|
 Sean
Chambers met the members of Savoy Brown
after both bands played in a 2019 festival.
After Savoy Brown founder Kim Simmonds passed
away in late 2022, Chambers and the Savoy Brown
Rhythm Section (bassist Pat De Salvo and drummer
Garnet Grimm) teamed up and have been touring
throughout the U.S., Canada, and Europe. It
worked out well, since both bands were on the
same record label (Quarto Valley Records), and
the label will issue Live From Daryl’s House
Club at the end of the month.
The set features 12 tracks drawn from the
catalogs of Chambers and Savoy Brown. Chambers’
selections include “Ten Til Midnight,” Guitar
Slim’s “You’re Gonna Miss Me,” and ZZ Top’s
“Brown Sugar” from the 2009 release Ten Til
Midnight. “I Need Your Loving,” “Trouble &
Whiskey,” Rory Gallagher’s “Bullfrog Blues,” and
B.B. King’s “Sweeter Than A Honey Bee” are from
2017’s Trouble & Whiskey.
We also get “Red Hot Mama” from 2018’s
Welcome To My Blues, and Howlin’ Wolf’s
“Louise” from Chambers' 2021 Hubert Sumlin
release That’s What I’m Talkin’ About.
There are also two Savoy Brown tracks
represented --- “Cobra” and “Street Corner
Talking,” and Muddy Waters’ “Louisiana Blues.”
The Chambers/Savoy Brown team-up sounds like a
match made in Blues Rock heaven. Chambers’
blistering guitar work is bracing from start to
finish and his vocals are also standout
throughout. De Salvo and Grimm were part of
Savoy Brown for over a decade of the band’s 50+
year history, and they are as rock solid as a
rhythm section gets. If not in name, the spirit
of Savoy Brown rocks on with this impressive
collaboration.
Hopefully, this trio will continue to make music
as powerful as their previous work. Live From
Daryl’s House demonstrates that it shouldn’t
be a problem at all.
--- Graham Clarke
 Turning
80 years old at the end of February, Mitch
Ryder remains a force of nature in the rock
and blue-eyed soul genres. With over 60 years of
experience in the music business, the legendary
singer has persevered through drug addiction,
throat issues, and the public’s ever-changing
musical tastes.
Though he’s not enjoyed much chart success in
recent years (his final charting song was his
cool 1983 cover of Prince’s “When You Were
Mine”), Ryder’s music has inspired many rock
artists such as Bruce Springsteen, Bob Seger,
and John Mellencamp, and he has continued to
record prolifically.
Ryder’s latest, With Love (Ruf Records),
was produced by Don Was, featuring ten new
songs penned by the singer that arguably match
his best work based on their autobiographical
nature. Ryder is backed on these tracks by
guitarists Laura Chavez and Brian “Roscoe”
White, with Chuck Bartels on bass (Was plays
bass on one track), Dave McMurray on sax and
flute, Jeff Canady on drums, Luis Resto on
keyboards, Mahindi Masai on percussion, and
background vocalists Herschel and Teresa Boone.
The opener, “Lilli Mae,” is a gritty mix of
blues and soul, driven by muscular guitar work.
Ryder’s weathered, whiskey-soaked vocals have
aged over the years, but they still retain that
tough but tender power. The lilting,
Latin-flavored “Pass It To The Right” pays
tribute to joint etiquette at a hedonistic
party, and “Sanguine” is a loose and funky soul
burner.
“One Monkey” describes Ryder’s battle with drug
addiction, the swinging upbeat music offset by
the singer’s frank and descriptive lyrics, and
“Oh What A Night” effectively revisits the Latin
groove.
The funky rocker “Wrong Hands” has a sassy
swagger reminiscent of early ’70s Rolling
Stones, and the mid-tempo “Too Damned Slow”
really percolates. The upbeat “Fly” finds Ryder
reflecting on the course of his musical career
with satisfaction, and “The Artist” is a subdued
ballad, backed by flute and piano, that also
looks within.
The closer, “Just The Way It Is,” is an R&B
track with an upbeat rhythm and a somber message
regarding the destiny everyone faces in life.
With Love demonstrates that Mitch Ryder
still has plenty to say to his fans. This is an
inspired set of original tunes that find the
singer looking to the past and to the future.
Despite the 60+years of performing, he still
sounds great and longtime fans will love this
set, while newcomers will find a lot to enjoy as
well.
--- Graham Clarke
 The
first time I heard of Mark “Muleman” Massey
was on an episode of the web series Moonshine &
Mojo Hands (which every fan of modern
Mississippi blues --- heck, EVERY blues fan ---
needs to watch). The episode had a segment on
Parchman Penitentiary, where several Mississippi
blues artists have served time over the years.
When Massey was a youth, he served time in
Parchman, and during that time he took up
playing music and ended up in the legendary
Parchman Prison Band, eventually opening for B.B.
King.
Since his
release, Massey has played just about every
joint and club in Mississippi and in countless
festivals, and recorded with Bobby Rush, Eric
Gales, and Earl “Peanutt” Montgomery, among
others.
He’s recorded
several albums as well, including his recent
release, Been A Long, Long Time (MuleTone
Records), an inspired set of 11, eight
co-written by Massey (with Ed Hill and/or Billy
Lawson) with three choice covers, recorded in
Muscle Shoals.
Massey, born
and raised in Clarksdale, no doubt has the blues
running through his veins, but he also has a
deep love for Southern soul and R&B. Those
genres can be felt strongly throughout these
tracks, beginning with the title track, which
opens the disc. It’s a free-wheeling blues
shuffle with harmonica from Robert Fossen,
demonstrating the power of Massey’s vocals which
are a snug fit in the blues idiom or the soul
and R&B genres, and that’s verified by “Baby’s
Gone,” a sensitive soul ballad that could only
have been recorded in Muscle Shoals.
“Can’t Tell Me
Nothing About The Blues” is a vivid
autobiographical blues that mixes in a bit of
funk and slide guitar, and “Give Me Your Love”
is one of those splendid soul burners made for
slow dancing. The album’s first cover is a
funked-up version of Hank Williams’ “Hey Good
Looking,” snf it’s an absolute blast. It's
followed by the second cover, a terrific soulful
read of Tom T. Hall’s “That’s How I Got To
Memphis.”
“She’s Married
To The Streets” is a great late night blues with
a Southern soul feel that describes a woman on a
downward path. The ballad “I’m Sorry About That”
was written by Bobby Womack for Wilson Pickett
in the mid ’60s, and Massey’s vocal approach is
slightly different from the Wicked Pickett’s,
giving the song a more vulnerable delivery that
works very well.
“My Used To Be”
is a rumbling, mid-tempo blues with a
world-weary vocal and solid musical
accompaniment, while “Going Back To Memphis” has
a loping rhythm that mixes country and old
school rock n’ roll with the blues. “Your Good
Stuff,” the album closer, is a funky soul blues
shuffle that sounds like an old Malaco 45 from
back in the day.
Joining Massey,
who plays guitar along with his wonderful
vocals, are guitarists Lawson (who also
produced), Travis Wammack, and Kevin Holly,
bassist Bob N. Weaver, drummer Roger Starr, The
Webster Street Horns, Fossen on harmonica, and
the Avalon Sisters on background vocals.
2025 is off to
a great start with this excellent release.
Been A Long, Long Time will have blues and
soul fans raving about Mark “Muleman” Massey, a
fine vocalist and songwriter.
--- Graham Clarke
 Bluesland
Theme Park (Symphonic) is an interesting
collaboration between HeavyDrunk and
Watermelon Slim. Led by Rob Robinson,
HeavyDrunk’s sound historically incorporates
blues, soul, gospel, and jazz, combining that
approach with Slim’s greasy, gritty Delta blues
makes for an irresistible mix. This team-up came
about after Robinson and Slim met in Clarksdale.
After the session was recorded, the pair toured
through UK and Europe last year.
The disc
includes 11 tracks, with Slim contributing four
(actually three tracks since one of his tunes is
presented in acoustic and electric form) and
Robinson writing or co-writing the other seven.
The title track opens the album, a lively romper
stomper loaded with horns and driven by a jaunty
backbeat, giving it a carnival feel. “New Wine”
has a droning, funky rhythm with a lot of soul
and a spiritual feel.
“Little
Bighorn” is a Watermelon Slim original that
Robinson heard him play live, inspiring him to
make the album. It’s Slim at his best, with his
slide guitar and waxing philosophically with his
forlorn, laconic vocals. This i song appears
twice on the album, with the first rendition is
the “band” version. “Church Bells (Little Zion)”
is a gospel-fueled blues raver complete with
sweet background vocals (courtesy of Etta Britt,
Tabitha Fair, and Maggie Richardson) and written
by Robinson and Eddie Wilson.
The mellow
“Watermelon Girl” was written by Robinson and
the late Tony Joe White, with a light, island
feel assisted by Ricky Burkhead’s steel drums
and Scotty Sanders’ steel guitar. Slim returns
for the rocking blues of “Road Food & Cheap
Motels,” and his descriptive lyrics make the
trials of living on the road come to life.
Robinson’s “You Make Me Want To” is a gentle and
soulful ballad, and “Better Worser Too” has an
ominous, swampy ambiance.
The acoustic
version of Slim’s “Little Bighorn,” with just
Slim and his acoustic guitar, is a bit more
effective than the band version to these ears,
and his near a cappella reading of “Australia”
(only accompanied by handclaps and his
harmonica) tells of the dangers of that
country’s frontier. The closer, “Fresh,” is a
cool, upbeat retro R&B track with backup
singers, horns, and an overall good vibe.
As mentioned
above, this collaboration is an interesting one,
combining HeavyDrunk’s eclectic mix of blues,
rock, and soul, with Watermelon Slim’s dusty
Delta blues, but it works extremely well.
Despite the musical differences, there’s still
blues at the root for both artists’ work. If
you’re familiar with both artists, Bluesland
Theme Park will certainly grab you. If
you’re not, it will still grab you and probably
encourage you to check out more music from both
artists.
--- Graham Clarke
 Sunny
Bleau (a.k.a. Kelly Brock) is a
singer/songwriter originally from Scottsdale,
Arizona who now resides in Oxford, Michigan, She
sang in high school and learned to play guitar
and eventually kazoo, graduating to harmonica.
She met guitarist Nicholas Cocco and the two
began writing songs together and performing in
the Detroit area, now performing over 60 shows a
year in multiple states and receiving many
accolades and positive press.
Their band,
dubbed Sunny Bleau and the Moons, recently
signed with Endless Blues Records, recently
issued their fourth overall release, Passion
& Regrets. Sunny and Cocco are backed on
this ten-song set by Jeff Jensen (guitars),
Kiersi Joli (harmonica, background vocals), Bill
Ruffino (bass), James Cunningham (drums), Rick
Steff (keyboards), with Dr. Peter Stephenson
guesting on Hammond SKx for one track.
The opening
track, “Two Glasses of Whiskey on Ice,” is a
smoky, jazz-flavored blues detailing a romantic
encounter between an older woman and a Memphis
musician. “You Better Put The Coffee On” is a
rumbling blues tale about another woman, this
one is fed up with being neglected, and
“Low-Down-Middle-Aged-Blues” adapts Stephenson’s
award-winning “Helpless Blues” discussing the
peaks and valleys involved with the passage of
time in our lives.
The funky
“Peacock Blues” finds Sunny offering her take on
a self-assured young man, maybe too
self-assured, making his way on the scene, as
Jensen joins Cocco on guitar. The swaggering
“S-H-E-E-E-W-O-M-A-N” can best be described as a
bold and brassy feminist blues anthem, and “Why
Don’t You Do Right” is a sparkling cover of
Kansas City Joe’s 1941 classic previously
recorded by McCoy’s band, the Harlem Hamfats (as
“The Weed Smoker’s Dream”), most famously, Peggy
Lee.
“Waitin’ On A
Man” is a splendid blues ballad taken from an
earlier time in Sunny’s life, and she delivers a
wonderfully nuanced vocal. “You Put Me Out”
looks at the frustrations brought about by the
end of a one-sided relationship, with Sunny’s
vocal really reflecting the anguish that would
be involved in such an event. “Deep Regretful
Blues” picks up the pace with some rock-edged
guitar work from Cocco and Jensen as Sunny
expresses remorse at a bad end to a romance.
The somber
soul/gospel closer, “Memphis Bound (It is Well
with My Soul),” pays tribute to the blues and
those entertainers who have gone before.
Passion &
Regrets is a fine set of blues and soul with
a touch of jazz. Sunny Bleau is a powerful and
versatile vocalist and Cocco’s guitar work is
first-rate throughout. The pair also pack savvy
songwriting chops as well. The musical support
provided by the Endless Blues regular band is
also superb. Blues fans are advised to check out
this fine set.
--- Graham Clarke
 Guitarist/singer
Steve Howell & the Mighty Men (Chris
Michaels – electric guitar/vocals, Dave
Hoffpauir – drums/vocals, and Jason Weinheimer –
bass/keys/vocals) return with their latest
release of well-chosen tunes from of the past,
always with a few surprises. Yeah Man
(Out of the Past Music) is Howell’s 13th album,
and like the previous efforts offers selections
(12 in all) that span multiple genres from the
20th century.
The opening
track is a gentle, easygoing version of Blind
Lemon Jefferson’s 1926 recording, “Long Lonesome
Blues,” followed by the title track, originally
on Eddie Hinton’s Very Extremely Dangerous
album in 1978. Howell’s reading retains the
soulful nature of the original, but presents the
tune with a more relaxed countrified feeling.
Next is J.B. Hutto’s “20% Alcohol,” which is
taken at a good-natured, toe-tapping lope, and a
jazzy (mostly) instrumental cover of the
Clovers’ 1952 hit “One Mint Julep.”
The whimsical
“Little Ol’ Wine Drinker Me” was a hit in the
late ’60s for Robert Mitchum (yes, the actor),
and Howell and the Mighty Men have a good time
revisiting this country tune. “I’m Glad For Your
Sake” was recorded in 1937 by Andy Kirk and His
Clouds of Joy (later covered by the Sir Douglas
Quintet), getting a ballad treatment that hews
closely to the Quintet’s version. Howell’s take
on The Reflections’ 1964 pop hit “Just Like
Romeo And Juliet” is an enjoyable trip down
memory lane.
“Mercy Mercy
Mercy” was written by future Weather Report
co-founder Joe Zawinul and recorded by sax
legend Cannonball Adderly in 1967. Howell’s
version features some marvelous guitar/keyboard
interplay. One of Bo Diddley’s best tunes,
1958’s “Dearest Darling,” serves as a dedication
to Howell’s wife, Leigh, and the gently swinging
“Lover Please” was originally from the pen of
Billy Swan and a hit for Clyde McPhatter in
1962.
The classic
spiritual “Wade In The Water” is the oldest tune
presented on this set, first published in the
early 1900s, and Howell’s version is most
inspiring. Closing the album is a splendid
instrumental version of Bob Dylan’s “Chimes of
Freedom,” from 1964.
It’s always a
pleasure to get my hands on a new album from
Howell because I always find out about a lot of
great old tunes that I’ve missed in my musical
travels. I get the opportunity to not only hear
Howell and the band’s wonderful, updated
versions, but I’m also encouraged to backtrack
and hear the originals.
Like all of
Steve Howell’s recordings, Yeah Man is a
terrific listening experience.
--- Graham Clarke
 Several
of our contributors have
reviewed previous albums by Bob Lanza Blues
Band in Blues Bytes, but this latest album,
Breadman's Blues (Momojo Records), is my
first exposure to these New Jersey dudes. I like
them. They surprised me. Lanza is the head of
the band, a strong guitar player and with a
decent voice. Other band members include Nick
Fishman (drums), Steve Kirsty (bass), Vin Mott
(harmonica), Nick Conti (horns), and Eric
Heilner (keys).
One cut, the
first that I played on the radio, sold me on
Lanza and the gang. It was their version of
Johnny Copeland's "Cut Off My Right Arm." What a
wonderful version, with Lanza pumping an extra
big dose of soul into his voice. He also put out
one of his better guitar performances on the
album, in essence, capturing the soul of Johnny
Copeland.
Right up there
is Lanza's vocals on the slow, mournful
"Same Old Blues, projecting plenty of emotion in
his voice with good range. Another preferred
number is the cover of Albert Collins' "Honey
Hush," on which we also get dirty harmonica
riffs from Mott and tasty piano work Heilner.
Also strong is
a rendition of Tom Hambridge's slow blues,
"Upside of Lonely," and the up-tempo
struttin''
blues, "A Man Like Me," on which Lanza tells
this woman what kind of man she should avoid
until he finally gets to describing himself.
Other strong
cuts include the mid-tempo walkin' blues,
"Johnny Jinhgo," an up-tempo instrumental tune,
"Nicky's Blues," the up-tempo stomper "Wine Wine
Wine," and the slow, soulful blues, "Food Song."
Closing the album is a hot guitar instrumental,
"Rollercoaster," also featuring nice bass and
drum solos. In case you are wondering, this
isn't the Little Walter instrumental with a
similar name.
We only get 10
cuts here with just 30 minutes of running time,
but that's okay. Put your best stuff out there
and don't pad the album with lesser cuts. I'm
all for that strategy. If you aren't aware of
Bob Lanza Blues Band, check out Breadman's
Blues. It's worth it.
--- Bill Mitchell
 “AC
(UHaul)” is the second single from Stevie J
Blues off his upcoming compilation album Sid
55: Second Home of Southern Soul. This
single is a blues shuffle, with a funky,
irresistible groove and a unique look at a
relationship coming to a sudden and unexpected
end.
Soul/blues fans will be playing it over and over
again. Based on what I’ve heard so far, this
album is going to be a monster, so keep an eye
out for it’s eventual release.
--- Graham Clarke
 Everyone
needs some Lazy Lester music on their playlist,
and GA-20 is up to the task with their
terrific reading of “I Love You, I Need You,”
the second single from their upcoming EP, Volume
2.
Guitarist and founder Matthew Stubbs is joined
by new vocalist/guitarist Cody Nilsen and
drummer Joshua Kiggans, and their interpretation
of the classic song is first rate. Nilsen’s
heartfelt vocal and the guitar work capture
perfectly the blues and country concoction best
known as swamp blues.
--- Graham Clarke
 The
Steven Troch Band is fronted by Belgian
harmonica ace Troch, whose sound was inspired by
harp masters Gary Primich, William Clarke, Steve
Baker, and Joe Filisko. The band released the
entertaining album Rhymes For Mellow Minds
in 2019, which featured some innovative songs
and harmonica play from Troch.
A
new album, The Dawning, is scheduled for
this spring, and the first single, “The
Mountain” (Naked Records), is already generating
interest with its musical mix of funk, pop, and
blues, along with Troch’s harmonica and his
lyrics addressing the perils of reach exceeding
grasp.
I
enjoyed their previous effort and look forward
to this upcoming album.
--- Graham Clarke
 I'm
always skeptical about unsolicited albums sent
to me by artists of whom I'm not familiar, but
at times we hit the jackpot. That's the case
with the self-released five-song EP, Brand
New Shoes, from British Columbia
singer Cat Wells. Man, I dig this one.
According to Ms. Wells, these recordings have
been in the can for a while waiting to be
released, and it's good that they are now seeing
the light of day and brightening up our
speakers, headphones, or earbuds. Three of the
five cuts were written by Wells, so it's obvious
that she's multi-talented.
Wells is a very fine
singer, which we hear right from the start on
the mid-tempo blues shuffle, "Blues Muse,"
highlighted by organ accompaniment from Sig
Scheller and a nice guitar solo from Jason Buie.
That's just a warm-up for the cut to follow, a
version of Ida Cox's vintage blues, "Wild Women
(Never Get The Blues)." This one's worth the
price of admission alone. We hear Wells' power
and feistiness in her vocals, especially when
she growls out the lyrics. Johnny Ferreria
provides outstanding sax accompaniment, and Buie
comes in with still more fine blues guitar.
The title cut is a
rapid-moving jump blues, with Ferreria returning
for the second of his two appearances.
Wells continues to show her versatility by
handling three different styles of blues to this
point. I love her vocalsas she packs
plenty of energy into every word of the song.
Slowing the pace considerably is the mournful
blues, "Everything I Had Is Gone," which features
a guest appearance by the late veteran blues
artist Sonny Rhodes, who shares vocals and also
lays down some heavy, heavy slide guitar. Wells
and Rhodes pair well together, making me wish
(or hope) that they recorded together more
often.
Keeping us in that sad blues mood is the
up-tempo "Feel Like Dyin'," written by Hans
Edblad, who also plays bass and drums on the
cut. Wells continues to surprise, this time by
blowing harmonica midway through the song, and
Jim Penner comes in with a decent guitar solo.
I'm
eager to hear more from Cat Wells,. Hopefully,
we don't have to wait too long, as her
website indicates another set of recordings
coming soon.
--- Bill Mitchell
 Eric Johanson
will be releasing a new album, Live in
Mississippi, on Ruf Records soon. If the
first single, “Galaxy Girl,” is any indication,
it should be must-listening for blues rock fans
everywhere.
Johanson’s guitar is front and center, his
vocals are as strong and soulful as ever, and
the band is locked in with loads of raw power
and energy. Personally, I can’t wait to hear the
rest of this set.
--- Graham Clarke
British harmonica
wizard Will Wilde has a new blues/rock
album, Blues Is Still Alive, on VizzTone
in the works, but until then a couple of singles
have been released giving us a sneak preview of
what to expect.
Wilde does a Ray Charles type of thing on
"Trouble of That Girl," taking
a gospel song and retrofitting it for the
secular world, although he takes it a completely
different direction from Mahalia Jackson's "Trouble of
the World," that song being sung in a very slow
pace with plenty of emotion in her voice.
Wilde's revised version is done with a very
frantic pace, driven along by drummer Steve
Rushton's steady beat while Wilde goes all Jimi
Hendrix on us on the harmonica. It's gospel
meets blues meets rock, and it works. Check it
out now if you can't wait for the complete
album.
--- Bill Mitchell |
