’s rhythmic and has such a feelgood factor. A highlight. Peters’ thumping drums and McCulley’s staccato guitar open up You’re The One as they turn a little to the Rock side. Very commercial, it’s a wee ray of sunshine in the Winter. McCulley turns to a reverberating mandolin for Into The Sunset and added to twangy guitar and a world weary dusky vocal, it all adds up to classic Americana. One Step Ahead Of The Law is rebel Country with a deep, gruff vocal pitted against a guitar reply. They are in a groove and this is another highlight as McCulley adds slide guitar with banjo and perhaps dobro in the mix too.

The up-tempo One Track Mind is a song for driving to. The drums are going like a steam hammer and McCulley’s guitar is classy throughout. There’s a Texan Western feel to Ain’t That Kind Of Man. Slow and sombre, perhaps it’s the horns that give it a Latin tinge. Talk The Talk is a classy, upbeat Rhythm & Blues blaster with Anna Maria Rosales providing excellent backing vocals and horns providing the full monty. Excellent in every way. It’s back to acoustic for Sweet Salvation with its slide and Western themes. This is Americana of the finest quality with voices full of character and life experience. Switching back to faster paced electric with a 60s Rock feel is What I Need, another for playing in the car at maximum volume. Rich McCulley provides another stinging solo for this one. By Your Side has Mexican rhythms and is a smooth shuffler to glide across the dance floor to. Deep guitar fills from McCulley are excellent. Those who know me know that I like a high energy last track on an album and with Hey, Hey, Hey Stash have delivered. Fast paced R&B with keys important to the sound. They seem like they are having a good time with storming guitar and a rhythm section that is fully integrated as it has been throughout. A true super trio.

www.tedrussellkamp.com

Cat Dowling – Animals (FIFA Records)

Dublin based Indie popster Cat Dowling, lauded as one of the most evocative vocalists in Irish contemporary music, brings us 11 tracks of originals in the form of her new album, Animals. Opening with the title track she introduces us to her slightly gritty vocal sung over metronomic drums and staccato guitar. This was one of the singles and it builds to a big finish for a strident opener. All That I Can Do is fluid and melodic Indie Rock. It’s not in your face but she has an undercurrent of power with a pinging bass. It’s another that builds well. Trouble is the second of the three singles. Slow flowing Rock, it’s a reminder of the best of 80s Indie with crashing cymbals and deep growling guitar. The last of the trio of singles is Freedom, which is reminiscent in parts of Patti Smith and Because The Night. Driving acoustic backing makes this a good one. The acoustic guitar remains for the frenetic Bullets. Cat turns in a haunting vocal and there is a strong rhythm section behind her. This is another one to grow on you, with Cat’s vocal in full proclamation mode a times.

The moody and atmospheric I Wanna Dance has that acoustic base again. It’s firmly in the Indie Rock field and a good exponent of it too. She shows a gentler side to her music on The Fire, a tale of how things were in the past and how you had to make your way in the world. There is an adept middle section as if two sides of the story are coming together and it turns into a bit of an epic. There is a change for the beautiful sounds of I Never Knew as keyboards lead for the first time. We also get a harmonised vocal, not for the first time but very effective here. Hypnotic, stringent guitar and horns feed the Euro feel of In The Dark and slapped drums, prominent bass and percussion in full flow are the drivers of the slow, atmospheric, layered and complex Is This Love. She finishes with Let Love Be, a gentle and whimsical acoustic end to a surprise of an album and one that is well worth a listen.

www.catdowlingmusic.com

Mississippi MacDonald – Do Right, Say Right (Another Planet Music Ltd)

Three times British Blues Awards nominee Mississippi MacDonald is one of a number of the new generation of Blues players. This is his sixth album and his Soul infused Blues cover eight originals and one cover. The opening track, I Was Wrong, has horns and BB King pinging notes straight away. It’s a slow Blues with a slightly drawled vocal and Phil Dearing’s Hammond in the background. The layers keep on coming with backing vocals from Lucy Dearing in the chorus. He is the big easy with crisp and clean guitar. A great start. You can quite easily pick out his heroes and influences on the shuffling Blues of I Heard It Twice. He has an effective guitar style that is high class and quite an approachable vocalist as well. He has all the qualities to hit the heights. Next up is a radio edit of It Can’t Hurt Me, which is a slinky groover. We get the horns, the organ, the guitar as expected but the deep throbbing bass of Elliot Boughen is more prominent. MacDonald gets into his voice on this and it is very, very good. Drinker’s Blues is another slow Blues and he gets the feeling spot on. He turns in an excellent vocal performance, ably backed by the backing singers. Hammond and piano help the guitar throughout with Mark Johnson-Brown unobtrusive on drums but keeping everything in place. He loves those horns, as I do, as he puts in another piercing solo to match them.

He’s not really had too much pace so far and Let Me Explore Your Mind is another late night slow one. The ubiquitous horns are there as is the organ. He picks his notes well on guitar and his voice is becoming one where you just feel at home with it. The solo again is made to sound simple but that is the sign of a true master. There is another radio edit, this time of That’s It I Quit which has a little injection of pace but still only up to an ambling pace. His guitar twangs and it feels a bit like Elvin Bishop at times. I’m running out of superlatives for his playing but there are some notes in here that I wouldn’t have thought possible. It’s back to the slow Blues for If You Want A Good Cup Of Coffee, and this one has Dearing sounding like he’s in church. We get big solos, backed by the horns to announce a new star on the block, playing a classic Blues. Keep Your Hands Out Of My Pocket confirms that he is confident in his voice and guitar and you can hear why on this. He can coax notes from his guitar like the best snake charmer. The band are not bit players but rather they complement everything he does by just being there. That said, Boughen steps up on bass for this one. The one cover on the album is saved until last and Denise Lasalle’s brilliantly titled Your Wife Is Cheating On Us is given a big band Blues sound. I’d have thought he might have ripped it up for the last track but no, it’s another slow one. Great guitar fills, played in the style of the Chicago greats again as he pokes and prods you with his axe.

www.mississippimacdonald.com

30/12/2021

Memphissippi Sounds – Welcome To The Land (Little Village)

If you take a blend of North Mississippi hill country Blues, Memphis Blues and Soul, Rock, Pop and Hip-Hop, record in the legendary Sun Studios, then you’ll get Memphissippi Sounds. This duo of Cam Kimbrough (vocals, drums, guitar and do you recognise the surname?) and Damion Pearson aka Yella P (vocals, harmonica, guitar) are about to open your eyes and ears. Cam is the grandson of Junior Kimbrough if you hadn’t worked that out. They open this set of nine original tracks with the urban sounds of Who’s Gonna Ride with a wailing harp behind a ragged flailing guitar, smashing drums and a challenging vocal from Damion. Politically charged with the repeated I Can’t Breathe and Get Your Foot Off My Neck Boy chants it’s repetitive and hypnotic, the kind of stuff John Lee Hooker and Hound Dog Taylor would have been doing nowadays. They get into a slow, grinding groove for the aptly named Groove With Me. It’s steeped in Blues history and brought into the 21^st century. It’s not so much singing but a series of proclamations over a stringent guitar riff. Much in the old master’s style with harmonica doing its thing and powerful percussion that is aware. The pace is increased for I’m Mad and I’m picking up the bass for the first time as the rhythm section take it out behind the funky guitar. It’s a throbbing instrumental on the whole with a few declarations thrown in. The Soul drenched You Got The Juice returns to the urban sounds of earlier and this Contemporary Soul Blues brings us a harmonica that is almost like an extra voice.

Crossroads brings more deep gritty urban Blues. It’s a well-worn Blues theme with drums and bass throwing out patterns behind the guitar riff with the harp never very far away from the action. These guys have a film score in them somewhere. There’s always an undercurrent on their songs, none more so than on Go Downtown. This is another that is steeped in history. Guitar and harmonica in the lead as usual with drums providing able backing as they channel John Lee Hooker again. There are no big solos here and none are needed. Saturday Morning gets us into the groove again and we get an almost sleazy vocal as Damion drawls it out. It’s like Funkadelic meets JLH and sticks a harmonica on it. Some lungs on Damion for the harmonica by the way. High & Low is another slow, grinding urban Blues instrumental (mainly) with harmonica taking the lead role. Drums are strong again. Look Out For The Wolf finishes proceedings and they do have a bit of Howlin Wolf in there with Cam’s strong vocal and with rise and fall. It is compelling, as is the rest of the album. This isn’t a traditional Blues album by any manner of means but they have the ethos and the heart.

www.memphissippisounds.com

22/12/2021

Nick Frater – Earworms (Big Stir Records)

Following on from two highly successful albums in 2019 and 2020, Croydon’s Nick Frater continues his streak with the 10 self-penned tracks of Earworms. He’s quoted as saying that he wanted to make an album that felt like a lost treasure from the melodic Rock scene of the 70s. We shall see. He opens with the single, It’s All Rumours and we are welcomed to falsetto city. Sharp, fuzzed guitar covers a melodic, infectious Pop Rock littered with Beatles influences. Those of us of a certain age will remember Beserkley Records and their particular sound. I believe Nick has that sound on Buggin’ Out. It’s a very American sound but there are still those Beatles influences in there too. He’s all about the melody, none more so than on What’s With Heavy Heart. This is firmly in the Pop Rock field and it’s hard not to like him. Nick’s guitar is heavily used but solos are kept to the minimum mainly but let loose a little on this one. Bass (Nick) and drums (Joseph Montague) drive it on with keys, also played by Nick, filling it out. Strings and piano lead out on Lucky Strike and the Beatles influences that are threaded through the album appear again. It’s a jaunty, happy, rhythmic song. And one that could easily be used for musicals. The short, sharp guitar solo from Nick comes with an ELO influence. Star-Crossed is a soulful ballad and The Carpenters and Beach Boys come to mind on it but why I don’t know. The simple piano and guitar accompaniment is truly effective.

Not Born Again has a bombastic intro before he settles back into his melodic Pop Rock. With a big chorus he rocks it out a little ably backed by pounding drums courtesy of Nick Bertling. He has an approachable style which comes across well on Desert Ships, on which he has mixed English classic Pop and New Wave with a Steely Dan tinge. He certainly knows how to write a catchy hook and his guitar is kept in tow as it’s all about the melody. Earworms is an apt name for the album because on songs like The Unbroken you think that you’ve heard it before but even if you haven’t, you’ll be whistling bits of them for hours afterwards. Musically, it sounds a little like an Ocean Colour Scene song in places. The overarching feel of the album is one of intrinsic English Pop Rock, The Kinks, ELO, you name it and on Who Says I Need A Plan At All he uses all of those influences, along with the Beatles, of course. There’s a stringent organ theme running through it with pulsating drums from Terry Swain. He finishes all too soon with How To Survive Somebody. It’s a ballad which isn’t my choice to end an album with but when it’s as good as this then it’s less of a concern. He has a good tone and range to his voice and the harmonies used throughout have been very effective, along with harmony effect on his guitar. The song still has that feel that his music could easily transfer into musicals.

www.nickfrater.com

20/12/2021

Shrinari – Hold On To The Hope, Though

British-Spanish Indie Folk/Pop duo Shrinari, Lucidia Omamori and Rafael Marchante Angulo, incorporate harp, guitar and vocals into their deeply spiritual music. Eight self-penned tracks open with New Light and Lucidia’s angelic voice. Instruments gradually join with Spanish guitar and harp to the fore with Preetha Narayanan’s violin also prominent and taking a couple of short solos. It’s modern Folk based and a very gentle and soothing start. Soft and gentle would appear to be the path that we are on and it continues with Ancestral Fire. Lucidia’s harp takes on the role of bass but also notes in the higher range too. She has a certain strength to her voice whilst being dreamy and airy. Soft horns are provided by Robin Hopcraft and Idris Rahman with some not in your face percussion from Edu Olmedo. Desert Path is full of Eastern promise with Ailsa Mair Hughes’ cello giving that Middle Eastern feel. We get lots of rhyme with words ending in y for the first verse and Angulo’s guitar is up front for the first time as slide is used to great effect with scratchy strings. There’s no doubting that Reminisce is guitar led and it has more of a traditional Folk feel. Straight up guitar, bass and drums all backing that sweet voice. Keys are in there too with a solo duel with guitar towards the end.

Standing Rock is a surprise, starting off like a Marvin Gaye song, all Soul and Sax. We get joint vocals and a definite turn away from the contemporary and traditional Folk showing that they can turn their hand to other genres too. The vocal is a bit more edgy but you’ll drift away on this one, the second single from the album. Heren Wolf adds his considerable voice and range with great effect. The well-played electric guitar solo is also a departure. If you haven’t been already, you’ll be spellbound by Lucidia’s voice on the percussive and entrancing Listen Up. This builds well as other instruments join and they go off into hippy ethos with an interesting middle section which goes off into Spanish guitar rhythms. Sax joins as we drift off into the abyss before resuming the main theme. Soul Calling (Sweet Medicine Remix) has an atmospheric opening. It’s like Mother Earth is speaking to us and the environmental messages fit in well with our current times. Bass prominent as is flute and violin with quena and other world instruments adding to their carefree style. They finish with what was the lead single, The Gift, and this follows the theme of having very little pace but lots of impact. It’s Contemporary Folk with their environmental message. The hope is there that future generations will be around to hear the message, the gift.

www.shrinari.com

18/12/2021

Spygenius – Spygenius Blow Their Covers (Big Stir Records)

It’s not often we get a complete album of covers nowadays but Spygenius have gathered together some of their favourite tracks, both vintage and modern, to give them a little twist. The follow up to their highly acclaimed 2020 double album, Man On The Sea, opens with a medley of Paper Sun/Love Is Only Sleeping. The former is a good version of the Traffic classic with lots of energy. Sometimes covers are better, sometimes not as good but are still good tracks. This falls into the latter. A seamless link takes us into Love Is Only Sleeping, maybe one of the lesser known Monkees songs but Spygenius have given it new life. It’s taken from The Monkees 1967 album Pisces, Aquarius, Capricorn & Jones Ltd and it is a great idea to link the two, both from the height of psychedelia. Gene Clark’s So You Say You Lost Your Baby has been covered by a few but Spygenius keep the 60s feel for a very good cover. They are good, clear, strong singers and this comes through on their complete reimagining of Big Stir Records stablemates Plasticsoul’s Therapy. They’ve taken it back to the 60s and given it extra production with a sweeping, soaring chorus and sparkling harmonies. Come On Home has them remaining in the 60s for the twangy guitar of The Springfields hit. Beatles influenced and not ones for big solos, the songs are short, sharp and to the point. All in the 60s ethos of course, in some ways. Michael Hurley and the unholy Modal Rounders can’t often have songs covered but her we are with one in the shape of Griselda. It’s all fiddle and jaw harp as they go a little rootsy and folksy. It’s a real shock given what has gone before and at less than a minute long, just a bit of fun. Squeeze are one of my favourite bands so I was intrigued to see Is That Love included in this set. They are musically there but vocally don’t have that final piece that Tillbrook and Difford have. All said, it’s very true to the original.

They are firmly in the 80s now and Please Stop Talking, originally by Kelly’s Heels, is a strident Pop Rock that will have you searching out the original. It’s back to The Monkees for one that you will be familiar with if you watched the TV show and their pretty true cover of For Pete’s Sake takes you straight back to the 60s. The sea shanty, Murrumbidgee Whalers, is part of the roots of Spygenius coming from frontman Peter Watts’ pre-Spygenius band of the same name. Their voices suit this as well as they do the Pop and Rock songs. It’s very well performed if a little strange to have it here in amongst the others. The highlight amongst many is their version of The Soft Boys’ Queen Of Eyes. It’s 80s guitar Pop Rock personified, a great cover and I can see why it was selected as the single. Next up is Step Inside Love, yes, it is the Cilla Black, Paul McCartney written, hit! They play it in a lounge band style for the verse before rocking it up for the chorus. It works, although I’m not sure if they are being ironic, given their reputation for cheeky wit. Buffalo Springfield get a look in with the classic Rock ‘N’ Roll Woman and it’s back to the sweeping West Coast of America of the 60s and 70s and a rare outing for lead guitar. The closing track is one that I never thought I’d have heard as a cover, Madness’ Michael Caine. It’s probably the most changed cover on the album with harmonies not quite on point although you definitely know what it is. It’s hard to take on such an iconic band and song but they have finished the album ensuring that there is not one failure.

Various Artists – 10^th Anniversary: Garth Hudson Presents: A Canadian Celebration Of The Band (Curve Music)

The Band were so much more than Bob Dylan’s backing band and their influence through American music reaches far and wide. This collection of their songs, collated by Garth Hudson (The Band’s keyboardist), has some of Canada’s finest artists giving their interpretations of the songs, some well-known, others less so. I, like many others, missed the original collection so I am pleased to be able to get to hear this extended 10^th Anniversary edition. It’s been expanded to 20 tracks with the addition of two songs, Whispering Pines and Million Dollar Bash, played by Doug Paisley and Steve Leckie with Kevin Hearn & Thinbuckle respectively. The set opens with The Forbidden Fruit and Danny Brooks & The Rockin’ Revelators. They take this on with horns, keyboards and a strong, gritty vocal to give a ‘what’s not to like for an opening track’ vibe. Mary Margaret O’Hara gives us Out Of The Blue with traditional instruments aplenty including autoharp and steel guitar backing her classic vocal. Peter Katz & The Curious mine the essence of The Band on Acadian Driftwood. This is a stunning song and they give us a very good version of it, sung in French and English with accordion and stirring drums to boot. Neil Young & The Sadies give us This Wheel’s On Fire. Classic Dylan song done in classic Neil Young style. Ragged brilliance. Suzie McNeil rocks the joint on the raucous Blues Rock of Ain’t Got No Home and Cowboy Junkies bring us a laid-back vocal over a barroom Americana/Blues crossover on Clothes Line Saga. I’m sure I heard pan pipes in there but maybe it’s just me. You Ain’t Goin’ Nowhere highlights their Americana qualifications. Played by Kevin Hearn & Thinbuckle, who give a very true version, this is an acoustic wonder. Bruce Cockburn & Blue Rodeo give us Sleeping and his smoky voice delivers the almost waltz like track as they creep towards electric. The Band’s songs lend themselves to so many different ways of doing them and they were such a great band and often underrated. From creeping towards electric to full on from The Road Hammers on Yazoo Street Scandal. Hypnotic with a slinky vocal; nothing else needs saying. Raine Maida takes on The Moon Struck One and turns in a soulful vocal. That said, it still has The Band’s Americana feel written all over it.

The Sadies ditch Neil Young for The Shape I’m In and this is one of The Band’s best-known songs. I’m sure Garth had no problem including this keyboard fuelled cracker in the collection. Chantal Kreviazuk brings her sultry vocal to the heartfelt Tears Of Rage before Hawksley Workman rocks it up again for I Must Love You Too Much. He doesn’t take any prisoners on this and leaves it all in the recording room. Great Big Sea bring us Knockin’ Long John, exactly the kind of song and delivery that The Band were known for, pure Americana with Celtic influences and hard-hitting lyrics before Blue Rodeo come out from behind Bruce Cockburn for another of The Band’s big songs, King Harvest. They round off some of the rough edges of the original to give their own take on it, which is a brave step and one that comes off very well. The introduction to Move To Japan has, what can only be said as an Irish madman delivering a speech before The Trews romp off into a strong, electric and metronomic version of a great song. Garth makes a short cameo appearance on Genetic Method (Anew) and proceeds to show why he was once considered “the most brilliant organist in the Rock world”. The final track from the original collection is another classic, Chest Fever, which has Ian Thornley and Bruce Cockburn teaming up for a rocking, rollicking version and a different take on the original. The first of the two extra tracks is Whispering Pines and it’s back to acoustic for the sweet sounds of Doug Paisley. I’d say that this isn’t the typical Band song but what it is, is a very contemporary sound and shows that reach and influence mentioned earlier. The second of the new tracks and the final song of the set is Million Dollar Bash from Steve Leckie who is joined by Kevin Hearn & Thinbuckle. We have Latin piano and drums to open with before it all goes off into a Dr John style New Orleans shuffler with a gritty, sometimes belligerent vocal and keyboards that Hudson would be proud of.

I can see why these bands were picked for these tracks and I’m sorry that I missed it first time around.

www.curvemusic.com

15/12/2021

Brix Smith & Marty Willson-Piper – Lost Angeles (Grit Over Glamour/Cadiz Music)

Originally recorded in 1997 in Penzance during her second stint with The Fall and written in Los Angeles during her break from the band between 1992 and 1994, Lost Angeles is an album of the time yet of this time too. The opening track and angst-ridden lead single, Backwards, has a strong start with Pop Rock staccato guitar and a screaming solo from Willson-Piper and a vibrant rhythm section. The slower, more sedate verses of On Top Of You lull you into a false security as it bursts into life for the chorus and then back into solid Pop Rock. Smith’s sneering vocal at times brings out the rebel in her and her lyricism brings some fabulous rhymes such as bilious and supercilious. Marty’s guitar solo is piercing in the extreme and vocally they provide some great harmonies. Such a tight band. Sorry is acoustic led and their penchant for writing a big chorus comes out again on this well-crafted song. It is, of course, of its time but I feel that it is still relevant today. Marty adds some drawled, softly delivered lead vocal and their harmonies work well in front of a very good rhythm section. This will grow on you. Super Softy is delivered via thudding bass and a soaring Pop fuelled chorus. We do get the harder rocking verse again and they switch between the two very well. Sometimes Brix sounds quite childlike in her vocal, almost innocent and naïve, but dig into the lyric of Flower and you get a different picture. Keys/guitar sound like harpsichord in places as they bring a harmony that skirts on the edge of chaos sometimes. They do deliver some lines that will hook you in and in you will stay. Another bass heavy track is Orangina, all 90s Indie Rock, which of course it is, and with the big chorus that is now becoming their trademark.

Little Wounds has a pronounced vocal and a rhythmic chorus. It’s a little New Wave with a Punk attitude with bass prominent again. They turn to acoustic guitar for the gentlest track so far, Joys Of You. Keys and percussion are to the fore as they show their gentler side with added trumpet and a dreamy vocal. Star is a bit of a mish mash of styles, Eastern influences, rapped sections, sweet voice in some places and harsher elsewhere. However, one thing is constant and that is the big, soaring chorus. The pounding Here Today, Gone Tomorrow quite simply reminds us of the best of UK 80s and 90s Indie bands but it’s back to the sweet voiced Brix for Soup. However, just listen to the lyric “going to make a soup out of you” and you know that’ she’s not all sweetness and light. She’s going to do all sort of things to you and the way she puts it, you’d probably let her. I wouldn’t want to be an ex of Brix! They finish off with Hooves For Hands and it’s a low-key finish at that. Acoustic led, improvised trumpet and airy and atmospheric. It’s different from most of the album but the dark lyrics are never far from the surface.

It’s been a long time coming but Lost Angeles is finally found.

www.brixsmith.com

10/12/2021

Gina Sicilia – Last Bad Habit (VizzTone Records)

The latest single from Gina Sicilia has her displaying her deep silky vocal in a Soulful Blues Rock. A slow, piano led tale of letting go, it is powerful and rousing in the chorus with bass, drums and guitar meshing to provide the perfect backdrop to her voice, which has a touch of rawness to it in places. It's a precursor to her hotly anticipated new album, produced by Colin Linden, which is due out early 2022.

https://soundcloud.com/craiggouldmusic

09/12/2021

Tiny Fighter – Rewind (Bay Terrace Records)

Swedish-Australian Indie Pop outfit Tiny Fighter have been around since 2017. Initially formed around the duo of Therese Karlsson and Tim Spelman they have since evolved into a full band releasing a number of singles and a couple of albums. The new album, Rewind, features some acoustic reworkings of existing songs along with one cover and one sung in Karlsson’s native Swedish. It opens with You Said To Me and that acoustic vibe hits you straight away. It’s a gentle, harmonic, lovely song and is so calming as to take away the stresses of the day. Even this early on you can tell how well their voices work together. The one cover, Mackenzie Scott’s Sprinter, features Karlsson’s smoky voice over an airy, piano led refrain. Although this is good, it’s not a match on the opener. Folk, Pop and Rock influences come to bear on the light and dreamy New Century, which is just their voices, acoustic guitar and minimal input from other instrumentation. It’s back to piano led for If I Could See but this time they add drums and electric guitar as they expand their sound. That smoky, wispy voice takes you over again and they sing so well together, producing a full sound as they soar.

Happier takes us back to acoustic guitar and Pop, and this is the one that is sung in Swedish. Spanish guitar backs the vocal to give a strange juxtaposition. However, it doesn’t matter what language she sings in, she’s so engaging. Mandolin and pedal steel are added for Strangest Thing as they go for a more contemporary Country Folk feel. They even throw in an old-style key change towards the end for good measure. Acoustic and harmonic are two words that you will associate this album with for a long time to come and Tell Me fits the bill again. It’s maybe not as strong as the others to begin with but it does build with the introduction of light percussion before going off into a full band experience with electric guitar, heavier drums and bass. The second part is better than the first. They close with the title track and they do their thing again. It’s all wispy, harmonised voices, piano and acoustic guitar and they do it so well. Pedal steel is there again along with some strings to give a full, rounded sound. When you hear the name Tiny Fighter you could be excused of thinking that you’ve got a Rock band on your hands, an on some of their other recordings that’s what they are, but this is one time the name doesn’t fit the music as there’ll be no fight involved to win you over with this brand of soft, harmonic blend of Indie Pop, Folk and Country.

08/12/2021

Craig Gould – Captain Of The Seas (Craig Gould Music)

Already number 1 on the Amazon Music “Hot New Release” Folk Chart and number 4 on the iTunes UK Singer/Songwriter Chart, Captain Of The Seas is the second singe to be released from Craig Gould’s upcoming debut album which is due to be released next Spring. It’s a gentle and reflective, yet heart-breaking song with Run Remedy’s violin swirling in the background like the waves of the ocean and interweaved with piano from Anna Corcoran. Craig adds crisp guitar to a melody that builds like a storm as his voice bellows out in parts, showing good vocal range and a distinctive tone which couples well with the excellent voice of Blanid to deliver a thought-provoking lyric.

A nice touch by Craig is that the proceeds from the single will go to the mental health charity, CALM.

https://www.thecalmzone.net/

01/12/2021

Jon Spear Band – B-Side Of My Life (Self Release)

To celebrate 10 years together the Jon Spears Band bring us their fourth album, B-Side Of My Life with 11 new songs and a couple of covers. Opening with the funky, slinky Big Talk we immediately get a smooth, sharp vocal from Dara James on a tale of a man done wrong. Snappy bass (Andy Burdetsky) and guitar (Jon Spear) duel as the song goes through its paces. On Heartbeat Like A Samba we get a shuffling Samba beat which would be very easy to liken to Santana but although it has the feel it just doesn’t quite get the execution. We have very good guitar nonetheless from James and he also takes lead vocal again. The Shaman is a bit twee lyrically and although the Wishbone Ash style guitar fills from James are pleasant enough, it doesn’t match the first two. The guitar from James is good, as you would expect and Spear rakes over on lead vocal for the first time. It’s a little bit of Spears’ Rock N Roll voice for the title track with James adding harmonica to his repertoire. It’s non-threatening but full of verve with all the guitar styles sorted by Spear and barrelhouse piano added by Skip Haga. The Neville Brothers favourite, Yellow Moon, is bass driven by Burdetsky with funky jungle beats and a breathless vocal from James. He also contributes solid, slinky and fluid guitar to add to the overall Latin feel. They take that Latin feel into Follow The Light and go acoustic with a Spanish flourish. It’s driving and expansive with Spear taking on the vocal duties with aplomb.

The big sounds of The grinding Blues Rocker, Kick In The Head are fed by the buzzing guitar of James. It’s easy to listen to and also sing along to which is the sign of a good song. Burdetsky takes on lead vocal for this one which is a bit of a reflection of the past year. The Dobro is out for the introduction of Snakes And Spiders before it goes into a chugging beat. There is pointed electric lead from James, one of his best solos, and Haga’s Hammond filling out the sound. James is vocally on the top of his game on this tale which is, on the surface, a tale of being scared of creepy crawlies but some creepy crawlies walk on two legs. Can’t Have Nothing has a Rock and R&B crossover feel to it and played in the minor key. Burdetsky written and he also takes on lead vocal. James’ fluid guitar is again reaching the highs and certainly the highlight of the song which is middle of the road lyrically, being all about first world problems. Darker Side is mean and moody as the title would suggest and is a contemporary Soul Blues. There’s an expressive vocal from James as the tempo is slowed right down. His fuzzed guitar solo is excellent and whilst the second solo has the fuzz taken away, it is just as good if not better as it goes along. Haga leads the way on piano for the shuffling New Orleans sound of My Old T-Shirts. It’s not the best but that’s only because it’s being judged against some of the others. Musically its fine, Spear’s vocal is fine but I feel that the song is just going through the motions. I appreciate the changing of styles but he’s better at others. The Muskie Grind is grungy and darker than most of the others but in the end a tale of an obsessive angler. A good mid paced Blues Rock with Burdetsky on vocal. They go out with an up-tempo one in the form of Time For The Blues with Spear and James sharing the lead vocal. It’s a clean, swinging Blues full of name checks and all your favourites will be there. James makes a return on harmonica and his guitar is also pinging out notes as John Stubblefield drives it, as he does throughout, on drums. A good way to end an album.

www.jonspearband.com

25/11/2021

Malcolm MacWatt – Settler (Need To Know Music)

From the North of Scotland to the hills of Appalachia, Malcolm MacWatt spans the North Atlantic divide with his Scottish based balladry interwoven with Americana themes. Every instrument that you hear on Settler is played by MacWatt, apart from bass which is provided by Phil Dearing and electric guitar from Kris Drever. Guest singers apart, he also provides all of the vocals. Settler begins with Avalanche And Landslide and features Jaimee Harris on backing vocal. They both have big voices but the song can handle it and fits them in perfectly. The song itself is a gentle Americana about the perils of big business and how the little man always gets the raw deal. However, each little man is one small rock and one small rock can start an avalanche. It’s a good idea for what is in essence is a protest song. You immediately get an idea of his fine instrumentation on guitar, mandolin and fiddle in particular. His Scottish talent for storytelling comes out on Letter From San Francisco where Folk meets Americana with his Scots roots brought to the table too. It’s a gritty tale of a young man going to the California goldfields but it doesn’t turn out the way he wants and it’s a warning for the traveller in you. He has a gentle, soothing voice at times and on Ghosts Of Caledonia he uses it well. It’s a tale of the Scots who travelled the world and have their resting places far and wide but also of Scotland’s part in the wrongs that happened through history as well as the rights. Traditional instruments are again to the fore with mandolin, guitar and bodhran to the fore. Laura Cantrell adds her voice to The Curse Of Molly McPhee and Malcolm’s strong Scots Folk roots come through and not just in the vocal. Songs like this are the base of Americana/Appalachian music and it’s easy to see the connections Deep harmonies from Cantrell make this tale of a beautiful woman who spurns her suitors and is branded a witch for her trouble. My Bonny Boys Have Gone has the feel of a northern English Folk song but it is truly Scottish. Featuring Gretchen Peters, the harmonies are, like the others, simply exquisite. Malcom’s slide guitar is subtle excellence on this familiar sad tale of young men leaving home but taken from the perspective of the Mother.

He certainly has the guests on this album and Eliza Carthy no less pops up on The Miller’s Daughter. It’s pretty straight up Folk with strong vocals and simply great music. The subject of forced marriage is thankfully no longer the case in many countries but sadly still alive in a few. He flits between Folk and Americana very easily but stays with Folk for Trespass which has a tough message on the loss of local shops, of country culture and of the common land of the countryside. Kris Drever provides vocals and electric guitar for John Rae’s Welcome Home, a well-worn subject of a Scot leaving for foreign shores and making it big. This one is explorer Dr John Rae who went from Orkney to Canada but is not thought of in the same terms of others such as Livingstone. Malcolm gives it a contemporary sound for what feels like a traditional song, it is that well written. There are excellent harmonies again and Malcolm’s voice is peerless. It’s the most Scottish song on offer so far and the first he’s really sounded Scots too. Banjo Lullaby gives us another Scots topic – drinking. It’s a humorous tale of a banjo playing father who played so loud the children couldn’t sleep. Fine banjo picking from Malcolm on this Folk Americana again. He’s a perfect Atlantic crossover and there’s a nice touch at the end of the album where he explains about his own dog who sits quietly in the recording studio but as soon as the banjo comes out, he’s off! The last musical track is North Atlantic Summer where he confirms his excellence as a wordsmith. He’s a true modern artist who stays firmly honest to his roots with gentle songs and wonderful harmonies. Mandolin, guitar, slide and harmonies have been the mainstays of the album and we get them again in spades. It’s appropriate that I am writing this with the rain battering the window because sometimes you can’t tell whether it’s Summer or Winter in Scotland and I’m sure on the other side of the Northern Atlantic divide we are joined by that but also so much more as Malcolm has shown. The final track, About The Songs... An Oral Explanation, is a first for me as he goes through the songs and explains the background to each one. It’s a nice touch from an artist who comes across as one who wishes his audience the best experience of his songs by just sharing a few words covering each of them.

www.malcolmmacwatt.com

24/11/2021

The Mark Pontin Group – Kaleidoscope (Lunaria Records)

Mark Pontin is another in a long line of fine artists from South Wales and this is the Mark Pontin Group’s third album with Mark going down the concept route for this one. It’s all about someone who wakes up one morning to find that the love of his life has gone, taking everything with her, and his feelings thereafter. He opens, appropriately enough, with Sunrise, a short, reverb laden guitar instrumental. It’s obviously meant to be the start of the day but with small raindrops turning into heavy rain towards the finish you know he’s not having a good day. Everything (Today) is a slow Blues with a powerful vocal from Mark and a big production. We get stinging guitar to mimic the stabs of pain as he realises that he has been left alone. Deep organ vibes from Owain Hughes arrive on the slow grinder, Don’t Sleep. It’s Blues influenced and has us drifting through dreams with harmony vocals and classy Pink Floyd influences. This Will Never Be A Hit Now still shows no discernible rise in pace but it does produce some funky vibes with Hughes and Pontin leading the way on keys and guitar. James Garvey is throwing out some patterns on drums as horns appear in an Average White Band style. There are Steely Dan rhythms as well as Stevie Wonder too. Mark’s piercing guitar, played through whatever pedal set up he’s using (I can’t work it out), is excellent. The song itself is all about his views on the record industry and that sometimes it’s not the quality of the song that makes it a hit, it’s the amount of money spent on it. He steps out of the concept for this one song but strangely enough it could also be a metaphor for his relationship. His character descends into depression on the grungy Blues Rock of Starmaker. There are shades of Hendrix and Zeppelin and Mark brings us an extended freeform solo that any of the two would have been proud of. It’s played in the classic power trio format with Garvey on drums and Callum Morgan-Jones on bass. Mark likes to swap genres and add different styles and the orchestral strings on the intro to Roll With Me Easy is a classic example. Those strings lead into Mark’s guitar, played in a Snowy White style, for another slow one. It’s all very pleasant with Mark’s voice fitting well with the ballad.

There are shades of Southern Rock with a touch of Journey added for the lead single, Forever. It’s short and to the point with Mark turning in a pleading vocal as his protagonist goes through the wringer. Jazz guitar and Fender Rhodes electric piano set us up on Hotel Diablo, which is even shorter than the previous track. Bass and drums compete with the front two and provide an interesting mix as they go through the genres with a bit of Funk added to confirm the sense of losing control. Those genres are further expanded with the mid paced R&B of Hell’s Kitchen. It’s soulful, rhythmic, hypnotic and pulsating, I need say no more. If Free met The Atlanta Rhythm Section and Little Feat then you could imagine that they’d come up with Freeway Fantasy. This is wonderful with Hughes’ electric piano leading the funky groove and one with some pace at last. It’s back to slow Soul Blues for Waiting, which still has an edge of Funk but also brings the bass higher up in the mix. Mark is on form on guitar and shows that he is a very good player but what you shouldn’t forget is that he is a very good singer too. Everything (Tomorrow) is the flip side of the earlier track. Its got strings and a sweeping guitar, perhaps played through a synth. As with the rest of the album, Soul is never far away and Mark’s soaring vocal, as the character battles addictions, reaches a peak. With a title of Phoenix for the final track you might be excused to be expecting a flourish but it’s another slow one. However, the powerful chorus leads into a dramatic, cinematic sound as guitar sweeps in and claims the high ground whilst strings, keys, drums and bass power behind. You do get the feeling that he is reborn and it is a fitting climax to an excellent album.

www.markpontingroup.com

www.lunariarecords.com

19/11/2021

Lusitanian Ghosts – Exotic Quixotic (European Phonographic Records)

Coming from Portugal, Canada and Sweden and founded in 2015, Lusitanian Ghosts are a collective of musicians specialising in neo-Folk played on traditional instruments. That may put some off but believe me, it’s worth sticking with this. As with all collectives there is a main core and others who drift in and out. The current core numbers six and their mastery of the traditional instruments on show is never in doubt. I have never heard of many of these instruments and I doubt many of you will have either, so I apologise if I get the instruments wrong when commenting on the tracks. They open with Soul Deranium and an acoustic overload which gives an immediate impact. It’s anarchic and they manage to get percussion just from the traditional strings and handclaps. The bass line is feverish and Neil Leyton turns in a powerful vocal. Things slow down after the frantic start and drums from Joao ‘Johnny’ Sousa mix with Mellotron from Mikael Lundin to provide a builder of a song with an edgy Indie Folk vibe and a powerful chorus in Never Less Than Lonely. All The Sounds is expansive, layered and complex and they make you want to listen to them. Their roots come through strongly on the title track and with Lundin taking on lead vocal duty there is a slight change in mood. He starts off a little languid but then his strength comes through in spades. The bass line is always upfront and there are some drums on it too, which is not always the case. Older And Colder almost has a Medieval sound to start with, due to a slow, unceasing drum beat, backed by bass and strings. The vocal from Leyton is low key but the strings are hypnotic, in fact the whole thing is. It’s hard to tell where their influences come from and it becomes two songs in one when you reach a crescendo and then out the other side for Hometown and Lundin takes over the vocal.

Living One Life (Just Ain’t Enough These Days) could be a rail against modern living. Frenetic strings (becoming a signature sound) and a bass line high in the mix again. The stringed instruments used are Beiroa, Campanica, Braguesa, Terceirense and Amaranita but I have to leave it to you as to what is being played where. The song is built in layers again following two minutes of an intro. I have to say that they are a very good band and most certainly worth a listen. There’s a sharp vocal from Leyton as they take a Quixotic tilt at windmills for modern day living. Slow, shuffling drums and laid-back bass start off For The Wicked. Then, in come the ubiquitous acoustic jangles and an all-encompassing, dramatic and theatrical full rounded sound with Leyton showing that he has a good vocal range as he delivers a pronounced vocal. The upbeat Lisbon Calling bounces along and comes across a bit Fratellis, a bit Razorlight. They are infectious with this edgy Folk Rock. She Couldn’t Jump is another hi tempo one but the lyrics are not so upbeat, making it a bit contradictory with sha la la’s behind it. It’s happy and sad at the one time and very short. The strangely titled Live The Flea closes the album. It’s back to the muted drums and bass, funereal pace and acoustic strings behind a melancholy vocal from Leyton. A slow one to finish; I was convinced they’d go out with a bang. It does build and there’s a little Led Zeppelin in there as electric mayhem starts. The bass holds its own against the power of the other instruments. Eastern influences come into the mix as the song becomes Levalopan for the final stages. Congratulations go to the rest of the collective – Omiri, O Gajo, Abel Beja, Janne Olson and Vasco Ribeiro Casais for their commitment to traditional instruments.

Lusitanian Ghosts are one of my surprises of 2021.

www.lusitanianghosts.com

18/11/2021

Starlite Campbell Band – Language Of Curiosity (Super Tone)

Married duo Suzy Starlite and Simon Campbell bring us their second album, the intriguingly titled, The Language Of Curiosity which is full of tales of post-modern real-life experiences via 10 original songs written by the pair. They open with the powerful Blues Rock of Distant Land, although it does creep into the edges of Alt-Country at times. It’s a driving, pulsating opener with edgy guitar from Campbell although I feel that his vocal is a bit safe. The first of the two singles is Gaslight, which starts out like the Stones, no bad thing, before becoming a storming, rocking, rolling cracker of a track. The title track is the second of the singles and is full of 60s guitar effects, Hammond B3 from Jonny Henderson and Suzy and Simon on a joint vocal. He does go a bit unexpectedly Scott Walker in the middle and there are plenty of other influences flying around, all which makes for quite a decent track. It becomes very percussive towards the end. The soft Rock of Bad Sign follows with Suzy taking over on lead vocal for a Rhumba based beat in the mid-section and Simon bringing Latin guitar over castanets played by Maria Saalfeld Reis. Take Time To Grow Old is a piano and organ led Clapton style melodic Rock ballad. They like to change things up in their middle sections with this one having choral vocals in addition to the expected guitar solo. It finishes with just piano playing a few sad notes, I suppose to give the impression of getting old and perhaps at the end.

Said So has a riff straight out of The Kinks’ songbook. A strident Blues Rock it is full of rhythm and power but with a slower mid-section. We get the effect of dual lead guitar via his pedals but probably also with the aid of the multitude of other aids such as theremin, Moog and plenty of others. It speeds up like a car going from 0 to 60 in 5 seconds and goes all free and rampant psych at one point in the solo. It’s back to The Kinks for the last minute of what is a rollercoaster of a song. The acoustic led It Ain’t Right has Suzy taking on lead vocal for a change. It’s airy, floating and full of harmony. I’m getting light Rock with a 60s West Coast USA feel and that’s no bad thing. Stone Cold Crazy is an out an out mid paced rocker with a strolling guitar riff. Zeppelin, Queen and Free influences abound but they are a good band in their own rite though. Simon’s guitar is very good on this and we mustn’t forget the rhythm section, Henderson on drums and Suzy on bass, who keep this going. A little dual guitar effect a la Allmans thrown in, but not too much. Suzy’s bass is prominent on the expansive, slow Blues of Lay It Out On Me with piano and drums providing the percussion. Simon’s voice has been fine throughout but this is probably his best performance and his fluid, slinky guitar solo again shows a certain level of skill. Like me, you’ll not know what to expect on Ride On Cowboy. Suzy takes on the vocal again with as phased effect at the start before we eventually get to the main track. What that turns out to be is a funky throwback and another that’ll take you to the 60s and 70s. There’s disco, there’s Steely Dan, there’s Soul, there’s who knows what. What it is, is it’s an up-tempo finish to the album with jarring guitar from Simon towards the end just to remind you he’s there.

www.starlite-campbell.com

17/11/2021

The Korgis – Kartoon World (Angel Air Records)

Those of us of a certain age will remember The Korgis big hits of the late 70s, early 80s, If I Had You and Everybody’s Got To Learn Sometime. Well, they are back with their first album in 30 years in the shape of Kartoon World, which is subtitled The History Of The World According To The Korgis 1980 – 2030 and comes in a 2 CD package. They didn’t set out to write a new album when lockdown happened and they didn’t set out to write a concept album, but one year later it arrived. A short orchestral piece, Kartoon World Overture, leads into the first full length track, Bringing Back The Spirit Of Love, which is unashamedly Pop. This takes us back even further than their original heyday with sounds of Pilot and such. Tenor vocals from James Warren and John Baker, synths from Nigel Hart and it sounds young and fresh. There are punchy guitar fills from Warren and plenty of Beatles and Tears For Fears influences. Next up is Back In The Eighties and its back to the synths sounds of that era too. This is up-tempo Electro Pop and all part of the concept of the album, looking back from the future. Big 80s bands, songs, films and toys are all getting name checked and the backing from Born To Win (Jay Marshall, Ava Volante and Emmy Rivers) in the mid-section is very good. All Roads Lead To Rome is a ballad which shows that they have not lost any of their vocal presence in their absence. The song is not out of place nowadays and has a nice slide guitar interlude by Warren and some lovely Gospel style piano from Hart. The verses of This Is The Life area all fuzzed vocal and modern drum patterns (Paul Smith) with prominent bass. The chorus is light and airy and they throw in a key change in keeping with 80s Pop. Peter Karrie, best known for being the longest serving ‘Phantom’ pops up as a ranting New Yorker, complaining about everything. It sounds like a harpsichord on Time (Song For Dom) and this could be Al Steele adding a Baroque feel. It also sounds like a clarinet in the chorus but could be further keys, there are lots as there is a Hammond in there from Hart too. It’s all very melodic with changes of style from verse to chorus and a further change to Prog Rock in the mid-section. It’s not the same, but do remember John Miles and his singles that were like little Rock symphonies, well it’s a bit like that. A tale of excess, LaLa Land is middle of the road Pop Rock and very frivolous as you would expect from the title. The Beach Boys harmonies add to the overall feel.

Magic Money Tree has a strange wispy intro and then goes into an 80s smooth Funky beat. If you listen to the lyrics of this and the others then you’ll get a certain feel of their sense for social justice and cynicism. The very mellow and thought-provoking Space is like their 80s hits in that it is a melodious and heartfelt Torch song. It does feel at times that you are floating through space. The two of them sing well together and on This Is A New Low they make it feel as if they have never been away. It’s a bit grittier musically and the changes in style and tempo serve them well. This is very good and will grow on you. Broken is very much in the style of the songs that brought them success; a harmony laden Pop ballad with Warren’s piercing guitar cutting through the harmony. They do have some upbeat rhythms on the album and The Ghost Of You brings some of those. There’s a soaring vocal and is another example of their ability to construct well written Pop songs. You’ll probably be whistling this within minutes. There’s a very short, orchestral Bringing Back The Spirit Of Love (Reprise) before they go off to their Cartoon World. This is instrumentally reminiscent of the 60s in parts and very contemporary elsewhere. It’s another slow-ish one which takes a darker, wistful look at life. They haven’t put a foot wrong so far and I don’t expect they will now. It’s a gentle acoustic finish for The Best Thing You Can Do Is Love Someone with Warren and Baker taking turns at lead vocal. They are both strong singers as is Steele and the three of them also contribute acoustic guitar as they have done throughout. Born To Win provide excellent backing vocals again with the whole thing taking on an airy feel. The concept of the album is that love, not technology, will save the world. It may take a little of both but I get the sentiment.

The second CD is a vinyl mix of the first CD to give us the full retro dynamics plus the original demo of Magic Money Tree, The Dark Matter Mix of Space, The Total Breakdown Mix of Broken, The Dancing Spirits Mix of The Ghost Of You and The Budget Hollywood Mix of Cartoon World. So, they’ve been busy boys!

www.angelair.co.uk

The Jokers - Rock And Roll Bones

Ahead of their upcoming album of the same name, The Jokers bring us the lead single, Rock And Roll Bones. On this, the band struts their stuff with a hard-hitting classic rocker. This has all the traits of the Classic Rock genre including falsetto harmonies, thunderous power chords and pounding drums. There are no big solos though as they stick to a set of short sharp and full of impact vignettes. If you like your AC/DC and Aerosmith then The Jokers could just be for you. Be warned, it's infectious!

www.thejokers.com

16/11/2021

Simon Bromide – Following The Moon (Scratchy Records)

Simon Bromide, aka Simon Berridge, may well be best known for being the frontman of South London Indie Power Pop band, Bromide, this time brings us a solo album but with a lot of help. The infectious Indie Pop of the single, The Waiting Room, introduces us to the world of Bromide. It’s essentially whimsical English with a vocal that can be a bit alternative at times, wistful at others, and is bouncy and catchy at all times. Chinua Achebe is acoustic led with fluid bass from Ed ‘Cosmo’ Wright and ragged electric lead. There is a kind of Ray Davies/Damon Albarn style to his voice and like Davies he can write a catchy tune. Another that is acoustic led is The Skehans Song, which pays homage to the Easycome Club, the longest running Wednesday night acoustic club in South East London. It may well be the only one, who knows? There’s a bit of chatter at the start before the airy, multi layered drifter of a song takes over. Everything just fits with Katy Carr’s piano adding depth. He does like to have acoustic guitar as the base for his songs and Not That Type is no different. Electric always comes in pretty quickly and this time we have Hammond from David Hale/Dimitri Ntontis for company. These are good Pop songs with a touch of New Wave, done in that Kinks, Squeeze kind of way and brought to the modern listener.

The Argument feels like a live recording and the Spanish guitar intro is a different route. There is a definite Latin feel to it with trumpet from Terry Edwards adding to Bromide’s guitar and effects from Stephen Elwell. He throws in another of his excellent catchy chorus’ for good measure. We could be in a Mexican hacienda one minute and in a London pub the next. Ed ‘Cosmo’ Wright plays the excellent lead guitar solo. As I’ve already said, he likes to base everything around his acoustic guitar and then add whatever feels good to go with it at the time. This time, for Slow Release Love, it’s a slinky bass from Wright, subtle drums from Fells Guilherme and harmony vocals. What you can hear for sure are the Neil Young influences. One that doesn’t start with acoustic is the title track. This has some industrial, fragmented electric before we return to familiar floating, dreamy sounds. On Reflections Of Seating, Wright’s bass is prominent as Simon slows matters down a little. He still has that cross of Davies and Albarn vocal and it’s hard not to like him as the songs are so approachable. His voice may put some off but that is part of the charm and he’s not a bad singer, he’s just a bit different sometimes. The electric lead is simple and effective and floats through the song with Carr’s piano like the thread that keeps it together. I’m actually surprised at what I’m hearing as I didn’t expect it. This will grow on you as the little hooks catch you. The final track brings us Earth’s Answer, a serious, no kidding lyric from William Blake set to music by Simon. It’s a slow finish, befitting Blake’s work, with Julie Anne McCambridge adding some ethereal backing vocals. The atmospheric, sweeping waves are from Ntontis on Mellotron and effects from Elwell I assume and jagged guitar in places gives that wake-up call. It’s not the same as the rest of the album as it is devoid of the hooks so prevalent elsewhere and is a low key, sombre finish that is perhaps appropriate for the times we find ourselves in.

15/11/2021

Matt Patershuk – An Honest Effort (Black Hen Music)

Another from the excellent Black Hen Music label in Canada is the new album from Matt Patershuk, An Honest Effort and it’s more than keeping up with the rest of the top albums they have released this year. His easy-going baritone voice takes us through the opening track, Johanna. This is laid back Americana and about a lost woman who the narrator hopes gets lost in the best way that she can. This is followed by the intriguingly titled Jupiter The Flying Horse, a wistful, gentle and lovely Americana tale of a circus horse falling in love. We get some harmony in the chorus courtesy of Keri Latimer, harmonica added by Fats Kaplin and minimal lead guitar from Steve Dawson, the latter two having already featured heavily in my reviews this year, over an acoustic backdrop from Matt. There is no increase in pace as Matt meanders through Sunny, although he doesn’t hold back lyrically on this tale of a woman who is trapped in a bad situation. At times you get the feeling that he is only singing to one person in the room. Jeremy Holmes adds mandolin to Turn The Radio Up, a phrase we’ve all used at one time. Matt has that gentle manner about him and Dawson’s electric guitar gives us the sharp to Matt’s smooth. There’s a little percussion too from Gary Craig as Matt reminisces what it was like when he was younger but that being older is ok too. Afraid To Speak Her Name is quite unique. It’s just Matt and guitars with Dawson all over it, hitting reverb and slide on his Weissenborn. It’s extremely slow with Matt adding a smoky vocal to the few lyrics that there are and dispensing with a chorus altogether.

1.3 Miles brings us fiddle and banjo from Kaplin on this rhythmic Alt-Country feelgood tale. Latimer is back on harmony vocals for the story which starts out with Matt shooting at a coyote who was trying to kill his cats. The bullet parted the coyote’s hair but a round like that can go on for 1.3 miles so it then went on to just miss a mother sparrow and finally dropped to the ground on the spot where one of his neighbours had lost his wedding ring. He was looking for it with a magnet but gold is not attracted to a magnet so it was the bullet that was picked up and there was the ring beside it. Another great story. He’s on the Country side for Stay With Me and despite its lack of pace, has a bit of a barroom feel. Where are his influences, I hear you ask? Well, it’s difficult to tell but Hank Williams obviously to start with. He gives it a classic Country vocal as Kaplin returns on harmonica and Holmes comes through on upright bass. Latimer’s backing is subtle this time in keeping with the subject matter and lyrics such as “Stay with me ‘til the light grows dim”. It’s a song about his father and about dying. Here’s a title for you; The 2^nd Law Of Thermodynamics. There was a first one apparently on a previous album and you know I’m going to dig it out now. It’s just Matt and Kaplin’s banjo to begin with before acoustic guitar, Latimer’s sweet voice and Holmes’ mandolin gradually join in. He likes dark and obscure lyrics at times and he’s straight to the point at others. At all times however, he’s a 21^st century Americana man. Slide acoustic is well played by Dawson and everything is done in Matt’s inimitable gentle style. It’s a song about the randomness of the universe, all done in 4 minutes. The horse theme comes through again on Clever Hans, one about horse who could do tricks like counting (add, subtract, multiply), although you sometimes have to ask him the question in his native German. He’s still in that gentle Country vibe with his baritone voice over acoustic and electric guitars from him and Steve. Just sit back and listen, it’s that kind of song. It’s a lovely song and he is a lovely wordsmith. From a title such as Shane MacGowan you’d be expecting a rollicking mess of a song. But no, it’s about Shane’s new teeth! Matt has certainly done his research and delivers a clever and humorous lyric. He also throws in a few notes on the accordion to augment lap steel fills from Dawson. It talks about Shane picking up radio stations through the magnetic pegs in his mouth as well as him letting you touch his gold tooth but only if you are quick enough as he still bites. The final track, Upright, has Kaplin flitting in and out on banjo with acoustic guitar for company. We didn’t get a fast one after all but I’m not complaining as the quality throughout has been spectacular. Latimer returns on backing vocal for this funereally slow, melancholy yet happy song with memories of his mother or perhaps his grandmother? Any way, it’s very easy to listen to and the lyric draws you in.

As a song writer he can hold his own with the likes of Prine, Kristofferson and Earle and as a performer he must surely now catch the notice of a far larger audience. An Honest Effort? That’ll do for me.

Proceeds of the record will go to Horse Lake First Nation School.

www.mattpatershuk.com

www.blackhenmusic

12/11/2021

Hanna PK – Blues All Over My Shoes (Booga Music/VizzTone)

Born and raised in South Korea but now resident of Rochester, NY, Hanna PK hasn’t had the traditional route to being a Blues singer. However, with her first release for Kenny Neal’s Booga Music she shows that hard work and practice means that it doesn’t matter how you get there, as long as you get there. Up first is Mirror Mirror with Hanna immediately setting out her skills on piano and Neal adding harmonica to match. She has a strong vocal for this slow Blues with New Orleans influences. Neal’s harp plays some deep, boss notes to add to the vamped mid-section. Bad Woman, the single, is a striding piano Blues and she shows how good a piano player she is. Along with Veronica Lewis, she could lead the female Blues piano players into the coming years. A very good act. The sweeping, grand piano Blues of Insomnia Blues follows and there is more than a touch of Chicago style but it’s difficult to hear who her influences are. She stays true to minor Blues stylings and doesn’t drift off into hybrids and gives an emotional and strong vocal. The only cover on the album is Memphis Slim’s I’m Lost Without You and Hanna makes it a shuffling R&B with additional pace and a swing section. Not to anyone’s surprise, there are touches of New Orleans again and we’ve found one of her influences. She can play it soulful too as shown on the slick, piano bar Blues of Love Keeps Walking In.

It’s Alright Baby is a mid-paced New Orleans Boogie displaying some top playing with her band deserving a mention too with bass and drums excelling. Hammond organ backs her on the Soul laced No One Will Ever Know before the bright syncopation of the bouncy, upbeat and feelgood I Ain’t Gonna Be Looking Back No More. She changes tempo again for the slow Blues of It’s Been Raining In My Heart with the Hammond filling out the sound again. Her voice is full of emotion and her playing is so fluid. She hits a slight lull on Bad Habit and although it is up-tempo, it’s not up to the standard of its predecessors. Everyone likes a bit of Boogie Woogie and it’s a good way to end the album on Two And Four. It’s not lightning fast but it does keep a good pace with shuffling drums and Hanna’s piano flowing to the end. Watch out for that rhythm.

Hanna PK is one to keep an eye on!

www.hannapk.com

www.donor.company/rootzrumble/

I Am A Rocketship – Lies And Legends (My Long Wknd)

American-Swedish Indie Pop duo I Am A Rocketship are based in Atlanta but there’s no hint of the Southern style Rock from them. Rather, they take the edges of Rock and push them with programming and dramatic psychedelia. They open with Fever Dream, one of the singles, and you are immediately hit with their dynamism and L E Kippner’s vocal. The music sways back and forth from bombastic to very gentle before it builds again with power chords aplenty. This is the theme throughout with the gentler parts for the vocal. It’s strong Rock with no big solos but with stringent drums and bass. The airy and dramatic Revolution follows on at a funereal pace before we get the marching opening to Stone. This is very percussive yet melodic Rock with sweeping vocals and harmonies. There are keys and horns in the middle section and a soaring chorus to contend with too. Beatles songs are often covered but I’ve not heard many, if any at all, of Taxman. I’ve said that they are a very percussive band already and this opens with an interesting drum pattern, certainly different from The Beatles’ original. They’ve not tried to copy it and that’s a good thing because it’s difficult to get that authentic Beatles sound but they’ve rocked it up for the 21^st century. Set The Controls To Forever is very theatrical Indie Rock. Drums and guitar from Eric Weissinger are digitally beating away on this futuristic Rock.

They stay with their drum heavy sound for Insurrection with Weissinger throwing in some fragmented guitar and Kippner’s sweet, almost angelic, vocal playing against the rage of the music. There are more stomping Rock beats under her wispy vocal on What’s This For, the second of the singles. It’s a great contrast and they deliver it well. It’s drum laden, full of power guitar and heavy, industrial bass riffs. On Poppy Hill is grim and grungy with heavy guitar riffs from Weissinger but it all goes softer when Kippner sings. Her wistful vocal fights with the harsh guitar to an apocalyptic finish. It’s a complete change for Ignorance which is very light and bright and not like most of the others at all. They show that they do sing well together as synths and guitar swap riffs throughout. They give plenty of light and shade on the album albeit shade normally wins. The closing track, Hide, has a perfect blend of both, dramatic in its complexity yet with such an innocent vocal.

Do you want to try something different? Give I Am A Rocketship a listen.

www.iamarocketship.com

Barrie-James – Strange Desire (Vacancy Records)

Strange Desire is the third album from Scottish singer songwriter and former member of Kassidy, Barrie-James. Now firmly ensconced in Los Angeles, he has turned to an Alt-Country vibe for this new album which features Lana del Rey and Ashley Campbell. He opens with the moody Angry Man, which builds well on the edges of Americana and Folk with his voice, which has just enough grit in it, making its presence felt. Country 33 is definitely in the Country field, albeit in the Alt area and features Ashley Campbell, daughter of Glen Campbell, on joint vocal. Their voices work well together and they could easily go down as a Johnny Cash and June Carter for the 21^st century. It’s all acoustic so far and Solid Rose doesn’t change that. The echo placed on the vocal adds atmosphere and compliments his guitar and occasional notes from the piano. On the whole it’s just him and his guitar, troubadour style. However, it all changes in the last minute as he goes off into a side bar with some percussion, piano and cello (Susan Appelbe). It’s a strange end to the song. He’s hard to pigeonhole as he flirts on the edges of genres and on Pretending Not To Breathe he would easily have fitted in with the acoustic artists of the 60s and 70s. There are some backing vocals here from Darren O’Neill which add depth and when harmonica (Hugh Kearns) and drums join in half way through we also get the first sign of electrified guitar from Jon MacKenzie. The pace hasn’t risen very far at all yet and it’s all very sedate and calm. We do get a touch of pace at last on Emerald Girl and we are riding like a train. He still has that echoed vocal like he’s in some sort of chamber but it’s not unpleasant. He’s also still on the edge of Americana, Folk and Country but this time he throws in some brass (trumpet by Gary Gillies) as well as strings. Bad Girl opens with some tribal beats and when it goes electric it is a bit of a shock to the system. He rocks it out on this one with perhaps Neil Young and his ilk as influences.

It’s back to acoustic for the title track but its grungy acoustic played on 12 string, which looks to be a favoured instrument. The bluesy and dreamy Open To Magic has him hitting the high notes with ease, starting to show his range as a vocalist and his storytelling comes out on Anything where he sweeps and sways in the best Neil Diamond fashion. He has a very easy to listen to style, aided by keeping other instrumentation to a minimum but piano and percussion do fill out the sound where required. That’s Alright is gentle, like most of the others and although electric guitar is deployed, it is used in a sympathetic way. He’s back to his trusty acoustic for the jaunty and shuffling Lady Alone and again he shows what a good vocal range he has. He could be a Cat Stevens for a new generation. I know Cat has changed his name to Yusuf but you know what I mean. We get a little lead guitar on this one, something that hasn’t often been heard. Riverside is the closing track of an album I don’t really know how to categorise. We have piano involvement as well as electric guitar but it is those gentle vibes that come through again. He is a performer, a songwriter, a singer but is it soft rock, is it Americana, is it Folk or is it Country? All the elements are there and we have a quite unique artist. Lana del Rey adds her considerable vocal to this airy and atmospheric finish. You’ll not believe that it is the end of the track and the album as you’ll think you’ve not long started it, it’s one of those albums.

www.vacancyrecords.com

11/11/2021

The Ragged Roses – Do Me Right (Rootz Rumble)

The Ragged Roses are a new band but that doesn’t tell their story. They are veterans of the Belgian Roots scene with new frontwoman Katrien providing an extra something. Their debut album, Do Me Right, is a melange of Rock N Roll, Rockabilly and Blues that will make you take notice. The Rockabilly opener, Hoodoo Voodoo, sets their stall out perfectly. They are ragged by name and ragged by nature as they deliver with unkempt exuberance, sharp guitar and a bouncing rhythm section. Katrien’s vocals are expressive but may take a wee while to get used to for some. She uses her distinctive voice heavily on Crying Over You but the overarching sound is that of the classic, rapid Rockabilly guitar with the drummer thrashing it out and the upright bass holding it all together. The effect is frantic and free flowing. Katrien delivers her best vocal so far on the striding title track and continues on Tell Me, which is classic Rock N Roll/Rockabilly. It sounds just home made enough to make it sound authentic. They don’t try too hard to sound American and I quite like that. They also have themselves a classy guitarist who has all the right moves and the drummer’s cymbals don’t half get a pasting. They slow down for the first time on Falling Out Of Love with its slinky, feline guitar and vocal. This is the single and it suits that European edge to the voice. A 60s spy thriller theme if I ever heard one. Cravin’ For Your Lovin’ is forceful with subtle tempo changes and confirms that this is a band to get you going.

They bring out their best Stray Cats impression for One Look (Tangled Up In Love). I just hear Stray Cat Strut and that’s no bad thing. The guitarists tremolo arm in bloom and I bet you he plays a Gretsch. He is very good and Katrien is better vocally than on some of the others with the slower paced suiting her. They up the pace again for Sugar Coated Lovin’ and it has that retro vibe again. The guitar is the star in this band, no doubt. Never Gonna Break My Heart is a breakneck shuffler with all their rough and ready personalities coming through. They have the true ethos of Rockabilly and there’s that guitar again. The bass gets a run at the start of the only cover on the album, that of Del Shannon’s classic, Runaway. This is one of my favourite songs of all time and their slowed down version is intriguing. It’s a good attempt to try and shake it up a bit but this song has to be played fast and the guitar, not matter how well played on the extended rampant solo, doesn’t take the place of the keys on the original. They are back to what they are best at on Right Track and that is rocking at a breakneck speed. This is more like it. The bass is getting slapped along with flurries of notes from the guitar, a sharp vocal and thrashing drums going like a train. The final track, Way Back Home, is like a drunken end to a night with all sorts of thoughts running through your head. It’s a ballad and a strange one to end with in some ways. Maybe we’re all feeling a little punch drunk? We get more Blues than on the rest of the album with plenty of Blues notes and nice touches on guitar.

09/11/2021

Abby Posner – Kisbee Ring (Self Released)

Award winning, LA based songwriter Abby Posner’s new album, Kisbee Ring, is a deep dive into topics such as depression, racial unrest/injustice and the urgency of getting help when you are in a dark place or “lost at sea”. The kisbee ring is another name for a life preserver or the big life saving rings you see at the seaside and on ships. Abby is a multi-instrumentalist, highlighted by the fact that she played all bar one instrument on the album and then went and mixed and produced it. The gently percussive title track opens proceedings and is a slow builder. Abby’s honey-soaked voice makes this a very gentle and calming opener, despite the theme of an unravelling relationship. Low Low Low, one of four singles on the album is still on the gentle road but there is an increase in tempo. It is simply wonderful with shades of Joni Mitchell and others flitting in and out. The lead single, Emergency Use Only, is, as are the others, acoustic and tender at that. Lyrically smart, it talks of breakdowns in communication. Banjo is deployed for Joshua Tree and she has such an easy way about her and so easy to listen to. This is way too short. Abby is always challenging us with her lyrics and on The Trilogy she’s not really like anyone else around just now but is an amalgam of many who have gone previously.

Gentle is her way and acoustic is her way and she has already proved how good she is on guitar and banjo. She confirms her prowess on guitar on Fall Apart as she continues to keep percussion and bass to a minimum. Keys are added on this one to give a little counterbalance but she doesn’t overegg the pudding, she just plays the song and moves on. This is music to relax to and I respect her conciseness for this style of music. She will work her way into your consciousness and gets great effect with little instrumentalization. She goes slightly Country with the addition of mandolin on Blind Spots. As ever, it is beautifully sung and has a lovely riff, but this time it is delivering a hard-hitting lyric about racial discrimination. It’s the longest track on the album despite only being 4:41 long but even then you won’t notice it as time goes by quickly when you listen to her. The third single, Wishing Well, is not the old Free track but rather a Country flecked, Folk flecked track with some Rock phrasing, all wrapped up in her inimitable tender style. The lone extra musician, M’Gilvry Allen, does his thing on fiddle. This is a song about putting everything into your dream career but what it does to you in the long run. You could get maudlin listening to her lyrics but strangely enough the opposite effect comes out. Her mandolin takes the lead again on Is It Wrong with that lovely voice coming through again over a track that sweeps over you like the waves of the ocean. On Digging Corners, the fourth and final single, she finishes the way that she started and, in fact, has gone through the whole album. It’s just her and her guitar as she takes you away from the cares of the day.

I’m not sure if there is anyone out there doing what Abby Posner is doing but it there is I’m sure they won’t be doing it as well as her.

www.abbyposner.com

02/11/2021

Zac Harmon – Long As I Got My Guitar (Catfood Records)

Texas based singer/guitarist Zac Harmon and Grammy winning producer Jim Gaines have got back together to bring us Long As I Got My Guitar, Zac’s latest album. His style of Soul, Blues and Funk comes across throughout the album which starts with Deal With The Devil. Zac delivers some smooth, sharp guitar on this Soul Blues and his classy, dulcet vocal is a perfect foil for the gritty track. He stays classy with People Been Talking, a slow Blues. He has that slight smoky quality to his voice which is complimented by the slinky background vocals from SueAnn Carwell and Corey Lacey. His guitar is piercing but he doesn’t overdo it – sometimes less is best. Dan Ferguson’s accordion adds a little southern flavour to Crying Shame, a Fats Domino Louisiana stroller. Zac’s pointed guitar has just enough bend and hammer to satisfy and he’s certainly not one for over egging the pudding. It’s as it says on Soul Land. It’s Soul but it’s funky Soul. It’s not the strongest track on offer so far but it’s worth it for the full sounding chorus which is aided by the backing singers again. He doesn’t always take you down the road that you think you are going on. For the song, it feels like it’s trying to be a Marvin Gaye song but doesn’t quite reach it. A bit of a 70s throwback overall. Love For You Baby is sugary sweet Soul with very smooth production.

The title track is a contemporary Blues, all grown up and late night, gritty music. That feeling of grit flows into the edgy Waiting To Be Free with Zac’s guitar stinging you throughout and its sense of social consciousness. New Year’s Day makes it a trio of strong songs before a dip towards the end of the album. Imagine A Prayer has a sense of vibrancy but it’s just missing something and it’s all just a bit too smooth, considering the trio of songs that have just gone before. However, he redeems himself with the low key spiritual and emotional Ashes To The Wind.

www.zacharmon.com

01/11/2021

Moonshine Society – Sweet Thing (Mojo Music Group)

Formed in 2009, Moonshine Society is a band who have built a solid reputation as a live act. Sweet Thing is their second album from 2019 and this is a Special Edition containing three bonus tracks along with the original nine. Containing a number of originals plus some carefully selected covers, it is well worth a listen. They open with the title track, a slow, lumbering Chicago Blues featuring Jason Ricci on harmonica. This is a behemoth of a song with singer Jenny Langer giving us a teasing vocal which she lets rip at times and Ricci wailing away on harp. This is a powerful start. Shake is an up-tempo R&B with Ron Holloway on sax making a telling contribution. The punchy rhythm of the song is a great underscore to Joe Poppen’s stinging guitar solo and Jenny’s on the point vocal. Ruth Brown made Mama, He Treats Your Daughter Mean famous and Moonshine Society have come up with a great version. Some lovely drum rolls lead us into this New Orleans funky Blues and the storming muted trumpet of Vince McCool is a highlight but matched by both Holloway on tenor sax and Ken Wenzel on baritone sax. Come On Home is some smooth, sweet Soul. With Benjie Porecki’s Hammond just audible in the background giving a certain depth. Jenny has the voice to span the genres and she can hold a note with control in her power phases. Familiar jagged guitar from Poppen in his solo and a sweet one from Holloway on sax. Ricci returns on harmonica for Southern Road, which cites Johnny Winter as co-writer along with Langer, Poppen and Christopher Brown. This is a funked up, rocked up Blues rocker with guitar and harmonica vying for top billing but Ricci’s harp just edges it. Biscuits, Bacon And The Blues starts off all Gospel before going off into a shuffling, music hall R&B. It’s full of happiness and what’s not to be happy about? Poppen pings out the notes to add to the sense of exuberance.

Use Me On Gilded Splinters is a mix of the Bill Withers song Use Me and Dr John’s I Walk On Guilded Splinters (UK listeners will probably best remember Paul Weller’s version of the latter) and in true Dr John fashion is a funky Blues. The backbeat of the rhythm section (Christopher Brown on bass and Rodney Dunton on drums) provides a great base for Poppen to do his extended solo on guitar and for Jenny to use that expansive voice. Brown is very expressive on bass with some good lines. I’d Rather Go Blind is one of the first records that I bought so no pressure on Moonshine Society here then. Jenny adds a smoky vocal which, if anything, has added more Soul to it. Is it better than the Chicken Shack version that I bought? Probably not, but it’s very close. Etta James had the original of course so that’s another titan to measure yourself against. Poppen’s subtle guitar solo fits in well with the ethos of the song. The last of the original album tracks is Deal The Devil Made and is a low-key finish. It’s a sultry Blues with a top vocal again and a very good acoustic guitar solo. Overall, a good track. However, this special edition of the album has three bonus tracks, the first of which is The One Who Got Away. This is a power Blues ballad with a stinging guitar introduction from Poppen. Jenny’s vocal comes across as soulful but with an edge of Rock in her phrasing. Will Rast provides the excellent keys for this but it’s hard to keep the guitar out of the picture as Buddy Speir this time launches a sweeping solo. A very good song. The second of the bonus tracks is an acoustic version of Biscuits, Bacon And The Blues. Slide Dobro from Speir and Bobby Thompson comes in to boost the sound, showing that the song is well suited to the acoustic medium and it may well be better to the earlier version. To finish with we have an acoustic version of the first bonus track, The One Who Got Away. It’s amazing how an acoustic treatment can change the mood of a song. Jenny’s vocal is a little more muted but that just shows the control and range that she has, although her power does surface in a couple of places. Speir and Thompson are prominent again on Dobro and acoustic guitar. The album is worth getting for the three bonus tracks alone and they are a great compliment to what was already a great set of songs.

www.moonshinesociety.com

29/10/2021

The Persian Leaps – Drone Etiquette (Land Ski Records)

The new EP from St Paul Minneapolis based Drew Forsberg aka The Persian Leaps is a bit of a short affair. 7 tracks, 2 of which are edits of the same song and just under 22 minutes long. You might think that you are getting short changed here but that is not the case. From the first bars of When This Gets Out to the last of the single and Radio Edit, you get uncontained joy. The opener, and closer, is a pounding, strident guitar Rock with a driving rhythm section and a decent vocal, full of impact. The Radio Edit does what it says on the tin and it gets better with each listen. Angel Complete is up with the best of British Indie. Think Teardrop Explodes meets Teenage Fanclub as they hit you with infectious harmony and soaring vocals. The second single, Sweeps, has them tearing it up on guitar. They play like they are enjoying it and with a spring in their step. Power from start to finish. Over The Under is very pleasant Indie Rock, well played and well sung. It’s not the worst thing I’ve heard this year and it’s a grower. They are not in your face and are very musical. Twangy guitar reminiscent of Teenage Fanclub and REM hails The Company She Keeps. This has another sweeping chorus and I could listen to this and others for a wee while quite easily. They keep that sense of melody, albeit at a slower pace, for Keep Smiling. This is a track and an EP that could easily be on your playlists for quite some time and within minutes you’ll be trying to match their harmonies.

It’s short, but it does leave you wanting more.

www.thepersianleaps.com

28/10/2021

Gordie Tentrees – Mean Old World (Self Released)

Chronicling the road from foster child to foster parent periodically on Mean Old World, Ontario born and Yukon resident Gordie Tentrees tells the tale of coming through time in the social service system before becoming a teacher and youth worker then fostering an indigenous child. The opener, Wind Walker, is pulsating, eccentric and percussive and he’ll have you humming along before too long. The first few words of Danke are “Saddle sores without a saddle” and in those few words you can tell that he has a way with language. The song is up-tempo Americana with soaring harmonies, a flashing mandolin from Bob Hamilton, acoustic guitar (Gordie) & Jaxon Haldane’s banjo. Quirky doesn’t start to explain it but he is already coming through as a loveable character with a humorous streak. The title track confirms that he has a style of his own but it works. Haldane’s banjo work on this is great and bass and drums, provided by Bob and Patrick Hamilton respectively, bring a vibrancy to enhance his matter-of-fact vocal delivery. With its rousing chorus it is just superb and I think that I’ve found another favourite artist. He plays it a little straighter on the gentle Every Child, which is noticeable for how little instrumentation there is on it, before he gets back on the quirky trail with Lefties, one for all you of a certain bent. It’s played in a jug band style and is another that will grow on you very quickly.

Gordie turns to the Country side for Far Away Friends but he does give it his own welcoming twist as he thanks all those hosts who have helped him when he is on the road. Let me say that all the quirkiness doesn’t hide the superb musicianship and strong song writing. Again, he’ll have you singing along in no time. The slower Train Is Gone has a hard-hitting lyric wrapped up in a carefree soundtrack. It sounds like a musical saw in the background but that might just be me. However, on checking the credits I find that it’s a fiddle saw played by Jaxon Haldane, so get me! It’s a song about death and how, effectively, you never know the minute. He increases the speed again for Rosetta with its rapid mandolin fills and upright bass from Bob Hamilton harmonium from Annie adding to the feel. He’s no mean player on guitar too. Twice As Nice is co-written with Roland Roberts whose album I reviewed earlier in the year. As a complete change to what has gone on before, this is a Blues and with slide Dobro (Gordie), mandolin and a world-weary vocal all fitting in well, it’s a decent one at that. The closing track, Ring Speed, rattles along just like being at a barn dance and is a story of Gardie’s five times Golden Gloves boxing career. Harmonica is added from Gordie to Haldane’s banjo and Patrick Hamilton’s drums and tambourine for this high paced finish. Again, special mention has to be made for Jaxon Haldane on banjo as he brings us to a fitting climax.

An idiosyncratic masterpiece.

www.tentrees.ca

27/10/2021

The Brothers Steve – Dose (Big Stir Records)

This is the second album from Los Angeles quintet, The Brothers Steve and it appears that there’s not a Steve amongst them. The band comprises Os Tyler (vocals, guitar), Jeff Whalen (vocals, guitar), Coulter (drums), Jeff Solomon (bass) and Dylan Champion (guitar). The 10 original Whalen and Tyler tracks are full of twists and turns and start with a bit of a surprise, a slow piano led, harmony vocal opening to Get On Up. That doesn’t last long though as they explode into a harmony laden Power Pop with guitars swiftly taking over as the pace increases. It’s a song that is full of energy and a great way to start. The lead single, Next Aquarius, carries on the energy of the opener. Acoustic led, it has a snarly yet melodic vocal and is catchy Pop with psychedelic overtones and a lead guitar getting an air. Mrs Rosenbaum is another acoustic led one and a tale of growing up. It’s very Beatles like in the way in which they know how to build a melody and their harmonies are spot on. Wizard Of Love is an electric rocker with a 70s Glam Rock feel. With its soaring vocals and guitar, this could end up being a guilty pleasure. Back to acoustic for She Will Wait and again their harmonies spill out. The Beatles influence comes to the top and with Tyler and Whalen telling two sides of the same tale in counterpart harmony and bird song included we get an air of jaunty happiness.

There’s something very warming and comforting about these guys and on Electro-Love, they give us those retro sounds that I feel may be the main reason. The vocal maybe suffers a little in the higher range here sometimes but it’s another that is so catchy. Even more retro is the 60s/70s bubble-gum Pop Rock of Sugarfoot. This could easily have been one of those cartoon songs like The Archies. They play with such freedom on Griffith Observatory and are a harmonious throwback. The chorus soars and apparently the song is influenced heavily by the Streisand version of A Star Is Born. They have a quality akin to that of CSNY mixed with bands like The Turtles when is comes to harmony and on Love Of Kings they throw those influences in with their love of The Beatles chord structures to produce a sound that is British at times, fairy tale tellers at others. It’s futuristic, it’s acoustic and their chorus’ are marvellous. It’s a rocking finish with Better Get Ready and there are nods to T. Rex amongst others but the overarching sound that I get from it is one of The Rubinoos, Greg Kihn and that whole Beserkley sound of the 70s/80s.

I didn’t hear the first album so I’m off to get that and I’m already gagging for the third.

25/10/2021

Ben Levin – Still Here (VizzTone)

Just over a year ago I reviewed Ben Levin’s last album, Carryout Or Delivery, and I said that there was plenty more to come from this young man. He’s only 21 and this is his 4^th album, the second for VizzTone, and boy has he brought more to the table already. The 4 covers and 8 originals that make up Still Here enhance his growing reputation as one of the best young Blues pianists around at the moment. He opens with the Jules Bihari and Frank Szabo written Love And Friendship, a shuffling Fats Domino style, mid pace Boogie with slick guitar from Ben’s father and often song writing companion, Aron. Ben’s playing is superlative and still only going to get even better considering his age. His voice has matured since the last album and he has a newfound strength to his tone. We go slow for the title track and on this Blues his influences come out further. This time its Otis Spann. His piano and Aron’s guitar play off of each other on their composition and the funereal pace of the song is counterbalanced by the flurry of notes from both. So much talent in one still so young. It’s not often that you get a father and son song writing team but there’s a warmth that comes through the music that they write together. He’s a seasoned performer already and on That’s The Meal he sounds like an artist that has had double the releases. Another co-written with his father, it strolls along very well and it feels as if he’s sitting down having a chat with you. Very comfortable. The up-tempo Swing Blues of Joe Liggins’ I Can’t Stop It confirms his love of old school Blues, R&R and all things from the golden age. Everything about Ben from the music to the album cover to the way he dresses is old school and he does it so well. Call and response chorus, rocking piano, a rhythm section keeping up the beat and guitar slipping in a little bit of ‘Don’t Sit Under The Apple Tree With Anyone Else But Me’ for good measure. All good. A return to the slower pace beckons and the shuffling Bad Idea, written by Ben alone this time, is a warning to stay away from payday loans. His rolling piano played over a straight 12 bar guitar rhythm is more than effective and the sweeping flourish in the guitar solo is divine. There’s no comment from this married man on the title, Please let Me Get One Word In. It’s back to the father son writing partnership as slide guitar compliments the sharp piano this time. He again sounds beyond his years on another Fats Domino and Smiley Lewis influenced track with some of the notes towards the end coming down like raindrops.

The strolling, rhythmic Kissing At Midnight, a Billy Boy Arnold and Sylvester Thompson song leads us into Crown Jewel 2, a guitar led instrumental. Aron’s piercing notes are pinging out as Ben takes a bit of a back seat. However, this is a tour de force and TV and movie producers should be on the phone now for their next project. The reflective slow Blues of Christmas Rain is highlighted by Aron’s staccato guitar and from the title I guess they’ve been to Scotland. Professor Longhair comes out in the New Orleans Blues of Her Older Brother and this is another example of how Ben manages to get an intimate feel into his delivery and adds that warmth to the whole experience. The final cover is a rousing version of Memphis Slim’s Wonder What’s The Matter. Its exuberant, energetic playing is matched by his vocal and makes it a stand out on an album of very good songs. I’m Your Essential Worker wraps things up and is a nod to those who carried us through the pandemic but I’m also picking up a little innuendo as found on many other Blues songs, or maybe that’s just me. It’s just Ben and his superb rolling piano with a little assistance from the bass. A class act.

I said in my review of Carryout or Delivery that he was a star of the future but forget that, he is a star now!

www.benlevinpiano.com

22/10/2021

Cuby + Blizzards – Grolloo Blues (Continental Record Services)

Commemorating the 10^th anniversary of the death of frontman Harry ‘Cuby’ Muskee, Grolloo Blues is a 24- track double album gleaned from live recordings from 9 concerts over the period 2001 to 2011. Muskee achieved legendary status in his Dutch homeland and there are glimpses her as to why that was the case. The piano led Low Country Blues is a slow opener and introduces us to Cuby’s distinctive and dramatic voice and there are early indications that the intense guitar playing of Erwin Java is going to be a large factor in their sound. Hans la Faille starts I Feel So Bad on drums before his rhythm section buddy, Herman Deinum, joins him on bass. Horns then come in as the levels build and then Cuby arrives on vocals. It’s a straightforward electric Blues but he gets good atmosphere into his music. The bass is strong and horns add depth, with the sax going for it on the solo, as does Helmig van der Vegt on Hammond. Sax goes for it on the solo. Java’s guitar powers out of the traps with some biting notes on Distant Smile and Cuby is getting into it vocally, sometimes a bit Rory Gallagher in his delivery. Barrelhouse piano, drums and bass again very strong with guitar taking on the tone and delivering a superb solo. There are a few covers in the set and one is Stevie Ray Vaughan’s The Sky Is Crying. I have to say that you are never going to top the great man but this is a very good cover with slide guitar of a high standard. The sax solo is different but fits well, and played well. Brother Booze is a slow Blues with slinky guitar and Hammond in the background adding to the atmosphere. Cuby’s Whisky stained vocal is apt given the title. Java’s guitar is the star of the show and the solo is quite something else. The Hammond of van der Vegt gets a chance to shine too and that sound is just so cool. They are showing that they had some very good songs. We get a little bit of John Lee Hooker on Mean Black Snake. Played on acoustic guitar, it’s short with just Cuby’s vocal over the lovely sounds of Java. They are back to electric for Nobody In Town, a mid-paced Blues Rock with a hook filled chorus. He loses it a bit vocally but does recover and Springsteen comes to mind in places. Somebody Will Know Someday has Cuby’s voice in mournful mood and the piano led slow Jazz vibe fits the sad theme. Keyboards and trumpet join but things still have a funereal feel despite the trumpet soaring and buzzing like a bee at times. They are back on it with Stranger, a funky, guitar led Blues. The horns are in there again too and matching the stunning guitar. Deinum’s bass is prominent and doesn’t get lost in the mix and la Faille’s drums keeps it all in position with piano adding fills and thrills. This is a good band. They switch again to being piano led for Cuby’s signature song, Window Of My Eyes. His echoed vocal adds to the mood and as I said earlier, he has a dramatic voice, more on some songs than on others. You can pick up the bass just as much as the lead guitar and that shows the approach of the band, almost using the bass at times as a second lead. Deadlines is a slow Blues with guitar and Hammond immediately setting the scene. la Faille lays down a beat and Deinum is again hitting some notes on bass. Cuby turns in an emotive performance and Java’s laid-back guitar is succulent before he and la Faille hit it big. The final track of the first set is the piano led, barroom Blues of Blues Is A Bad Habit. It’s a bit night club but then the guitar saves it.

The second album begins with Too Blind To See, a Gary Moore style, slow, cultured Blues. The rhythm section is again prominent with bass hitting some runs. Cuby spits out the lyric at times but the piano gives it a classy feel. Java also sets out his stall with notes pinging out before it builds to a frenzy on this 10-minute epic. Another John Lee Hooker song arrives in the form of One Bourbon, One Scotch, One Beer. This is more structured than the original and loses out because of that. It is played as a slow, swinging Blues and doesn’t quite hit the mark, good though it is. The added piano gives a different element and the fuzzed guitar is suitably chaotic in the solo. They switch between guitar and piano leading and on More Than I Could Ask For they come across as more Elton John than Elmore James. It’s a bit out of kilter with the rest of the tracks and he’s not as good vocally as elsewhere. The standard is high and this doesn’t reach it but it may have been one of the later recordings and he may have been suffering health wise. They are back on form with I’m In Love, a slow Blues with bass up front, guitar wailing and Hammond organ filling the gaps. His voice is far better on this. The drums gently cajole them all along on this, another epic at over 9 minutes long, allowing for an extended guitar solo of quality and a piano that is getting its ivories tinkled too. The Devil Made Religion is a thumping Soul Blues with Gospel overtones and the horns are back with the trumpet howling and the strangely titled If You Were An Alien is another where the bass lays down the track with some great runs, setting the scene with minimal percussion accompaniment. It starts to build as drums become more involved and keys take an interest as it creeps into being with the guitar unleashing a flurry and Cuby asks what aliens would think of us. He snarls it out at times and maybe a touch over dramatic. Discord and chaos ensues with ragged guitar whilst meanwhile in the background, bass and drums keep up the plodding beat. There’s a little piece of socio-political commentary on Dancing Bears and whilst the sentiment is there on the horrors of caged bears, he does come across as a bit too Bono in his vocal delivery at times. The soundtrack itself is suitably sombre with keys and Spanish style guitar taking the lead with bass again well up front. Robert Johnson’s often covered Rambling On My Mind is given an electric treatment and slowed right down. It’s moody, more than the original and has bass in the limelight but the addition of trombone doesn’t work. There are a few solos with piano given an extended one which is well played. Just For Fun is up-tempo as the title would suggest and is a Swing Blues with the horns in full flight. They are back on form with this and the piano is on top as it boogies away. One thing to be said is that he let his band share the accolades and on this occasion the sax hits us with a rolling solo. Willie Dixon’s Just Can’t Quit You is another classic that is given a slightly different tilt. Otis Rush made the song famous but this acoustic version is snappy, with the strings getting hammered, literally. At the last minute it goes completely off piste and onto another guitar tangent completely. Eddie Boyd’s classic Chicago Blues, Five Long Years is another classic and a feature of Cuby + Blizzards over the years having first recorded it in 1966. This is electrifying as it should be and a good version with guitar playing as fine as most of the other versions that I have heard. Cuby gives it his own vocal slant. To finish with Once In A Lifetime is a lovely touch by the compilers. It’s a soft finish but one which is full of emotion. I can not only see why this would be chosen to end a gig but also why it was chosen to fittingly finish this album. I’m not sure whether he’s trying to emulate Elvis and if so, it doesn’t work. However, as usual, the guitar is there to save the day.

20/10/2021

Davy Knowles – What Happens Next (Provogue)

What Happens Next could be described as a very apt name for Isle Of Man born and Chicago resident singer songwriter Davy Knowles’ debut album for Provogue. The answer, of course, is that anything can happen. 12 tracks, 3 of which were singles opens with the first of those singles, Light Of The Moon, a marching, powerful, guitar driven opener built on rock-hard riffs. Vocally, he reaches the high notes with ease with his excellent Rock voice and he delivers a fluid solo on guitar. I also like the little nod to Glam Rock with the drums and shouts. Heartbreak Or Nothing brings chugging guitar for the verse and a sweeping chorus bringing good light and shade contrast. His slide guitar and wah wah pedal are out as he throws it all in. Davy slows it all down for the melodic ballad, Roll Me, the second of the singles. He brings an emotion laden vocal as the Hammond organ plays in the background and the whole thing is raised by his sanguine and concise guitar solo. Stop start guitar is the trademark of Get Lucky as are the crashing cymbals and pounding drums. The keyboards are dotted all around as Davy throws in some reverb on his solo. All around, good solid Rock, albeit short and sweet. The pace drops again for the Blues based Devil And The Deep Blue Sea. The robust guitar fills accentuate the punchy slide guitar over a very strong rhythm section. It’s well sung and the Hammond fills out the sound very well. Very good all around. He stays with the Blues vibe for the bass heavy One & The Same, this time it’s a mid-paced striding rocker. It has another of his sweeping chorus’s. He’s a bit of a minimalist guitarist on this album in that there’s no big lead solos and that’s a step away from the norm. Of course, that’s doesn’t mean that he’s not a very good player.

Solid Ground is another stop start, hard hitting rocker with the Hammond sweeping around. His soaring fills are a highlight and this is another that’s very good all around. Short and to the point, what’s not to like? He certainly can write a chorus and although the one on River is repetitive, it is very effective. His voice fits in so well with this rootsy, uplifting, piano led track and he shows a good range. Side Show tends towards the AOR style and I’m reminded slightly of bands such as Atlanta Rhythm Section in the chorus especially. Bass is to the fore on this one. The last of the 3 singles is the smooth and Bluesy Hell To Pay. It has an effective solo, short as usual, but this the here and now Davy Knowles in 4 minutes. His voice flits between Rock and Ballad and, of course, we are treated to another of his great chorus’s. He has the skill of using very little to get maximum results. The grinding rocker Wake Me Up When The Nightmare’s Over gives us a little Southern Rock and a little Soul. Like many of the others, this will grow on you. Vocally, this is one of his best as he again gives us the rough with the smooth, the honey with the Whisky and rocks it out. Guitar is important but there’s no denying the influence of keys on his sound and when you have a rhythm section that is in full bloom then you are just adding the gloss. The finale is the acoustic, reflective If I Ever Meet My Maker. Written about his father, it gently builds with keys gradually added. It’s sweetly sung and although it’s not the big finish that I like to an album, it’s a beautiful song nonetheless and will strike a chord with many.

He may have changed his style a little for this album but Davy Knowles is still one of the best around.

www.davyknowles.com

18/10/2021

The Mentulls – Recipe For Change (ProgBlues Music)

This is The Mentulls’ 3^rd album and follows their critically acclaimed 2015 outing, Reflections. It’s the first to feature vocalist and multi-instrumentalist David Neil Crabtree. Alongside founder members Andrew and Jamie Pipe, Crabtree brings his highly acclaimed song writing skills to add to Andrew’s Blues Award nomination and Jamie’s much sought-after keyboard skills. Though not a concept album as such, the 9 tracks do follow a person who yearns for the countryside and a simpler way of living, after becoming weary of everyday city life and its pressures. They open with the first single, Easy To Walk Away and if you think latter day Genesis mixed with Toto then you’ll get the direction that The Mentulls are going in. Stop start guitar from Andrew Pipe accentuates the melodic Rock feel of the song. It’s a good start and bodes well for the rest of the album. We are probably missing this kind of music in the spectrum these days and on the title track we get easily accessible Prog Rock, with Jamie Pipe’s synths to the fore, from a band that you could say are a bit of a throwback to the late 70s early 80s AOR but that would be unfair as they are much more than that. The calm and sedate Opened My Eyes shows that they have a wonderful way with melody. Andrew’s guitar is like falling raindrops at one point and sharp at others. You could easily drift away to this, with its subtle tempo changes. Crabtree’s sometimes smoky vocal adds a new dimension to their music and it’s most evident on the serene Learning Through Living, a well-crafted song that’s not too heavy but certainly not lightweight as Andrew’s piercing guitar will remind you.

There’s a bit of grit added to the second single, Summit Fever, and I could imagine Peter Gabriel singing this. Mid paced and strong with superb guitar fully fitting of the genre. There is a lovely tone throughout the album and this track personifies it. It’s bombastic at times but that just adds to the pleasure. Lovely tone throughout. Saviour is slightly slower but it maintains that sense of melody. If you want a gentle introduction to the world of Prog Rock then these are your guys. The soaring guitar solo from Andrew is ably backed by brother Jamie’s keys and thumping drums from Wayne Proctor who also produced the album and has popped up in a few of my reviews recently. The bass is unobtrusive but the sound would suffer if it wasn’t there and the up-tempo section is wonderful. Prog isn’t all about wizards and dragons although the instrumental Find A Way To This Journey’s End is reminiscent of Rick Wakeman era Yes at times. Guitar and keys swap licks as the band produces an absolutely fantastic piece of music, showcasing their skills as musicians. It’s very catchy and full of hooks with crashing cymbals and drums beaten within an inch of their lives as it reaches a crescendo. We have a little bit of Blues Rock added to the Prog in the guitar intro to the atmospheric Smoke & Mirrors. We get lost in a flurry of guitar notes as the band serves up all the hallmarks of good Prog Rock. Worlds Made Of Sound makes for a true soundscape to finish with. It still carries that Toto, Journey vibe and the consummate musicians that they are, they make it easy for you to like them. The track itself can be described as a hammer in a velvet glove and is excellent from start to finish, which can also be said of the album. Tour? Tickets? Yes, please!

www.thementulls.com

13/10/2021

John Wort Hannam – Long Haul (Black Hen Music)

The 11 original songs on John Wort Hannam’s 8^th album, Long Haul, share a sense of gratitude for what we have and grief for what we have lost. He starts with the title track, a celebration of his 20 plus years in the business and a timely reminder that there is no quick fix. It’s a comforting Country song with solid keyboard solos from Chris Gestrin matched by the slide guitar of Steve Dawson and Hannam’s smooth voice. His easy-going style and everyday tales make him a very approachable artist and on Hurry Up Kid he tells the tale of the aging process, wrapped up in his velvet vocal with beautiful harmony from Keri Latimer and T Buckley. Once again, Dawson’s slide is excellent. He ups the pace a little for Wonderful Things and in keeping with the title, the guitar is, well, wonderful. Its upbeat, homely feel gives a happy perspective on life for a change. The amusing duet, Beautiful Mess, which features Shaela Miller is like a modern-day Johnny and June with Dawson switching to pedal steel to give that Country feeling this time. Their harmonies are spot on and when you add superb fiddle from Fats Kaplan and guitar then it’s hard not to have a favourite on this album. The contemporary Country of Old Friend has him again in storytelling mode. It’s reflective but not sugary sweet and it’s a lovely song.

There’s not been a bad track so far and What I Know Now continues the hot streak. He just wraps you up and gives you a big hug and Dawson’s soaring guitar is something else. At first, the title Meat Draw is a bit strange until you discover that it’s a Friday night raffle for meat and dairy, something that often happens in many countries. The song itself is full of gentle, homely sounds and is a slice of old-style America. It’s back to the more contemporary, electric, urban sounds for Twilight Diner. It’s more up-tempo than many of the others and Dawson’s slide guitar is never far away from the action. In addition, the short, sharp solos on guitar and organ are nothing short of sublime. The sadness that many have felt over the past 20 months or so are encapsulated for many on the slow, acoustic led Other Side Of The Curve. This has more of those comforting sounds with harmony, fiddle and guitar just falling into place. I could listen to him for long stretches of the day. He proves again that he is a true storyteller with Round & Round. He’s firmly on the Country side of Americana but it doesn’t matter where he falls, it’s just wonderful music. It’s a quiet finish with Young At Heart, which has more of those wonderful harmonies, slick vocal, keyboards and steel guitar. It’s actually a lovely toast and could be used as part of a welcoming speech. Gary Craig and Jeremy Holmes (drums and bass) have been unobtrusive on the whole so far but are slightly more prominent here and well worth a mention.

Simply, a superb album.

www.blackhenmusic.com

www.johnworthannam.com

09/10/2021

Kris Wiley – Kris Wiley (Continental Blue Heaven)

Californian Kris Wiley burned bright in the 90s with her two albums, Old, New Borrowed & Blue and Breaking The Rules and then promptly disappeared from the scene. Well, she’s back with her eponymous album and you can hear why she caused such a stir back in the 90s. Starting with the striding Blues Rock of Inside Outside she shows why comparisons to Bonnie Raitt were showered on her. She is a strong player and the tentative way she starts the song soon disappears as she works her way into it. She slows the pace down significantly for Letting Go Of You as keyboards and drums take more prominent roles. It’s anthemic with a languid vocal and a good solo from a gifted guitarist. The punchy Paying The Price has pronounced bass and slapped drums to counteract the sultry voice. Another Blues rocker, Kris whips the solo and as she lashes it out, she has the drums pounding behind her. Sometimes the voice doesn’t go with the track and this is the case on She Dreams. That’s not to say that it’s a bad track as what we get is a bit Chrissie Hynde in the vocal delivery, Jimi Hendrix in the music and a solo that confirms she is completely in control of the instrument. Stop Thinking About You feels like the start of Freebird but it soon moves on and builds well as it gets going with intense, sharp guitar.

Destination Nowhere is a good mid-paced Blues based Rock with slide guitar and Country tones and she stays with the slower pace for Over Again. Kris is sounding more and more like Chrissie Hynde but maybe that’s just me. It’s a bit lightweight in places but one that will have a live audience in her hands as she hits peaks and troughs of emotion. There’s no doubting the quality of her playing though and it is this that will get her through. The searing guitar on I Can’t Love Without You, a moderately paced Rock track, is some of her best work and the shuffling Blues of Hard Lovin’ Man is something that Stevie Ray would have been proud of. Her superb playing on this confirms why she was so highly thought of before she went off the map for a while. She finishes with a slow one and an instrumental one at that. Pops feels like it was recorded live, as do some of the others, and I have to draw comparisons to Hendrix again, she just has that special phrasing which accentuates the guitar, which in turn becomes outstanding.

www.carolynwonderland.com

08/10/2021

Wee Willie Walker And The Anthony Paule Soul Orchestra – Not In My Lifetime (Blue Dot Records)

This is the final recording from Wee Willie Walker who sadly passed away in his sleep on the 19^th of November 2019, just three days after finishing his vocals for this album. It’s poignant that the opening track, A Word From Willie, is a snippet of an interview with Tina Abbaszaddeh from which the album title came. The first musical track is Don’t Let Me Get In Your Way, which is full of Motown vibes and could easily have been a Temptations or Four Tops song. It’s a rampant start to the album with horns aplenty from Derek James (trombone), Bill Ortiz (trumpet), Charles McNeal (tenor saxophone) and Rob Sudduth (baritone saxophone). Willie could turn his voice from raspy to sweet and this is evident on the sweet Soul ballad, Over And Over. His velvet voice just flows like honey and with The Anthony Paule Soul Orchestra giving it a big sound, just wrapping its arms around you, with Curt Ingram guesting on French Horn, it’s no surprise that it was Willie’s favourite song of the set. We get a bit of a rhumba beat on Real Good Lie, perhaps it’s the extra percussion from Jon Otis. Once it gets going it becomes a sultry R&B with Willie’s lived in voice to the fore. It all works well with the full horn experience and Anthony Paule’s slinky guitar. You’ll require some feline movements to move to it. What Is It We’re Not Talking About? takes you back to the heyday of 60s R&B before we have another Soul ballad in the form of Darling Mine. He shows all of his experience here and he makes you believe what he is saying whilst Paule plays a heartfelt solo. Tony Lufrano is to the fore on Hammond for I’m Just Like You, an upbeat shuffler. Willie sings it out as he brings us a piece of social commentary on the subject of, we’re all the same, really and he’s ably backed vocally by The Sons Of The Soul Revivers aka James, Dwayne and Walter Morgan.

Make Your Own Good News is full of Soul and with a sax solo for a change. The horns have been excellent throughout and the backing vocalists (Larry Batiste, Sandy Griffith and Omega Rae giving a breathy feel. It’s another steeped in community observation, allowing Willie more depth for his vocal. Sax also leads out on Warm To Cool To Cold. This strolling R&B is a remake of one of his recordings when he was on Goldwax Records and the sax takes its chance for a share of the limelight. He certainly specialised in the ballad and Let The Lady Dance, which is full of heart, feeling and soul is a very good example. He swaps the ballad for up-tempo for the Soul Blues of Heartbreak, which has Lufrano’s Hammond and horns on form again. I’m sure this would have been an audience pleaser if he’d had the chance to tour the album, with Willie stretching the vocal and Bill Ortiz’s trumpet shining. You can hear the vibrato in his voice on Suffering With The Blues. It’s a slow and meaningful lounge Blues with a pointed guitar solo from Paule. Lufrano’s sweet Hammond looms large over Almost Memphis and its sound compliments the horns very well. Ortiz’s trumpet solos are excellent as Willie lets the orchestra do their thing on this instrumental. It has an overall Jazz feel to it but with a heart of Soul. The final track, ‘Til You’ve Walked In My Shoes, is a classy and professional Big Band Blues with a full sound and is a big finish to the set. This is an album to sit down to with a glass of something you love and while away the upcoming Winter nights. Willie Walker loved to sing and his closing comment at the end of this song sums it up. He laughs and says “that was it”.

www.bluedotblues.com

www.anthonypaule.com

07/10/2021

Ilana Katz Katz – In My Mind

Classically trained violinist, Ilana Katz Katz has always wanted to play the Blues and when Johnny Burgin and his band came to stay at her home in 2018, she got the chance. Some late-night jamming led to a one day recording session which laid down the base of the album which became In My Mind, with Stephen Dougherty on drums and Chris Matheos on bass. She wasn’t able to complete the album until early 2020 when Matt Isbell of the Ghost Town Blues Band added guitar to a few tracks and handled the production. Opening with the R&B vibe of the title track we are immediately reminded that violin is certainly different in this setting. Her voice is unadorned as is the song, which has bass high in the mix and follows a theme of love and acceptance. Violin and guitar swap licks on Woman, Play The Blues, a moody, brooding, raw and grinding shout out to the women. Her voice is more settled here and the violin not so ragged as on the opener. The true tale of church killings in Charleston in 2015, Nine Souls has haunting violin, appropriate given the theme, with a touch of Bluegrass for the best track so far and Won’t Pass Me By is a Jazzy Blues showing that she’s not afraid to swap genres or show her faith. This is not Clarence Gatemouth Brown style violin playing Blues. It’s a polished track but her voice is a little too one dimensional. Shuffling drums and walking bass from the rhythm section are prominent as they keep things on track musically. On Time To Go she just doesn’t get the Blues phrasing well enough to pull it off. It’s a bit too proper although she does show more levels to her voice on this one. Musically fine and her violin playing has become more rounded with the rhythm section are backing her perfectly. She goes out on a ragged solo which is very good. It grows on you a bit with its John Lee Hooker rhythm, someone she cites as an influence.

I’m not sure if Downtown With The Devil is played in a different key but she sounds like a completely different singer. It all sounds much better and the song suits her voice well. With the Devil portrayed as a woman and with violin and guitar playing off each other again and bringing excellent solos too, this is one of the better tracks. Violin on a Chicago Blues in the form of Ain’t No Why doesn’t work. Good effort but no. Another one not for me is Bad Child. Repetitive is fine when you have a good base but whilst this may be metronomic but it’s not very good. It’s well played but the vocal ruins it. A trio of unfortunately poor songs finishes with the insipid Blues of Well, Well Blues. At times the violin seems out but this is more likely down to her interpretation of the instrument rather than my ear. However, I do think she needs to change her vocal delivery if she is to get anywhere. It’s all a bit too staid for me. Celtic influences come out for Hangman’s Reel, a raw, traditional feeling romp with thumping percussion. The question has to be; why not more like this? It’s very good. She closes with If… and this will have you thinking. It’s just voice, violin and percussion and it’s actually of a very, very high quality. Thought provoking lyrics, Americana & tribal beats and a melody that suits her voice better. If she plays more of this type of song and the reels then she’ll be fine.

www.ilanakatz.com

06/10/2021

Taylor Young Band – Mercury Transit (Hand Drawn Records)

Mercury Transit is Taylor Young’s solo debut and the Texan singer-songwriter has completed his transformation from drummer to guitar toting frontman via the Folk/Country duo The O’s and now onto leading his own band. Crafted by bandmate and friend, former Deep Blue Something stalwart, Toby Pipes, the 10 original songs begin with the fresh and vibrant Get Around, which has classic jangly guitar sounds akin to those long provided by Scotland’s own Teenage Fanclub. It’s more of the same on the up-tempo Make You Wanna Stay. This is a good Pop Rock band and a good Pop Rock song harbouring Indie influences and a tale of almost lost love. The pace is slowed for the melodic Rock of Shine On Me. Once again, Indie flavours come through, Americana style. It’s got a good chorus and it will grow on you with its jangly, Big Star vibes. The guitar is unleashed on Blue Eyed and when you sit back and listen, what you get is effortless, happy sounds and just good music. The lead single, Rattled, is slightly heavier than their earlier tracks and a dreamy, Tom Petty style ballad.

It’s back to hi-tempo for Daze Of The Week, which has signature sweet vocals and jangly guitars. They are a tight band with guitar and rhythm section working well and sounding like Big Country in places, honky tonk in others. This is another grower. Five Cents has the feel of a Sun out, top-down driving song. It just makes you and shows again how he can build a song. It’s the return of those Byrds style piercing guitars from Young and Ted Lasso on Wrong Place, Wrong Time. Taylor Young is a force to be reckoned with and there’s not been a bad track so far. The fast paced Out Of My Mind flows well and there are no flashy gimmicks here, just well-written songs, this one about having second thoughts after a break up. The band closes with Drinkin, a Waterboys singalong style song which is also a little bit Country in places too. It has a decent pace for a closing track and the lyric shows that he is not afraid to have a little dig at himself once in a while.

This is a series of excellent songs from an excellent songwriter and storyteller and a seriously good album.

www.tayloryoungband.com

Carolyn Wonderland – Tempting Fate (Alligator Records)

With 10 previous solo albums to her name, this is Carolyn Wonderland’s debut for Alligator Records and in doing so she becomes the venerable label’s first female lead guitar artist in their 50-year history. Just off of a 3-year stint with John Mayall’s Bluesbreakers she brings us 10 tracks of fiery guitar and soul filled vocals that cross the divide, starting with the first of the originals, the rousing, politically charged Fragile Peace And Certain War. Carolyn provides lap steel and a powerful vocal while drummer, Kevin Lance, goes for it. Immediate impact and a class act, as ever. The Swing Blues of Texas Girl And Her Boots is delivered as a mid-paced shuffler, Texas style of course. Marcia Ball’s electric piano is to the fore as Carolyn brings a sassy vocal with strong harmony from Shelley King. It’s all about her boot collection but I’m sure her guitars have a lot to say about that. Broken Hearted Blues is a grinding, guitar laden Blues with a pounding rhythm section of the aforementioned Lance on drums and Bobby Perkins on bass. Her guitar flows through it, complimented by the expansive sounds of Red Young on Hammond. The piano led, barroom Blues of Fortunate Few brings us a signature powerful and expressive vocal and she shows just how good she is on guitar. Crack In The Wall is acoustic and Country flavoured, showing a different, more tender side to Carolyn. Jan Flermming’s accordion gives it a Tex-Mex feel and Cindy Cashdollar on lap steel is divine, making the whole experience peaceful and beautiful.

The Laws Must Change is a jagged, funky Blues with guitar and vocal suitably similar. Not for the first time there are some political notes but with some of the best guitar work on offer, she makes this John Mayall song her own. Another cover is Billy Joe Shears’ Honey Bee. Her Texan flavour comes in again, although it could be said to be creeping into Cajun too. Accordion, courtesy of Flemming again, just lifts it. Mid paced and rhythmic, it has a Jambalaya feel to it. Good fun and one for the playlists. She shows all of her skills in genre swapping on the jazzy On My Feet Again. Red Young leads on piano but Carolyn also has a say when she shows her not too inconsiderable whistling talent! She finishes with another two covers, the first of which is Bob Dylan’s It Takes A Lot To Laugh, It Takes A Train To Cry. This is given a different treatment with Jimmy Dale Gilmore sharing lead duties. Dylan covers are often hit and miss, this is vocally brilliant and a hit. I don’t recall too many covers of Grateful Dead songs but Carolyn closes out with Loser, a slow, brooding Blues Rock. She gives it her all both vocally and on guitar to produce a power finish to the song and to the album as a whole with Dave Alvin ripping it up on guitar alongside her.

A fantastic addition to the Alligator Records family.

https://medicinehead.rocks

29/09/2021

Paul McDonald – Modern Hearts (Vacancy Records)

Alabama born and Tennessee resident Paul McDonald brings us an expanded deluxe edition of his 2018 debut album, Modern Hearts, with two previously unreleased tracks. On the opener, New Lovers, take Passenger, Bon Iver and Paulo Nutini, stick them together and you’ll get an idea of what Paul McDonald is about. It’s a soulful, soaring start and more than an ample one at that. The pulsing Hold On follows with Paul’s whipped vocal and he’s already showing himself to be a strong performer. Wildcard is good acoustic based Pop/Rock which moves along well with seamless transitions, piercing keys and pounding drums. Those pounding drums continue on Call On Me and are joined by keyboards, throbbing bass and jagged guitar, all backing his clear vocal. The piano ballad of the title track is highlighted by Paul’s emotion filled voice and, on this showing, there has to be a place for him in the firmament. The up-tempo single, How Long? is a sweeping breeze and it’s hard not to like him. He writes good Pop songs with an edge and So Much Better is a prime example. I can imagine flying though mountain passes on the wings of this chorus, displaying his multi-faceted voice. Although he will always be compared to others his voice is distinctive in its own rite and on Once You Were Mine he shows it in the soaring chorus again. He can pull at your heartstrings and the band lays down a suitably soulful track with horns, bass and drums all very good along with the subtle backing vocals.

Tell Me Something is another piano led ballad and he has sounded more like Paulo Nutini in the last couple of tracks. This has a conversational style and is a beautiful, emotional song. The shuffling drums of Come On play in a powerful, pleading vocal that is very easy to listen to, as are the rest of the songs. It attracts some choral backing with controlled thrashing of the drums as it builds. Paul goes a little Primal Scream as he adds a bit of vocal grit and rocks it out on the up-tempo Caging A Songbird before soothing us on Stay Home. That was the message we all hated to receive last year but it would have been a little more palatable had this been available as this would have been the perfect one to stay home with. A very, very good song. The sleepy, repetitive builder, Always On My Mind is a good example of Paul’s ability to include a good hook but he loses it a little on the raucous, sleazy rocker, I Ain’t Good, which, despite the fuzzed, atmospheric vocal, is a bit apocryphal in that it’s not as good as the others. The two additional tracks round off the album. First there is Just A Matter Of Time which is full of drama and theatre with an angry vocal, severe drums and bass and a freeform guitar and finally it’s to being piano led for Bright Lights, a mid-paced Pop with the familiar soaring chorus. It’s an upbeat finish and wouldn’t be out of place in the charts as Coldplay often show.

www.thepaulmcdonald.com

www.vacancyrecords.com

Nathan Bell – Red, White And American Blues (it couldn’t happen here) (Need To Know Music)

Nathan Bell says “Red, White And American Blues is not a protest album although it has protest songs. It’s not a Black Lives Matter album, but in these songs, Black lives matter. It’s an American album. It’s a set of songs about a broken country and its broken people”. He opens with Angola Prison, a powerful, guitar driven, grinding Americana. The acoustic fills are excellent and show him to be a master guitarist and along with his gritty vocal and wailing harp from Reverend Crow contrive to bring us a great, raw opener. Patty Griffin adds her voice to American Gun, which is moody and scathing. Just listen to the lyrics such as “Wherever you go they’ll know where you’re from. I’ll stamp your passport, The American Gun”. It’s all about what the American gun does, and has done, for the world and, despite the topic, is played over a peaceful soundtrack. It’s a spoken vocal for American Blues (For GSH), another scathing one, this time on recent American history. Listen to the acoustic solo, this guy is a serious player. Hard hitting lyrics played over a jazzy track. It’s a bit of an homage to Lightnin’ Hopkins on Retread Cadillac (Lightnin’) with Regina McCrary helping out on vocals this time. It’s spoken vocal again, for the verses at least, with Regina wailing in response. A grinding, pounding Blues that I’m sure old Lightnin’ would have loved. Patty Griffin returns for A Lucky Man (for my father, the original Dead Man), a slow, reflective, acoustic track with Griffin’s voice working well with Bell’s and subtle percussion and organ from Alvino Bennett and John Deaderick respectively. Wrong Man For The Job is a shuffling R&B based rocker and it has got a bit of a groove to it with Frank Swart on banjo and mandocaster. However, what comes across on this, and others, is that Nathan Bell is a consummate social commentator.

The intriguingly titled When You’re Dead (Ghost reflects on his dire circumstances) tells the story from the perspective of the dead and tells of all the things you can do and don’t have to be afraid of. Harmonica, electric slide and minimal percussion makes for a suitably haunted track. As Nathan writes “Because it takes a lot of work to be alive”. It’s a return for Regina McCrary on Mossberg Blues. He likes a spoken style vocal and this is on the cusp of it for the verse. Bennett is hitting some patterns on the drums while Swart runs free on guitar. Aubrie Sellers provides guest vocal on Running On The Razor (family) as Nathan lets out a few swear words. It’s a haunting, moody and grinding tale of law breakers. Deaderick’s keyboards are to the fore on the slinky Blues of Zensuit’s Zamadhi Blues and continue on the funky Blues of Monday, Monday (the bony fingers reprise) with its interesting mid-section. Bennett’s drums are working well on it and for the first time I’m picking up some bass, played by Frank Swart. Griffin returns for the last time on To Each Of Us (a shadow) which has gentle acoustic tones. It’s just the two of them and guitar plus very subtle piano/organ from Deaderick and it’s a beautiful, plaintive Americana song. The sullen tale of what Jesus really might be thinking, Folding Money (you better move along), closes the set. Slow and grinding, moody and atmospheric with witty, razor-sharp lyrics, it probably sums up Nathan Bell in one song.

www.nathanbellmusic.com

Rusty Ends Blues Band – Rusty Ends Blues Band (Earwig Music)

Louisville based singer and guitarist Rusty Ends has been honing his skills for half a century now and this eponymous album of 17 original songs from 1996 is now getting a re-release and full distribution by Earwig Music after the original release by Rollin’ & Tumblin’ Records dropped just before the company’s demise. He opens with What Next?, a straightforward harmonica Blues but there’s nothing straightforward about Jim Rosen’s playing. It’s got a good pace for an opener and is quickly followed by the Blues Rock of Secrets In The Street. Rory Gallagher comes to mind on this as Rusty delivers crisp, rolling and often jagged guitar. He slows it right down for Blue Shadows and brings in the smouldering voice of Robbie Bartlett to lead. It’s Blues on the Jazz side with Rod Wurtele’s mesmerising Hammond B3 filling out the sound. Rosen’s harp returns with a bang on the short and sweet I Wanna Know. This is a very good, rollicking Blues with Rusty laid back on vocal. The only criticism is that he could be a bit more expressive vocally. The sweet and old fashioned A Man Can’t Understand A Woman is a well-worn tale but does confirm that Rosen on harmonica is fast becoming the star of the show. Sinner’s Strut is a guitar led instrumental with Ends showing his rolling style and highlighting that he is no mean player. Horns Gary Hicks, trumpet and Kelly Bechtloff, saxophone) and Wurtele’s high powered piano make themselves heard on High Powered Loving Man. Vocally fine but could be better overall but Rust’s twanging guitar and its quick pace all but save it. Something Wrong Going On is a slow, Chicago style Blues and his voice is better suited to this. It’s well performed with sharp, incisive guitar and the dependable Hammond B3.

Don’t Call It Love has a spoken vocal on the whole and is a tale of a man on a night out, looking for love. The subject of the song has a big hit for himself but the ladies see through him and his talk of love and his ‘last option’ wants it all. It all ends up with the Police chasing him and he gets what he deserved. Horns abound on Heart Stealer as does funky guitar. He’s now getting into his voice but there’s a bit of a strange end to the song. Robbie Bartlett returns on lead vocals for Broken Dreams For Sale with Rosen’s harmonica warbling in response. It’s soporific, in a good way and the harp solo is excellent. Sloppy Joe Blues has a strange, almost Reggae, beat and unfortunately not one of the better songs on offer but he does get back on form with I’m Searching. This mid paced grinding Boogie has piano and harp taking the lead but he doesn’t have the grit in his voice for this, it’s too pure a sound. The harp does make up for it though and it’s still a good song. Horns and Hammond are to the fore again on Whips And Chains and I can’t help but think that this could have been made a lot grittier. Another that doesn’t quite make it. He’s far better vocally on One Step Forward with its slippy and slinky guitar. One that more than merits inclusion. The shuffling Blues of High Beams has piano, drums (Gene Wickliffe) and bass (Dave Zirnheld) all playing well, the piano of Wurtele in particular. This is another keeper. It’s a slow, soulful finish for The One Wish. We have a deep, steady rhythm section with Hammond filling out the sound and a plaintive vocal. Rusty’s guitar is solid but unspectacular and the song itself is at times reminiscent of something the Stones would have put out; I can imagine Jagger bending the vocal. This does grow on you and I’m sure will become a favourite on further listening.

I appreciate that there was a push to release the album in the same format as the original but perhaps there could have been a few tracks dropped in order to make it a much tighter album.

www.rustyends.com

www.earwigmusic.com

24/09/2021

Dianne Durrett & Soul Suga – Put A Lid On It (Blooming Tunes Music)

Like others who lost all of their live shows during the past 18 months, Dianne Durrett and her band went into studio mode to write songs about love, hope and laughter. The result is this all original, 8 track album, her 9^th, which is full of Soul and passion and crosses the genres. In My Soul is the opener; a piano ballad with Dianne’s sultry, alto vocal in play immediately. It’s a slow burner as slight percussion from Melissa Junebug and backing vocals join. She’s got a good range and a slight smokiness to her voice as shown on We Got It. This is mid-paced and soulful with gentle, consoling tones and birdsong at the start and end. She remains slow and soulful for the guitar based Sweeter Love Grows, an autobiographical tale of love at first sight and how it grows over time. She gives us classic Soul sounds with prominent bass from Gregg Shapiro, forceful guitar from Daniel Groover and Adam McKnight’s smooth backing vocals. Blue Water has a funky bass line from Shapiro, Junebug some snappy drums, and there’s the recognisable sound of Yoel B’nai Yehuda on Hammond B3 all backing Dianne’s misty vocal. This is an album for late night relaxing and a track to bend your backbone to. A strange addition is the Country guitar fills from Cody Matlock but it all works perfectly.

Wish It Would Rain is another that doesn’t have much pace to it but Yehuda’s piano and Hammond set a great scene for this bluesy offering as her pleading helps draw you in. It’s the longest track on the album but that’s not a chore. The emotion of the song slightly affects her voice towards the end at times. The title track is quicker and certainly sassier. It’s a Jazzy Blues with intense guitar from Tinsley Ellis and Yehuda on Hammond. We get suitably big horn fills and plenty of synonyms for telling you to shut up. Good News is full of Soul with a graceful sax solo from Mike Burton and Yehuda’s Hammond gets a well-deserved turn in the limelight. The final track, Make America Groove, has Dianne turning on the Funk. The horn section on form with a dynamic vocal and backing singers McKnight, Peggy Still Johnson, Ian Schumacher and Burton giving a complete sound. It’s an upbeat ending which finishes with the American National Anthem which may diminish it a bit for those not of that persuasion.

www.diannedurrett.com

Jeffrey Halford & The Healers – Walk To The River (Sun Valley Records)

The new single from Jeffrey Halford is a surging spiritual, Latin infused, new classic about an incident on the banks of the Rio Grande and he turns his anger on the countries that are turning their backs on immigration. There is a soaring vocal from his daughter, Hannah, and Jeffrey is in characteristic atmospheric form. It’s a portent of great things to come in the new album, expected in Spring 2022 and simply orchestrated with guitar, bass and slight percussion.

www.sunvalleyrecords.com

My Glass World – Still Life With Machine Gun (Luxury Noise)

Jamie Telford and Sean Read along with a number of friends are My Glass World. Having played with a good few bands, including The Jam and Dexy’s Midnight Runners, the duo has drawn on their experience to produce an intriguing follow up to their critically acclaimed ‘A Handbook For Roses’ album. The title and some inspiration for the new album, Still Life With Machine Gun, was taken from their admiration of work by the American/Vietnamese poet and writer Ocean Vuong, in particular his book, Night Sky With Exit Wounds. The set starts with the horn laden On The Ground, which is one of the two singles and has syncopated keys from Telford, Read’s wailing sax and a Jazzy/Indie feel. Everything Must Go has piano and drums (Stephen Gilchrist) to the fore. Read’s horns a big part of their sound and they work very well with Telford’s keys. Jamie has an almost conversational vocal style here and the whole thing has a touch of Dexy’s to it. The only cover on the album is Bowie’s Ashes To Ashes. Keys and viola (Peter Salem) to the fore and it’s like ABC sings Bowie. It’s not too shabby a cover but perhaps lacking the Bowie swagger. Sax is added and he would like that though. Jamie delivers a clear vocal as they slow the track down a little from the original. The funky vibes and screeching sax of Step Right Up herald the second of the singles. This one is a mover with piano and bass (Jon Kensington) prominent and more than a passing resemblance to Talking Heads. The title track has horns to the fore again and it’s a bit of a strange one with a carefree delivery of a dark message.

Sean Read’s saxophone is a big instrument for them and on When Everything Closes he shows why. They seem to be quite a relaxed band with their Indie sounds and piano interludes. This is a good song and you know a good one when it’s finished and you haven’t started to write about it! Your Only Presence Is Your Absence is a good title. The song is slow and meandering like a river flowing to the sea with little subtle changes in pace brought by the drummer. Don’t Come Round To My House is another Talking Heads style medium paced dance rocker. It’s suitably off kilter and chaotic at times too with that sax sound pervading everything. The piano led Kings Of Everything leads you to think about Prefab Sprout and their likes. The bass pops and comes across a wee bit Steely Dan in it towards the end. The start of Another Piece Of Plastic has a reversed music track a la Beatles before strings fill out the sound. Jamie’s matter of fact delivery and organ have a big influence on the track too. It’s over before we know it and the final track, Half Of The Known Universe Is Missing, gives us something to think about. Piano takes the lead as it does often so if you are looking for a guitar band then this isn’t it. The languid vocal fits perfectly with the very laid-back approach. There’s a big sigh at the end, you can make your mind up as to why.

www.myglassworld.com

Medicine Head – Warriors Of Love (Living Room Records)

Featuring 10 new songs, this is the first new album from Medicine Head in a decade. It’s just founder member John Fiddler left now as fellow founder Peter Hope-Evans left the duo a number of years ago. I fondly remember them for their hits One And One Is One, Slip And Slide and Rising Sun in my early teenage days (not yesterday). Guest Heads assist John in his labour of love and he says that this work helped him to reclaim his life from extreme negative circumstances. Opening with the title track is old school and the smooth, bluesy start is highlighted with some piercing guitar fills from Dave ‘Bucket’ Colwell. It’s the album mix meaning we get a little more time to savour it. Dobro and harmonica are added for Chinese Whispers, which begins with some ethereal chants and John’s vocal deep in the mix. As for the track, it’s a moderately paced grinding Blues Rock with slide guitar from Dzal Martin, thumping bass and funky percussion.

Love In Your Eyes is another that is moderately paced. John shows that he can still can crank out a vocal after all these years. Crashing drums and cymbals pepper the piano and organ which are high in the mix along with guitar. It’s heart wrenching and slide guitar adds to that feeling. There are no flashy solos though, just what’s required. He stays relatively slow again for Dancing In The Rain, which is acoustic with added slide. Piano and bass, courtesy of ex-Mott The Hoople man Morgan Fisher, add to drums join to help build the atmosphere. Ben Dale adds telling precision on electric guitar too. John’s vocal is world weary and the song is sweet but not overly sentimental. Want Your Love is a grinding Blues rocker with harmonica wailing, drums pounding and bass throbbing. Slide guitar is in there again but it is the harp that is the star of the show.

It’s back to acoustic as he maintains the easier pace for The Ballad Of Ruby Rose. He gets such an intimate feel with his music at times and produces a calming effect with Roy Shipston on Wurlitzer organ and Belinda Campbell’s harmonies prominent. I’m still hoping for an injection of pace but Dreams I Lost doesn’t give it. Perhaps the slower pace is reflective of his stage in life I suppose. It sounds like there’s a banjo in the background at times on this slow, deliberate Rock. Harmonica appears again as does acoustic slide. Has a mystical feel to it with a laconic vocal from John. He is very familiar sounding vocally on Alcohol And Cheap Perfume but I just can’t put my finger on who it sounds like. There’s a sweeping guitar solo, a bit Mark Knopfler in parts, with organ hovering around in the background and drums providing the counterpoint, on what is a very good song. We almost get an injection of pace on Give Me Love, another straightforward trundling Blues Rock. It’s not to be dismissed though as John can still deliver a tune. I think we can turn the volume on this one and rock it out on the Bad Co chords. The piano led Forgive And Forget is the penultimate track and if it sounds a little like a Mott song then it’s no surprise as it was co-written by Morgan Fisher. It’s a highlight, an all-encompassing, anthemic singalong. He finishes with the single mix of the title track, a truncated version to bookend the album.

This may be his first new material in a decade but John Fiddler has brought Medicine Head back into everyone’s heads.

23/09/2021

Bill Lloyd – Working The Long Game (Spyderpop Records/Big Stir Records)

Third in the Big Stir/Spyderpop series of album re-launches is Bill Lloyd’s 2018 album, Working The Long Game. The Nashville multi-genre singer songwriter is probably best known for being half of the Alt-Country duo Foster & Lloyd but he has been known to venture into Pop/Rock from time to time since the release of his first solo album back in 1986. Working with co-writers such as Graham Gouldman (10CC), Freedy Johnston, Tom Petersson (Cheap Trick), Aaron Lee Tasjan, Buddy Mondlock and Scot Sax (Wanderlust) it is no surprise that the 12 original tracks are packed full of melody and hooks. We have, for example, the single and opening track, Satellite. This is catchy melodic Pop Rock with well-placed slide guitar and a Tom Petty style chorus and followed quickly by the radio friendly, McCartney-esque title track. Sharp guitars mark Make That Face as mid-80s Pop Rock and it is evident that he worked with the likes of Ray Davies and Glenn Tilbrook as a session player as some of their sense of melody has obviously rubbed off. The acoustic led What Time Won’t Heal shows him to be such an expressive writer, player and singer. Full of jangly guitar it’s another with a snappy, catchy chorus and already a favourite. He stays acoustic for Wake Up Call, which is gentler than those before. The strings add depth and serve to highlight the vulnerability to his voice. ‘Til The Day That I Break Down opens with soft mandolin before it all bursts open and he’s back on melodic form. These are classic sounds and sunshine music all the way. Another favourite. Sunshine music.

He’s out there on the vocal for the pure Pop of Go-to-Girl and there’s no hiding behind the mike. He just sounds so happy throughout the song with its Buddy Holly style shuffle. The jangly guitar is back for Yesterday, the B side to the single. It’s got a full sound with phased vocal and a good solo, of which there’s not many so far, solos that is. He is infectious. Interrupted has a strong guitar opening and there’s a little of Elvis Costello in there. He has a nice guitar tone throughout the album. From there it’s straight into Merch Table, more Power Pop with down to earth stories and Miracle Mile, good Pop Rock and another high in an album of highs. He’s chosen an acoustic ballad to finish with in the shape of Shining. It’s a slower pace than I’d have like for the last song but it does build well with smooth electric guitar, drums and harmony vocals doing their part.

Ninth solo album? I’m off to raid his back catalogue.

www.billlloydmusic.net

www.spyderpop.com

The Meadows – Dreamless Days (Pokey Cupboard Recordings)

Siblings Melody, Fantasia, Harvey and Titania make up The Meadows, a young and vibrant multi-instrumental Celtic crossover Folk band who are now releasing their second album. Dreamless Days, like many other albums, is a result of being able to focus more on song writing over the last eighteen months due to the pandemic. The resulting 11 original songs, written by the band bar one which is down to the legendary Steve Balsamo, begin with Lullaby. Titania gives us a crisp voice on this piano led opener whilst Harvey’s violin soars as they introduce themselves via gentle Folk sounds. The airy, harmonic Elusive Dreams is already confirming that we are not in for pace or power for this album. However, what we do get is drama from the violin. Merlin’s Oak couldn’t be anything other than Folk or Prog with that title. It’s been brought straight out of the medieval songbook and delivered into the 21^st century. Full of mystique, their harmonies are excellent. The instrumental Castell Dryslwyn is replete with Celtic tones. Melody joins on flute as they become a little more upbeat. Like the others, it’s very well played with Melody also adding percussion in the form of tambourine although piano remains as the main source. The flute is coming more into the overall sound on Dried White Rose as Titania delivers a classic Folk vocal. It’s a beautiful song, beautifully sung.

The title track features sharp piano but it is their harmonies that are the main attraction. It’s the sort of harmony that often only siblings can achieve. Scenes of open countryside come to mind and as they are Welsh it’ll be the valleys and fields of Wales then. The first track was Lullaby but a few of these could also easily fall into that category musically too. There’s You sounds Welsh, if that’s a thing. You just get a feel for it. I’m Scottish and the same thing happens on some Scots music, I just think it sounds Scottish. It’s pronounced and you know what is coming; piano, harmonies, violin and flute. They are not out to reinvent the wheel but they are lovely singers and musicians, obviously classically trained. Flute and violin work well together on this, and others. Another Celtic flavoured instrumental is Gelli Aur and it must be the fiddle and my Scots blood that makes me feel it so much. Harvey’s bodhran adds to the Celtic feel. Mid pace, flute adds the final touch for a lovely piece of music. We could easily be listening to a traditional Western Isles band. There are no explosions, no fanfares just perfectly played melodies on the Steve Balsamo written Dream You Into Life. Anyone looking for a song for their new film? It brings back memories of simpler days and is a complete cure for the stresses of daily life. They continue with the gentle sounds of previous tracks on Spin Me A Dream. I said earlier that we are not going to get much power from them and that’s not a criticism, not by a long chalk. Flute gently floats above the piano and violin then joins them in a trilogy of dreams as they soar together. The closing track, The Tide, is a builder but it just doesn’t build enough. This could have been a big finish, orchestrally built, but alas no. Some percussion comes in after piano and violin but I do applaud them for not following the gimmicky Folk route as they stick to their heritage and beliefs.

www.themeadowsband.co.uk

20/09/2021

Hector Anchondo – Let Loose Those Chains (VizzTone)

After winning First Prize in the solo/duo category of the Blues Foundation’s 2020International Blues Challenge, Hector Anchondo selected two acoustic guitars and set off to write what has now become his latest offering, Let Loose Those Chains. He opens with the title track which has percussion going like a hammer from a chain gang, intricate guitar work and a plaintive vocal all of which ring like a bell. The trundling I’m Going To Missouri is a slightly quicker than mid paced Blues with a sweet tone on Hector’s vocal. Playing lead on acoustic isn’t the easiest and not the norm but he does it with aplomb. A touch of Kansas City Blues as he hits some sweet notes as does Joe Corley on bass. Just Forget It has a slight Latin influence but it’s still a Blues. His voice is smoky voice in parts, soaring in others as he comes and goes with the mellow, sympathetic drums with Khayman Winfield getting the brushes out but does have his cymbals crashing at the end though. The pace increases for Current River, which has a ‘live’ feel and is an instrumental showing his prowess on guitar with the flow being unaffected through a number of tempo changes. He’s back on vocal duties with a sweet, crisp tone on the Delta Blues of Candy Shop before he steps seamlessly in Americana for Legend. This is very good and particularly notable for his strong left hand on guitar.

The heartfelt ballad Sometimes Bring Alone Feels Right is a counterpoint to the following bouncy and Latin influenced Strike It Down. There is a touch of European sounds to the latter too and Hector also brings out his falsetto, which he deals with well. Vested Angels is an accomplished song and another that is Latin and also Country influenced. I have to say that this is a good guitarist we are dealing with here, as evidenced by the lovely solo, but he can also turn in a vocal performance too. He goes all mournful on this one yet I can see it being one for near the end of a concert. His Latin heritage is coming out more and more as the second part of the album moves slightly away from the Blues. Heart And Soul is an example. One for the girls, and the guys, to sing along to with discrete keys for accompaniment and another for near the end of a gig. It’s back to the Blues for Momma’s A Hard Man and it’s straight up with no issues. Hector’s voice is clear and his guitar is great. A good one! With a title of You Know I Love You But You Got To Go you could be excused that you were in for a Country song to finish the album. But no, it’s a Blues and gentle as the album has been on the whole. All you need is a harp and you’ve got a Sonny Terry & Brownie McGhee style song.

This is worth having in your 2021 collection.

www.hectoranchondo.com

Tony Holiday – Porch Sessions Volume 2 (Blue Heart Records)

For the second volume of Tony Holiday’s Porch Sessions, he’s brought together another stellar cast of musicians to chill out on the porch with. The 16 ‘you’re hearing them like they were played’ tracks begin with The Fabulous Thunderbirds classic, She’s Tuff, which features Victor Wainwright. It’s an easy shuffling piano Blues with Wainwright growling out the vocal at times as well as providing said piano and Andrew McNeill prominent on drums. Holiday’s harmonica a is a pleasure and I’m sure Kim Wilson will agree. Speaking of classics, up next is Muddy Waters’ Honey Bee. This Chicago Blues has stringent guitar from Rusty Zinn who plays as a duel with Kim Wilson on harmonica, ironically. Drums are high in the mix again, this time from Marty Dodson. Willie Buck takes on vocal duties and Zinn’s slide guitar is powerful. This is the real thing. AJ Fullerton, someone who I am now familiar with having reviewed his album earlier this year, steps in on guitar and vocals for his own track, the acoustic, the Piedmont styled, Change Is Inevitable. Silky and slick, Jake Friel’s harp is in full flow and works well with voice and guitar. Grammy winner Bobby Rush gives us his deep, gritty voice for Recipe For Love. Another Chicago Blues it’s just voice and guitar, the latter supplied by Vasti Jackson, and full of gravitas. Watermelon Slim comes in on guitar and vocals for a very different version of Howlin’ Wolf’s Smokestack Lightnin’. Slim. Acoustic. Dobro. Slim’s vocal is full of a life lived and his acoustic Dobro lends a whole new style to the song. Featuring the late, great James Harman on vocal, Going To Court 2 is the lead single from the album. Harman also guested on Volume 1 and this fast-paced version of his track is just a bunch of guys getting together and strutting their stuff on the ‘porch’. Notably no percussion again with Holiday punching through with harmonica fills which are just on point along with a lung bursting solo and dual guitars from Kid Ramos and Landon Stone. Go, written by and featuring Jon Lawton on guitar and vocals is a Delta Blues. He virtually speaks his way through it as Andrew Ali warbles in the background on harmonica, all over a metronomic acoustic guitar from Lawton. Made famous by BB King, Every Day I Have The Blues is given an acoustic treatment by Lurrie Bell. It’s a different interpretation for sure and Mark Hummel adds to that on harmonica, which at times sounds like it’s laughing.

The title Brazilian Brothel conjures up some images. Not speaking from personal experience, of course. Features Richard “Rip Lee” Pryor, son of Snooky Pryor, who also wrote the song and it goes all electric with Ronnie Smith and Troy Sandow providing a rare rhythm section on drums and bass respectively. Johnny Burgin guests on his own Bad Bad Girl and although none of the tracks are overdubbed, this feels more ‘live’ than the others. Burgin and Stone’s buoyant guitars are ably backed by Kid Anderson on bass with Holiday showing again why he regarded so highly as a harmonica man. Blues chanteuse Rae Gordon adds her storming vocal to Find Me When The Sun Goes Down, which she co-wrote. Back to minimal percussion (Dave Melyan) and with Ben Rice’s guitar setting out a walking bass line, Holiday plays a telling part on the solos. If this was on your porch, you’d be the talk of the neighbourhood and they’d all best round to listen. Rice appears again on the self-penned That’s How I Learned and he takes on vocal duties too for this shuffling Blues. His sharp vocal is matched by his top class slide guitar and Holiday’s gritty harp. Why have one harmonica player when you can have two, and one of them playing two harmonicas! That’s what we get with Cake Walk, written by and fully played by Mark Hummel and Dennis Gruenling as they add their talents to this instrumental to produce a gem. One sounding like an electric guitar at times, it’s amazing how they can get so many sounds from one instrument. JD Taylor is next in line with his Family Tree. Another Delta Blues and another artist I have reviewed before. This is intimate and draws you intimate, draws you in with Taylor in particular vibrato form on harmonica and his son Alex giving us some clear, snappy acoustic guitar. Peace Will Come has Southern Avenue as the guests and like many before it’s self-penned. We get a very calming Gospel feel from it, although it’s a civil-rights anthem, with percussion and bass to the fore and guitar to the back, even on the solo. It’s onto the finale and Bobby Rush is back for an A Capella performance of Get Outta Here (Dog Named Bo). It has a great story and one which deserves not to have the distraction of instruments, however great they have been so far, so that you can just listen to Bobby’s dulcet tone.

With a collection of musicians like this it would have been impossible not to have come up with something magical.

www.tonyholidaymusic.com

www.nola-blue.com

17/09/2021

Teresa James & The Rhythm Tramps – Rose-Colored Glasses Vol 1 (Blue Heart Records)

Veterans of 12 albums and multiple BMA and Grammy nominations, Teresa James & The Rhythm Tramps are back with a new album, Rose-Colored Glasses Vol 1 filled with 12 new tracks all bursting with redemption, perseverance, strength and joy. Horns, guitar and organ introduce Teresa’s sweet R&B vocal on the smouldering, slinky opener, Show Me How You Do It. Full of Soul and rhythm, she has a classic voice and a slight echo on everything just lifts it all up. The lead single, Takes One To Know One, has piercing guitar from Anson Funderburgh and Darrell Leonard and Paulie Cerra’s big band horns to begin with. I reviewed this a few weeks ago and, if anything, it’s got better. It’s jazzy with a swinging chorus and you’ll be singing along before too long. Simply superb. Horns are to the fore again on the fluid title track and Teresa uses all of her experience to deliver this to you. We get some sweet sounds as Terry Wilson on slide guitar joins in and this is fast becoming a favourite album and we’re only three tracks in. I Got A Love I Wanna Hold On To is a slow, sultry grinder with rasping sax from Cerra and wailing trumpet from Leonard. The whole thing just moves like a river flowing by. The slow, big band Blues of All You Ever Bring Me Is The Blues is a big production number where Teresa shows her range and Leonard’s trumpet solo adds to the night time Jazz feel. Wish It Into The Cornfield is introduced by the forceful drums of Herman Matthews, Wilson on bass and Billy Watts’ guitar. A metronomic, grinding Soul Blues, it has smooth horns and a further sharp and punchy guitar from Funderburgh.

Once The World Stops Ending is more of the same although Teresa’s electric piano is a bit more prominent. She has such an easy sound to listen to with a horn section that is so loose and adding a little Funk to the proceedings. Every song is delivered with so much style and Everybody Everybody is no different with its shuffling approach. The harmony is good, as is the slide guitar from Terry Wilson, and it just makes you feel so relaxed. Things Ain’t Like That is a Soul Blues that builds well with excellent slide guitar fills and soaring solo, this time from Lee Roy Parnell, alongside a deep electric piano from Teresa. She, and her piano, stays in the forefront for the soulful ballad, When My Baby Comes Home before they turn to a light Funk for Rise Together. These two tracks show what a multi-talented band we are dealing with. Just listen to the heart that is put into them. They finish with the attitude laden Gimme Some Skin. Scything guitar from David Milsap, vibrant vocal, horns and pounding drums (Jay Bellerose) and bass. What else do you need for a closing track? Oh yes, a happy feeling all over. Objective achieved.

www.teresajames.com

16/09/2021

Tommy Castro – Tommy Castro Presents A Bluesman Came To Town (Alligator Records)

Tommy Castro returns with 13 original songs, all co-written by Tommy, 11 of which the song writing team included Grammy Award-winning Producer Tom Hambridge. The album, his 7^th for Alligator Records, tells a story, that of a young man working on his family farm who gets bitten by the blues bug. He masters the guitar and heads out on the road seeking fame and fortune, only to find what he’s left behind is the treasure he’s been looking for. He opens with the single, Somewhere, and brings us a slow, pulsating Blues Rock. Vocally, he’s like a preacher delivering a sermon over a warbling harp from Jimmy Hall and his own deep, soulful slide guitar. The brooding title track has Tommy MacDonald prominent on bass as Tommy adds his voice of experience and string bending excellence to provide some scorching Blues Rock. He ups the pace for Child Don’t Go, a Gospel based feast. Terri Odabi adds her excellent voice before the choir joins in. There is some rocking Boogie piano from Mike Emerson and Kevin McKendree as Tommy stings us with his guitar. This is special. The soulful ballad, You To Hold On To has Tommy twanging his guitar and still bending those strings as he performs an emotive vocal whereas on Hustle we get vamping guitar from Rob McNelley and a Funk Blues with added horns. In particular, a sexy sax from Keith Crossan. McKendree’s Hammond is in there too, along with deep bass lines from MacDonald and Hambridge snapping away on drums. The guitar solos will cut you in two and the whole thing is very urban. The cautionary tale of I Got Burned is a straight up strolling Blues with Tommy bringing a dusky voice to proceedings.

Blues Prisoner is a slow, piano led Blues with Tommy delighting us on a solo of top quality. This is grown up music and what young musicians should be aspiring to. It’s a top song and Tommy’s heartfelt vocal is one of his best. The up-tempo Boogie, I Caught A Break is good fun and full of hope. The rhythm section is tight and the piano up for it as it rocks it out in the background. Hambridge is going like a drag racer. With a title of Women, Drugs And Alcohol it’s not going to end well, is it? Musically though, it has a Jimi Hendrix intro and the tale of the seedy side of the music business turns into a strident rocker. It’s a harmonic intro to Draw The Line, a slow, grinding Blues. Emerson is on electric piano for this one, which places Tommy firmly in the higher echelons of modern-day Bluesmen. I Wanna Go Back Home is a soulful R&B and a big number. Deanna Bogart provides the sax on this occasion and it rakes across your ears as the Hammond provides the perfect canvas. Tommy gets the slide out again for Bring It On Back, a completely different track from its predecessor as he rocks it up again. It’s gritty, it’s scorching, it’s a keeper. We’ve reached the last track already and Somewhere (Reprise) sees Tommy on dobro this time with Randy McDonald and Bowen Brown joining him on bass and drums respectively for an acoustic revisit of the opening track.

www.tommycastro.com

www.thedogtownbluesband.com

14/09/2021

The DogTown Blues Band – Search No More (RVL Music)

With a band motto of “we like to put a little Jazz in our Blues and a little Blues in our Jazz” The DogTown Blues Band give a hint of what is to come on this, their third release. That doesn’t tell the whole story though as each of the members is a seasoned performer in his own rite. The album has nine covers and only one original track but we won’t dwell on that. They open with a decent version of Percy Mayfield’s Cooking With Style, making it a smooth Jazzy Blues with sweet harmonica from Bill Barret, who also takes on lead vocals. Another Mayfield composition is the short and sweet River’s Invitation. This is a slow stroller with Kaspar Abbo on vocals this time. It’s difficult to stand out in the modern era of Blues music but there is still plenty of room for solid bands like this. Technically adept, they are fine musicians. They up the tempo for the Paul Gayten written You Better Believe It. We get clean sounds with Wayne Peet on organ holding the sound together over a good rhythm section of Lance Lee (drums) and Trevor Ware (bass). Barret’s harmonica is back, chromatic if I’m not mistaken, as is his voice. Richard Lubovitch aka Loob gets his first incursion on guitar and gives a decent account of himself. They go through small solos with Hammond next, all showing that they are more than competent. Barret has a silky-smooth voice. There are no vocal gymnastics, he just gets on with singing the song. The classic Chicago Blues of You Shook Me is up next with Lubovitch’s stinging guitar on show. It’s a good version of the often-covered song, written by Willie Dixon and Earl Hooker and recorded by many including Muddy Waters, Led Zeppelin and Joe Bonamassa to name but three. This is more towards Muddy Waters than Led Zeppelin with a short mournful harmonica interlude to finish with. Ware’s upright bass and Lee’s crashing cymbals start off the only original track on the album, All Night. Written by Lubovitch it’s a Jazz Blues instrumental with guitar taking the lead and offering some sublime notes. He works well together with Peet who plays a cameo on organ. They go through phases in the song and the tempo changes are well executed.

Jimmy Dotson’s Search No More is a swaying Blues with Abbo’s smoky voice on show. Marcus Watkins guests on lead guitar and comes on strong as the band thumps out the rhythm at times. This is a very good track; deep, with a gritty lyric that is full of heart. Co-written by Little Richard, Miss Ann has harmonica and guitar working in perfect unison as they match note for note. Abbo puts his soul into it on vocals. It’s snappy with the harmonica almost speaking to you on the solo and guitar throwing in a sweet running solo too. There is that Hammond sound in the background, you’ve just got to love that sound, and the rhythm section are so laid back. It all finishes the way it started with harp and guitar in perfect unison. Written by Billy Hill, The Glory Of Love is such a famous song. It’s slowed down a little and Jazz inflected but you’ll recognise the lyric. It’s been recorded by so many, from Benny Goodman onwards and this is a good version. Barret gives us his best 50s crooner voice on I Wonder, written by Cecil Grant. It’s a slow one with harmonica and organ to the fore. Long Train Coming; yes, it is The Doobie Brothers! A completely unexpected finale. Abbo’s vocals turn smoky again and to good effect. Having the harmonica in there is slightly strange but that’s just me being so attached to the original. This is a brave choice and it works with the harp taking on some of the guitar work from the Doobies original. Guitar and harp playing together is becoming their sound and Lee’s snappy drums have to come in for special mention. It is a surprise but a nice one nonetheless.

13/09/2021

The Lunar Laugh – Nighthawks! (Big Stir Records)

Oklahoma natives, The Lunar Laugh release their first album on Big Stir Records and it’s a collection of live songs from throughout their career along with a couple of studio tracks. Up first is I Wanna Know which features the gentle voice of Jared Lekites who also slaps the drums. Jagged guitar from Campbell Young punctures this Power Pop song from a band that are comfortable in their playing. It’s Okay is acoustic led with Connor Anderson on guitar. It’s a great Pop song, very powerful and well sung and played. The first inkling of the live tracks is on the very catchy On The Road and they show just how good a live act they are too. There is a good riff that is also carried on by Taylor Johnson on piano. I’m struggling to compare them with anyone at the moment and that’s not a bad thing as such. On By The Light Of The Living Room they bring us more of their melodic vocal Pop Rock. They are an energetic band and it comes through in the live setting and although it’s not your usual live album, they record all of their concerts and this is a compilation through the stages of their career. Think of melodic Indie bands and you are in the area. Still trying to raise comparisons on Winsome but still not getting anyone. The tracks are taken from their three previous albums and it’s all good fare, especially on these short, sharp tracks. Dual guitars and a sweeping, soaring chorus are the highlights on the punchy Living A Lie before we go back to the Anderson acoustic led approach on Alive which has a touch of Folk Rock to it in parts. It surges into life in the second minute and has that Pop sound with some Beatles chords. Waiting For A Sign is a solid song from a solid band although they do surprisingly sometimes struggle a little in the higher ranges for the first time. The moderate paced Tell Me A Story almost ventures into Country. It gets stronger as they get into it but tends to be a little sharp in places. I need to search out the studio versions of these songs. It’s got a good chorus and can we class it as Country Pop? Would that pass muster? That said, there are glimpses of James in there too which takes us back to Indie.

If the 60s vibe of Solitary Man seems familiar, that’s because it is a cover of the Neil Diamond song and a good one at that. They Rock it up in the mid-section with some jagged electric guitar from Young. Back to British influenced 80s/90s Indie for Mama’s Boy, which confirms their exciting, energetic approach. They keep the energy levels up for Welcome To The World, with Lekites coping better on the higher notes. Another good, solid Pop song. They actually increase the speed for Old New Kid In Town as they continue on the Pop vibe. They seem like a likeable bunch of guys and I’m sure a guaranteed good night out can be expected at one of their gigs as they trot out another catchy chorus. They are joined by Chase Kerby on vocal and acoustic guitar for the slow, wistful Death Cab Meets Cutie cover, Soul Meets Body. And they stay acoustic for The Bedroom Door as they keep the mellow tones, getting ready for the big finish. It’s not as slow as the previous track but has slapping percussion from Lekites and what sounds like pedal steel from Kyle Reid but is equally likely to be Young on electric sitar. They are back to electric for Apollo, a striding Pop rocker with harmony vocals from Anderson and Young excelling as they have throughout the album Young also contributing some scything guitar. Nighthawks And Mona Lisa is a big song for them and another big chorus. The sunshine just drips out of it and the audience gratefully accepts the invitation to join in. The last track of the album, although I’m not sure if they end with this usually, is Work In Progress and it’s a good one to end on. They leave the audience on a good note and a feelgood factor. I think what they bring to the audience is that they are not too polished or clinical and that just adds to their likeability.

12/09/2021

Cats In Space – Diamonds, The Best Of Cats In Space (Harmony Factory)

We don’t get a lot of ‘Best Of’ albums in our inbox so it was a surprise to receive Diamonds, The Best Of Cats In Space. Each track on the 14 track CD has been taken from their back catalogue, remixed and also re-vocaled by lead singer, Damien Edwards. They’ve only been around since 2015 but their Classic Rock sound takes you straight back in time to the heady days of the 70s and 80s. The opener, Too Many Gods is immediately into that Classic Rock, 80s style with a big lead vocal from Edwards and tight high multi layered harmonies. They are very melodic and this comes out in spades on the middle of the road soft rocker Silver And Gold. Acoustic Rock ballad Chasing Diamonds follows the formula, and a good one at that, with a big chorus and soaring guitar solos from Greg Hart and Dean Howard the peaks. For the single, Mr Heartache, think REO Speedwagon crossed with Stephen Bishop. Yes, really. We get classic AOR on Thunder In The Night with Andy Stewarts keyboards and guitars from Hart and Howard fully of the genre. It’s upbeat, plenty of harmony and just pure melodic soft Rock/Power Pop. The harmonica on Scars is completely unexpected but the slow, piano led ballad isn’t. Bon Jovi and their ilk come to mind at times with a classy vocal from Edwards. It’s all very 80s but that’s not a problem. The unashamed, bombastic rocker, Hologram Man could even be classed as a Glam Rock track and would have easily have fitted in with that genre. They are non-country specific so could easily be from either side of the pond with perhaps just the Top Of The Pops reference giving them away. You do have to like some cheesy Rock and I like this!

Scarecrow is a fast-paced rocker with lots of political slants. It’s big and booming with the slower sections led by piano. Theatrical Rock Opera, it’s got it all, big solos, rampant keys and everyone contributing to the vocal sound. They add a little Funk to 2.59 which ironically lasts 3.03 and they go all 60s Rock revival on Last Man Standing. They are firmly a band of the past and comfortable with it. Edwards turns in a particularly soaring vocal and although its piano led there are some lovely Brian May style guitar touches too. Very harmony laden with sax added at the end makes it very USA centric. I Fell Out Of Love With Rock N Roll is a piano led power ballad. Tells the tale of Rock going through different phases and going out of fashion. They like their classic sounds and this is very much influenced by Queen’s harmony and guitar style, although not vocally. Their love of melody comes across as a bit of a rage against Grunge bands etc. There is more classic, bombastic, posturing Rock on Revolution where they show again that they are such good musicians. This is melody central. Listen To The Radio is a lightning paced rocker with the rhythm section of Steevi Bacon (drums) and Jeff Brown (bass) leading the charge. It’s a little heavier than the rest and would fit in with the classic bands of the 70s and 80s. Good stuff. For the closing track they bring us an exclusive live recording of the airy and atmospheric Greatest Story Never Told from their live stream from KK’s Steel Mill in Wolverhampton last year. Its piano led and over 7 and a half minutes with them letting loose at a minute and a half in. They sound like a great live act and Edwards can sure hold a note. I’m reminded of John Miles on these longer tracks with the changes in style and tempo. This is an anthem for them and there is a big solo with dual guitars and all the pedals, making it an audience pleaser right down to the Ian Gillan scream at the end. Orchestration on the album is by the great Mike Moran and that is a sign of the standard of the band we are dealing with.

www.catsinspace.co.uk

11/09/2021

Keegan McInroe -To The Moon And Back

Texas singer songwriter Keegan McInroe’s latest single, To The Moon And Back has a parent telling a new born child about what life’s possibilities are but how the road can be uncertain. It takes the form of a lullaby, gently sung and full of feeling. Predominately just his dusty voice and acoustic guitar with pedal steel from Burton Lee and subtle harmony vocals from Jackie Darlene and Roxie Zetzsche, you easily miss the other instruments, so delicate is their sound, the exception being Gary Grammer’s harmonica which pierces the atmosphere towards the end.

www.keeganmcinroe.com

10/09/2021

Big Daddy Wilson – Hard Time Blues (Continental Blue Heaven)

North Carolina born and long-time German resident Bluesman, Big Daddy Wilson has built a fine reputation for himself in the US and all over Europe and on his new album, Hard Time Blues, he feels that his 25-year journey to get home has finally borne fruit. Already acclaimed for previous albums such as Love Is The Key, Time and Neck Bone Stew he has sought to bring a more contemporary side as well as sticking to his Spiritual and Blues roots. The opener, written by Eric Bibb and Glen Scott, is Yazoo City and it is highlighted by acoustic slide guitar (played by Bibb) and Wilson’s deep vocal. There is minimal percussion to begin with before it gets going and Glen Scott gets involved. Harmonica is provided by Klaus Grossert to round off the authentic feel. Once he gets into his stride, this is a good grinding start. The Lord Is My Shepherd is used as the base for The City Streets (Ps.23) and Wilson turns in a smoky vocal and uplifting contemporary sounds. It’s electric slide guitar this time, played on this occasion by Stefan Astner and the whole thing is very good, the chorus especially. The title track, another written by Bibb and Scott is a contemporary Soul Blues full of classic Blues themes with modern twists but it is the return to his Spiritual roots that brings the biggest highlight so far, Poor Black Children. This is atmospheric with just voice and minimal rhythmic guitar to keep the beat. The piano, played by Scott, is minimal too, restricted to just the odd chord. There is a spoken vocal on Meatballs and this is given a retort from Shaneeka Simon. It’s a tale of husband and wife speaking about what is for dinner but the wife has no time for cooking after working her job and the husband doesn’t understand. It’s a familiar tale and hopefully one that is getting less and less nowadays. The band play away in the background with Cesare Nolli’s guitar and Enzo Messina’s piano to the fore. Wilson has a deep voice of experience and he uses it to the maximum on He Cares For Me, a slow, pounding Spiritual which builds well as Glen Scott’s bass and Wurlitzer become more involved.

Dearly Beloved is a piano ballad highlighting Wilson’s velvet voice on a song of loss. Scott comes in on drums after a couple of minutes as the Soul in the Soul Blues gets ramped up. We also get a rare guitar solo from Cesare Nolli and a reasonable one at that with horns and backing vocalists adding depth as it builds. New Born has a gentle and heartfelt vocal and it sums up the feeling of new birth pretty well. The use of both acoustic and electric guitars from Wilson Blount and Glen Scott works particularly well. I Can’t Help But Love You is a sugary sweet old-style R&B with Wilson’s bass voice in fine form and accented by stinging guitar from Nolli. A rare Blues comes at us in the form of A Letter. It’s just voice and slide guitar and this makes you listen to his wonderful voice even more, it’s so full of authenticity and gravitas. His spirituality is never far from the surface and he makes it all so believable. He stays with the Blues for Maybe It’s Time, although still at a sedate pace. You get the format by now; starts slow, builds slightly, drums add power, spiritual overtones, deep gritty vocal etc, all wrapped up in a mesmerising, rhythmic package. The Gospel-tinged Testimony is the penultimate track and although it is simply a love song, it is so easy to listen to. The final track is a remix of He Cares For Me. Nolli turns to banjo as this an extra and percussion added along with some injected pace. I think I prefer this version and you could get up and have a bit of a jig to it, if you were so disposed. There is no change to the subject matter though and it still resonates.

RB Morris – Going Back To The Sky (Singular Recordings)

One of life’s poets of the road, RB Morris (the RB stands for Richard Bruce) can turn his hand to a number of genres and tells tales of those he has met on the road with a pin point accuracy only held by those who are true observers. Lucinda Williams called Morris “the greatest unknown songwriter in the country” and Steve Earle commented that “RB Morris is the reason I started writing poetry”. So, no pressure there then. The album starts with Prelude I, a short, guitar and harmonica (Mickey Raphael) instrumental that does what it says on the tin. In Red Sky he names as many towns as Johnny Cash’s I’ve Been Everywhere, and that’s no mean feat. It’s an easy-going song with a gentle vocal from Morris and fiddle from Greg Horne. Nothing to get worked up about, good or bad, so far. Talking about Johnny Cash, up pops Me And My Wife Ruth. This moderate paced track is down to earth and not too complimentary on the wife. The Honky Tonk is the place to hear this as it would sit there perfectly. There is even less pace on the interestingly titled Missouri River Hat Blowing Incident. He paints an eerie picture here, reminiscent of Tony Joe White, and there is a very strange ending to it. We get a short instrumental interlude (I don’t know why) in the shape of Somewheres West, with a Western movie style electric guitar before we move onto the conversational spoken vocal of Montana Moon. This builds instrumentally under the spoken vocal and leaves the listener full of anticipation. There is a return to the Johnny Cash school for the old school That’s The Way I Do with its stylish, jaunty chorus as he goes into full drawl at times and reminds us that we should just live for the moment the way you want to.

He remains in the old style for Old Copper Penny and it is on tracks like these that he earns his reputation as a poet of the road: an old-style troubadour, travelling musician if you like. Fiddle and mandolin (David Mansfield) join to help give that authenticity and whilst Daniel Kimbro’s upright bass is more noticeable, there are minimal drums from Hunter Deacon in the other half of the rhythm section. He can be a Country crooner too as shown on the Texas influenced Once In A Blue Moon where he reminds us of days long gone when times were simpler. It’s another strange ending though. He loves a title and Six Black Horses And A 72 Oz Steak is a cracker. We get his best slurred Bob Dylan style vocal with backing singers giving a contradictory feel. This one is certainly not a throwback song. There is a Tex-Mex feel to Under The Cigar Trees with its trumpet intro. You’ll be able to swing your hips to this strangely alluring tune. It’s back to mainly guitar and voice for the title track although Horne’s pedal steel does flirt around in the background. His plaintive vocal gives this a homely feel. Usually, you’d have one prelude and it’d be at the start. Not for RB Morris as he throws in Prelude II as the penultimate track. It’s another short instrumental with acoustic and electric guitar but I fail to see the need. It leads into a sedate finish in the form of the contemplative Walking Song with its heart-searching guitar from Bo Ramsey playing under his gritty vocal.

www.rbmorris.com

09/09/2021

Eric Bibb – Dear America (Provogue Records)

New York Bluesman Eric Bibb has seen many Americas in his 69 years but he has rarely looked at the country of his birth or, in fact, himself with such scrutiny as he does on this latest album, Dear America. He has brought a number of artists together to feature on the album and they have helped to compliment his own singing and playing which has not diminished at all. There are dark and light moments on the album and he starts on the lighter side with Whole Lotta Lovin’. This features Ron Carter and the pair produce some hypnotic fingerpicking guitar and bass to celebrate the Roots music that got Eric hooked all those years ago. Eric’s voice is as smooth as ever and the song is very clean sounding. They are both wonderful guitarists in their own rite as they carry the song with no other assistance. Born Of A Woman is the first of the four singles. Featuring Shaneeka Simon on vocals, it is a powerful message on how everyone is born of a woman and how can some men treat women so badly. Slide guitar is deployed with percussion introduced too. The second of the singles is Whole World’s Got The Blues, a stark tale of our lives from the past couple of years. Sung in Bibb’s easily recognisable velvet voice it is slow, with shuffling drums from Steve Jordan, punctuated by Eric Gales’ superb guitar solos. The title track opens with a quote from Martin Luther King and goes on to deliver a warning for the country in a strong political message. This is mesmerising with Bibb showing he has lost none of his skills on guitar too. Chuck Campbell joins for Different Picture which aims to tell us that we need to look beyond the façade, to look for the undercurrent. It’s a slow builder with top drawer slide guitar. The upbeat message of Tell Yourself concentrates on looking at making your way in the world. It’s the third and latest of the singles and features crisp guitar and that ubiquitous dulcet vocal.

The last of the singles is the harrowing tale of Emmett’s Ghost, the disturbing story of the brutal murder of Emmett Till. Bibb brings it to life with his sympathetic vocal and very descriptive lyric. It’s another reminder of man’s inhumanity to man and again features Ron Carter on bass and Eric on guitar. There are more sombre tones on White & Black and he’s not really got out of first gear on the album but that is to be slightly expected given the subject matter. This is a ballad and not really Blues but more Soul. It’s another builder with more strong political messages as he addresses his country and tells them to think. He says” Let’s start facing the truth, let’s start teaching the truth about white and black” to bring a very strong lyric. The short and sweet Along The Way highlights Eric’s fabulous fingerpicking style and gentle manner before things are roughed up a little with the introduction of Billy Branch on Talkin’ ‘Bout A Train Pt 1. His harmonica mixed with Eric’s fuzzed and echoed vocal transports us from the Delta on one hand to the 21^st century version on the other. The contemporary beats change spots with the authentic Delta Blues feel as we are taken to the past and back with namechecked songs such as Pallet On The Floor and Killing Floor. Add in some terrific harmony vocals and you’ve got a track on your hands. Talkin’ ‘Bout A Train Pt 2 moves the focus with acoustic guitar and drums, heavy on the snare to the fore. There is a Gospel feel to it and horns add a flavour of urban Jazz. Eric has never been afraid to venture off and enjoy other influences and this is a prime example. Featuring Tommy Sims on bass and Glen ScoP adding his vocal to that of Eric, Love’s Kingdom is an uplifting funky R&B track with Hammond organ is the background giving the whole thing some extra body. The closing track, One-ness Of Love, features Lisa Mills on vocal and she produces such an evocative performance. She is accompanied by cello and guitar accompany with Eric’s smooth vocal responding. They work very well together as the song builds with electric guitar added along with piano and further strings adding depth. This is one for ending the night with and those of you in partnerships will be able to identify the way that the duo are speaking with each other.

This is a grown-up album with grown up messages and topics. So, the younger you are the better it is for you to listen to.