|
 Many
years ago a friend voiced his concern to me that
the blues would someday die out as an active
genre of music, turning into something like
Dixieland Jazz, played only in museums by the
few remaining artists of that style. I no longer
have that fear thanks to the number of
outstanding new releases by artists under the
age of 30 who are re-inventing the blues genre.
I've had to expand my perception of what
constitutes the blues, thus ever changing the
scope of what I enjoy about the music.
One
such artist who I previously would have
discounted as being too blues/rock for my tastes
is 20-year-old guitar slinger Ally Venable,
whose latest album, Texas Honey (Ruf
Records), is just as good as her 2018 disc,
Puppet Show. The Kilgore, Texas native is a
powerful guitar player, especially given her
age, and has a strong yet pleasant voice.
Rounding out the band are Bobby Wallace (bass),
Elijah Owings (brums) and Lewis Stephens
(keyboards), while Eric Gales and producer Mike
Zito make guest appearances.
Venable serves immediate notice about where on
the blues spectrum her music falls with the
first cut, "Nowhere To Hide," starting with a
heavy, rockin' blues guitar intro while her
powerful voice is given a touch of echo. We get
more of the same on the title cut with guitar
and vocals both dominating the song. She gets
kind of sassy on "Come And Take It," with Gales
sharing vocals here. Venable says, "...If you
think you're man enough, come and take it ..."
Paying tribute to a Texas blues/rock guitar
legend, Venable does a very fine version with
strong vocals on Stevie Ray Vaughn's "Lovestruck
Baby." We all know the SRV original by
heart, and Venable's version holds up well. "One
Sided Misunderstanding" is a bit mellower than
most cuts here but with nice guitar work and
more echo-y vocals added.
Closing Texas Honey is a wonderful
version of a blues classic, "Careless Love,"
except Venable's version is so different from
the original that it sounds just like a new
song. Her vocals just plain soar through the
octaves on this one, showing that her ability to
belt out a song ranks right up there with her
guitar playing.
Ally
Venable is a star in the making --- and not too
far away from hitting the blues big time. Don't
hesitate to expand your horizons for Texas
Honey because there's plenty of outstanding
music here.
--- Bill Mitchell
Tommy Castro and the Painkillers are
well-known to regular Blues Bytes readers, as
we've reviewed at least 13 previous albums from
the San Francisco legend. In addition to a rich
legacy of recordings Castro and band put on
consistently strong live shows, thus it's not
surprising that his latest, Killin' It Live
(Alligator), does just what the title suggests.
This
album collects ten recordings from five
different shows done by the band across the
United States. If you're a Castro fan then
you'll be familiar with many of the songs, but
then again these versions are all so great that
the album doesn't really duplicate anything
that's already in your collection.
While eight of the ten songs on this killer
album are band originals, two of my favorite
cuts are well-chosen covers. Castro and band
absolutely knock it out of the park on Sleepy
John Estes' "Leaving Trunk," making this more
traditional blues a lot more contemporary and
funky. This song is worth the price of admission
alone. Closing the disc is a prolonged version
of Buddy Miles' "Them Changes," with the nearly
eight-minute length giving each band member a
chance to shine on their respective instruments.
Keyboardist Mike Emerson plays some red-hot
piano on the opener, "Make It Back To Memphis, a
rollicking tune with plenty of energy. Castro
lays down really fine guitar licks on one of the
band's earlier hits, "Can't Keep A Good Man
Down." "Anytime Soon" shows the more
soulful side of the band with Castro singing his
heart out on this soul ballad.
Emerson gets really down, dirty and funky, but
this time on the organ, on another Castro
standard, "She Wanted To Give It To Me," and
then returns to the piano on the mid-tempo
shuffle, "Calling San Francisco."
Tommy Castro fans are probably already clicking
the links to order or download this album, but
for those not as familiar with his music
Killin' It Live would be a good way to start
learning about one of the best bands on the
circuit today. Even better, go see them live.
--- Bill Mitchell
I
wasn't familiar with the work of guitarist
Rick Vito before slapping this CD,
Soulshaker (Vizztone), into my computer's
tray, and it took only a few songs for me to
warm up to it. After a couple of cuts Vito's
heavy slide guitar playing really started to
grow on me. His guitar style is somewhat
reminiscent of another of my recent favorite
artists, Florida-based Selwyn Birchwood.
While Vito is a fine enough singer, it's his
guitar playing on a signature Reverend that
interested me the most. Not surprising, my two
favorite cuts are instrumentals. The snaky "Doggin'
Around" reminded me of Santo & Johnny's classic
"Sleepwalk," but even more outstanding was the
slow, dirge-like version of "A Change Is Gonna
Come." I didn't miss hearing Sam Cooke's lyrics
on this rendition because Vito made his slide do
all the singing that was necessary. The same
applies to the eerie "Soul Shadows."
Vito
takes the listener down to the riverside on the
gospel-ish original, "I'm Going To Heaven," with
plenty of hand-clapping to go with intense slide
guitar. As the title indicates, the up-tempo "Dancin'
Little Sister" is one that will get your feet to
moving. Vito switches to acoustic guitar while
still using his slide to good effect on
"Promised Land," a pleasant mid-tempo blues
shuffle.
If
you are into lots and lots of slide guitar,
Soulshaker is the album for you. If you're
not, give it a listen anyway because it's a good
one.
--- Bill Mitchell
 Rockin'
Johnny Burgin is a well-known blues
guitarist / vocalist in this part of the world,
but for this latest CD, Dos Hombres Wanted
(Vizztone), he teams up with Spanish harmonica
player / singer Quique Gomez for 14 very
strong cuts. While most of the album was
recorded in Austin Texas, three of the sides
were cut in Gomez's homeland.
Both
artists get to shine on their respective
instruments on the opening blues shuffle, "Your
Charm Won't Help You," getting this album off to
a great start with Burgin flexing his vocal
prowess. Gomez steps up to the mic on the next
cut, his original mid-tempo blues, "Take It Like
It Is," on which he also blows some mean harp.
Most
songs are originals written by either Burgin or
Gomez, but these dos hombres shine on "Funny But
True," a slow, late night blues written by
Robert Jr. and Annie Lockwood, with Gomez
handling the vocals. "Coffee Can Blues," another
slow number co-written by Burgin and Ilana Ilana
Katz, has Guitar Johnny laying down some really
nice, intricate guitar chords. A rather unique
arrangement on a Burgin original, the slow-paced
shuffle "Step It Up," features trombone by Faris
Jarrah and accordion from Christian Dozzler.
It
doesn't take much knowledge of the Spanish
language to know what Gomez is singing about on
the blues shuffle "Otro Hombre." The spirit of
the blues can come out in any language, and
Gomez also puts out a really fine harmonica solo
midway through the song. Greg Izor gets a chance
to solo on the harmonica on "Are You Ever," an
up-tempo blues number with a downhome, rural
Louisiana sound to it. Think Slim Harpo and
you'll get the basic concept of this song.
Rockin' Johnny has consistently been a strong
recording artist as heard on his previous solo
albums, but the addition of Gomez's talents for
Dos Hombres Wanted takes this one to
another level.
--- Bill Mitchell
Harmonica player Tony Holiday,
accompanied by his guitar playing pal Landon
Stone and bassist Kid Andersen, came up with an
idea of traveling around the country to record
various blues artists jamming with them on front
and back porches to produce this very fine
compilation of field recordings. The result of
this brainstorm, Tony Holiday's Porch
Sessions (VizzTone), will rank as one of the
more outstanding blues discs of the year. The
names of many of the artists on this album will
be familiar to even the most casual of blues
fans, although there are also a few lesser-known
cats playing some mighty fine music.
My
favorite cuts feature the duo of John Primer and
Bob Corritore, not surprising since I've always
been a great big fan of Primer's. "They Call Me
John Primer" features some really nice slide
playing by the man being featured, while
Corritore contributes some of his best
harp-playing on "Tell Me Baby." The album
closer, "This Time I'm Gone For Good," is a slow
soul number with outstanding vocals from Utah
singer William G Kidd, a semi-finalist in the
2018 International Blues Challenge. He's
obviously someone with whom I need to become
better acquainted.
Charlie Musselwhite blows his harmonica behind
Aki Kumar's pleasant vocals and Rockin' Johnny's
guitar work on "That's Alright." James Harman
and Kid Ramos team up on three very good cuts
("Pick-Pocket Fingers," "Special Friend" and "Goin'
To Court"). John Nemeth sings and plays
harmonica on "Woman Named Trouble" and "Blues
Hit Big Town," while Mitch Kashmar does the same
on "Becky Ann" and "Hip To It."
I
could go on, but the idea is that this is a
very, very nice album with not a weak cut among
the 13 songs here. Add Tony Holiday's Porch
Sessions to your shopping list right now!
You won't be sorry.
--- Bill Mitchell
 Having achieved massive success on the UK
folk-roots circuit and major festivals across
Europe, the versatile six-piece Holy Moly &
The Crackers have released their third
album, Take A Bite, on Pink Lane Records
which many blues fans will find appealing and
refreshing. Indeed, these talented, innovative
musicians are poised to take the genre in an
exciting new direction by adding their unique
flavours of soul, rock, indie and gypsy folk to
the mix.
The album explodes into action like an
old-fashioned, riotous blues house party with
the jaunty, high energy “All I Got Is You,” a
controlled, pounding wall of sound courtesy of
three guitars, drums and accordion overlaid by
the powerful, distinctive vocals of Ruth
Patterson. “Upside Down”, its lyrics inspired by
travelling circuses, continues in similar vein
with mesmeric percussion from Tommy Evans
complemented by Jamie Shields’ pulsating bass.
The impressive chanteuse is also the violinist,
and if Jimi Hendrix had played electric violin
this is what it would have sounded like.
Ruth’s smouldering, blues-saturated voice on
“Can’t Get Enough” reflects the serious attitude
of a woman who knows what she wants and is
determined to have it, the atmosphere enhanced
by Evan’s haunting rhythms and vocal harmonies.
The upbeat, teasing “Kiss Me Before You Go”
highlights the chemistry between Patterson and
co-founder of the band, Conrad Bird, with whom
she shares vocals. Bird also plays guitar and
trumpet, and it is their combined leadership,
exceptional songwriting abilities and
musicianship which are central to the band’s
unique sound. The stunning accordion skills of
Rosie Bristow stand out in particular on this
track and the magnificently arranged “Sister”,
with its edgy, passionate lyrics and series of
crescendos.
Ruth’s versatility is evident on the
angelic-sounding ballad, “I’d Give It All,” even
her violin now sounding like a classical
instrument. The melodious yet raw, almost
anthemic, title track demonstrates an
originality which is impossible to categorise:
somewhere between The Black Keys and Jack White
with an Eastern vibe! “Through With Talking” is
another no nonsense, driving blues rocker with
blistering lead guitar work from Nick Tyler. The
mid-tempo “Who Do You Think You Are?” is
superbly arranged to maximise the impact of the
message, whilst “Naked In Budapest” with its
repetitive, infectious phrasing has Conrad as
lead vocalist telling a fascinating story
The captivating “This Little Light” is a nod in
the folk direction and tinged with vulnerability
and sadness. "...I put my arms around you but I
know you don’t feel the same..." Whilst not a
blues album in its purest sense, Take A Bite
is a significant piece of creative, dynamic and
interesting music covering themes, experiences
and emotions which are central to the blues
tradition.
--- Dave Scott
 When a 72-year old amateur musician and his
family- based group, The Seamus McGarvey Band
from Northern Ireland, recorded a debut album of
greatest blues songs live in a basement studio
over two days the outcomes were always likely to
be unpredictable, or at best, interesting. The
fact that Seamus O’ Boogie (Johnny Rock
Records) has turned out to be one of the least
pretentious and most honest blues-roots albums
released in a long time is testament to the
band’s lifelong love of music and performing.
It helps that Seamus and his musician sons Pat
and John are joined by two of Edinburgh’s finest
talents --- young blues guitarist Jed Potts, who
fronts the Hillman Hunters, and freelance
drummer and teacher Calum McIntyre. Pat McGarvey,
who is vocalist and five-string banjo player
with the Edinburgh-based bluegrass Appalachian
band Southern Tenant Folk Union, is also the
bass player on this album. John McGarvey, front
man of the six-piece blues, soul and rock and
roll band Johnny Marvel’s Blues Groove plays
harmonica.
The opening track, “Rambling On My Mind,” oozes
authenticity and sincerity of Robert Johnson,
with piercing vocals from Seamus, sympathetic
harp interludes and sumptuous slide guitar.
Similarly, Sonny Boy Williamson’s “Don’t Start
Me Talkin’” showcases John’s immaculate
harmonica phrasing and timing, evoking memories
of the blues legend. The banjo preceded the
guitar in the earliest blues tradition, and its
inclusion in “Sea Of Heartbreak” and other
tracks makes the overall sound of the band
unique and engaging, especially in the hands of
the consummate entertainer Pat. Lonnie Johnson’s
“It’s Too Late To Cry” is a tour de force moment
as the listener is transported back in time to
the late '50s.
There are few better versions of Johnny Otis’
“Willie And The Hand Jive,” with Calum’s
infectious R&B Bo Diddley beat enhanced by the
handclaps and melodious backing vocals of Pat’s
children Johnny and Elsie Belle McGarvey.
Through learning instruments and performing the
blues, the youngest family members are set to
continue passing the music through to future
generations. Perkins’ rockabilly classic "Honey
Don’t” is significant in that it showcases the
multi-talents of the full band swinging along in
perfect synchronization. A poignant interlude is
the duet by Seamus and his late brother John J
singing an Irish ballad, “The Rose Of Mooncoin,”
in 1983, recorded on cassette at a Belfast
family gathering complete with children’s voices
but now mastered to studio standard.
“Look On Yonder Wall,” popularised by Elmore
James, gets the trademark slide master class
from Jed. Willie Dixon’s “I Ain’t Superstitious”
with its infectious riff and innovative guitar
solos is another highlight. Sprightly
septuagenarian Seamus boogies briskly on “Break
Up” with bopping piano accompaniment from
versatile musician Barney Strachan. Watson’s
“Deep River Blues” is similarly given virtuosic
treatment, whilst the rich vocal standards are
maintained on the soulful “Hotel Happiness.” The
spirits of Sonny Terry and Brownie McGhee are
raised through John’s harmonica and his dad’s
mellifluous vocals on “Walk On.”
It is John J McGarvey who has the last word on
the traditional “Mush, Mush, Mush Turai-i-Addy”
with an emotional rendition of the famous Irish
song from the 1983 home recording --- “...If a
fellow can’t drink when he’s living, how the
hell can he drink when he’s dead.” It’s a
fitting finale for this celebration of a
lifelong love of blues, boogie, roots and rhythm
shared by Seamus with his close family and
friends.
Thanks to mastering engineer Mark Lord, this
fascinating, refreshing and intimate musical
journey has been lovingly crafted into a
permanent legacy to be enjoyed more widely.
--- Dave Scott
 Sean Chambers continues to be one of the
most powerful purveyors of modern blues rock,
both as a vocalist and guitarist. After a
memorable five-year stint in Hubert Sumlin’s
band, serving as guitarist and band leader,
Chambers has carved out an impressive solo
career with six excellent album releases. His
seventh, Welcome To My Blues (American
Showplace Music), does nothing to break that
momentum at all, with 11 tracks of mostly
original tunes featuring Chambers with John
Ginty (B3/keyboards), Moe Watson (drums), Todd
Cook (bass), and guest Jimmy Bennett (slide
guitar/backing vocals).
The
title track opens the disc and it’s a
hard-charging blues rocker that shows the
guitarist at his absolute best, setting the bar
pretty high for the rest of the album. “Black
Eyed Susie” is loaded with swampy blues
atmosphere and Chambers lets it rip with
scorching slide guitar work. Next up is a fiery
cover of Luther Allison’s “Cherry Red Wine,”
Ginty’s funky “Boxcar Willie,” and the
Texas-styled shuffle “Cry On Me,” written by
Chambers, while the Western-themed “One More
Night To Ride” features slide guitar from
Bennett and wah-wah guitar from Chambers.
Chambers’ own slide guitar packs a wallop on the
jet-fueled rocker “Red Hot Mama” and he also
tears through the powerful “You Keep Me
Satisfied,” with aplomb. “Keep Movin’ On” is as
close as we get to easing off the gas pedal on
Welcome To My Blues, leaning more toward
a traditional slow burner, but most intense slow
burner at that, with a great vocal turn and
searing guitar work from Chambers. Meanwhile, he
gives T-Bone Walker’s “All Night Long” an
outstanding R&B/funk makeover, giving Ginty
plenty of room to let loose on B3.
The
closer, “Riviera Blues,” is a gorgeous
instrumental that favors SRV’s “Riviera
Paradise” with its understated, jazzy feel.
Chambers’ fret work is masterful and Ginty
provides sympathetic backing on piano. A bit of
a variation from the rest of the album, but the
track really shows Chambers’ versatility.
Welcome to My Blues is blues rock at its
very finest from one of the best that modern
blues has to offer.
--- Graham Clarke
 Global Griot (Stony Plain Records) is
certainly the most ambitious project in Eric
Bibb’s five-decade career, a two-disc,
24-song set that brings the guitarist’s unique
blues/folk/world musical vision to the
forefront. Actually, for many of his listeners,
the term “global griot” is one that fits Bibb
like a glove --- one who maintains an oral
record of a group’s history via music, poetry,
and storytelling. His latest work encompasses
the blues and folk genres he’s been a part of
for a long time, as well as his ongoing
fascination with West Africa, both culturally
and socio-politically.
On
the warm opener, “Gathering of the Tribes,” Bibb
is joined by Solo Cissokho on vocals and kora.
The scathing “Wherza Money At” calls out those
oil rich nations who ignore their starving
constituents, while the hopeful “Human River” is
a call for unity through love, and Bibb picks up
the six-string banjo for “What’s He Gonna Say
Today,” a jab at President Trump. “Brazos River
Blues” is a chilling account of the racial
violence that took place in the Texas county
during the early 1900s, and “We Don’t Care”
takes a pointed look at our current obsession
for possessions.
Canadian blues musician Harrison Kennedy joins
Bibb on several tracks, including a terrific
cover of Big Bill Broonzy’s “Black, Brown, &
White” and the stirring “Listen For The Spirit.”
Bibb and his wife, Ulrika, join together for the
optimistic “Hoist Up The Banner” and the
reflective “Send Me Your Jesus.” Habib Koité,
who teamed with Bibb on the wonderous Brothers
in Bamako album a few years ago, appears on the
exuberant Mama Wata / Sebastian’s Tune.” The
first disc concludes with “A Room For You,” a
lovely track with Drissa Dembele on balafon (an
African xylophone) and “Remember Family,” where
Bibb pays tribute to his worldwide musical
family.
On
the opening selection of Disc 2, “Race &
Equality,” Bibb reflects on ways to deal with
this always hot issue, and the love song
“Grateful” has a warm island feel, while “All
Because” is a country-flavored song of
friendship which features Cissokho on kora, as
does the glorious “Spirit Day,” where he also
takes the mic and is backed by Michael Jerome
Brown on gourd banjo and Bibb on 12-string
resonator guitar. Meanwhile, on the upbeat “Let
God,” Bibb implores us all to “let go and let
God” handle the things that we can’t.
“Last Night I Had The Strangest Dream” has been
covered many times by a number of well-known
artists (Pete Seegar, Simon & Garfunkel, Joan
Baez, Johnny Cash, etc.), but Bibb’s version is
certainly one of the most memorable. The
gorgeous instrumental, “Picture A New World,”
continues on a similar theme with Bibb joined by
Cissokho on kora and Olli Haavisto on pedal
steel. “New Friends” features the beautiful
vocals of Linda Tillery calling for global
reconciliation.
The
album concludes with a trio of traditional
tunes, the gentle “Mole In The Ground,” which
moves from folk to ska with guest vocalist Ken
Boothe, the old favorite “Michael, Row Da Boat
Ashore,” and “Needed Time,” familiar to blues
fans via versions from Lightnin’ Hopkins, Taj
Mahal, or Bibb himself through his live shows.
Cissokho’s kora appears again and complements
Bibb’s guitar work so well that one can only
hope a future collaboration between the two is
in the works.
Global Griot ranks among the best works of
Eric Bibb’s lengthy career. It’s a stirring
invitation for the world to put aside their
differences and work together for the common
good.
--- Graham Clarke
 Jim Allchin manages to set the bar pretty
high with each album he releases, so high that
you wonder if he will ever fall short of his
previous effort. Well, you won’t be hearing
anyone say that about his latest great release,
Prime Blues (Sandy Key Music), which
finds the blues rock guitarist placing more
emphasis on the blues side of the spectrum than
with his previous four releases. Once again,
Grammy winner Tom Hambridge serves as
producer/songwriter/drummer, and Allchin also
welcomes guest artists Mike Zito, Bobby Rush,
and the Memphis Horns to the proceedings.
The
opener is “Give It Up,” an inspirational rocker
that features support from the Memphis Horns
whose presence enriches the album on every track
on which they appear. “Devil Don’t Sleep” is a
sturdy blues about the never-ending battle
against temptation, the gritty “Voodoo Doll” has
an appropriately swampy vibe, and “Snuggle Up”
is a funky blues rocker. Meanwhile, the
instrumental “Jimmy’s Boogie” gives Allchin
ample opportunity to strut his stuff on guitar,
and he does that in a huge way. The ballad
“Summer Sunrise” is on the soulful side with a
nice vocal turn from Allchin and contributions
from the Memphis Horns.
Zito’s growling vocal is a highlight on the
feisty “Enough Is Enough,” and the driving
rhythm and Allchin’s guitar accompaniment gives
the track a strong country rock feel. “Found The
Blues” is a cool shuffle telling the story of
how Allchin discovered the blues as a kid. The
legendary Mr. Rush makes his first appearance
with a terrific vocal (and harp) on the
tremendous slow blues “Two Bad Dreams,” which
also includes a little Deep South grease on lead
guitar and B3 from Allchin and Kevin McKendree,
respectively, and those wonderful horns.
Allchin goes acoustic on “Pawn Shop Man,” with
McKendree on piano, who also spices up the Windy
City-styled shuffle “Lost My Mind” that follows.
The blues ballad “Up To Destiny” has a few pop
overtones in the mix and finds Allchin
reflecting on his future endeavors. Allchin
breaks out the acoustic (with Rush on harmonica)
on “Tech Blues,” a humorous look at mankind’s
current obsession with phones, and the closer
“Logoff” is truly a break-up song for the 21st
century.
Allchin gets plenty of raves for his guitar
chops, but he’s also developed into a first-rate
songwriter (with assistance from Hambridge and
Richard Fleming on a few tracks). Prime Blues
will certainly please guitar fans, but this is
also Allchin’s most blues-oriented effort to
date. The results are truly satisfying.
--- Graham Clarke
 For
over 30 years, Bill Wharton, the Sauce Boss,
has been universally acclaimed for his
recordings and his live performances, which
usually combines his music and his culinary
talents for his audiences. Wharton has played
all over the world, thousands of gigs in the
U.S. and Canada, Europe, and Asia, performing
while cooking a huge pot of gumbo which he
flavors with his own Liquid Summer Hot Sauce and
serves to his audiences, always free of charge.
The
Sauce Boss has been pretty busy of late, busier
than usual. He recently released The Life and
Times of Blind Boy Billy, a combination
memoir/songbook/cookbook that has been charting
on Amazon’s Top 100 Southern Cookbooks and
Celebrity Memoirs lists. There’s more about the
book below, but first let’s look at the EP,
Blind Boy Billy (Burning Disk Records), that
serves as a companion piece to the memoir.
The
EP begins with the title track, a jaunty little
jig about a rascal whose life was playing music,
highlighted by some serious fiddle playing from
David Davidson, then moves to Jimmy Buffett’s “I
Will Play For Gumbo,” a cool tune that was
inspired by Wharton’s live performance at
Buffett’s Margaritaville restaurant in New
Orleans. Meanwhile, on the ballad, “Lonely
Girl,” Wharton’s plaintive vocal and guitar is
accompanied by Davidson’s somber viola.
“Little Driver” is a one-man-band rocker, with
Wharton on grungy slide guitar and percussion
and growling vocals. There’s also a cover of
Otis Redding’s “Dock Of The Bay,” which adopts a
faster, more upbeat pace than the original, with
sousaphone backing from Joe Murphy. The
rip-roaring “What She Gonna Do” is another
rocking one-man-band performance which precedes
the relaxed and reflective ballad, “Pleasures Of
The Deep,” which features Wharton backed by a
string quartet (Davidson and David Angell –
violins, Monisa Angell – viola, Carol Rabinowitz
– cello). The EP is a great capsule of the
talents of the Sauce Boss --- a great sampler
for newcomers and longtime fans alike.
 I
love the format of the book. The lyrics from one
of his songs (including stories about some of
them, including “Blind Boy Billy” and “Pleasures
Of The Deep”), a piece of his life story
follows, which is often followed by one of his
recipes. If you’re familiar with the Sauce
Boss’s music, you already know that he’s a great
storyteller, and that’s what you get with the
book, a more-or-less chronological story of his
life that’s as fast and entertaining a read I’ve
enjoyed in quite a while. Though only about 135
pages, Wharton covers a lot of ground.
Both
book and CD are immensely entertaining, and will
satisfy his longtime fans and probably bring in
a few new fans in the process. I know I will be
trying a few of those recipes just as soon as I
can.
--- Graham Clarke
 Big Al & The Heavyweights have been around
since 1993, founded by drummer Big Al Lauro and
guitarist Warren Haynes as the Unknown Blues
Band. The band has had numerous changes since
their formation, only Big Al remaining from the
original line-up, but their sound remains as
crowd pleasing as ever, combining the blues with
rock, country, zydeco, New Orleans-flavored R&B,
and jazz. The current Heavyweights are Lauro
(drums), Lance Younger (guitar/vocals), Wayne
Lohr (keys/vocals), Dean Galatas (bass), and
Destin Thibodeaux (harmonica/bass).
The
band’s latest release is World Full Of
Trouble (EllerSoul Records), and it’s loaded
to the brim with plenty of Big Al and the gang’s
fun-loving, free-wheeling blues --- 12 original
songs written by the members that explore the
sound they have cultivated so carefully over
their 25-plus years of existence. Guest
musicians include former Muddy Waters guitarist
Bob Margolin, New Orleans guitarist John Lisi,
and former Heavyweight/harmonica ace Jason
Ricci, who all contribute to multiple tracks.
Leading off with the hopeful title track, a hot
blues rocker longing for the day that “love will
conquer hate,” the band employs a twin guitar
attack from Margolin and Younger, who also takes
the lead vocal. Lohr is on vocals for “Fool For
You,” which has a cool swamp pop feel with
guests Lisi on guitar and Lance Ellis on sax,
and the blues shuffle “Love So Fine,” backed
again by Lisi with Margolin. Meanwhile,
Younger’s robust vocals and guitar are backed by
gospel-like vocals from Donna Slater and Cathy
Pace on the soul ballad “Testify.”
Ricci plays harmonica on the zydeco-flavored
“Bayou Life,” which also features accordion from
Greg “Shatzy” Shatz, and the funky “Big Old
Rusty Car” adds horns from Lance Ellis, whose
contributions gives “Spanish Moss” a jazzy R&B
vibe. The humorous “Mother Trucker” ventures
into country swing territory compliments of some
fine pedal steel from Dwight Breinad. The Windy
City West Side blues. “Millionaire Baby.”
includes horns, harp from Ricci, and Lisi’s
sublime guitar work. On “Crazy About You Baby”
Ricci and Thibodeaux battle it out on harp. The
disc closes with “Something Got To Change,” a
horn-fueled blues ballad.
Heading into their second quarter-century of
making this funky concoction of musical genres
that can best be described as “Louisiana Roots,”
Big Al & The Heavyweights show no signs of
slowing down, based on this excellent
collection.
--- Graham Clarke
 The
inimitable Popa Chubby recently released
a retrospective covering his nearly 30-year
career. Prime Cuts: The Very Best of the
Beast from the East (Popa Chubby
Productions) showcases his unique style of
combining the blues with other musical styles,
his brawny guitar style and vocals with 15
tracks from nine of his albums, plus two
previously unreleased tracks, all handpicked by
Popa himself.
The
opener, “Life Is A Beatdown,” is a perfect
encapsulation of Chubby’s musical approach,
combining the blues with hip-hop, while “Angel
On My Shoulder” has a gospel/blues-rock feel.
Chubby’s cover of “Hey Joe” is one of the best
covers I’ve heard of this classic tune, and
“Stoop Down Baby” (not the Chick Willis tune)
mixes greasy funk with rock-edged guitar work.,
while “Sweet Goddess of Love and Beer” adds
Memphis-styled horns and soul to the mix.
“San
Catri” is a wonderful eight-and-a-half minute
instrumental that finds Popa skillfully running
the guitar gamut. The live recording of
“Caffeine and Nicotine” was a great choice, and
“Grown Man Crying Blues” is eight minutes of
slow blues heaven. Chubby does a fine amped-up
reading of Leonard Cohen’s “Hallelujah,” while
his personal experiences during 9/11 are the
topic of “Somebody Let The Devil Out.”
“I
Can’t See The Light Of Day” deftly mixes soul,
funk, and the blues as well as any southern
rocker could do, and the rough-and-ready “Dirty
Lie” revisits Chubby’s blues/hip-hop/rap musical
template. The autobiographical “Daddy Played The
Guitar (And Mama Was A Disco Queen)” tells a
story of Chubby’s childhood as Chubby lays down
some splendid slide guitar.
A
choice representation of Popa Chubby’s three
decades long repertoire, Prime Cuts: The Very
Best of the Beast from the East is an
excellent set for longtime fans and should
entice a few newcomers into the fold as well.
--- Graham Clarke
 Guitarist Eric McFadden wears a number of
musical hats. He’s studied jazz and flamenco
guitar but played in a variety of bands ranging
from punk, rock, metal in his early years in
Albuquerque. He also played guitar and mandolin
with George Clinton and the P-Funk All-Stars as
well as with Eric Burdon and the Animals and
with the all-star band Stockholm Syndrome, his
own Eric McFadden Trio (EMT) and the supergroup,
T.E.N. He’s also managed to release several
well-received solo albums during his busy
career, including 2011’s Bluebird on Fire.
For
McFadden’s latest release, Pain By Numbers
(Whisky Bayou Records), the guitarist enlists
bass monster Doug Wimbush (Living Color),
powerhouse drummer Terrence Higgins (Warren
Haynes), and Louisiana blues master (and Whiskey
Bayou co-owner) Tab Benoit as producer and
multi-instrumentalist. McFadden wrote or
co-wrote all 12 of the tracks, leading off with
the moody, atmospheric “While You Was Gone,”
which is packed with energy and emotion both
from McFadden’s gut-wrenching vocal and raw
guitar work, followed by “Love Come Rescue Me,”
a lighter, mid-tempo search for higher love that
adds biblical references to powerful effect.
“Long Gone” has a grungy ’80s alt-rock feel, and
“The Girl Has Changed” is a harrowing story of
an old friend whose life has been consumed by
addiction. The hard-driving rocker, “Skeleton
Key,” is a standout track as well, and is
followed by the stripped-down, acoustic “I Never
Listened Too Good,” a somber tale of regret in
hindsight, and the heartbreaker “So Hard To
Leave.” “If I Die Today” is a fast-paced boogie
rocker that speaks of despair and redemption.
The
pop-flavored “Fool Your Heart” slows the pace
down a bit before McFadden launches into the
edgy cautionary tale, “The Jesus Gonna See You
Naked,” a warning shot across the bow of those
who believe. The furious hard rocking “Don’t You
Want To Live” is taken at a breakneck pace
before the album wraps up with the instrumental
“Cactus Juice,” a lovely piece that mixes
flamenco and jazz and really shows McFadden’s
versatility as a guitarist.
Pain By Numbers is a remarkable, heartfelt
work of power and emotion. Eric McFadden is an
amazingly talented performer, and his highly
personal songwriting style will knock listeners
for a loop. This album deserves to be heard.
--- Graham Clarke
 David Lumsden served as guitarist for Hurricane
Ruth for six years, previously performing for
several different regional bands and holding
down a regular day job. He fell in love with the
blues after listening to some of the artists
from the British blues rock era of the ’60s and
hearing Freddie King’s Getting Ready album in
1970. Now stepping out front as a leader, Lumsden rounded up some of his good friends and
released an album of his own, Hues Of Blues,
which includes versions of classic tunes from a
variety of sources plus a few original tunes
for good measure.
Lumsden opens with Earl Hooker’s “You Got To
Lose,” where he provides gritty vocals and
equally gritty guitar, a dynamic intro to this
well-balanced recording. Vocalist/guitarist Bill
Evans joins Lumsden for an energetic duet on the
standard “Further On Up The Road,” and vocalist
Wayne Carter, who led the ’60s group Wayne
Carter & Organ Twisters, makes the first of his
three appearances on Denise LaSalle’s (via Z.Z.
Hill) “You’re Ruining My Bad Reputation,” with
Lumsden contributing some great slide guitar.
Next up is a live instrumental track recorded at
Pop’s Place in Decatur,Illinois in Jeff Beck’s “Brush
With The Blues.” Lumsden does an excellent job
with this low-key but intense track.
The lively “What’s The Matter With The Mill,” a
classic from Memphis Minnie and Kansas Joe McCoy,
features Reggie Britton on vocals and drums.
“Raised Me Right,” an original tune penned by Lumsden, is sung with passion by co-writer Mary
Jo Curry and packed with more tasty slide
guitar. Steve “The Harp” Mehlberg takes the mic
for two tracks, the first being his own “On
Bended Knee,” a fun and funky dance number (his
other contribution is a cool and fresh reworking
of Ricky Allen’s oft-covered “Cut You Loose”). Carter returns on vocal and piano with an
understated “Thrill Is Gone,” and “Georgia On My
Mind,” charming tributes to B.B. King and Ray
Charles.
There are two more instrumentals that are well
worth listeners’ time: a hard rocking and most
refreshing version of “Rollin’ And Tumblin’”
and a remarkable reading of Led Zeppelin’s “Rain
Song,” featuring Lumsden on acoustic
guitar and beautifully complemented by Andon Davis’
weaving slide guitar runs.
Although Hues of Blues is made up of mostly
cover tunes, David Lumsden is inspired and very
creative in his interpretations of these songs,
almost making some of these songs seem new
again. This was a very enjoyable release, and
hopefully we will be hearing much more from Lumsden and his friends.
--- Graham Clarke
 Diane Durrett & Soul Suga recorded two shows at
Eddie’s Attic in Decatur, Georgia in July of 2017 for
the band’s latest release, Live (Blooming Tunes
Music), the singer/guitarist’s eighth CD and her
second with Soul Suga (Melissa Junebug – drums,
Yoel B’nai Yehuda – keyboards, Gregg Shapiro –
bass, Markham White – guitar, Adam McKnight and
Deborah Reese – background vocals, Wes
Funderburke – trombone, Kerren Berz – violin).
The 11-song set is a mix of tunes from the
band’s self-titled debut and selections from Ms. Durrett’s catalog of previous recordings.
Durrett kicks the set off with the winning
“Bright Side,” and she and the band move smoothly
into the gritty funk of “Butters In The
Skillet” and the greasy soul of “It Is What It
Is,” the latter which ponders the end of an originally
“sure thing” relationship (which also features a
trombone solo from Funderburke). The
gospel-flavored “Wish It Would Rain” is an
inspirational tune which encourages listeners to
persevere through the struggles and tough times,
and “Love Has A Right To Be Wrong” (co-written
by Durrett and Memphis soul icon William Bell)
has an irresistible Bluff City vibe with the
swirling keyboards from Yehuda.
Durrett begins “Be Somebody’s Angel” with a
sweet story about reuniting a lost dog with its
family, an event which inspired the soulful
ballad, and the moving “All Is Well” was
inspired by her mother and grandmother. The
tender love song “In Between Times” features a
sterling vocal turn from Durrett and Berz shines
on violin, and the swaggering second line tale
of “Sassy Larue” is preceded by a percussion
solo from Junebug.
George Gershwin’s “Summertime” (from “Porgy and
Bess”) is certainly a familiar tune to most
music fans, one of the most recorded songs of all
time, but Durrett’s version is definitely one of
the most memorable as she really pulls out all
the stops on this version. The set closes with
the exuberant “Don’t That Bring You Back” and “Woohoo,”
a fun roadhouse romp that surely had the
audience in stitches.
Durrett’s rapport with the audience is another
highlight of listening to Live. The decision to
include the between-song banter was a wise one,
as she expounds on nearly all of the songs and
generally makes the crowd feel right at home.
That feeling carries over to anyone who listens
to the disc, which makes Live a blast from
start to finish.
--- Graham Clarke
 John Akapo was born in Hawaii and grew up in
Alaska, where he fell in love with the guitar
and later developed his vocals as a youth in
American Samoa. He was surrounded by music as is
uncles were touring musicians and played guitar.
He learned to play songs via VHS tapes or
whatever he could find, discovering Eric
Clapton’s Unplugged performance on MTV in the
process, which changed his whole world as he
backtracked from Clapton to the origins of the
blues --- Robert Johnson, Son House, Tommy Johnson,
Muddy Waters, Howlin’ Wolf, Buddy Guy, and B.B.
King.
Akapo has worked and recorded as a luau
musician, bandleader, solo entertainer, and as a
hip-hop producer and vocalist for 13 years, but
he’s always returned to the blues, leading to
this fine debut album. Paradise Blues (Mensch
House Records), a powerful set of acoustic blues
showcasing Akapo’s skillful guitar work and
his smooth, soulful vocals, as well as his
songwriting (he wrote seven of the ten songs).
Akapo’s “Little Lani” is a tale of an
irresistible young woman who gives him “them old
Samoan boy blues” and “Maui Drive” paints a
vivid picture of his island home. “Caramac
Blues” is a lively country blues that would have
been a solid fit in the pre-war era, and
“Fighting For Love” is a heartfelt ballad about
a doomed relationship. He performs solo on the
traditional-styled “Hindsight (Missionary
Blues)” and “Don’t Believe Her,” and
listeners will enjoy his guitar on these tracks
which bookend “Lord Help Me,” with more
of an East Coast Piedmont flair and showcasing Akapo’s
distinctive slide guitar.
Akapo covers three timeless blues classics from
the genre’s early years. Robert Johnson’s
“Ramblin’ On My Mind,” which opens the disc in
excellent fashion, gives listeners a great
sampling of his rich vocals and his fine guitar
work. Muddy Waters’ “I Can’t Be Satisfied”
is taken at a brisker pace than usual and
features more splendid slide, and Tommy
Johnson’s ‘Big Road Blues” is pretty faithful to
the original version but with Akapo’s strong vocal
giving the song more of a modern feel.
Paradise Blues may be blues, but it’s next to
impossible to feel bad about the blues when
they’re played this well and with this much
energy and enthusiasm. John Akapo’s love for
this music is obvious from beginning to end.
--- Graham Clarke
 Johnny & Jaalene are 19-year-old
singer/guitarist Johnny Ramos and 16-year-old
singer Jaalene DeLeon, but you could be forgiven
for thinking that both were seasoned music vets.
Their self-titled debut, on Rip Cat Records, is
a terrific set of vintage roots, rockabilly,
Americana, and Chicano rock n’ roll. Joined by
an impressive lineup that includes Kid Ramos
(Johnny’s dad) and Tommy Harkenrider on guitars,
Brett Harding on bass, Kip Dabbs on drums, Jesus
Cuevas on accordion, and Ron Dziubla on sax, the
young duo pay glowing tribute to this timeless
music.
Both take lead vocals on various tunes. Ramos
does a fine job on Eddie Cochran’s rockabilly
classic, “Teenage Cutie,” Lalo Guerrero’s “Los
Chucos Suaves,” and Bill Allen and the Back Beats’
“Please Give Me Something.” His best vocal turn
probably comes on his heartfelt reading of Doug Sahm’s “Why Why Why.” DeLeon takes the mic solo
for a version of Carla Thomas’ “Gee Whiz,” which
she absolutely nails. She also ably covers Etta
James’ “Good Lookin’,” the sweet ballad “Angel
Baby” (from Rosie & The Originals, circa 1961),
the Wanda Jackson rock n’ roller “Let’s Have A
Party,” and a breathtaking rendition of “Cuando
Caliente.”
However, the songs that Johnny & Jaalene sing
together show a remarkable chemistry. The
opening track on the disc is the Ronettes’ “Baby
I Love You,” and it sets the stage for the rest
of the album perfectly. Their version of The
Everly Brothers’ “Let It Be Me” is a showcase in
vocal harmony, and the rocking album closer,
“One Summer Night,” from The Danleers, finds the
two exchanging verses then joining together in
the chorus, backed by Cuevas on accordion.
Kid Ramos’ guitar work is an added treat, as are
the occasional appearances from Cuevas on
accordion. Any music fan who loves the early
sounds of rock n’ roll and rockabilly will find
a generous selection of vintage tunes on Johnny
& Jaalene. Hopefully, this talented duo will
continue to make beautiful music together.
--- Graham Clarke
 The night before a festival performance in a
church in Norway, New Orleans guitarist Bryan
Lee heard an entire musical arrangement for “The
Lord’s Prayer” in his sleep. He performed it the
next day just as he heard it in his dream, and
he was so inspired that he recorded the song
with his band while still in Norway. Flash
forward seven years to Lee’s chance meeting with
producer Steve Hamilton, who offered his studio
and his services to Lee to finish the album he
wanted to make.
Sanctuary (Ear Relevant Records) is an
11-song set that finds the guitarist
professing his Christian faith and offering his
thoughts on life, love and grace. Lee wrote
eight of the tracks, beginning with the joyous,
funky “Fight For The Light,” which sets the
stage marvelously well for the rest of the
album. “The Gift” is a rollicking shuffle that
tells Lee’s own story, listing some of his
musical influences before telling of his new
direction and influence. “Jesus Gave Me The
Blues” has a Memphis feel with soulful backing
vocals from Deirdre Fellner, greasy B3 from
Jimmy Voegeli and crisp guitar work, while
“U-Haul” packs a potent second line rhythm and
an equally potent message.
The slow-burning title track features dobro from
Greg Koch and more spot-on keyboards from
Voegeli, and the cautionary tale of “Mr. Big”
finds Lee laying down splendid guitar fills
reminiscent of B.B. King. “Only If You Praise
The Lord” sounds like an old time gospel number,
with Voegeli’s B3 and piano and Fellner’s vocal
support, and Lee’s “Don’t Take My Blindness For
Weakness” is a feisty statement of independence
and determination, a message that’s reinforced
with the spirited “I Ain’t Gonna Stop.”
Next
up is the track that started it all, Lee’s version of
“The Lord’s Prayer,” which he recorded while in
Norway. Lee takes his sweet time on
this version, his warm and relaxed vocal showing
both passion and sincerity. The album closer,
“Jesus Is My Lord And Savior,” was also recorded
in Norway, and is a story of Lee’s redemptionin
which he proclaims “Jesus is my superstar.”
Sanctuary is an invigorating tale of one man’s
redemption and his mission to share that story
with others. Bryan Lee pours everything he’s got
into this wonderful release.
--- Graham Clarke
 Anthony Gomes’ latest set is
Peace, Love & Loud
Guitars (Up 2 Zero Entertainment), an energetic
12-song collection of rafter-rattling blues
rock originals from the Toronto native, his 13th
album overall. It features a trainload of his
signature powerhouse guitar and vocals and his
first-rate songwriting. He’s backed by a savvy
group that includes Mike Brignardello (bass),
Greg Morrow (drums/percussion), David Smith
(keys), and Chris Leuzinger (acoustic guitar),
with backing vocalist Angie Primm, Gale Stewart,
and Devonne Fowlkes.
The album kicks off with “Come Down,” a romping
tribute to B.B. King begging him to come back.
Gomes plays a ripping solo that will probably
put a big smile on the King’s face up in the
heavens. The storming rocker, “White Trash
Princess,” probably has to be heard with the
volume on 10 to be fully appreciated, though
it’s potent enough at half the volume. “Blues In
The First Degree” is a slow blues on steroids
with Gomes’ roaring vocal and guitar, a
thoroughly modern mix of traditional and
contemporary blues that is one of the album’s
standout tracks.
“Nasty Good” is a raunchy rocker, while “The
Whisky Made Me Do It” is a humorous Windy
City-styled shuffle that Detroit Junior, for
one, would have been proud of, and Gomes shows a
tender side on the radio-ready ballad, “You Are
Amazing.” The rip-roaring title track follows,
featuring36 metal-shredding guitar from Gomes
and a cast of “gang vocalists” that includes Antry, Samantha Fish, and Albert Castiglia.
The rock-edged “Stealin’ From The Devil” is a
scorching tribute to Robert Johnson where Gomes
pledges to take the legend’s soul back from the
devil.
One track that listeners will enjoy over and
over again is the boisterous rocker “Your Mama
Wants To Do Me (And Your Daddy Wants To Do Me
In).” “The Only Woman I Ever Loved” is a
splendid slow-burning blues ballad with plenty
of sweet blues guitar work, and “Hard Road Easy”
has a “Kashmir”-like driving beat that’s sure to
be a crowd pleaser. The closing tune, “Take Me
Back Home,” is a ballad that wraps things up
with a soulful note with a powerful vocal from
Gomes.
Peace, Love & Loud Guitars is a blues rocker’s
dream. Anthony Gomes is the total package --- a
first-rate guitarist, a powerful songwriter, and
a vocalist who combines soul and grit with
seemingly little effort. This is an excellent
addition to his already formidable catalog.
--- Graham Clarke
 The Houston-based duo,
Dry Johnson, consists of
bassist Terry Dry and drummer Matthew Johnson,
who have backed guitarist/singer Mike Zito for
the past few years as well as many other
musicians in the Houston area, most recently
Trudy Lynn on her great 2018 effort, Blues Keep Knockin’. Ms. Lynn returns the favor by
providing vocals for the title track of Dry
Johnson’s fascinating debut release, Long Live
Them Blues, Vol. 1 (Connor Ray Music), which
features contributions from a host of area
musicians --- harmonica player Steve Krase,
guitarists Zito, John Del Toro Richardson,
Mighty Orq, and James Wilhite, and vocalists
Annika Chambers and Kevin “Snit” Fitzpatrick.
“Long Live Them Blues,” which also features Zito
and Mighty Orq on guitar and Krase on harmonica,
cites a number of late Houston and Texas
bluesmen who set the bar pretty high for those
who followed, notably Johnny Clyde Copeland, Albert
Collins, Calvin Owens, Earl Gilliam, Texas
Johnny Brown, and many others who will be
familiar to longtime blues fans. Zito also teams
with Chambers for the funky “Daddy’s Got A
Cadillac,” and provides slide guitar to “Trashy
Women & Cheap Guitars” and the swampy
instrumental “Fried Chicken.”
Richardson does an excellent job on guitar and
vocals on the sterling cover of Johnny “Guitar”
Watson’s “Hit The Highway,” while Mighty Orq and
Fitzpatrick team up for the roadhouse rocker
“Drunk Girl With A Tambourine” and “Too Many
Hipsters,” an amusing jab at the numerous
traffic jams in Houston. Dry takes vocals,
backed by Orq and Wilhite on guitar, on the
countrified swinger “Juke Joint,” and Wilhite
takes vocals on the gritty “I Walk Alone.” On
the closer, the acoustic ballad “Little Bird,”
Dry goes it alone with vocals, guitars, and
other sounds.
Dry wrote all of the original tracks and has a
real knack for putting a modern spin on the
blues that makes for a memorable set of songs.
He and Johnson prove on track after track of
Long Live Them Blues, Vol 1 why they are
considered a “go-to” rhythm section for many
blues artists in the Houston area. Hopefully,
they will present us with Vol 2 in the near
future.
--- Graham Clarke
 Verlinda Zeno, better known as
Ms Zeno The Mojo
Queen, was born in Louisiana but has made
Memphis her home for over 30 years. She was
discovered by Little Milton in the late ’80s,
who was so impressed that he asked her to join his
backup singers, The Angels. After a few years
she started her solo career and has been
entertaining blues fans and tourists on Beale
Street ever since. Her recent release for Blue
Lotus Recordings, Back In Love, shows the
influence of both her former home and her
current one as she turns in a superb set that
features 12 original tracks of unadulterated
deep soul and blues.
The title track starts things off, the punchy
horns reminiscent of those glorious Hi Records
sides from the early ’70s while listeners get a
taste of Zeno’s glorious vocals. The southern
soul ballad “In My Shoes” is equally glorious,
reminding me of those great Malaco soul blues
ballads from the ’80s, and “That’s How I Know”
is a lively R&B track. On “Willie Brown,” Zeno
heads to the country side of the blues with
guests Brandon Santini on harmonica and G Weevil
on guitar, while on “Mojo Queen” she ventures
further south into zydeco country and then she gets
inspirational with the spirited “Rise Up.”
“Love Is Like A Flower” is another splendid soul
ballad on which Zeno’s vocal and those horns will give
you goose bumps, and the upbeat “Call My Name”
finds her teaming with label mate Gene Jackson
on vocals with Santini and G Weevil again in
support. “Gotta Get Paid” is a slice of rocking
soul with sizzling guitar accompaniment, and the
powerful old-school ballad “Mistress” adds
strings to the mix. The funky R&B of “Hot
Sauce” should put a hop in your step. The disc
closes with “Father Time,” seamlessly mixing gospel,
soul, blues and country.
Blue Lotus label head Paul Niehaus co-produced
the album with Kevin O’Connor and Zeno. Niehaus
and O’Connor combined to play most of the
instruments on the album as well and
collaborated on several of the songs. If you
enjoyed the golden days of Memphis soul and
southern blues-soul, then you will find a lot to
love about Ms Zeno The Mojo Queen and Back In
Love.
--- Graham Clarke
 Dale Bandy is an Orlando-based artist who’s been
on the music scene for over 40 years as a
singer, songwriter, guitarist, producer, and
band leader. On his recent debut release, blue.,
Bandy does just about everything, singing and
playing guitar, bass, organ, drums, and keys,
along with engineering, mixing, and programming.
He also composed five of the nine tracks on the
disc. Bassist Gary Thompson does appear on all
but a couple of tracks, and guest musicians Joe
Bolero (tenor sax) and Goran Eric (trombone)
appear on one track each.
The Bandy originals include the funky opener,
“My Bad Reputation,” packing a slippery
southern rock punch, “If I Could Only Take It
Back,” a smooth soul/R&B ballad, “Get It On,” a
sparkling mid-tempo shuffle, and the amusing
“Country Star,” leaning more toward rock and
blues than country which is perfectly
fine since it’s a cool tune. The other original,
“Comin’ Down,” has a jazzy feel that reminds me
a little bit of Atlanta Rhythm Section’s salad
days.
Bandy covers “Big Legged Woman,” a tune that’s
familiar to Freddie King fans, but this version
featuring Bolero’s sax solo
is a bit more funky and greasy than the King
version. His
recording of B.B. King’s “The Thrill Is Gone”
actually started before the King’s passing. It
retains the slick, urban groove of King’s
version, serving as a fine tribute to the
legend. The other covers are Keb’ Mo’s “I’m On
Your Side,” which strikes a laidback groove, and
a relaxed reading of “Trouble In Mind,” with
Bandy on vocals and guitar.
This was a very enjoyable album. Dale Bandy is a
talented guitarist and has a warm, engaging
vocal style. His music is an appealing mixture
of blues, southern rock and soul. Anyone who
digs those styles will want to give blue. a
spin.
--- Graham Clarke
 For their latest release, the Louisville,
Kentucky-based band Laurie Jane & the 45s (Laurie Jane Duggins – vocals, Cort Duggins – guitar, Jason
Embry – bass, Scott Dugsdale – drums, Brian
“Boss” Hogg – sax) decided to pay tribute to a
pre-war blues legend, Sara Martin, who also
called Louisville her home. Ms. Martin began her
career in the mid-1910s, singing on the
African-American vaudeville circuit. In 1922
she signed with Okeh Records, where she became
one of the most-recorded singers of her era,
helping to launch the careers of piano legend Fats
Waller and blues guitarist Sylvester Weaver.
Martin recorded until the late ’20s but
continued to perform until the early ’30s when
she retired to Louisville to run a
nursing home and sing in her church until she
passed away in 1955.
On Late Last Night – Elixir of Sara Martin (Down
In The Alley Records), Laurie Jane & the 45s
breathe new life into 12 vintage blues tunes
associated with Martin. Martin was a fairly
prolific songwriter in her day and she wrote or
co-wrote five of the songs included in this
tribute, including the title track which is
given a bouncing, swinging arrangement with
rock-edged guitar work from Cort Duggins and a
tight two-piece horn section of Hogg and guest
trumpeter Eric Snyder.
Duggins’ guitar work stands out again on another
Martin song, “Strange Lovin’ Blues,” as he
contributes jagged slide guitar which blends
well with his wife’s vocal as it does on the
haunting “Pleading Blues,” one of
Laurie Jane’s standout performances on the disc.
The steamy “My Man Blues” is another Martin
song, a slow burner that’s a great showcase for
Ms. Duggins. The last Martin song, “I’m Gonna Be A Lovin’
Old Soul,” was co-written with Clifford Hayes
and here is updated to a rocking swinger
that gives more of Mr. Duggins’ slide guitar.
The
updated arrangements on tracks like “Achin’
Hearted Blues” and “Sugar Blues” give those
selections a nice fresh coat of paint. The
guitar contributions of Screamin’ John Hawkins
are an asset throughout and most definitely
on this pair of songs. Snyder’s trumpet backing on “Blind Man
Blues”
along with Mr. Duggins’ piano accompaniment give the track a Crescent City feel.
Meanwhile, W.C. Handy’s “Joe Turner Blues” gets
a full-bore rocking revival into the 21st
century, and “Can’t Find Nobody To Do Me Like My
Daddy Do” becomes a loping country romp that
should put a hop in your step.
Some
of the tracks, such as “Atlanta Swing,” are
produced to emulate the somewhat scratchy sound
of an old 78. This production is really
effective on this track, featuring just the Duggins
duo (Laurie Jane on vocals, backed by Cort
on piano). The album closes with “’Taint Nobody’s
Business If I Do,” a blues standard that some
claim was first recorded by Martin in the ’20s.
This final track is well worth the wait, with.the
band really locking into a groove while Ms. Duggins’ vocal is first rate.
Actually, Laurie Jane Duggins is in fine form on
all of these tracks. It’s obvious that this
project was a labor of love for her, and she has
a wonderful chemistry with her husband as well
as the rest of the band which is firing on all
cylinders throughout. Late Last Night – Elixir
of Sara Martin is a great set of classic blues
brought to the modern era.
--- Graham Clarke
 In Layman Terms’ second album,
Strong Roots
(Endless Blues Records), finds this talented
young group weighing into a heady mix of blues,
funk and soul. Singer/bassist Logan Layman,
currently a freshman at Indiana University, and
her guitarist brother Cole Layman, a junior at Berklee College of Music, are pretty formidable
in their own right. But teamed with Hamed
Barbarji (trumpet, flugelhorn, percussion) and
Nick Davidson (drums/percussion), they make
beautiful music that is decidedly original and
innovative.
The funky title track gets things started, with
Barbarji’s backing giving the song a definite
New Orleans feel. “I’m Somebody” is a driving
blues romp that showcases Cole Layman’s slide
guitar and Barbarji’s trumpet, and the
fuzz-toned rocker “Make Me Yours” is a standout
as well,. “Ain’t Gonna Fake It No More” has a
jazzy, after-hours appeal with Cole Layman’s
subtle guitar work and Logan Layman’s smoky
vocals along with superb trumpet/guitar work.
“Heartbroken” is a fine pop/blues rocker that
locks into an irresistible groove, and Logan
Layman’s walking bass and seductive vocal propel
the sultry and soulful “Notice Me.” She also
does a funky bass intro for the album closer
“Way Too Far,” which should have heads bobbing
and booties shaking. The group also gives a
smoldering cover of the standard “Fever,” with
Logan Layman leaning closer to the smoldering
Peggy Lee take with interesting results.
Strong Roots shows that In Layman Terms have
made incredible strides from their debut
release. Logan and Cole Layman’s musical
abilities are amazing, and their interplay with Barbarji and Davidson is first-rate. Their
ability to sound both traditional and
contemporary is a marvel. Keep your eye on these
youngsters. Great things lie ahead.
--- Graham Clarke
 Doug Deming & the Jewel Tones’ latest effort, on EllerSoul Records, is called
Complicated Mess,
but truthfully it’s anything but that.
Guitarist Deming was born and raised in the
Detroit area and spend years touring and
recording with numerous artists, including Kim
Wilson, Gary Primich, Lazy Lester, Alberta
Adams, and A.C. Reed, in addition to leading his
own band which has featured Greg “Fingers”
Taylor, Terry Hanck, Steve Guyger, and Dennis
Gruenling at various times. This stellar set of
13 traditional blues, swing, and roots rockers
showcases ten exciting originals and three
choice covers.
The title track kicks off the disc, with
Deming’s sharp fretwork bringing to mind Buddy
Guy’s ’60s guitar work. “Sweet Poison” has a
harrowing, swampy vibe, powered by Kim Wilson’s
somber chromatic harp. The mood lightens up
slightly with a playful, swinging cover of the
late ’20s classic tune, “You Rascal You,” most
famously performed by Louis Armstrong, and on “Hold
On,” an optimistic slice of Memphis soul. “Need
My Baby” is an old-school, slow-rolling shuffle
that features Madison Slim on harmonica, while
Wilson returns for the terrific remake of Lazy
Lester’s “Blues Stop Knockin’.”
“Deep Blue Sea” is one of those superb slow-burning blues that you wish would go on forever,
with Deming doing some of his finest guitar work
on this track (backed splendidly by Bob Welsh’s
piano). “Someday Pretty Baby” is a fine R&B
swinger that features sax men Sax Gordon (tenor)
and Tino Barker (baritone), who also both show
up on the vintage rock n’ roller “Just A Moment
Of Your Time.” The last cover tune, coming
from the Fats Domino catalog, is “I’m Walkin’,” but Deming and company make this version
swing like crazy.
Deming also includes a pair of dynamite
instrumental tracks. “Captain’s Quarters” is a
cool, jazz-flavored collaboration between Deming
and Little Charlie Baty, and the hard-charging
“Rat Killin’” gives each band member a little
room to shine as it wraps up the disc.
Complicated Mess is a great little set that will
satisfy both traditional and contemporary blues
fan.
--- Graham Clarke
 Randy McAllister and The Scrappiest Band In The
Motherland return with the Texas-based
singer/songwriter/drummer/harmonica wizard’s
latest powerhouse blues rock set on Reaction
Records, Triggers Be Trippin’. This is his 15th
album over his nearly 30-year career and it
features ten tracks, nine originals that
showcase his inimitable style as a composer. He
plays drums on three tracks, but packs the rest
of the songs with his gritty, soulful vocals and
his harmonica skills.
The hard-charging opener, “In A Flick of a Bic,”
features slide guitar from Brandon Hudspeth
who’s also featured on the ’50s-styled “Beauty
and Ugly Upside Down.” “Bring It On Backbreaker”
is a tough roadhouse rocker, while the mid-tempo
“The Yin And The Yang” leans more toward the R&B
side of the blues with Carson Wagner providing
B3. “Batter Up” is a churning boogie blues
with clever wordplay.
“Vacation In My Mind” is a slice of light,
catchy soul blues and “Math Ain’t Workin’” is a
raw and ragged driving blues. Meanwhile, the
poignant “Makeshift Molly” is a tough portrait
of a homeless person in Dallas.
The disc closes
with the upbeat “We Can’t Be Friends (If You
Don’t Like Jimmy Reed),” paying tribute to
the legendary blues man. McAllister also covers
the Ivory Joe Hunter ballad, “Since I Met You
Baby,” which is taken at a relaxed tempo with
McAllister accompanied by Santos Puertas on
acoustic guitar.
Randy McAllister never disappoints with his
musical talents. He’s a fine harmonica player
and vocalist and one of the most distinctive
songwriters in the modern blues world. Triggers
Be Trippin’ is the real deal --- straight-ahead
blues rock at it’s best.
--- Graham Clarke
 Ruth Wyand made the semi-finals at the I.B.C. in
2018 after advancing to the 2017 finals in in the
Solo/Duo category. She is a one-woman-band based
in Kill Devil Hills, North Carolina, but summons up the
sounds and energy of a four-piece band with
her voice, guitars, and various forms of
percussion. Her new release, Tribe of One (Back
Bay Bill Records), recorded live in the studio, gives listeners a strong dose
of her music and energy with 14 tracks,
11 written by Wyand.
The acoustic “Bad Mojo (Working Overtime)” opens
the disc and puts Wyand’s fingerpicking talents
on full display. “Break The Curse” is an
electric blues boogie and she adds snappy
percussion to give the track a ’50s
almost-rockabilly feel. “The Last Nail” is a
sober slow blues, while “Better Off Alone” finds Wyand breaking out the slide to great effect. “Help My Soul Survive” and “Till It’s Safe To Go
Outside” are both acoustic blues, the former
with only acoustic guitar and the latter with
some percussion added.
The humorous “Love On The Line Blues” is a nice
country blues with clever lyrics, and on “I
Don’t Have Proof” Wyand’s slide playing is
fantastic. “100 Proof” also features splendid
slide guitar that almost sings while being backed by a
driving boogie percussion, and “Broken Woman” is
a slower-paced, hard-hitting blues. The
closer, “On The Porch With Etta,” wraps things up
with more tasty slide guitar.
Wyand covers Bob Dylan’s “Blind Willie McTell”
in the Piedmont fingerpicking style that was a
specialty of the
song’s protagonist’s. She also does a
magnificent acoustic version of Jimi Hendrix’s
“Little Wing” that is a total transformation of
the classic original. For her third cover, Wyand
keeps things on the Piedmont side of the blues
with a smooth instrumental take of Etta Baker’s
“Mint Julep.”
Ruth Wyand has what it takes to keep the
“one-man/woman band” tradition going with her
excellent work on guitar and percussion, her
strong and clear vocals, and her unique
songwriting abilities. Tribe of One should be
required listening for serious blues fans.
--- Graham Clarke
 Brooklyn-born blues belter
Regina Bonelli is a
member of the New York Blues Hall of Fame, and
after listening to her latest release, Love
Letter (True Groove Records), it’s easy to hear
that she’s more than earned that honor. Bonelli’s powerful, earthy vocals are right at
home on these nine tracks which mix blues,
soul, rock and funk.
Bonelli is backed by a powerhouse band
consisting of fellow New Yorkers, including
guitarists Michael Hill (Michael Hill’s Blues
Mob), Tomás Doncker (Ivan Neville, Madonna),
James Dellatacoma, and Artur Uronen, bassist
Kevin Jenkins (Shemeka Copeland) and Mike Griot,
keyboardsit Nick Rolfe (Aretha Franklin) and
drummers Tony Lewis and James Coley.
Bonelli delivers the opener, the defiant blues
rocker “Don’t You Put Your Hands On Me,” with
grit and lots of attitude, and hits the country
side of the blues on the swinging “Playin’ In
The Dirt” (complete with washboard from Dellatacoma and harmonica from Gary Schreiner).
“Nothing I Can’t Handle” is a funky horn-fueled
R&B track with Mark Henry guesting on saxophone,
and “Talk Is Cheap follows that same musical
theme though leaning more on the funk side of
the aisle.
Bonelli’s vocal range and versatility are on
full display on a trio of ballads which form the
heart of the album --- the moody title track, the
slow burner “Straighten My Crown,” which deftly
blends soul and pop, and the somber “A Little
Rain Must Fall” showing Bonelli’s range and
versatility. She also tackles the ’60s Rolling
Stone classic, “Paint It Black,” giving her read
more of a hard-rocking edge, and closes the disc
with the driving roots rocker “The Ladder.”
A short, but energetic set of rocking blues and
soul, Love Letter will leave listeners wanting
to hear more from the talented Regina Bonelli.
--- Graham Clarke
 Mat Walklate
is a professional musician and music teacher from
the U.K. who
plays harmonica, flute and uilleann pipes. He
focuses primarily on harmonica (diatonic,
chromatic, and tremolo) in a variety of styles
but mostly the blues and traditional Irish
music. He plays in a blues duo with Sicilian
guitarist Paolo Fuschi, plays harp with Tom
Attah & The Bad Man Clan, plays harp, flute, and
pipes with an Irish traditional/bluegrass band,
The House Devils, and plays flute and harmonica
with the band Rosenblume. In his spare time(!) Walklate also gives private lessons for
harmonica and has made two training videos that
can be found on YouTube.
Oh, yes …… he’s also found a little bit of time to
record a solo blues album called Sea of Blues,
which consists of 11 tracks of virtuoso
harmonica playing from Walklate who plays
guitar and proves to be quite a soulful
vocalist. There are also fine musical
contributions from Fuschi, Attah, and Calypso
George (guitar), Bo Lee (bass), Adam Dawson and
Stevie Oakes (drums), Justin Shearn (keys), and
Rachel Lasham and Laurie Agnew (percussion).
The rousing opener, “Could Have Been,” teams Walklate with Fuschi on guitar as the harp
player reprimands a lover for bailing out of the
relationship too quickly. On the Delta-flavored
“The Sun Never Shines” Attah provides National
Steel backing for Walklate’s sizzling harp, and
Fuschi returns with crunching electric guitar on
the powerful “So Deep In Trouble.” Meanwhile,
“Exactly What You Need” takes on a breathless,
almost James Brown-like approach that’s hard to
listen to without moving something. The
lively “Swimming Pool” features Walklate on
guitar, vocals, and harmonica, while on the
fast-paced “Answer Your Phone” he plays
harmonica and flute.
Walklate also ventures into reggae territory on
a couple of tracks with effective results.
“Modest Man” also features Shearn’s bubbling
keyboards, and on the closing instrumental track,
“Dubbed And Burning,” a cat named Calypso George
provides the hypnotic fretwork behind Walklate’s
harmonica and the slippery rhythm from Lee and
Oakes. The funky “Answer Your Phone” has a bit
of an island feel, too. The album’s lone cover
is a medley of two inspirational tunes in “Rivers of Jordan” and “People Get Ready.” This
track features Walklate’s rumbling vocal and
harmonica to glorious effect.
The
album features two instrumental tracks, the
previously-mentioned “Dubbed And Burning,” and
the wonderfully-titled “Playing With Myself
Boogie” on which Walklate overdubs several
harmonicas on a track that every blues harmonica
fan (particularly Little Walter fans) will want
to listen to over and over again. Actually, any
fan of blues harmonica absolutely needs Sea of
Blues in their collection, not to mention
any other release
they can track down from Mat Walklate.
--- Graham Clarke
 Most blues fans probably didn’t start out
listening to the blues. More than likely, a lot
of us were fans of, or at least familiar with
The Beatles. I was a fan, for sure, writing two
or three papers on the Fab Four for school
projects over the years. One of the things that
I remembered years after the fact was that I
read in one of the kajillions of books written
about the group that Ringo Starr cited Lightnin’
Hopkins and Elmore James as some of his favorite
artists when the band was just getting started.
Now, I didn’t know who either was at the time,
but years later I did remember their names.
Guitarist
Gaetano Letizia was a teenager during
the Beatlemania craze and grew up listening to
their music. His third release with The
Underground Blues Rock Band (Mike D’Elia –
drums, Lenny Gray – bass) is a loving tribute to
the lads from Liverpool, Beatle Blues Blast (Letizia
Records). In their earliest years The Beatles
were a cover band, playing the R&B and
blues songs of the era as part of their set
list. Those two genres remained a part of their
musical DNA even after they began writing their
own compositions. Letizia understands this
well because he also was influenced by the same
artists, and his take on these 17 Fab
Four classics is an irresistible combination of
funky blues and R&B.
The set list spans the entirety of The Beatles’
catalog, from their early cover tunes to their
later successes, opening with “Come Together”
from their final album, Abbey Road. Gray and D’Elia give it a slippery funky groove. “Do It
In The Road,” originally a brief snippet from
the group’s self-titled White Album, is
transformed into an extended swampy blues
rocker, “Drive My Car,” from their middle
period, staying fairly close to the original but
a slightly funkier edge. The Motown classic,
“Money,” gets a tasty surf guitar lead-in from Letizia, while George Harrison’s “Taxman” is
converted to a rocking Texas-styled shuffle.
Another Harrison classic, “While My Guitar
Gently Weeps,” has a catchy samba feel which
Letizia infuses with crisp, measured vocals and
guitar work. The trio tackles a couple more
Abbey Road selections, “She Came In Through The
Bathroom Window,” running closer to Joe Cocker’s
later version, but “I Want You (She’s So
Heavy),” which is probably one of The Beatles’ bluesiest tunes, maintains the psychedelic blues
power of the original. The band really does a
great job on this one with their slightly
understated but potent approach. The romantic
ballad “And I Love Her” gets a Santana-esque
instrumental treatmen,t and “Can’t Buy Me Love”
becomes a swaggering Chicago shuffle.
After a lively rocking version of “You Can’t Do
That,” the trio re-imagines “Yesterday” as a slow-burning blues ballad before holding close to the
original version of the Fab Four’s rooftop
soiree “Get Back.” “With A Little Help From My
Friends” falls in between the Ringo Starr
version and the later Joe Cocker version, then
Letizia and friends have a little fun with the
rocking “Birthday” before giving the poignant
“Blackbird” a country blues instrumental
treatment that showcases excellent finger
picking from Letizia.
The album’s
closing number is
the final track from Sgt. Pepper’s Lonely Hearts
Club Band, “A Day In The Life,” which like the
original slowly builds the tension and
intensity before roaring to a fitting conclusion.
Beatles Blues Blast is a really cool tribute to
the most influential band of the last century.
By taking such a funky blues and R&B approach, Gaetano Letizia and The Underground Blues Band’s
approach shows that those styles formed an
integral part of The Beatles’ musical DNA.
Blues fans and Beatles fans will find a lot to
love with this set.
--- Graham Clarke
 The Peter V Blues Train keeps on rolling with
their latest release, Shaken But Not Deterred.
The band’s second release of 2018 is a
rock-solid 13-song set of contemporary
blues with a dash of jazz and funk. As
previously, guitarist/singer Peter Veteska is
joined by drummer Alex D’Agnese, bassist Sean
“Gravey” Graverson, and keyboardist Aron Gornish,
with guests Jeff Levine (B3) and Danny Walsh
(sax) appearing on several tracks.
The opening track, “Don’t Want To Leave
Memphis,” finds the band really locked into a
shuffle groove, with Walsh and Levine both getting
ample space for solos while Peter V wraps up by
dropping the names of a few of his influences
from the Bluff City. Next up is a dandy re-do of
the Fats Domino classic “Blue Monday,” giving
the Crescent City classic a greasy Memphis vibe.
“By The River” previously appeared on the
group’s debut recording in 2017, but the new
version ups the funk quotient and Peter V adds
guitar work from Bob DelRosso. “For All We
Know” is a superb slow blues take on the Nat
King Cole classic.
The simmering funk of “In Demand” gives way to
T-Bone Walker’s own “T-Bone Shuffle,” which is
taken at a slower, measured pace than the
original version, followed by the more
contemporary blues rocker “Alibi” and the
vintage rock n’ roller “Don’t Cheat On My Lady.”
The no-nonsense “Rodeo (No BS)” has jazzy
overtones (thanks to the splendid B3 backing)
and the rumbling duet from Peter V and Vanessa
Vause,
“Getting Closer Now,” also features harp
from Gary Neuwirth. “Been So Long” mixes jazz
and funk with guest drummer Paul Levinsky,
guitarist DelRosso, and bassist Bill Cherensky
sitting in, and the title track is an
interesting mix of blues, funk, and hip-hop that
works surprisingly well.
The album also features a bonus track, Big
Maceo’s “Worried Life Blues,” a
live-in-the-studio duet which is performed by
Peter V on acoustic guitar with Walsh’s sax.
It’s hard to imagine the Peter V Blues Train
keeping up the busy pace of two album releases
per year. But if they’re all as energetic and
well-crafted as Shaken But Not Deterred and its
predecessor, Running Out Of Time, I don’t think
blues fans would have a problem with it at all.
--- Graham Clarke
 Old Riley & The Water consists of New
Orleans-based guitarist/vocalist/songwriter Sean
Riley, drummer Ray Micarelli, and bassist Andrew
Landry. The trio recently enlisted a couple of
friends (Joshua Cook – guitar/vocals/percussion,
Scott Craver – harmonica), releasing their
debut EP, Biting Through, a ragged but right
collection of seven solid blues rockers, six
written by Riley that invoke the musical spirit
of the Crescent City along with the greasy grit
and grime of the Mississippi Delta.
The
lone cover on the set kicks things off. Howlin’
Wolf’s “Howlin’ For My Darlin’,” a cool
reworking loaded with fuzzy distortion vocally
and instrumentally as Riley comes as close as
anyone to replicating the original Wolf growl.
The group follows up with “Blues Walking,” an
atmospheric updating of the Delta blues with
sparkling guitar work from Riley and Cook.
“Kind-Hearted Woman,” not the Robert Johnson
tune, is a grinding blues rocker that follows
the rhythm of the Wolf’s “44,” but the vocals
give it more of a ’60s feel.
“Try And Understand” is a laidback swamp blues
with nice harp from Craver and crisp slide
guitar. The title track is pure psychedelic
grunge with distorted guitar that gives the
track a ’60s British blues rock vibe, while the
hard-charging “Trouble” brings together Jimmy
Reed and the roadhouse. The closer, “Power To
Change,” incorporates some nifty Meters-era funk
into the mix and wraps things up on an
optimistic note.
Old Riley & The Water give blues fans a brief
taste of their talents with Biting Through.
Hopefully, they will follow up with a
full-length release soon enough.
--- Graham Clarke
 Shaw Davis & The Black Ties won the 2017 South
Florida Regional Blues Challenge, earning
them the right to compete in the 2018 I.B.C. The
24-year-old Davis has won acclaim for his raw
and rugged guitar style and vocals, as well as the
band’s aggressive, road-tested blues rock
attack. Davis and The Black Ties (Bobby Van
Stone – drums/vocals, Patrick Stephenson –
bass/vocals) recently released their second
album, Tales From The West (Chin Music Records),
a nine-track powerhouse that features seven
original songs from the band along with two
well-chosen covers.
“Take My Hand,” a funky, moody blues-rocker
propelled by a driving bass line, sets a high bar
for the rest of the disc, as does
the band’s spectacular cover of Frank Zappa’s
“Willie The Pimp,” given a rough and
ready, almost metal treatment. The excellent
title cut starts out as a ballad, but slowly
builds in intensity and rocks hard, while “Mamma
Told Me” starts out in high gear and features
some of Davis’ most intense guitar work.
“Fire Inside” is blues with metal overtones.
“Know Where You Been” is a cheating blues song
with a hard rock edge, and “Atomic Groove” is a
fiery stomper that picks up the pace briskly
with a nice shot of psychedelia thrown in for
good measure. Junior Kimbrough’s “I Gotta Try
You Girl” is the other cover tune on the album,
with the band retaining much of the original’s
driving North Mississippi rhythm in their
attack. The closer, “My Friend,” starts
out as a mellow ballad, dropping some searing
guitar work about midway before returning to the
quiet approach at the song’s conclusion.
Shaw Davis & The Black Ties’ focus is on the
blues rock side of the blues. While it leans
more closely toward the rock side of the aisle,
Davis’ songwriting has deep roots in the blues.
Tales From The West should appeal to both sides
of the blues rock aisle though.
--- Graham Clarke
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