|
 I
always look forward to any new album from
Curtis Salgado, and his latest, Damage
Control (Alligator) doesn't disappoint. Even
as he gets older, Salgado's voice is still
powerful, with a heaping helping of soul coming
out when he belts out the lyrics to the 13 songs
on this disc.
The
fact that he's still a powerful force as he
progresses well into his 60s comes out in the
opening cut, "The Longer That I Live," in which
he sings about his hopes for immortality, with
the line, "...the longer that I live, the older
I want to get ..." The gospel overtones on this
number start early with the piano playing of Jim
Pugh coupled with organ accompaniment by Mike Finnigan,
and Kid Andersen contributes a solid
guitar solo. Hop onto YouTube to check out the
official video for this song, with Salgado
looking very much like an old-school evangelist.
Up
next is the mid-tempo soulful blues, "What Did
Me In Did Me Well," taken to another
level by the outstanding keyboard work of both
Pugh and Finnigan, and then later by a chromatic
harmonica solo by Salgado himself. Kevin
McKendree steps into the session with rollicking
boogie woogie piano on the up-tempo blues,
"You're Going To Miss My Sorry Ass." Johnny Lee
Schell provides background vocals.
A
recurring theme of this album is the top-notch
piano work by a host of players, with Jackie
Miclau providing the gospel overtones on the
slow, heartfelt blues, "Always Say I Love You
(At The End Of Your Goodbyes)," as Salgado
expresses remorse at the loss of a friend. Wendy
Moten comes in with very nice churchy background
vocals and Finnigan is back with a killer
organ solo about two-thirds of the way through
this very nice number. Another really strong
slower number is Salgado's political statement,
"The Fix Is In," on which he sings, "...What's
happening to our country? There's so much greed
...," while also working in a solid blues
harmonica solo.
Salgado undergoes a complete transformation on
"Truth Be Told," turning the session into a
Cajun dancehall with Wayne Toups joining him on
accordion and vocals. It's a complete change of
pace from his usual soulful and sometimes
tormented blues, and I can easily envision
Salgado fronting a band at a Mardi Gras dance in
Lafayette or Mamou. The title cut also moves the
band into a different setting, with the feeling
of being in a late night, smoky jazz club,
thanks in part to Finnigan's piano playing and
Schell's tasty guitar riffs.
"Count Of Three," with Salgado giving his
significant other a very short deadline, is a
rollicking up-tempo number that turns into a bit
of a rockabilly rocker later in the tune thanks
to Schell's frantic guitar chords. I also like
Pugh's piano playing here. On "Hail Mighty
Caesar," Salgado summons his inner Dave Bartholomew with
a New Orleans-sounding novelty tune about Julius
Caesar, Cleopatra, and other denizens of ancient
Rome.
Damage Control closes with the album's only
cover, a fast-paced version of Larry Williams'
"Slow Down," with McKendree pounding the piano
keys throughout the tune while Salgado shouts
out the vocals. His voice is well-suited for
this early rock 'n' roll classic.
This
is a very fine album and a worthy addition to
the Curtis Salgado discography. He set a very
high bar with the 2012 release Soul Shot,
which is on my desert island list. If you are
just starting to build your Salgado library, start with
Soul Shot and then move on to the 2016
release, The Beautiful Lowdown, before
rounding out your collection with Damage
Control.
--- Bill Mitchell
 AJ
Fullerton was a new name to me when the
latest album, The Forgiver And The Runaway
(VizzTone), arrived in my mailbox, but I can see
why this young man from western Colorado has
already attracted a following in those parts.
The media release that accompanied the album
describes his music as soulful blues & roots,
and that's an appropriate description. In
addition to handling the vocals, Fullerton plays guitar and occasionally the banjo. He was
teamed up with a notable cast of Canadian
musicians, notably producer / guitarist Steve Marriner, Paul Reddick, Jake Friel, and others
on this album produced in Toronto.
His
voice has a very pleasant and soulful edge,
although I think it needs just a bit more power
and grit for Fullerton to move up to that next
tier of soulful blues singers. But that
doesn't distract from the strength of this set
of a dozen tunes.
The
album starts strong, with the intro to "Remind
Me Who I Am Again" sounding kind of like that of
"People Get Ready," thanks to the very fine
backup singers and Jesse O'Brien's keyboard
accompaniment. It's a mid-tempo soul number
accessorized with strong blues guitar riffs and
nice gospel-ish Hammond B3 playing. Fullerton's
blues side comes out on the mid-tempo blues
shuffle, "Slippin' Away," with nice piano
playing from O'Brien and strong blues guitar
from Fullerton and Marriner.
Ten
of the songs on The Forgiver And The Runaway
are covers, with the absolute killer being
"Cherry Red," written by JD Taylor & Tyler
Goodson. Highlighting this blues shuffle are the
harmonica solos of either Reddick or Friel
(liner notes don't identify who plays on what),
while O'Brien continues his excellent piano
work. O'Brien takes his playing to church on the
soulful blues, "Never Was," and the background
singers keep it there. Nice slide guitar solo,
too.
Two
diverse sides of Fullerton's music come out on
"Wish You'd Tell Me" and the closing number,
"Hooks In the Water," with the former being a
mid-tempo funky blues with a heavier guitar
sound while the latter has Fullerton
fingerpicking his acoustic guitar on a laid-back
country blues.
If,
like me, this album is your introduction to the
AJ Fullerton, you should be pleasantly
surprised. The Forgiver And The Runaway
is a keeper, whetting my appetite for what he's
got in store for his next album.
--- Bill Mitchell
 What
started out as a slow burning, blues-rocking CD
release last October, Voodoo Blues
(Independent) is now deservedly achieving
acclaim of incendiary proportions as word
travels globally about Grainne Duffy’s
best album to date. A compatriot of and
spiritual successor to Rory Gallagher, Duffy has
similarly achieved legendary status in her
native Ireland and beyond. This reviewer has
seen both of them live in concert, albeit half a
century apart, and the similarities are
remarkable, both musicians delivering
inspirational, high energy, memorable
performances characterized by expressive,
emotional vocals and blistering, innovative
fretwork never to be forgotten.
Voodoo Blues kicks off with the title track,
and within a short space of time it becomes
apparent that this is going to be a big
performance and a very special fifth album, this
one solely comprising self-penned material from
Duffy and Paul Sherry. Starting with a
distinctive solo guitar introduction, the song
metamorphosis's into an up-tempo, punchy blues
song incorporating a series of climaxes as top
session bassist Dale Davis and dynamic drummer
Troy Miller hit the groove. Pleading for “Mercy”
is the perfect theme for Duffy’s impassioned
vocals as she screams above the haunting vibe.
The
infectious riff on “Blue Skies” precedes the
implosion of Grainne’s smoky, powerful vocals
reaching a crescendo with the chorus, “I got the
blue skies baby up above/I got the bright lights
burning and I just can’t get enough,”
complemented by mood-enhancing background
vocals. Duffy’s piercing guitar interludes are
timely and tasteful, with virtuosic guitarist
Paul Sherry maintaining the pace and rhythm.
A
country feel is evident on “Shine It On Me,”
with its sumptuous Hammond organ courtesy of the
multi-talented Miller, Grainne holding on to
every note and showcasing her impressive vocal
range. Normally, the gospel tinged, emotionally
drenched “Don’t You Cry For Me” would be a
standout track, but here it blends in
effortlessly with the high caliber fare of the
whole album.
The
funky, soulful “Roll It” highlights the
synchronization of the band as each musician
retains their individuality within the context
of a tightly knit unit. “Wreck It” does exactly
what the title suggests, spellbinding and
hinting at chaos, but with musical intelligence
and subtlety permeating the instrumental
interludes.
A
novel introduction to ‘”Tick Tock” is the actual
sound of a ticking clock which sets the pace for
the muscular guitar work and powerful vocals
with anthemic chants of “Yeah, Yeah, Yeah.” The
vibe is reminiscent of Grainne’s raucous, party
time live gigs and encouragement of fans’
participation, replicated here and indeed across
much of the album albeit in an empty studio
thanks to its superb production. The listener is
transported back to the heady days of packed
venues, sweaty rooms and noisy devotees
responding to every movement and sound on stage.
The
fitting finale, ‘Hard Rain’ extends this thrill
as early sparseness gives way to the crescendo
of howling main and backing vocals, stomping
bass and drum rhythms, grinding axe work and
swirling, atmospheric keys.
--- Dave Scott
 For
fans of traditional Chicago blues, Live At
Rosa’s (Delmark Records), the latest release
from the venerable Linsey Alexander, will
be a wonderful reminder of the excitement they
once had putting a live record from one of their
Windy City favorites on the turntable (or, heck,
actually watching a live show). On this sterling
set, the singer/guitarist is backed by a fine
band, including longtime collaborator Ron
Simmons (bass), keyboardist Roosevelt Purifoy (Lurrie
Bell, Toronzo Cannon, Sharon Lewis, etc..),
drummer “Big” Ray Stewart, and guitarist Sergei
Androshin.
The
nine-song set, recorded over two nights in May
2019, contains five Alexander originals and four
tasty covers. The festivities open with “Please
Love Me,” one of B.B. King’s go-to songs from
"Live At The Regal." Alexander’s rugged vocals
and crisp guitar work is complemented perfectly
by a fine solo from Purifoy. “My Days Are So
Long,” an Alexander original from his 2006
release of the same name, is an lively blues
boogie track. Next, things slow down for a
smoldering take of the blues standard, “Have You
Ever Loved A Woman,” which really gives
Alexander an opportunity to showcase his guitar
skills (and vocals) considerably over the
duration of the nearly nine-minute track.
“I
Got A Woman” originally appeared as part of
Alexander’s 2014 Delmark release, Come Back
Baby, and it’s a terrific, funky shuffle.
The upbeat “Goin’ Out Walkin’,” from the same
album, keeps the same tempo rolling with
Alexander adding more inspired fretwork. Next is
a dynamite cover of Latimore’s mid-'70s hit
“Somethin’ ‘Bout ‘Cha,” which Alexander slows
down a bit, transforming it into a slow-burning
soul-blues ballad. Following are the up-tempo
“Snowing In Chicago,” also from Come Back
Baby, and a superb take on Junior Wells’
“Ships On The Ocean” that’s a textbook example
of how slow burning Chicago blues ought to
sound. The funky album closer, “Going Back To My
Old Time Used To Be,” was originally released on
Alexander’s Delmark debut, Been There Done
That, in 2012.
For
those who’ve missed live music over the last
year, especially live BLUES music, Linsey
Alexander’s Live At Rosa’s will certainly
cure what ails you. The veteran singer/guitarist
is still going strong at age 78 with no signs of
slowing down whatsoever.
--- Graham Clarke
 In
the 1970s several Chicago blues legends,
including Otis Rush, Jimmy Dawkins, and Eddie
Taylor, began touring Japan, an endeavor that
rewarded both artists and fans at the time. Fans
embraced the music and the artists themselves
with such enthusiasm that some fans even began
playing the music themselves, eventually
launching a small but potent Japanese blues
scene that still resonates today.
Guitarist Johnny Burgin has been touring
Japan since 1996 and began meeting some of the
amazing talented musicians that play the blues.
He has now gathered some of the country’s
finest, as well as some who immigrated to
Chicago and joined the Windy City blues scene,
on the Delmark Records collection No Border
Blues. The set includes 11 tracks of
traditional Chicago-style blues, four originals
by the featured artists, and seven covers.
Since we’re talking about Chicago blues, it’s
only natural that the harmonica is prevalent on
multiple tunes, contributed by several talented
artists, including Iper Onishi, who launches the
album with a spirited take on Carey Bell’s “One
Day You’re Gonna Get Lucky,” with a vocal
delivery and harp tone that the late master
would surely admire. That’s the only song Onishi
sings, but his harp is heard to great effect
throughout. Burgin takes the mic for Elmore
James’ “Sunnyland,” backed by Kaz Nogio on harp,
Lee Kanehira on piano, and Yoshi Mizuno on
guitar.
Nogio sings (with Kanehira) and plays harp on
Tampa Red’s “So Crazy About You,” and Nacomi
Tanaka sings Burgin’s “Hurry Up Baby,” and the
pair really mix it up on guitar. Kanehira is
featured on her own composition, the rollicking
“Pumpkin’s Boogie,” backed by Kotez on
harmonica, who offers up a sensational “Mada
Sukinanda,” the Japanese version of Little
Walter’s “I Just Keep Loving Her.” Onishi
returns to back Burgin on John Brim’s
“Rattlesnake,” the Burgin original, “Old School
Player,” and the obscure slow burner “Two
Telephones.”
The
storming instrumental “Samurai Harp Attack”
features all three harmonica players --- Kotez,
Nogio, and Onishi --- and it's rip-roaring fun.
Kotez returns for the album closer, “Sweet Home
Osaka,” an interesting take on the standard
“Sweet Home Chicago.”
As
Burgin points out in the liner notes, there can
be a stigma about being labeled a purist in the
states, but that is certainly not the case in
Japan. These songs, both originals and covers,
played in the traditional style not only pay
tribute to the masters who preceded them, but
each musician brings a little bit of their own
style to the interpretations. That said, it all
seems to have a fresh quality to it. It’s not
just dusting off the old classics, but putting
on a new coat of paint.
We
owe a debt of gratitude to Johnny Burgin (and
partner Stephanie Tice, who produced the album)
for gathering all of these fine musicians
together for No Border Blues.
--- Graham Clarke
 Savoy
Brown and singer/songwriter/guitarist Kim
Simmonds got their start in 1965 --- yes, 1965
--- which gives them the distinction of being
one of the longest-running, if not the
longest-running blues rock bands in existence.
Though the band’s line-up has changed frequently
over their nearly 56-year career, the current
incarnation (Simmonds – guitar/harmonica/vocals,
Pat DeSalvo – bass, Garnet Grimm – drums) has
been together for over a decade, and their
latest (41st!) release, Ain’t Done Yet
(Quarto Valley Records), is most aptly titled.
The
thunderous rocker, “All Gone Wrong,” opens the
disc, with Simmonds unleashing a fierce solo
midway through. “Devil’s Highway” strikes a more
mellow groove, and the guitar work is more
subtle, but no less potent in this atmosphere,
and the temperate “River On The Rise” has an
acoustic backdrop, but Simmonds’ adds slide
guitar as the lead. “Borrowed Time” rides a
pulsing groove with the guitar played through a
“Multivox FullRotor” that gives it a shimmering
tone.
The
title track is a hard-driving blues shuffle that
certainly verifies that the band still have
plenty of fuel in the tank, and “Feel Like A
Gypsy” is a Latin-flavored blues with a Santana
feel where Simmonds really stretches out on
guitar at the song’s conclusion. Meanwhile, the
Hookeresque boogie, “Jaguar Car,” is a fun track
that features Simmonds on slide guitar and
harmonica, and he pulls out the dobro for the
acoustic “Rocking In Louisiana” before plugging
back in for the chugging rocker “Soho Girl.”
The
instrumental closer, “Crying Guitar,” is just
that --- four and a half minutes of
string-bending bliss from one of the finest
guitarists of the past half century in any
genre.
Ain’t Done Yet proves that Savoy Brown, and
Kim Simmonds, remain one of the most creative
and powerful blues rock combos in the genre and
they continue to add impressive new releases to
their already formidable catalog.
--- Graham Clarke
 In
the late ’70s, in east central Mississippi, it
was nearly impossible to listen to the radio at
any time, day or night, and not hear “New
Orleans Ladies,” the hit single from
Louisiana’s LeRoux. The band had a few other
hits along the way: “Nobody Said It Was Easy (Lookin’
For The Light),” “Take A Ride On A Riverboat,”
and “Carrie’s Song,” to name a few) and appeared
on a number of popular TV shows at the time (The
Midnight Special, Solid Gold, and the legendary
Dan Kirshner’s Rock Concert).
The
band ceased operations in 1984 but played
occasionally from time to time beginning the
next year, finally reuniting completely in 1996
to perform festivals and fairs throughout the
southeastern U.S. After issuing five albums
during their first run, they managed to release
a couple of albums since reuniting (in 2000 and
2002). One Of Those Days is their most
recent, and first in 18 years.
The
engaging title track opens the disc and will
immediately remind fans of those great days of
’70s rock, but the next track, “No One’s Gonna
Love Me,” has a gospel/soul feel with tight
harmony vocals and Nelson Blanchard’s smooth B3
support. The Crescent City-styled “Lucy Anna”
strikes a funky, swampy groove reminiscent of
Little Feat, and “Don’t Rescue Me” is a sturdy
blues rocker, while “After All” is a
pop-flavored ballad.
“Nothing Left To Lose” is a swamp rocker with a
slight country vibe, and “The Song Goes On” is a
reflective southern rock ballad. Longtime fans
may recognize “Lifeline (Redux)” from the band’s
early ’80s period by the lyrics, if not the
melody, which is more laid back and soulful than
the original pop rock version. The instrumental
“Sauce Piquante” mixes jazz and funk and reminds
listeners that the band originally made their
mark backing such Louisiana luminaries as
Clifton Chenier and Clarence “Gatemouth” Brown.
Now,
if you were a teenager in my neck of the woods
back in the late ’70s, you heard “New Orleans
Ladies” on the radio or at parties (great
slow-dancing song) for at least five years. The
band offers a new version of this track that
hews closely to the original, with the addition
of Tab Benoit on guitar. This new version should
please fans of the old version.
One Of Those Days will be a nice stroll down
memory lane for those fans of Louisiana’s LeRoux
in their salad days, but it also shows that
they’re still very much at the top of their game
some 40 years later, and still have a lot to
offer.
--- Graham Clarke
 I’ve
reviewed the last few releases from
Detroit-based singer/keyboardist Eliza Neals,
and it’s been a lot of fun watching her develop
and gain confidence as both a singer and
composer. Her latest release, Black Crow Moan
(E-H Records) is her best effort to date, as she
tears through a powerful ten-song set (nine
originals) of blues, rock, and soul backed by a
formidable crew of musicians including
guitarists Joe Louis Walker, Derek St. Holmes,
Mike Puwal, and Howard Glazer.
The
album opener, “Don’t Judge The Blues,” is a
stalwart Hill Country blues rocker that should
get folks moving. “Why You Ooglin’ Me” is a slow
grinder that includes some sweet slide guitar
from Puwal, while “The Devil Don’t Love You” is
a funky mid-tempo blues that features Walker on
co-lead vocals and guitar, and Neals’ soulful
vocals are particularly effective on the blues
ballad “Watch Me Fly.” Meanwhile, Glazer
unleashes a tasty guitar solo on “River Is
Rising,” another powerfully sung ballad with a
bit more of a rock edge.
Neals’ keyboards propel the irresistible “Run
Sugar Run,” an upbeat, catchy rock n’ roller
with a lot of spunk. Walker rejoins Neals for
the title track, a slow burning traditional
blues. He backs her vocals on this track, adding
his typically sharp guitar work.
Guitarist St. Holmes contributes on the next
three tracks, “Never Stray,” a ballad with a
smooth, understated vocal from Neals, and Big
Mama Thornton’s “Ball and Chain.” Neals’
interpretation of the latter is taken at a
slower pace than the original, but her vocal is
perfect, different from Thornton’s and Joplin’s
versions but definitely on the same level.
The
album closes with a bang via the lively “Take
Your Pants Off,” a rocking tune that leaves
little to the imagination. Neals and St. Holmes
have a ball with this song for sure.
As
stated above, this is Eliza Neals’ best album to
date, and she’s at her best vocally and as a
songwriter. Black Crow Moan should
satisfy blues and blues-rock fans totally.
--- Graham Clarke
 Rolling
into his sixth decade playing the blues,
Kenny “Blues Boss” Wayne delivers another
fine set of piano-driven blues and boogie woogie
with Go, Just Do It! (Stony Plain
Records). The new set features 13 tracks, 10
written by Wayne, and guest vocalists Dawn Tyler
Watson and Diane Schuur, along with harmonica
player Sherman Doucette, horn section Jerry Cook
(tenor/baritone saxes) and Vince Mai (trumpet),
and rapper Cory Spruell (a.k.a. SeQuaL, Wayne’s
son). Wayne’s regular band includes Russell
Jackson (bass), Yuji Ihara (guitars), Joey “The
Pocket” DiMarco (drums) and Barry Sharbo (tamborine).
Wayne’s compositions have an attractive pop
sheen to them, and he has a knack for catchy
lyrics and concepts.
The
title track opens the disc, a tough and funky
number with guest vocals from Ms. Watson,
followed by the irresistible “You Did A Number
On Me” (with backing vocals from Julie Masi from
The Parachute Club), and the Crescent
City-flavored “Sittin’ In My Rockin’ Chair.”
Wayne also covers two Percy Mayfield tracks, the
first being “You’re In For A Big Surprise,”
featuring Ms. Schuur’s dynamite co-lead vocal,
and a fun take of “I Don’t Want To Be The
President,” which features SeQuaL.
Wayne and Watson share vocals on the ominous,
mid-tempo “Sorry Ain’t Good Enough,” while
“Motor Mouth Woman” is an entertaining tune
lamenting an overly-chatty mate, and “Lost And
Found” mixes blues and soul deftly. Doucette
adds harp to a jumping downhome read of J.J.
Cale’s “They Call Me The Breeze” that really
sparkles, and Wayne’s own “Bumping Down The
Highway” is a cool instrumental that lets the
band have the spotlight, while the effervescent
“That’s The Way She Is” sings the praises of a
particularly fine woman.
Wayne closes the disc with the jaunty “T&P Train
400,” a rollicking train song, and the exciting
boogie woogie instrumental “Let The Rock Roll,”
which shows the 75-year-old piano man still
knows his way around the keyboard.
Kenny “Blues Boss” Wayne is one of those blues
artists who deserves to be better known. He
releases one quality album after another, always
giving listeners a lot to enjoy. Go, Just Do
It! is another fine addition to his
already-impressive set of recordings and will
surely satisfy blues fans.
--- Graham Clarke
 Blue
Sky (Put Together Music) is the latest
release from The Reverend Shawn Amos & The
Brotherhood. Amos (vocals, harp)
collaborated with drummer Brady Blade, bassist
Christopher Thomas, and his longtime guitarist
Chris “Doctor” Roberts, who form The
Brotherhood. They are joined by a group (Friends
of The Brotherhood) on several tracks – a group
which includes Ruthie Foster, Piper Amos,
Sharlotte Gibson, and Kenya Hathaway (vocals),
Matt Hubbard (keyboards), and Ben Peeler
(guitars).
Amos
penned all ten tracks on this top notch release,
which kicks off with the warm, breezy shuffle
“Stranger Than Today” before Amos teams with
Foster on the swampy “Troubled Man'” Foster’s
soulful vocals are a fine complement to Amos’.
“Her Letter” is a gentle country blues that
really showcases Amos as a lyricist and it’s a
great segue into the driving blues rocker
“Counting Down The Days” and the manic rock n’
roller “Hold Back.”
“The
Job Is Never Done” nimbly mixes rock and soul
with the blues, and “The Pity And The Pain” is a
reflective, mid-tempo track that adds R&B to the
blend. The haunting “Albion Blues” continues on
the same trend, Amos’ despairing lyrics backed
by more of an after-hours theme, while “27
Dollars” is a rockabilly rave-up take on a
familiar blues subject. Meanwhile, “Keep The
Faith, Have Some Fun,” is a Crescent City
good-time tune, featuring backing from the
Mudbug Brass Band, bringing this fine album to a
funky conclusion.
Blue Sky is one of those collaborative
efforts that you hope will lead to even more
collaboration from the parties in the near
future. Amos’ songwriting is first-rate and the
musical vibe set forth by him and The
Brotherhood will take in blues and roots fans
completely.
--- Graham Clarke
 Based
in the Quad Cities, the Avey Grouws Band
has advanced to the semi-finals in the 2018 and
2020 I.B.C. Guitarist Chris Avey and vocalist
Jeni Grouws formed the band in 2017 and
proceeded to win the Iowa Blues Challenge that
same year, mixing a variety of blues and roots
styles into their musical palette. The Devil
May Care is their debut long-player (the
band released an EP in 2018) and upon listening,
listeners will be hard-pressed to believe that
this is only their second recorded effort.
The
opener, “Come And Get This Love,” is a swinging
Latin-flavored groover with a strong vocal from
Grouws. The title track follows, a tale of
desperate love powered by Grouws’ defiant vocal
and crisp fretwork from Avey. “Rise Up” is a
rocking blues calling for working together to
achieve common ground, and “Let’s Take It Slow”
is a soulful love song with a memorable guitar
solo, while the anthemic rocker “Long Road”
soars both vocally and musically.
The
sassy shuffle “Let Me Sing My Blues” features
some fine piano from Nick Vasquez, and “Weary”
is an acoustic road song that effectively
conveys long hours endured on the road. The
swampy “Dirty Little Secret” is another tale of
forbidden love, and the hard-charging “Dig What
You Do” is a southern rocker with Avey and
Grouws sharing lead vocals. The album closes
with “Two Days Off (And A Little Bit Of
Liquor),” a jazzy slow burner adding horns
(Nolan Schoeder – sax, Dan Meier – trumpet).
Grouws has a powerful voice that works superbly
in a variety of styles and Avey’s guitar work is
first-rate and versatile as well. The rhythm
section (Vasquez – keys, Bryan West – drums,
Randy Leasman - bass) is more than up to the
challenge as well. The Devil May Care is
a most excellent full-length debut from this
band that deserves to be heard.
--- Graham Clarke
 Jim
Gustin and Truth Jones offer another
resilient set of blue, rock, and soul with their
latest release, Lessons Learned. Gustin
and Jones (a.k.a. Jeri Goldenhar) penned 11 new
tunes that touch on the above-cited genres,
teaming with their regular band (Steve Alterman
– keys/vocals, Scott Duncan – bass/vocals, Chuck
Strong – drums/vocals, and Lawrence Tamez – sax)
and several guests artists, including Tower of
Power trumpeter Lee Thornburg, harp man Chris
LeRoi Hansen, and Crooked Eye Tommy guitarist
Tommy Marsh.
The
disc opens with the jumping blues, “I’d Been
Drinking,” with Gustin and Jones alternating on
vocals, while on the soulful horn-driven “I
Heard About You,” Jones takes the mic solo, and
Gustin’s gravelly vocals are a keen fit on the
socially-charged “The Truth.” “When This Ship
Sails” is a smoky ballad with a sultry vocal
from Jones, following by Gustin having a good
time with the thumping rocker “I Hate To See You
Go,” and the funky rhumba “Never Forget” brings
the pair together on vocals once again.
“All
You Ever Bring Me Is The Blues” is one of the
album’s standout tracks, with clever lyrics, a
strong vocal from Jones and ample solo room for
Gustin, Alterman, and Tamez. Heading over to the
country (blues, that is), “Never Too Big For The
Blues” goes unplugged with Marsh guesting on
slide guitar and Hansen on harmonica. Meanwhile,
“Rockslide” is a bold and brassy blues rocker,
the slow burner “My Love Is True” finds Gustin
and Jones sharing vocals again, as they do on
the closer, “Three Things,” which combines
gospel, soul, and rock influence.
All
in all, Lessons Learned another solid set
of original tunes from Jim Gustin and Truth
Jones that will certainly satisfy any
discriminating blues fan who enjoys well-crafted
songs and rock-steady grooves.
--- Graham Clarke
 One
of the outstanding tracks from Alastair
Greene’s recent release, The New World
Blues on Whiskey Bayou Records, is “Bayou
Mile,” which the singer/songwriter/guitarist
penned with producer/label owner Tab Benoit. The
label recently released an acoustic version of
“Bayou Mile” (which was the original format of
the song) that might be better than the album
version. Greene’s guitar work mixes the blues
with a bit of country and roots and his
heartfelt vocals project the vivid imagery of
the lyrics most effectively. If you liked The
New World Blues, you will certainly love
this warm acoustic version of one of the album’s
best tracks.
--- Graham Clarke
The
blues is alive and well in Europe, especially in
Belgium. Let’s look at a trio of singles
recently issued by three of the country’s finest
bands.
 The
BluesBones have released another single,
“Sealed Souls” (Naked Productions) from their
recent Live On Stage album (which will
hopefully be reviewed in next month’s issue of
Blues Bytes). It’s a moody, simmering song
dealing with the insanity of war and the
accompanying suffering and death that follow in
its path. Nico DeCock does a masterful job
conveying anger, desperation, and weariness,
while Edwin Risbourg’s B3 is mesmerizing and
Stef Paglia’s guitar work is amazing. It’s a
powerful song with an equally powerful message
that more countries should heed.
 Meanwhile,
the Belgian blues rock band Boogie Beasts
offer an electrifying new single, “Bring It On”
(Naked Productions) in celebration of their 10th
anniversary. After the lockdown, the group (Jan
Jaspers – guitar/vocals, Patrick Louis –
guitar/vocals, Fabian Bennardo – harmonica, and
Gert Servaes – drums) booked a studio in Waimes,
Belgium and began working on new songs. “Bring
It On” developed from a bass line and the band
began jamming and decided to add lyrics, melody,
slide guitar, and backing vocals from guest
Rijkje Crommen. It’s a crunching blues rocker
with a little bit of Hill Country vibe thrown in
and it works really well. Stay tuned for an
upcoming album, and if it’s as good as this
single, it will definitely be a treat.
 Blues
Bytes reviewed the Travellin’ Blues Kings’
impressive Wired Up album back in 2019.
The group was originally founded by Belgian and
Dutch musicians, but the pandemic made it
impossible for the band to stay active across
national borders, so a Belgian contingent (call
it “Blues Kings 2.0”) was assembled, with
regular members Jimmy Hontelé (guitar), Winne
Penninckx (bass) and Marc Gijbels (drums) joined
by B3 player Patrick Cuyvers and
vocalist/saxophonist Jb Biesmans. “Gotta Get
Away” (Naked Productions) is a funky mid-tempo
blues rock number with a spicy touch of New
Orleans, highlighted by Biesmans’ rugged vocals
and sax. His contributions and Cuyvers’ B3 are a
nice touch and hopefully, when the full band can
reassemble, they can incorporate those
instruments into the Kings’ already potent mix.
--- Graham Clarke
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