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It's
been two years since I first stumbled onto a
link to an album by Finnish blues/soul/jazz
singer Ina Forsman --- and my life hasn't
been the same since then. I loved, loved, loved
that album. A fabulous singer in a retro
late-night smoky style and an outstanding
songwriter, especially considering that English
is her second language and she wrote most of the
songs on that album, simply titled Ina
Forsman, when she was only 19 or 20. So what
was next for Ms. Forsman?
It
turns out she had plenty of ideas for her next
album, capturing those brilliant thoughts on her
cellphone, and then, horror of horrors, she lost
her cellphone while on a trip to New York City.
(As a database administrator in my past
corporate life, I would have lectured her about
taking regular backups of her devices, but we
won't go there).
Quite frankly, she recovered quite well with her
latest album for Ruf Records, Been Meaning To
Tell You. What's most impressive is how this
young woman has broadened her horizons with the
material here. If it took a lost cellphone to
get her to this point, then it may be a blessing
in disguise.
Ms.
Forsman still has those strong pipes, and we
hear her loud and clear on the opening number,
"Be My Home." with Red Young's gospel piano
leading the singer into an inspirational
crescendo. She says she's been traveling so long
that she is looking for the home she's never
known.
Changing the mood completely is the funky "Get
Mine," with Forsman scat singing out the lyrics
in machine gun fashion while Laura Chavez puts
down wah wah guitar licks. She uses the same
vocal techniques on the snaky "Why You Gotta Be
That Way," with a nice keyboard solo from Young.
"All Good" has a lilting, soulful melody with
nice muted trumpet from Al Gomez. Just a nice
feelgood number all around.
Forsman's voice absolutely soars on the funky,
jazzy "Genius," with a big horn section helping
to push her voice to new heights. Later, she
puts every possible ounce of pain and torture
into the slow blues "Miss Mistreated," while
Chavez tastefully adds the right guitar licks to
complement Forsman's vocals. It's again all
about the voice on the sparsely-accompanied
"Figure," a soulful anthem that gives her the
chance to move around the octaves complemented
by Young's subtle but tasteful piano playing.
"Who
Hurt You" starts slowly before Forsman comes in
with soulful vocals and then the Texas Horns
bring in that big sound behind her. The surprise
here is the really nice flute solo by John Mills
midway through the song. "Chains" is something
completely different, marked by tribal rhythmic
drumming, chanting and hand clapping, while
Forsman issues the warning that If you wanna
chain her then you'll need to change who she is.
Lots of energy on this cut.
Closing the album is the very simple à capella
number, "Sunny" (no, it's not that
"Sunny"). Forsman takes this one to the
riverside with gospel-ish vocals about Sunny,
someone who's always been there for her.
Been Meaning To Tell You is a very fine
follow-up to the self-titled Ina Forsman.
It shows Forsman's incredible growth as an
artist and songwriter, and she's still not quite
25. Needless to say, Ina Forsman has a bright
career ahead of her.
---
Bill Mitchell
 Kevin Burt won every award that he could
have possibly won at the 2018 I.B.C., taking
first place in the Solo/Duo Performer category,
the Cigar Box Guitar Award for best guitarist in
Solo/Duo category, and the Lee Oskar Award for
best harmonica player. As if that weren’t
enough, he also released Heartland & Soul
(Little Village Foundation) in 2018, a stunning
debut recording that will probably earn him a
few more awards in 2019.
In
addtion to his skill on the harp and acoustic
guitar, Burt possesses a wondrous voice that’s
equally at home in soul or the blues, a warm and
smooth combination of Lou Rawls, with a little
Bill Withers, and even a bit of Gil Scott Heron.
His songwriting is equally first rate and he’s
backed by a superlative group of musicians that
include Kid Andersen (guitar/melodica), the
legendary Jerry Jemmott (bass), Derrick “D’Mar”
Martin (drums), Jim Pugh (keyboards), and Jon
Otis (Johnny Otis’ son) on percussion). Andersen
and Pugh co-produced the set, which was recorded
at Greaseland Studios.
The
irresistibly funky “Day Day” kicks off the disc,
and there’s no looking back. “Come On See About
Me” is classic retro Southern soul (with sweet
backing vocals from Lisa Leuschner Andersen) and
“Thank You” sounds like it’s right out of
Memphis with Pugh’s subtle B3 backing. Burt’s
vocals are excellent, but his phrasing is
casual, confident, and so comfortable that you
just get fully wrapped up in his songwriting. On
the up-tempo “Real Love,” the band really digs
deep into the funk and listeners get a full dose
of Burt’s brilliant harmonica playing.
The
album’s lone cover is The Beatles’ “Eleanor
Rigby,” which blew the audience away at the
I.B.C. His reading is a stunner, giving the
classic a totally amazing new look. Those who’ve
heard both versions may never go back to the
original after hearing Burt’s searing rendition.
“Makin’ Me Feel” is a sexy slow burner that
crawls down your backbone, and “I’ve Been
Watching You” sounds like a tasty bit of ’70s
R&B with Andersen on the melodica.
“I
Don’t Want To See You No More” is a devastating
solo blues ballad with Burt laying down
passionate vocals and guitar about his woman,
who’s left for reasons unknown. “Never” is a
smoky after hours blues with powerful vocals
from Burt and guitar from Andersen, and “Smack
Dab In The Middle” starts out as a Delta-styled
blues with resonator guitar that segues into a
funk/jazz mix. Any father who has daughters will
find the room getting a little dusty (this daddy
did) after hearing Burt’s heartfelt “Your
Smile,” dedicated to his daughter, and he closes
the disc on a rousing acoustic note with the
driving shuffle, “Wake Up, Baby.”
After listening to Heartland & Soul,
you’ll not only understand why Kevin Burt won
all those awards and accolades at last year’s
I.B.C., but you’ll probably wonder what took so
long for it to happen in the first place. Put
this one on your must-have list right now!
--- Graham Clarke
 Colin James has been plugging away for 35
years, serving as one of Canada’s busiest blues
artists. In the mid-’80s, he got a nice boost
when he was asked on short notice to open for
Stevie Ray Vaughan in Regina, Saskatchewan, when
the scheduled openers were no-shows. He so
impressed SRV that he was invited to perform
during the encore and then asked to serve as
opening act for the rest of the tour. He really
made a mark on the blues charts in 2016 with his
collection of blues covers, Blue Highways,
which stayed at #1 on the Roots Music Report’s
Blues Chart.
James’ latest effort, Miles To Go (Stony
Plain Records), follows along the same lines as
its predecessor, consisting of James’ excellent
renditions of classic blues tunes, but James
also contributes a pair of his own compositions
this time around. He opens with a pair of Muddy
Waters tunes, “One More Mile,” an energetic take
that heavy on soul, backed by horns and Steve
Marriner’s harmonica (James reprises the tune at
the album’s close in an acoustic, with a more
traditional feel), and “Still A Fool,” which
plays closer to Waters’ original version, with
James contributing some monster guitar work that
gives the song a modern bent.
Other covers include Arthur “Big Boy” Crudup’s
“Dig Myself A Hole,” a country blues rocker
supplemented by James’ sterling slide guitar,
Howlin’ Wolf’s “Ooh Baby Hold Me,” which doesn’t
stray too far from the original’s funky beat and
features some Sumlin-esque fretwork from James,
a slow-burning after-hours take on “Black
Night,” a wonderful acoustic version of Blind
Willie Johnson’s “Soul Of A Man,’ and a
introspective solo presentation of Blind Lemon
Jefferson’s “See That My Grave Is Kept Clean.”
Little Willie John’s “Need Your Love So Bad”
gets a splendid slow blues treatment punctuated
by Jesse O’Brien’s piano and Simon Kendall on
B3, and Walter Davis’ “Tears Came Rolling Down”
gets a raw, electric updating with James playing
some scorching slide.
James’ two originals more than measure up to the
classic covers. “I Will Remain” had a cool,
urban B.B. King quality, thanks to James’
stinging guitar, and “40 Light Years” is a
free-wheeling swinger and a nice change of pace
midway through the album.
On
Miles To Go, Colin James gives the
classic blues covers a respectful, yet
contemporary-charged updating that should not
only appeal to newer blues fans, but should also
encourage them to give the original versions a
listen. This album more than measures up to
Blue Highways --- it exceeds it.
--- Graham Clarke
 For
his latest album, Inspired by the Blues
(Stony Plain Records), keyboard master Kenny
“Blues Boss” Wayne wrote 11 new songs,
served as his own producer, and brought in some
top notch musical support in harmonica ace Billy
Branch, guitarist Duke Robillard, and former B.B.
King bass man Russell Jackson. He’s also backed
by a sharp band that includes Joey DiMarco
(drums), Yuji Ihara (lead/rhythm guitars), Dave
Babcock (tenor/baritone sax), Bob Tildesley
(trumpet), and Lynne Chwyl (background vocals).
Branch plays on two of the tracks, “I Knew I’d
Be Playing The Blues,” the relaxed and
reflective autobiographical opener, and the
Windy City-styled “That Girl Needs Help,” while
“Start Rockin’” sends listeners down to the
Crescent City for a delightful romp, and moves
to organ for the funky ’70s-era R&B of “How
‘Bout That.” “I Like That Woman” is a jazzy
tribute to Ray Charles’ Atlantic period with a
superb solo from Robillard, “Jimmy and Johnny”
is a rollicking jump blues about a romantic
triangle, and the driving blues “Make Up Your
Mind” is blues piano at its finest.
“Lake Country Boogie” is a swinging instrumental
that showcases some excellent work on the keys
from the Blues Boss and an extended solo for
Babcock on saxophone. Wayne pays tribute to one
of his favorites, Fats Domino, on “Mr. Blueberry
Hill,” which resembles Domino’s own stellar
sides for Imperial back in the day. “An Old
Brick Wall” and “That Raggedy Shack” remind me a
lot of those cool Louis Jordan sides, the former
is definitely up-tempo and the latter is smooth
mid-tempo.
The
disc closes with a bonus track, a live
performance of “Georgia On My Mind,” recorded in
Mexico in tribute to Ray Charles, with Wayne on
electric piano backed by a local band. This
track really puts an emphasis on the Blues
Boss’s vocal talents.
It
certainly seems like the primary focus on blues
today is on blues guitar, so it’s always nice to
hear a new release that focuses on the keys, and
Kenny “Blues Boss” Wayne is one of the best.
Inspired by the Blues should definitely
inspire blues fans, especially those who love
piano blues.
--- Graham Clarke
 Cary Morin’s 2017 release, Cradle to the
Grave, earned the Colorado-based
singer/songwriter/guitarist numerous awards: the
2018 Independent Music Award for Best Blues CD,
an honorable mention at the 2018 International
Songwriting Competition, the 2017 Indigenous
Music Award (Morin is a member of the Crow
tribe), and Native Arts and Cultures as well as
First Peoples Fund Artist in Business Leadership
Fellowships. Those accolades were well-deserved,
as Cradle to the Grave was a wonderful
collection of gentle acoustic blues and folk
music that showcased Morin’s excellent guitar
work and songwriting.
Morin’s new release, When I Rise (Maple
Street Music), is a bit of a departure from his
previous release with the inclusion of some
electric instruments into the mix. He’s joined
by additional musicians on this 12-track set,
including Steve Amedée (drums/percussion), Paul
Benjamin (electric guitar), Celeste DiIorio
(vocals), Jay Forrest (drums/percussion), Jason
Larson (vocals/piano/bass), Dexter Payne
(clarinet/harmonica), Kim Stone (bass), Andy
Weyl (piano), and Lionel Young (violin). Morin
himself handles all the vocals and plays guitar
and pedal steel.
The
haunting title track opens the disc, a harrowing
tale of a man facing punishment for a crime he
didn’t commit. “Let Me Hear The Music” has a
delightful old school feel punctuated by Payne’s
clarinet, and is a definite highlight.
“Sometimes,” “My Memories Of You,” and “Devoted
One” are wonderful in their subtlety, and all
three tracks spotlight Morin’s fingerpicking
style. “Dire Wolf” is a fine version of the
Grateful Dead’s original, while “Jug In The
Water” is presented in two versions, first as a
driving electric boogie rocker and as in
acoustic format at album’s end.
The
album’s other cover tune is Duane Allman’s
“Little Martha,” taken at a slightly faster pace
than Skydog’s original, with an original Morin
instrumental piece, “The Last Pint,” attached to
the conclusion that fits seamlessly. “Lay Baby
Lay” is not the Bob Dylan tune, but an
irresistible country blues that’s a lot of fun,
and “Carmela Marie” is a great electric blues
rocker, while the somber ballad “We Used To Be”
features Morin on pedal steel.
When I Rise should be proof positive that
Cary Morin is one of the most interesting
artists on the blues and roots scene with his
dynamite guitar work and songwriting.
--- Graham Clarke
 When
Rachelle Coba turned 15, she got a guitar
for her birthday, then her mom took her to see
Lonnie Mack and Stevie Ray Vaughan on the same
night. Talk about a birthday to remember!! She
went to college to study violin and met Buddy
Guy around the same time, so the writing was on
the wall that young Ms. Coba needed to take a
hard look at playing the blues. She started
attending blues shows, jamming and sitting in
with a few blues legends, switched from violin
to guitar and earned a degree in classical
guitar which helped her develop her unique
approach to playing. She worked with Super
Chikan, Albert Castiglia, Grady Champion, and
Ray Drew before starting her own band and making
the semi-finals at the I.B.C. in 2013.
Coba’s 2014 debut, Mother Earth, was
nominated for Best New Debut CD in the Blues
Blast Music Awards. Her follow-up, Blink
(American Showplace Music), leans more toward
the soul side of the blues, running more at a
simmer than a boil, which allows listeners to
focus on her excellent guitar work and her
wonderful voice and songwriting. Joining Coba on
these 11 tracks are keyboardist extraordinaire
John Ginty, bassist Paul Kuzik, drummer Andrei
Koribanics, with Jimmy Bennett contributing
dobro on one track.
The
opener, “High and Dry,” is a driving blues
rocker that features Ginty’s dazzling piano work
and Coba’s gutsy vocals and guitar. The
mid-tempo “Dance These Blues Away” mixes blues
and funk, the wistful “Good Ole Heartbreak” is a
very cool retro soul ballad, and the defiant “No
Deals,” where Coba stares the devil down at the
crossroads, adds a touch of rock to the blues
and funk. “River of Blood,” a harrowing tale of
the construction of the Mississippi River levee,
was co-written with Liz Mandeville and the two
also recorded it for Mandeville’s 2016 release,
The Stars Motel.
The
title track is a lovely ballad with a country
soul feel with measured vocal and guitar from
Coba and B3 backing from Ginty, while the
rock-edged “Bad Reputation” picks up the tempo
for a bit. “You Stole My Heart” is probably my
favorite track on the disc, a wonderful soul
burner with powerful lyrics, which seem almost
autobiographical with Coba’s emotional,
vulnerable vocal. “Shuffle Ya” is a funky,
irresistible delight. The disc closes with a
pair of fine ballads, “Maybe” and “Blame It On
The Blues,” another one of my favorites.
After listening to Blink, I came away
really impressed with Rachelle Coba not only as
a masterful guitarist, but also as a supremely
soulful vocalist and a wonderful songwriter.
Blues and soul fans are strongly advised not to
let this one slip by.
--- Graham Clarke
 I
first read about Josh Smith back in 1997
in an issue of the much-missed Blues Access
magazine. At the time, the young guitarist was
about 19 and had already released three albums
under his own name and his own label. He’d been
recording since he was 14! Over 21 years later,
Smith is still playing the blues, and playing
them about as well as they can be played. He’s
recorded ten albums in all, while serving as an
in-demand session guitarist and producer, and
has backing artists like Taylor Hicks and
Raphael Saadiq on their tours.
Even
though I’ve read about Josh Smith off and on
since then, I’ve never actually been able to
catch up with any of his music. That changed
recently with the release of his latest, Burn
To Grow (VizzTone Label Group), a masterful
set of 11 original tunes, which he also
produced. I understand what all the fuss is
about, for this release proves that Smith is not
only one of the finest living blues guitarists,
but he’s also an excellent songwriter and
vocalist, with a sterling brand of blues that
also encompasses rock, R&B, soul, and jazz.
Smith opens Burn To Grow with a steady
slow burner, “Half Blues,” that features horns
(Janelle Adisa – trumpet, Chris Johnson –
trombone, J.P. Floyd – trombone, Matthew
DeMerritt – tenor sax, Dan Boisey –
tenor/baritone sax), and a grand mid-song guitar
solo. “Through The Night” has a smooth R&B feel
and features soulful backing vocals from Monét
Owens, while “Watching You Go” mixes rock and
funk with the blues, and the upbeat soul number
“That For You Too” showcases the horn section
and stinging guitar work from Smith.
The
“Your Love (Is Making Me Whole)” is a perky
taste of southern soul that features Ms. Owens
on vocals, and the wistful ballad “Look No
Further” ventures toward Americana, while “Let
Me Take Care Of You” finds a strong soul-blues
groove with punchy horns and Smith’s sizzling
guitar work, and “What We Need” is a slow blues
where Smith’s stinging leads carry a powerful
SRV vibe. The swinging “You Never Knew” deftly
mixes blues and jazz, and the gentle soul-pop
ballad “She Survives” is a standout. The title
track, is a blues-rocker with edgy guitar work
from Smith, backed by a slow, intense driving
rhythm.
Burn To Grow is a powerful, well-balanced
album of blues, rock, and soul and further proof
(as if it were needed) that Josh Smith is one of
the finest young guitar slingers in the blues
world.
--- Graham Clarke
 Based in Kansas City, Amanda Fish is a
powerhouse singer, songwriter, and plays guitar,
bass, piano, and mandolin. Her debut release,
Down In The Dirt, earned the 2016 “Sean
Costello Rising Star” Blues Blast Music Award,
and she and her band advanced to the semi-finals
at the 2017 I.B.C. in Memphis. If Fish’s latest
release, Free (VizzTone Label Group),
doesn’t propel her to the upper echelon of blues
performers, then there’s no justice in the
world. It’s loaded with excellent tunes, penned
by Fish, powerful vocals, and a stellar cast of
supporting musicians.
The
opening track, “2020,” is a funky blues rocker
with Dave Hays and Lois Nadal on guitar, and
“Not Again” is a gritty, driving blue shuffle
with Hays on guitar and Richard Rosenblatt on
harp, followed by the soulful ballad, “Anymore,”
where Fish coolly sends her lover packing for
good (Chris Hazelton guests on organ). Fish
plays acoustic guitar, mandolin, and piano on
the rootsy “The Ballad of Lonesome Cowboy Bill,”
which pays tribute to a late night radio DJ
(guitarists Bob Margolin and Tyler Morris also
provide sparks), and “Blessed,” a soaring ballad
about rising up from adversity, includes backing
vocals from Sara Morgan and guitar from Ken
Valdez.
“Going Down” is a crunching blues rocker with
Alastair Greene contributing sizzling slide
guitar, and the smoldering ballad, “You Could
Be,” slowly builds in intensity and is a
magnificent showcase for Fish’s vocal talents
(with guitar from Coyote Bill). “Bullet” has a
southern rock feel as does the countrified
rocker “Here We Are,” with slide guitar
accompaniment from Coyote Bill. Meanwhile, Fish
turns in her best vocal of the disc on the
soul-bearing ballad, “Don’t Mean A Thing,” and
the title track, which closes the disc, begins
as a somber soul number before transforming into
an all-out gospel rave-up.
Free is a fantastic release from Amanda
Fish, a talented lady who should be entertaining
blues fans for many years to come.
--- Graham Clarke
 I’ve
always enjoyed Sandy Carroll’s music. To
these ears, she’s always managed to strike a
perfect balance between soul, country, and the
blues on the releases I’ve had the pleasure to
hear. She’s also a gifted songwriter, having
written two of my favorite Luther Allison songs
(“Just As I Am,” “It’s A Blues Thing”). She also
wrote Albert King’s “If You Got It” for his
final studio album in 1989 and has made numerous
contributions to albums by her Catfood Records
label mates Johnny Rawls, James Armstrong,
Barbara Carr and Daunielle Hill.
Blues & Angels is Ms. Carroll’s fourth
release for Catfood, and it moves in a different
direction from her previous couple of releases
which focused on Americana and country music.
The new album focuses strongly on the blues and
soul side of the musical spectrum. Produced by
Grammy Award-winner Jim Gaines (Ms. Carroll’s
husband), the album features guest appearances
from label mates Rawls and Hill, along with
guitarists Rocky Athas, Will MacFarlane, Bernard
Allison, singers Reba Russell, Barbara Blue,
Nancy Apple, and an all-star cast of veterans
from the Memphis and Muscle Shoals music scenes.
The
11 original tracks include the gospel-flavored
“Soak Me In The Spirit,” with crisp fretwork
from MacFarlane, the smoky soul-blues ballad
“Blues All For Myself,” the upbeat “Somebody
Gotta Dance,” which mixes country, rock, and
soul, and the moody and soulful “Wrapped In An
Angel.” “Mama Don’t Like It” a feisty shuffle
backed by a chorus that includes Russell, Blue,
Apple, Hill, and Lorina McMinn, and the joyful
“Love Is A Wonderful Thing,” a superb mid-tempo
blues duet with Rawls, are both standouts.
“Slings And Arrows” has a bit of a Native
American feel in the melody, featuring excellent
guitar contributions from MacFarlane and Athas,
while Allison guests on the funky gospel-themed
“Headin’ Home” (with great backing vocals from
Trinecia Butler and Rachel Robinson), and the
edgy “Road Angels” grooves along with
MacFarlane’s understated guitar and Rick Steff’s
keyboards. The album concludes with the gently
upbeat “Movin’ On” and “Mississippi Me,”
Carroll’s loving tribute to her husband.
Blues & Angels is a lovely piece of work
from Sandy Carroll that will be a good fit in
any blues, soul, or even country music fan’s
collection.
--- Graham Clarke
 On
Blue Largo’s latest release, Before
The Devil Steals Your Soul (Coffeegrinds
Records), guitarist Eric Lieberman and vocalist
Alicia Aragon move from blues to swing to jump,
jazz, soul, R&B, and gospel. Produced by
Lieberman and Nathan James, the new release
features 14 tracks (plus a bonus cut), four of
which are cover tunes. This is the band’s fourth
release overall and their second since Lieberman
returned to performing after battling Focal
Distonia, which had rendered him unable to play
guitar for over a decade.
“Wash Away,” the opener, is a spiritual of
sorts, at least a spiritual-flavored song,
lamenting the current volatile political and
social culture, which is also addressed in “Same
Race,” a song abpit the need for peace and unity
in the world. “If I Can Make It To Augusta” is a
gently swinger in recognition of long-traveling
musicians, “Monrovia” is a story-song of
betrayal and treachery told with a Latin flair,
and the title track is a gospel tune about
living your life to the utmost before it’s too
late (which also pays tribute to four blues
guitarists).
The
guitar instrumental, “Bodas De Oro,” might
remind some listeners of Ry Cooder’s foray into
Cuban music. It’s a dazzling tribute to Cuban
guitarist Manuel Galban that features Lieberman
on baritone guitar with some beautiful piano
from Tayrn “T-Bird” Donath and percussion from
Mike Tempo (great name). “I’m Alive” is a
testimony to the healing power of music, while
“The Long Goodbye” is a somber ballad inspired
by the passing of one of Lieberman and Aragon’s
friends to Alzheimer’s in honor of those who
care for their loved ones suffering long
illnesses.
The
band’s straight-forward cover of the Jimmy
Ruffin classic “What Becomes Of The Broken
Hearted” is very good, as well as their cover of
“Feeling Good,” penned by Anthony Newley and
Leslie Bricusse and covered by numerous artists
(most famously by Nina Simone). “Grinder’s
Groove,” an original instrumental conceived by
Lieberman, is reminiscent of the great
blues/R&B/jazz guitar showcases from the ’50s,
and the swinging “Five Till Eight” keeps that
jazzy vibe going, as does the instrumental cover
of Nat Adderley’s “Work Song,” which features
two saxes (Dave Castel De Oro – tenor, Eddie
Croft – baritone sax). The bonus cut is an
acoustic guitar duet with Lieberman and
co-producer Nathan James, “Lose Your Money.”
Before The Devil Steals Your Soul is a nice,
relaxing set of tunes from Blue Largo. It’s an
album that will make you smile, it will make you
laugh, it will make you cry, and it will make
you think --- something that all good music
should do.
--- Graham Clarke
 The Ron Spencer Band boasts about 180 years
of collective experience in the music business.
Guitarist/singer Spencer has over 30 years
himself, backing Big Time Sarah, Kim Lembo,
Backbone Slip, and Joe Whiting. Spencer is
joined by bandmates Mark Gibson (vocals), Bob
Purdy (bass/vocals), and Ross Moe (drums) on the
band’s third release, Into The Blue (Real
Gone Records), a rock-solid collection of blues
and roots music that includes eight original
tunes and two dynamite covers.
The
rocker “Closer To The Bone” opens the disc, an
interesting look at life in the modern world.
“(I’m Doin’) Ah-ight” is a steady-rolling Jimmy
Reed-styled shuffle that reminded me a lot of
the early Fabulous Thunderbird’s repertoire,
“Addicted To You” has a hypnotic swamp blues
feel. Moon Martin’s “Cadillac Walk” is a
restless, driving rocker, while the O.V. Wright
standard “Blind, Crippled & Crazy” gets a funky,
soulful treatment.
“So
Wrong For Each Other” packs a Latin rhythm,
punctuated by Spencer’s fretwork and B3 from
guest artist Mike Davis, and “It’s Time” strikes
a smooth late-night groove with Spencer’s
T-Bone-esque solo and Dan “Cato” Eaton’s
keyboard accompaniment. “Callin’ To Me” channels
Memphis soul and “Fine, Fine Woman” is an old
school rocking boogie of a good time, while the
closer, “Cold Outside,” has a touch of New
Orleans Second Line in the rhythm and with
Eaton’s piano.
There’s nothing fancy with Into The Blue
It’s a charming set of well-crafted blues that
are a little bit traditional, a little bit
contemporary, and a whole lot of fun.
--- Graham Clarke
 Anyone who thinks soul music is on its last legs
needs to check out Brandi Thompson, the
tremendously impressive lead singer for the New
York City group Brandi and The Alexanders.
Her voice will bring a smile to the face of any
music fan who longs for the salad days of the
genre and The Alexanders (Ethan Simon –
keyboards, Eric Gottlieb – drums/percussion,
Eric Wendell – bass, Nick Fokas – guitar) like
to inject a little rock and funk into the
musical mix. The band’s debut release, How Do
You Like It? (Red Parlor Records), includes
11 songs written by Thompson and the band, along
with one very interesting cover.
The
funky driving title track kicks off the disc on
a feisty note with the singer kicking her man to
the curb, while the energetic “Higher” has a
catchy R&B/pop vibe with horns from Craig Blair
(sax) and John Lake (trumpet), along with upbeat
backing vocals from Cherette White, before
segueing into the mid-tempo “I’m In Love,” a
tasty R&B/funk combination, nicely punctuated by
Simon’s swirling keyboards, and the bluesy
ballad “Jealousy,” one of several vocal
showcases on the disc for Ms. Thompson.
“Running Around” cranks up the funk once again,
with splendid guitar work from Fokas and
keyboards from Simon (who wrote the song). The
tempo slows a bit with “Love Songs,” a soulful
ballad with bite, before jumping back into high
gear with “Drama Queen,” a rocker with a funky
edge which is bookended by another ballad that’s
reminiscent of ’70s R&B, “Pulling Me Down.”
“Lucky” picks up the pace again with the return
of the horns, which also spice up the slinky “Shapeshifter.”
Ms. Thompson saves the best for last on the epic
closer, “Bad Love,” pulling out all the stops on
this heartbreaker of a ballad.
The
album’s lone cover is of the Black Sabbath
classic, “Paranoid.” Yep, you read that
correctly. The band transforms that rip-roaring
rocker into a slow burning soul ballad that’s so
good, it will make you wonder why no one else
has ever attempted it before now.
How Do You Like It? I like it very much and
any listener who’s digs soul music with a funky
edge will like Brandi and The Alexanders as
well.
--- Graham Clarke
 Singer/guitarist Rich Hope has been
rocking the Pacific Northwest for over two
decades, mixing a potent concoction of rock n’
roll, R&B, soul, garage, and the blues.
Recently, he released his fourth album, I’m
All Yours (Planned Obsolence Recording &
Novelty, Inc.), his first full-length effort
since 2009. Backed by Adrian Mack
(drums/vocals), Erik P.H. Nielsen (bass/vocals),
and Matt Kelly (keys), with guest appearances
from guitarist Scott Smith, Jerry Cook (sax),
and Derry Byrne (trumpet), Hope brings 10
pulse-pounding tunes to the table --- eight
originals and two covers.
The
disc kicks off with a psychedelic rocker, “It
Come Alive,” complete with Kelly’s retro
keyboard work and Hope’s unhinged vocal and
roaring guitar grabbing your immediate
attention. Next is an exuberant, picture-perfect
cover of the Flamin’ Groovies’ “Golden Clouds”
that is one of the album’s highlights, followed
by the ominous garage rocker “Creepstone,” the
droning, simmering “La Iguana,” which has a
touch of Hill Country in its DNA, and the
easygoing “Blow Away,” which manages to blend
country, soul, and rock.
“Five Cents A Dance” has a swaggering Brit rock
feel with the rocking guitars, harmony vocals,
and Kelly’s keyboards, and “Some Kind Of Love”
is a horn-fueled slice of rock and soul. The
hypnotic “Paranoia Blues” is updated blues from
the Mississippi Delta, as is Hope’s raw and
ragged “Runnin’ Shoes,” albeit with handclaps,
tambourine, and cheesy organ backing. The closer
is “Heartbreaker,” a blues-rock ballad that ends
the disc wonderfully.
I’m All Yours is my first exposure to Rich
Hope. I certainly hope that it’s not my last.
This was a wildly entertaining mix of blues,
rock and soul that gets better every time I
listen.
--- Graham Clarke
 Babylon Is Falling (Jumping Jack Records),
the tenth studio release from Atlanta-based
blues rockers Delta Moon, continues the
band’s usual M.O. --- strong original tunes that
mix blues with Southern rock and soul, a savvy
set of covers, and the formidable twin-slide
guitar attach of Tom Gray and Mark Johnson. Also
participating are bassist Franher Joseph and
drummers Marlon Patton, Vic Stafford, and Adam
Goodhue.
The
moody opening track, “Long Way To Go,” was
written by Gray and is presented in
call-and-response style with Gray, Johnson, and
Joseph on vocals. It’s followed by the title
track, an old Shaker hymn to which the band adds
a restless rhythm from Joseph and drummer
Patton, along with updated lyrics reflecting the
current state of affairs, and “One More
Heartache,” the old Marvin Gaye tune which now
packs a hypnotic blues pulse.
Johnson wrote the catchy “Might Take A
Lifetime,” a lighthearted ramble with country
overtones, and R.L. Burnside’s “Skinny Woman”
finds the two guitarists trading licks on the
delightfully upbeat Hill Country tune. Next, the
duo pays tribute to Tom Petty by offering a
beautiful acoustic cover of “Louisiana Rain,”
from Petty’s Mudcrutch days, and a cool swampy
Gray original, “Pink Pistol.”
The
traditional gospel blues “Nobody’s Fault But
Mine” also gets a fresh and funky updating , and
the Howlin’ Wolf standard “Somebody In My Home”
keeps the funk going, but retains the hovering
menace of the Wolf’s original. The disc closes
with the driving boogie “One Mountain At A
Time,” and the sweaty, swampy “Christmas Time In
New Orleans.”
Delta Moon has been at it for two decades now,
and Gray and Johnson’s slide guitar work is
still a joy to behold on Babylon Is Falling.
Combine that with fine original songs and a wide
ranging set of cover tunes, and one can only
hope that Delta Moon keeps at it for another two
decades or more.
--- Graham Clarke
 Bob Margolin’s latest album for VizzTone
Records is self-titled because, as Margolin puts
it in the liner notes, “I show who I am as a
musician. I write songs from my own life and
imagination.” He also wants “to honor and
interpret great Chicago Blues musicians who
befriended me and taught me on bandstands.”
Those musicians included Muddy Waters, Johnny
Winter, Jimmy Rogers, Snooky Pryor, James
Cotton, and Pinetop Perkins, all of whom are
acknowledged on this excellent release. Margolin
produced, recorded, mixed, and played every note
on the album.
Margolin’s own “One More Day” opens the disc, a
upbeat blues rocker where he asks for a little
more time in his life. He strikes a mournful
tone on Bob Dylan’s “I Shall Be Released,” a
song that Margolin and Dylan played with Waters
after The Band’s Last Waltz concert. “Detroit”
is a wonderful instrumental that allows Margolin
to put his superb slide guitar skills on full
display, which he also does on “Mercy,” a
searing look at today’s society played in a
style reminiscent of Waters’ early solo Chess
recordings. The reflective “Best I Can Do” is a
fine example of Margolin’s songwriting.
While in Waters’ band, Margolin often played a
pair of Leroy Carr tunes, “Blues Before Sunrise”
and “How Long How Long Blues.” The former is
taken at a relaxed pace, with Margolin providing
soulful vocals, and the latter has a lazy,
after-hours feel. The two Carr tracks bookend
“Dallas,” a reverential treatment of the Johnny
Winter song which finds Margolin playing a steel
body guitar. Snooky Pryor’s “Peace of Mind”
includes more of that splendid slide guitar, and
a seldom-heard Waters’ shuffle, “She’s So
Pretty,” is pretty cool, too. Margolin even
includes that sudden ending from the original
version (which was the B-side to “Hoochie
Coochie Man”).
Another Waters tune, “Look What You Done,” is
taken as a solo guitar piece, and Jimmy Rogers’
“Goin’ Away Baby” is given the spare treatment,
too. Margolin’s other two originals are “Head
Held High,” a gripping look at heartbreak and
“My Road,” an autobiographical track that
Margolin intended for his previous album of the
same title but wasn’t able to complete in time.
The album closes with another fine cover
associated with Waters and James Cotton, “One
More Mile." Both artists played this song
frequently with Margolin, and he acknowledges
his debt to both with this moving tribute.
“Steady Rollin’” as ever as he approaches his
70th birthday, Bob Margolin gives a nod to his
old friends on this great new release, and he
also shows that he is continuing to take the
blues as they taught them to him into exciting
new directions.
--- Graham Clarke
 A
couple of months ago, Blues Bytes editor Bill
Mitchell raved about the 17-year-old Florida
guitarist David Julia’s latest release,
Inspired (VizzTone Records) and even
included the album in his Top Ten for the year.
Working at my usual snail-like pace, I’m just
now getting to Inspired, and I have to
say that Mr. Mitchell knows what he’s talking
about. The young guitarist has already enjoyed
regional success and has even participated in
the I.B.C. four times, and if there’s any
justice in the world this outstanding album,
produced by Mike Zito, should serve as a
launching pad for even greater things.
Inspired includes 11 songs, six written by Julia
that show he’s as advanced with his songwriting
as he is on guitar. “Hey There Sally” is a fun
little blues rocker, and the funky “Don’t Get Me
Goin’” shows some things haven’t changed that
much since we geezers were teen-agers. “Throw Me
A Rope” is a slow blues on the perils of drug
abuse and addiction. “If Only” is a soulful
ballad, while “You Don’t Need No Shelter” is a
really cool acoustic duet with producer Zito who
also sings and plays guitar. Julia’s last
original is the fantastic countrified
instrumental “Sunshine Boogie.”
Julia also covers J.P. Soars’ rocking “Somethin’
Ain’t Right,” Tab Benoit’s slow burner “Nice And
Warm,” Michael Burks’ “Empty Promises,” Albert
Castiglia’s shuffle “Keep Her Around Too Long,”
and Matt Schofield’s jazz-flavored “Clean
Break.” Each of these cover tunes showcase
Julia’s ability to play a variety of blues
styles.
Also
backing Julia are Elliot Keys (B3), Lonnie
Trevino, Jr. (bass), Matthew R. Johnson (drums),
and Lewis Stephens (piano). Inspired
shows that David Julia is advanced far beyond
his years at the age of 17. It will be exciting
for blues fans to see what’s to come with this
great young artist.
--- Graham Clarke
 The
Simon Kennedy Band is a Scottish power trio
comprising Simon on guitar, drummer Richard
Kennedy and Hammond organist Mirek Hodun. All Or
Nothing is the long awaited follow up to their
2014 debut album Make Up Your Mind which
garnered high praise from several UK music
magazines and blues legend Paul Jones. The Doors
proved that a band could be very successful
without a bass player especially when a
technically gifted and innovative keyboard
player covers the bass grooves and takes up all
the spaces. Hodun fulfills this role perfectly
having represented his native Poland at the 1998
Eurovision Song Contest and with a background
that includes music production and award winning
jazz performances.
The overture is a funky, jazz infused
instrumental, “Jacket Potato,” which confirms
instantly that the three musicians have a
chemistry between them. The interplay between
Simon and Mirek is empathetic as they take turns
to solo, each making apposite, tasteful
interventions with Richard Kennedy providing
intricate percussion which both holds the rhythm
and responds to the other instruments. “Without
Love”, a gospel-tinged ode to peace and love
introduces the glorious vocal harmonies courtesy
of a sensational backing trio featuring the
soulful, captivating Unoma Okudo. The title
track is a catchy, jaunty, beautifully written
and arranged song with Simon’s mellifluous
vocals complementing those of the chanteuses.
Add his sumptuous guitar work and the Manzarek-inspired
keys and the outcome is intoxicating.
Kennedy expresses “Love For The Lonely” through
his emotive lyrics and piercing guitar
interludes. The atmosphere of the slow burning
melancholic “Broken Man” is enhanced by the
mournful background sound of the Hammond.
Multi-award winner Beth Hart’s “Spirit Of God”
would appear to be impossible to cover given the
inevitable comparisons with the biggest name on
the international blues scene. The fact that
Glasgow-based Ellyn Oliver nails the song, makes
it her own and takes it in a new direction is a
phenomenal achievement. The delicate edge to
Ellyn’s unique voice adds subtlety to the lyrics
and her exquisite timing and phrasing are
reminiscent of Eva Cassidy. Above all, Ellyn’s
sincerity and belief in the words she sings
shine through so when she delivers the lines, “... I
know I’m gonna head straight to heaven?
Destination straight to the light...,” they are sung
with that ultimate conviction.
Moving towards blues/rock territory with “He’s
Alright (He’s Alright)”, Richard’s strong,
mesmeric backbeat provides the perfect platform.
"Justified" and "Brand New Day" are similarly upbeat
courtesy of Simon’s compelling riffs and
thought-provoking, spiritual lyrics. “Dead End
Blues” will also appeal to traditional blues
enthusiasts with its gritty guitar and organ
interludes.
The album ends as it started, with
an instrumental, this time an extended version
of Robben Ford’s gospel influenced “On That
Morning” from Bringing It Back Home. Kennedy
retains the beauty of the original, the melody
played in classic Wes Montgomery octave style,
but Mirek adds another dimension with his
sympathetic keys making this a fitting finale to
an inspirational, eclectic musical collection.
---
Dave Scott
 One of the greatest pleasures and privileges of
being a reviewer is when an album of quality,
integrity and genius like Unfound drops
unexpectedly into the in-tray. Lucy Zirins is a
serious student of music who started performing
in her teens a decade ago, winning numerous
awards and building up a loyal fan base en route
from Lancashire, UK to her current London home.
The bar is set high on the funky percussive
opening track, “One Long Goodbye,” Lucy’s
alluring, poetic lyrics setting the scene: “... I
don’t want to turn back the time/Maybe it’s the
way that I’m made/My life has been one long
goodbye...” Crystal clear powerful vocals pierce
the heart of the listener on the quasi-religious
“Right Side Of Wrong,” the tension rising with
the volume of her electric guitar. The
incredible range in Lucy’s voice is confirmed on
“Stuck In Motion,” her vulnerability evident as
she dreams of a sweeter man who will treat her
kindly, but in reality she wakes up lonely.
“Time To Go” oozes emotion with the
acknowledgement that time is definitely up on
the relationship rather than saying maybe. The
jaunty “Close To The Wire” with its changing
tempos and layered crescendos of vocals and
instruments is another cleverly arranged song.
Stripped back to Lucy’s acoustic guitar
accompaniment is the charming “Clean Condition”
with some regrets about not getting her heart
torn and tattered like her favourite pieces of
clothes. The atmospheric, haunting “Hold The
Night Back,” with its strong visual imagery and
“scent of summer and the sweet smell of pine,” is
both intriguing and enigmatic. The soul-bearing
title track with Pete Billington’s sensitive
piano accompaniment is a beautiful love song:
“... How could you know everything you are to me?
You’re my silver and gold ...” The bitterness of
lost love is the theme of “The Fall” which
acknowledges that the hardest choice is learning
when to let go.
“Back To Sleep” confirms the power of the
backing musicians, Billington and James Knight,
to expand and enhance a song, the special
chemistry between the three of them being
tangible throughout. When Lucy experiences the
heartache of a broken relationship in “Don’t
Look Back” she does not seek sympathy: “... Lay down
the pain like a gentle kiss/But as you do, I ask
you this/Just don’t look back as you walk away
...”
The sincerity, strength and depth of Lucy’s solo
performance with quiet acoustic backing on this
finale is breathtaking and sends shivers down
the spine.
Predicted to be ‘a major player’ early in her
career by several music journalists, Lucy Zirins
has already achieved this goal. Unfound propels
this highly gifted chanteuse to the next level
as her vocals, guitar playing and songwriting
mature and develop alongside her association
with a brilliant production team headed by
co-instrumentalist James Knight. In a packed
marketplace of soul surfing, blues shouting
rockers, Zirins offers a refreshing, contrasting
style of restrained, folksy tones, raw yet
controlled emotions, intelligent reflections and
genuine hope arising from adversity, leaving the
listener empowered and exhilarated. Whilst not a
traditional blues musician, her themes of
heartbreak, love, depression, resilience and
despair are deeply rooted in the heart of the
blues and deserve to be heard.
---
Dave Scott
 In addition to his blues credentials,
Sean
Taylor has also forged a considerable reputation
as a UK peace and justice campaigner. Indeed the
two roles are inexorably entwined which makes
the London troubadour one of the most
influential musicians of his generation. This
latest album, The Path Into Blue (SeanTaylorSongs),
tackles contemporary issues with truth and
integrity, from Brexit blues to the Grenfell
tragedy, but also offers hope in the pursuit of
peace and love. On this emotional journey the
listener will find many of the themes
challenging as they pierce the heart and soul of
humanity whilst demanding a response.
The scene is set with ‘”This Is England,” a
spoken word stream with evocative piano
accompaniment and backing vocals exploring life
today and English identity in this broken
generation. “... Write me a jingle with a million
hooks, WhatsApp me Mr Shakespeare ain’t no time
for your books ...” “Lampedusa” is named after the
Italian island which is one of the primary
refugee crossing points which has claimed over
1,000 lives. Sean reflects on the death of
compassion and equality, the anguish evident in
Andre Moran’s empathetic guitar interludes.
Taylor highlights the demonization of the
working class in “Grenfell” and the harsh
reality of “... Cladded towers for wealthy eyes,
Follow the money find the lies, Entomb neglect
beneath the sky ...” “The Last Man Standing (Merry
Christmas)” contrasts the homelessness and
freezing for some with the celebrations of
others. The trumpets and choir vocals cleverly
create the atmosphere of a Salvation Army brass
band on this anthemic lament reminiscent of
Cohen’s “Halleluja.”
America does not escape Taylor’s wrath on
“Little Donny,” the president singled out for
rebuke: “... With his tiny hands, Grabs a woman
anywhere, He doesn’t need consent, Little Donny
doesn’t care ...,” the crescendos revealing the
intensifying anger of the musicians.
The tempo might be upbeat and jaunty on “A Cold
Wind Blows,” but there is nothing light hearted
about sleeping rough on the capital’s streets, a sombre mood skilfully created by Henry Senior’s
pedal steel guitar. With its repetitive riffs
the pop song parody, “Take It Down To The
Mainstream,” lashes out at X factor type shows,
karaoke tribute acts and celebrity culture.
Next up are melancholic songs about drink, drugs
and addiction. “Tobacco and Whiskey” is well-matched to Sean’s husky tones whilst “Number 49”
features a mesmeric suitcase drum beat and
timely Hammond organ interludes from Texas-based
producer Mark Hallman. Multi-instrumentalist
Hallman contributes significantly to the overall
brilliance of this CD both musically and through
his meticulous production. ‘”In The Name Of God”
exemplifies these qualities with Joe Morales’
superb saxophone playing complementing the
backing vocals, organ and guitars to educe the
sound of peace shining through evil.
“The Other Side Of Hurt” and the title track
explore depression, but in the case of “The Path
Into Blue” there is also the seed of love and
search for truth. Sean delivers effectively on
contrasting material because his vocal range and
instrumental skills continue to develop
exponentially alongside increasingly deft and
mature song writing.
It was always going to be difficult for Sean to
surpass his critically acclaimed Flood And Burn
album, but this latest release propels him
further towards membership of that pantheon of
elite musicians, alongside Dylan, Cohen, Van
Zandt and Martyn.
---
Dave Scott
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