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 Veteran
bluesman Tinsley Ellis has taken a sharp
turn in the direction of his career with his
last two albums, going from harder rockin' blues
to doing solo acoustic country blues. His first
try at the genre, the 2024 album on Alligator,
Naked Truth, earned Blues Music Award
nominations.
Ellis' latest, Labor Of Love (Alligator
Records), may surpass Naked Truth,
showing his raw and rough vocals, exquisite
guitar picking, and consistently solid
songwriting.
For
Labor Of Love, Ellis used six different
open tunings on his favorite guitars --- a 1969
Martin D-35, a 12-strong Martin D-12-20, and a
1937 National Steel O Series. For variety, he
uses a mandolin on three of the cuts.
Ellis opens with the single from the album, the
feral, propulsive "Hoodoo Woman," with
repetitive foot-tapping and elite fingerpicking
guitar. "Long Time" is an up-tempo John Lee
Hooker-style blues, with a take on the early
biblical tale of Adam who keeps on biting that
apple. "To A Hammer" is a slower, pleasant
number with more restrained vocals from Ellis,
repeatedly reminding that ".. To a hammer,
everything's a nail ..."
The
use of the mandolin comes out on the up-tempo
"Sad Song," gaining strength with the addition
of rhythmic handclapping. The mood shifts on the
slow blues, "The Trouble With Love," with Ellis
singing in a higher register while lamenting the
failed relationship, before using heavier,
deeper vocals on the mid-tempo, "Sunnyland," as
he pleads for that woman to come back to her
home in Sunnyland.
"Whole Wide World" starts very slowly and
hesitant before Ellis begins with life
advice to a small child, telling it that what
the whole world needs is love. He then launches
into a different type of love song on the
up-tempo "Sweet Ice Tea," running through all
types of soul food that he loves but ending each
menu itemization with the statement that he
needs to have these meals with sweet ice tea.
The song is driven along by rhythmic
foot-tapping.
Ellis' humming, followed by slow guitar picking,
projects a gospel feeling to "I'd Rather Be
Saved," desperate for a different life because
of a mean old boss man that treats him badly.
This is his best vocal performance, with plenty
of emotion packed into four minutes and 20
seconds.
He
picks up the mandolin again on the hokum style,
"Too Broke," an up-tempo tune that's so much fun
as he tells us that he's too broke to worry,
adding the advice, "... If you don't want to
worry, stay broke all the time ..." I think I
just found my favorite song.
The
mood changes again on the slow, churchy number,
"Low Land Of Sorry," with Ellis accompanying his
music with humming. That slower tempo remains on
"Fountain Of Love," with nice, gentle guitar
playing and higher vocals.
Labor Of Love ends with perhaps the best
song, the up-tempo gospel number, "Lay My Burden
Down," as Ellis sings about meeting that maker
upstairs, the answer to all of his prayers. I
had to keep checking the liner notes to confirm
that all songs were Ellis originals, because I
could certainly hear Rev. Gary Davis doing this
one.
As
much as I love the guitar work and singing on
Labor Of Love, I'm most impressed with
Ellis' songwriting throughout. Did he sell his
soul for this album, because these songs are
possessed by the spirit of artists like Son
House, Mississippi John Hurt, Skip James and
other iconic Delta blues masters? Credit to
Ellis for opening his heart for us.
Labor Of Love is an essential album. Don't
pass it by.
--- Bill Mitchell
 Well,
here it is only two months into the new year and
we have an early contender for Album of the
Year, courtesy of Omar Coleman and Igor Prado.
Chicago-based harp master/vocalist Coleman has
teamed up with Brazilian guitar ace Prado for
Old New Funky and Blue (Nola Blue Records),
which is a powerhouse set from track one to
track 11, with six tracks written by the pair,
along with five choice covers.
Coleman and Prado are backed by a core band that
includes Igor's brother Yuri on drums and Ted
Furtado on bass for most of the tracks. Also
participating on selected tracks are Juninho
Isidoro (drums/Yamaha SPDS), Filipe Magon
(Hammond organ), Rodrigo and Eduardo Belloni
(acoustic guitars), Luciano Leães (piano),
Denilson Martins (saxes), and Bruno Belasco
(trumpet).
The
tracks cover the gamut from gritty Chicago blues
to greasy Memphis soul, with a healthy dose of
funk thrown into the mix, as the title
indicates. The opening track, “I'm Leaving My No
Good Woman,” a Coleman/Prado original, serves as
a shining example of the duo's musical approach
with the rhythm section's muscular funk
backdrop, Prado's crisp guitar work, and
Coleman's supremely soulful vocal.
Earl
Randle and Willie Mitchell's “I Only Have Love,”
one of four tracks associated with Syl Johnson's
Hi Records days, follows. Coleman does a fine
job on the vocals and harmonica, and Prado is
spot-on with the fretwork. The original “Cut You
Loose” is another standout with Magon's B3
featured prominently, along with the horns, and
Prado's playing is amazing.
“Moving on to Better Days” is a tough original
mid-tempo blues that finds Coleman declaring
it's the end of a relationship, and “Answer Your
Phone” is a funky mix of blues, R&B, and soul
with Prado adding sizzling guitar. “I Let a Good
Girl Go,” another Hi Records-era Syl Johnson
tune written by Earl Randle, is a poignant
acoustic number with a powerful vocal from
Coleman.
The
Coleman/Prado original, “Brown Nosin' Man,” is a
fun and funky number about one of those
aggravating dudes that everyone has encountered
a few times in their lives. “I Wanna Do The Do”
is a tune written by Bobby Rush and Leon Huff
during Rush's Philadelphia International days in
the late /70s, and Coleman deftly recreates the
Chitlin' Circuit King's down home folk funk feel
with his energetic vocal and his harp work.
“Don't Give It Away,” a tune written by Johnson
during his late '60s Twinight Records stint, is
a fine showcase for the duo, as Prado provides
scorching guitar work and Coleman testifies just
like ol' Syl used to do. The duo's irresistible
cover of Rush's salacious “Night Fishin'” gives
us another earthy, funky toe-tapper with plenty
of Coleman's harmonica and vocals.
On
the acoustic closer, “Blue Line Train in
Chicago,” Coleman emulates the sound of a train
whistle, perfectly capturing the feeling of
traveling on a train and leaving the blues
behind.
Old New Funky and Blue sets the bar pretty
high for all other 2026 releases. This set cooks
from start to finish with a relentless energy.
This is a superb effort from Omar Coleman, Igor
Prado, and their outstanding band that blues
fans simply have to have.
--- Graham Clarke
 Duke
Robillard has been playing and recording the
blues only slightly longer than I've been
listening to the music, which means we've both
been around for quite some time. To say that
Duke has had a prolific career is quite the
understatement, between his own recordings,
showing up as a guest on other performer's
albums, and producing multiple collections of
blues standards.
I
can't even begin to count how many albums that
he's had a hand in over the 50-plus years of his
career. The fact that he still sounds fresh and
invigorated is a statement to just how much the
music means to this man and how much he means to
the music.
He's
back with still another collection of blues
songs on Blast Off!, his first
collaboration with the burgeoning blues label
Nola Blue Records. He's aided by what he calls
his All Star Band, a host of familiar names that
have played with Duke and/or Roomful of Blues on
many, many recordings.
We
open with the Floyd Dixon mid-tempo blues
shuffle, "When I Get Lucky," with Chris Cote
stepping up to the mic for the first of his
eight vocal appearances. Blues veteran Doug
James jumps in with strong baritone sax work.
Another regular Duke sideman Bruce Bears shines
on piano on the up-tempo blues classic, "I'll Be
Glad When You're Dead," the only cut that
features Robillard sharing lead vocals with
Cote. Doc Chanonhouse contributes trumpet
accompaniment on his only Blast Off!
appearance.
The
pace slows on the ballad "Feel My Cares," with
Cote pumping plenty of emotion from his voice
and backed by James' always delightful sax work.
Nothing beats a Tom Waits composition, which we
get on the rawer mid-tempo blues, "Lowdown," an
appropriate sound considering its composer.
It's
back to the dance floor for the shuffling
instrumental, "Play Boy Hop," a masterpiece
performance for James while Robilliard also lays
down a strong guitar solo. We then head down to
the Crescent City for the very catchy Allen
Toussaint song, "Confusion," with Bears pounding
out the requisite New Orleans-style piano.
The
title cut, "Blast Off!" is a mid-tempo
instrumental written by Robillard and bass
player Marty Ballou, with plenty of tasty guitar
from the bandleader. I feel kind of an island
vibe here. That leads into the Eddie Jones
12-bar blues, "Stand By Me," another showcase
for James' baritone sax gymnastics. One of the
best cuts on the album!
We're jumping like crazy on the up-tempo
instrumental, "The King," written by Count Basie
and Jon Hendricks, with clarinetist Billy Novick
and James getting plenty of solo time. But
that's not all because Bears and Robillard each
get to stretch out on their respective
instruments.
The
mood changes considerably on "Warm and Tender
Love," a hit back in the day for Percy Sledge,
with Cote getting a chance to dig deep into his
emotions for one of his best vocal performances.
It's a slow and gentle soul ballad that will
have you swooning, especially as we hear
consecutive instrumental breaks from Bears,
tenor sax from either James or Mark Earley, and
Robillard. A beautiful song that should earn
Cote some kind of award for best vocal
performance.
Instrumental #4, the slow, funky "Galactic
Grease," allows Robillard plenty of time to
demonstrate his versatile guitar work
complemented by Bears' organ playing.
Putting the wraps on Blast Off! is the
Tampa Red blues shuffle "Look a There Look a
There," a fun novelty tune highlighted by
background vocals from Duke and most of the
band. There are some fun lyrics here, especially
when Cote sings about that woman who when taken
to court she shook it for the judge and he put
the cop in jail.
I'm
sure that most of our readers are already well
acquainted with the blues of Duke Robillard, so
you know that you will want to add Blast Off!
to your collection. For any neophytes to the
man's music, get this album and then start
working back through his vast discography,
starting with the early Roomful of Blues
recordings. I guarantee it will be a good trip
through the blues.
--- Bill Mitchell
 Billy
Thompson was a familiar name to me from
several decades ago, but until recently I hadn't
heard much of him. He reached out to me via
email about a year ago and updated me on his
whereabouts. After leaving San Diego, he's spent
most of his time in Louisiana, playing with some
big name musicians.
Thompson now has a record deal with burgeoning
blues label MoMojo Records, with his new album
being This World, a solid mix of 14 tunes
of mostly rockin' blues with a tasty mix-in of
soul. Everything here was written or co-written
by Thompson, as he shows his ability not just on
guitar and raw vocals but also with a skill in
writing topical songs.
One
of those songs about contemporary issues is the
title cut, "This World," a rocker in which he
asks the question as to what's going to become
of the world. It's an up-tempo shuffle featuring
plenty of slide guitar work by Thompson. As
evident from the title, "Downsizing" is another
topical number, an anti-corporate song that
touches on the future of Artificial Intelligence
in putting a lot of real people out of work.
Again, Thompson's slide guitar is up front on
this one.
The
mood changes on the mid-tempo, "Like Rain,"
which gets a different sound from its prominent
use of both acoustic guitar and sousaphone(!).
Everything feels like rain coming down because
of a broken heart.
The
slide is back out on the up-tempo funky tune,
"For True," which is the first of several songs
that bring back memories of Little Feat. In
fact, I had to take a look at the liner notes to
make sure it wasn't written by Lowell George.
Thompson's intense slide guitar solo adds to
that Feat vibe. Same goes for the up-tempo
rocker, "Melia," that adds congas to the mix
while Thompson sings a love song to that special
someone.
Thompson packs a lot of passion into his vocals
on the slow, bluesy "Every Single Rider," as he
sees everyone he's ever known on this train,
apologizing to all for the way he was. We then
hear more of a Little Feat blues sound on the
up-tempo "Thankful," with Thompson absolutely
tearing it up on guitar while Michael Leroy Peet
contributes excellent keyboard work. Thompson is
showing his thanks to one who showed him plenty
of happiness and love.
"Batman & Robin" was recorded as a demo and not
planned to be on the album. They later added
Andy Kravitz's tasty drummage (Billy's words,
not mine) and produced a slow, simple song about
assigning roles to a relationship, imagining
themselves as crime stoppers.
Kirsten Trump wrote the lyrics to several of the
songs on the album, including the up-tempo funky
blues, "Hope Peace & Joy," obviously a feelgood
song given emphasis from the chorus of
background singers. That's followed by "Old
Blue," a straight ahead blues shuffle in which
Thompson claims, "... She loves that dog more
than she loves me ..." Notable on this number is
the keyboard work provided by the late Mike
Finnigan.
Thompson sticks to more of a blues sound on
"Dinosaur Eggs," a fun tune in which the guitar
and harmonica were recorded by Billy in his
home, with drums by Doug Belote, congas by
Michael Skirtkus, and bass by Golder O'Neill all
later added in the studio. Thompson gets
especially funky on guitar with some very
intricate licks on "Monkey Back Guarantee," with
a different sound contributed by Peet on
clavinet.
Heading into the home stretch, Thompson gets
especially passionate on vocals on his cry for
justice, "Truth Come To Power," with plenty of
outstanding slide guitar work. Closing the album
is Thompson's inspirational call to action, the
soulful blues, "Of The Angels," another with
lyrics from Ms. Trump. Looking for a solution
and reminding all to reach out a hand, lover
your neighbors, and do all you can.
This World is a delight, with Thompson's
multi-faceted approach to music coming out on
the 14 songs. Its a keeper.
---
Bill
Mitchell
 Guitarist
Don Leady has recorded frequently as a
solo artist and with various other bands since
the Tail Gators' final release in the mid '90s.
He's been busy the past couple of years
re-mastering and releasing various Tail Gator
live performances, but recently released a super
cool EP, Blues Nebula (LeRay Records).
The six-song instrumental set is a mix of blues,
R&B, country, and jazz with a pitch of surf
guitar.
The
title track kicks things off. It will remind
listeners a bit of the melody of King Curtis'
“Soul Serenade” and mixes in a bit of Duane
Eddy, a little Booker T-esque organ, and some
surf guitar for good measure.
“Wall CfA2” is described by Leady as “Wall of
Sound meets R&B,” an apt description because the
layered guitars gives this track a retro, '60s
rock n' roll feel. Meanwhile, “Young Joe Clark”
is a groovy variation of the old folk song with
a jazz and blues guitar overlay.
“Orbit Boogie” is a gritty boogie tune with deft
fretwork from Leady, “Spy Rings” is a fun track
that could serve as a theme song for one of
those old school Secret Agent movies or TV
shows, and “Whoop!” is a country-flavored
two-stepper with a droning Hill Country rhythm
and slide guitar.
Leady played guitar, rhythm guitar, bass,
percussion, and organ on all six tracks, truly a
one-man-band effort. Blues Nebula is an
entertaining set for fans of guitar of any
genre.
--- Graham Clarke
 Soul
Of A Nation is the 10th album released by
guitarist Murali Coryell. The guitarist
is the son of the late jazz fusion guitar legend
Larry Coryell, but he's focused his own work in
the blues, rock, and soul genres, carving his
own niche in that field. He penned six of the
eight tracks on this set, which was recorded in
New York and Texas during three different
sessions.
Providing lead guitar and vocals, Coryell is
backed on these songs by Bill Foster, Jeff
Anderson, or Lannie Hilboldt (bass), Peter
O'Brien or Ernie Durawa (drums), D-Vibes
(keyboards), Joe Morales (saxophone), Will Owen
Gage (guitar) and Janice Dempsey (vocals).
Coryell's originals are split between
politically-inspired topics and typical blues
subjects (actually, politically-inspired would
fit snugly into blues subjects), beginning with
“Pardon Me,” an easygoing tune with a sarcastic
bent which reflects on the use (or misuse) of
the Presidential pardon power over the years.
The
energetic “Severe Anxiety” is an agitated rocker
that reflects the subject matter, and the title
track is a somber but soulful look at the
current divided state of the union and the hope
that it can be turned around before it's too
late.
Other original tracks include “Take It Off,” a
sexy blues rocker with a touch of funk that
really cooks, “Ukraine War Cries,” a passionate
plea for peace an sanity that's punctuated by
some fierce Hendrixian fretwork from Coryell,
and “Eyes Wide Open,” originally the title track
to Coryell's debut album in 1995.. The latter
was a really cool track when it debuted and it's
nice that he rerecorded it for his newer
listeners.
The
two covers are Donnie Hathaway's “Someday We'll
All Be Free” and “Love T.K.O.,” written by
Edward Noble and Cecil and Linda Womack for
Teddy Pendergrass. Both songs are well done, and
Coryell's vocal on the latter tune is most
impressive.
Coryell's guitar work is excellent throughout as
are his vocals, and the original tunes are
well-crafted. Soul Of A Nation is a
strong set that will satisfy fans of blues-rock
and soul equally.
--- Graham Clarke
 Born
in Hattiesburg, Mississippi, Davey Jones
has been writing and performing music for over
30 years, beginning in local churches and gospel
groups and moving to country and rock before
settling in with the blues. His musical approach
actually absorbs those other styles into his
brand of blues.
In
addition to vocals and guitar, Jones also plays
drums, piano, bass, organ and many other
instruments, playing all the instruments on his
latest release, Ball Cap Blues.
“Banks of the Blues,” the easygoing album
opener, describes Jones growing up in South
Mississippi, where he listened to and absorbed
various musical styles, all rooted in the blues.
“New Groove” adds a taste of funk as Jones tries
to update his game with a new lady, and “Walking
Easy” is just like the song title, a laid-back,
country-flavored look at the world around.
“Ain't No Good To Me” has a swampy R&B vibe
behind Jones' edgy guitar, “Mid Memphis Blues”
is a catchy blues rocker, and “What You Gonna
Do” adds funk and a pop feel to the blues. The
energetic “Six Feet In The Ground” is a neat fit
into the Southern rock category with the raucous
piano and guitar work.
“Going Down In Mississippi” is a gritty mix of
blues and rock with an ominous, swampy
undertone, and the lively closer, “Woman I
Love,” is an upbeat blend of blues and funk that
brings the album to a rollicking conclusion..
Davey Jones is a force to be reckoned with as a
singer, songwriter, and instrumentalist on this
solid set of modern blues. With Ball Cap
Blues, manages to bring together his
multiple musical influences together – blues,
rock, gospel, country, R&B, and funk – to form a
potent musical gumbo.
--- Graham Clarke
 Ed
Alstrom began playing the family Hammond M-3
at the age of five, and graduated with a degree
in Classical Organ Performance from Westminster
Choir College. He managed to survive disco while
playing organ in churches, working with a wide
variety of artists, including Bette Midler,
Odetta, Herbie Hancock, Chuck Berry, Dion, and
Leonard Bernstein. Since 2004, he's also worked
weekends playing the organ at New York Yankees
games.
He's
also managed to maintain a career as a bluesman,
representing the North Jersey Blues Society at
the 2025 International Blues Challenge in
Memphis. His previous release, last year's
Flee Though None Pursue, was a fine set with
great music and insightful lyrics, and his
newest release, This Idea of Humanity
(Haywire Productions), offers more wonderful
music and great songwriting.
The
album opens with “Put You First,” a soulful
ballad in the Ray Charles tradition, thanks to
Alstrom's passionate vocal and a musical
arrangement right out of Atlantic Records in the
1950s.
The
spirited “All I'm Gonna Do” serves as Alstrom's
declaration of love for the blues, and the
amusing “Humans” ponders the foibles of humanity
(“I love this idea of humanity, it's these
humans I just can't tolerate”).
The
blues shuffle, “Nothing Good To Say,” recounts a
childhood lesson from Alstrom's father, and
“Bridesmaid” revisits and revises the “always a
bridesmaid, never a bride,” down to opening with
a church organ intro.
Alstrom is joined on vocals by Jimmy Vivino on
the raucous soul burner, “Party Planner,” unable
to contain his excitement at the end of a
relationship as he delivers a energetic solo on
the Hammond.
The
slow blues, “Understanding,” finds Alstrom
venting his frustration at reading people
verbally and otherwise, and he admires the
ability of the blues to keep on keeping on with
“Blues Keep Coming Back”
He
decides to let others speak their mind
regardless with no feedback on the jaunty “Go
Ahead,” and the soul/jazz number “Inquiring
Minds” pleads for peace and understanding.
Vivino returns for the classic old school blues,
“The Way Back,” this time playing slide guitar
as Alstrom tries to find his way back up from
down.
Alstrom's upbeat piano delivery on “Got To Stop”
belies his desperation to give up his bad
habits, “So Hard” is a tight rock n' roller
paying tribute to the working class, and the
closer, “Worry,” is a moody venture into jazz
with haunting backing vocals as Alstorm reflects
on what's really important to be happy.
Alstrom played all of the instruments on the
album, which include organ, piano, melodica,
clavinet, synthesizer, Suzuki Andes, guitars,
percussion, and drums. Other contributors
include Ula Hedwig and Maxine Alstrom (backing
vocals), Meridith Greenberg (backing vocals,
djembe), and Don Guinta (drums). Vivino guests
on one track for vocals and one for guitar.
This Idea of Humanity is another
outstanding set from Ed Alstrom, who shines on
keys, vocals, and songwriting, making this a
most memorable listening experience.
--- Graham Clarke
 Retro
Revival (Maremil Music), the latest release
from Alex Lopez and The Xpress (Lopez –
guitar/vocals, Steve Roberts – bass, Kana
Leimbach – drums), is a guitar-fueled set of
blues and rock with a thoroughly modern
approach. Lopez wrote or co-wrote all 11 tracks
on this high-energy set, which features guest
appearances from Memphis Lightning guitarist
Lightning and guitarist George B. Harris.
“One
More Time” kicks off the disc, a blues rocker
featuring nimble fretwork from Lopez and guest
guitarist Lightning. “Your Lovin'” has a
definite Led Zep feel with the guitar work and
Lopez's powerful vocal, as does “When I Sing The
Blues,” a superb slow blues that allows ample
space for Lopez to soar on vocals and guitar,
while the robust “Here I Am” seamlessly mixes
blues, rock, and funk.
“What The World Needs” keeps the funky blues
backdrop, with a bit of pop in the musical
delivery and social consciousness in the lyrics.
The catchy “Hey Little Sister” is an upbeat,
playful rocker.
The
gritty “Angry” rocks hard as Lopez laments the
condition of the world, but “Loving You Gave Me
The Blues” focuses on more personal blues
topics, in this case seeing the potential end of
a relationship.
“Name Of Love” locks into a more relaxed groove
as Lopez sings of the power and wonders of love,
“Black Hole” is a rocking blues shuffle with
nice vocals harmonies that sounds radio-ready,
and the wistful closer “Keep On Living” is a
hopeful ballad to persevere.
Retro Revival is a cool set of blues and
rock with one foot in the traditional sounds and
the other in contemporary blues rock. It all
adds up to another great set from Alex Lopez and
The Xpress that's sure to please fans of both
strains of blues rock.
--- Graham Clarke
 Last
winter, Fred Hostetler woke up one
morning during one of those dark gray days in
February and started singing about the
“Midwinter Blues,” making up lyrics as he went
along, throwing in a bit of a country yodel/Howlin'
Wolf effect.
After a few minutes, he realized that he'd just
written a song off the cuff, so he quickly
recorded it on his iPhone and worked it up into
a single that could be released the next winter
because, you know, those midwinter blues come
around every year without fail.
This
is an amusing song that will make most of us
smile in the December-February months.
--- Graham Clarke
Looking into the future ---
Canadian singer/songwriter
Ndidi O
has a strong feelgood single out, "Come On
Home," showing off her fantastic singing voice
and signaling that a full album is in the works.
The Alexis P. Suter Band has cut a live
recording of "Turn On Your Love Light"
showcasing Ms. Suter's deep booming vocals. Just
as important is the fact that legendary keyboard
player for The Band, Garth Hudson, was part of
the ensemble on this live show not long before
he passed away.
New albums coming out within the next month
include Slideways from Lil' Ed & the
Blues Imperials and Hammer & Chisel
from Altered Five Blues Band. We'll be
covering that pair of outstanding discs next
month. For the April Blues Bytes issue, we'll
have a detailed review of Selwyn Birchwood's
next Alligator release, Electric Swamp Funkin'
Blues.
--- Bill Mitchell
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