|
 Like
other albums from
Big
Harp George, his latest, Cut My Spirit
Loose (CD Baby), is a blast. It's what I used to
call a "party in a jewel case," although that
term is now outdated with most music now acquired
through downloads. Regardless, this is a strong
album packed with big sound and plenty of
novelty songs. George is a good singer and and a
very fine harmonica player, and he's backed by a
tight band that knows how to party.
Produced by Chris Burns, the album was recorded
in the prolific Greaseland Studios in San Jose,
California, with plenty of very fine musicians
sitting in on the sessions.
Starting the show is "It's Tuesday," an up-tempo
jump blues promoting the idea of starting your
weekend extra early, as George sings, "... It's
Tuesday and it's time to play ...," while Kid
Andersen tears it up on guitar. "Pile Driving
Sam" is your typical old school double-entendre
number, with rollicking boogie woogie piano from
Burns.
George's harmonica skills come out on the
mid-tempo ragtime blues, "Give Me The Dark,"
playing the chromatic while the horn section puts up
a big wall of sound. Sons of the Soul Revivers
contribute backing vocals here and on many of
the other cuts. "Bustin' Out" opens with a slow,
dirge-like intro before bustin' out with an
up-tempo New Orleans second line rhythm
highlighted by Mike Rinta's tuba. It's all
instrumental and it's all a big dose of fun.
The
only cover here is an interesting selection,
"She's A Woman," written by John Lennon and Paul
McCartney, given a Latin sound as George sings
about his woman. After listening for a while,
you'll be able to envision how the Beatles did
this song. "My Dog Is Better Than You" is an
up-tempo big band thing with a walking bass
line. George compares his canine to every other
person, as well as to other dogs, and it's
obvious he thinks highly of his faithful
companion.
George takes the lead with his harmonica being
played in the higher register on the jump blues,
"Jump Abu Lula," with the only voice parts
coming from the band intermittently shouting out
the song title. The topical blues, "Prince Of
Downward Mobility," has George singing about all
of the woes surrounding him. He tears it up on
harmonica midway through the number.
"Ranty
Town" has our star putting down someone's
conspiracy shout-outs on this mid-temp shuffle,
followed by the slow, heavy blues of "Behind The
Eight Ball," detailing the blues as it inflicts
most blues musicians. "Take A Knee" starts as a
slow blues with acoustic guitar and harmonica,
with George and the Sons of the Soul Revivers
criticizing much of the hypocrisy and
prejudice in our current society.
"Sunrise Stroll" is a slow, pleasant
instrumental, first featuring George's harmonica
before the horns and Andersen's guitar playing
takes this one to another level. Closing the
album is the gospel-influenced tribute to
"Captain Jack," the chief of the Modoc tribe.
Cut
My Spirit Loose is a fun album through all 13
cuts. It's another gem in the Big Harp George
discography. Put it on your shopping list now.
--- Bill Mitchell
 Rhythm
Krewe was a new name to me, which is
surprising since I'm not far from Southern
California and these cats have been around that
scene for more than 30 years. It's a big, tight
band with a big sound, playing the kind of blues that we all
want to hear on a regular basis.
Guitarist/vocalist/songwriter Steve Zelman leads
this nine-piece ensemble on Unfinished
Business (Select-O-Hits/Orchard), an album
that undoubtedly will show up on my top 20 list
at the end of the year.
Nine
of the dozen songs here are originals, but the
band chose to open the album with a killer cover
of Johnny "Guitar" Watson's "She Moves Me," with
Zelman laying down some dandy guitar work. Gary
Coppola handles vocals on the rhumba number,
"One Hell For Another," singing about the
"... a truckload of dues to pay ..." no matter
where he's living. Nice piano solo from Jim
Blazer.
"Little Bit Of Heaven" is a slow blues with
limited instrumental backing, giving Zelman's
vocals a chance to stand out, followed by a
jazzy blues shuffle, "Better Late Than Never,"
with Blazer getting another opportunity to star on
the 88s. Coppola is back at the mic on the slow
blues "Time Of Day," with Zelman laying down a
solid blues guitar solo while Blazer
lays the foundation with tasty piano
accompaniment.
"She's Murder," a James Cotton number, is the
second cover of the album, with Zelman carrying
this mid-tempo shuffle on both vocals and blues guitar. A very nice version of
Professor Longhair's "Her Mind Is Gone" brings
in Chris Rhyne to play those all-important New
Orleans piano parts. David Morgan guests on
vocals on the blues shuffle "Prescription For
Disaster." I hear uncredited organ accompaniment
(assuming it's Blazer) providing the foundation
while Zelman comes in with a strong guitar solo,
although I'd like to hear this one with a
stronger vocalist.
"Wild Love" is another number with a rhumba
beat, featuring Zelman on vocals, followed by the
horn-dominant title cut, a mid-tempo blues
shuffle that gives Zelman time for plenty of
guitar licks. Bringing the tempo down is "Sweet
Surrender," a slow, late night blues that is
another showcase for Blazer's tasty piano
playing while Zelman turns in one of his best
vocal performances.
Wrapping up this very strong album is the New
Orleans-sounding novelty piece, "Monkey Toes,"
with Coppola and Zelman sharing vocals as they
sing about the captivating woman who can do some
interesting things with her feet. Zelman uses a
slide on his guitar on this song's solo, closing
the number with Bo Diddley-ish guitar.
If,
like me, you weren't previously familiar with
Rhythm Krewe, let's all get educated about this
band and hope to hear more from them. For now,
Unfinished Business is a good start in
our schooling.
--- Bill Mitchell
Eric
Bibb is an understated vocalist who comes
across with power because of the importance of
the messages he's delivering on each of 15 songs
on Ridin' (Stony Plain). This is blues as
blues should be --- making the listener think,
pointing out injustice, and making sure that
history isn't forgotten.
Bibb's father, Leon, was a folk singer and
activist who marched with Dr. Martin Luther King
at Selma, and his son is keeping the elder Mr. Bibb's vision alive.
The
most powerful song, "Free," comes late in the album, with Bibb delivering important messages
about being free. "... If you hold on to what
you've got, it reminds you of who you are ..."
and "... when you let go of what you're not and
remind the world of what you've got, you're free
..." This song then takes it back to where the
blues began with Habib Koité from Mali taking
over and delivering his own message in his
native tongue and West African traditional
stringed instrument. Incredibly powerful!
"Family," the opening cut, starts with a quiet
banjo intro before heading into a call to treat
everyone the same regardless of race. Bibb and a
female chorus repeat the line "... I am like
you ..." with the word "family" in response.
This one has the spirit and emotion of a gospel
revival meeting.
The
title cut is a call to get onboard and ride the
freedom train, with effective slide guitar. Bibb
connects blues with church music on "Blues Funky
Like That," with guests Taj Mahal and Jontavious
Willis showing up to share vocals with banjo,
fiddle, and harmonica accompaniment.
"The
Ballad Of John Howard Griffin" is a tribute to
the originator of the book "Black Like Me," in
which a white man took on a black identity to
learn about and point out differences in how how
society treated the races differently. This one
is turned into a pleasant yet powerful song with jazz
guitarist Russell Malone making one of two guest
appearances. Malone also plays subtle, tasteful
guitar on the eerie "Hold The Line," with Bibb's
message to choose not to fight even though the
world now looks like a battleground.
We
again hear a different guitar style on the Son
House-influenced Bibb original, "I Got My Own," a
hypnotic slow country blues highlighted by
electric guitar playing of Amar Sundy from North
Africa that introduces a different vibe to this
outstanding number. Harrison Kennedy shares
vocals with Bibb on "Call Me By My Name," citing
contributions of black men in history, along
with the reminder "... I'm a man, not your boy,
you will call me by my name ..." Bibb provides
nice fingerpicking guitar here.
This
is just a sampling of what's on this album, with
15 cuts in all. It's an important collection of
music with a social conscience. My minor
complaint is that the liner notes lack session
information as far as who is playing what
instrument on each cut. But that's a very minor
issue.
Ridin' is highly recommended, as is
everything that Eric Bibb has recorded.
--- Bill Mitchell
 The last couple of years have been rough for
Ana Popovic. Already having to deal with
the issues related to COVID that affected
everyday life and work, the singer/guitarist was
diagnosed with breast cancer in late 2020.
Popovic’s mother passed away from the same
illness three years earlier, and she considered
putting a stop to her music career.
Encouragement from her musical director/bassist
Buthel Burns kept her focused through 14 chemo
treatments and the pair worked together on Zoom
to put the songs together for her new album,
Power (ArtisteXclusive Records).
“Rise Up” is the opening track. A pop/R&B
anthem, it has a Motown feel with the R&B
backdrop and rock-edged guitar work. “Power Over
Me” leans more toward the soul side of the
aisle, while the frenetic “Doin’ This” adds funk
to the mix.
“Luv’n Touch” is a smooth ballad, highlighted by
Popovic’s passionate vocal and understated but
pungent fretwork. The album shifts more toward
the blues-rock side with the hearty “Queen of
the Pack,” which rocks along with a whole lot of
soul, and a fierce boogie shuffle with “Strong
Taste,” which comes complete with searing lead
guitar and doo-wop vocals.
“Recipe Is Romance” is a jazz-flavored ballad
with a smoky sweet vocal from Popovic and
excellent guitar, “Deep Down” mixes funk with
blues-rock, and “Ride This” is an irresistible
horn-fueled rocker. “Flicker ‘N Flame” is the
grittiest blues-rocker on the disc, with a
hard-charging rhythm section and powerful guitar
work from Popovic in the finest Hendrix
tradition, and “Turn My Luck” is a catchy
closer, sparsely arranged with hand claps and
backing vocals.
It’s
good to have Ana Popovic back in action and
recovered from her illness. Power is a
nice return to form for her and showcases her
always potent guitar work and vocals with
thoroughly modern production and music that puts
a fresh coat of paint on the blues.
--- Graham Clarke
 I
first became familiar with William Bell
in the mid '70s, when his single “Tryin’ To Love
Two” raced up the pop and R&B charts. I was in
junior high school at the time, so I didn’t have
a clue who he was beyond that song, which is
still a favorite. Later, when I read Peter
Guralnick’s Sweet Soul Music, I was able
to fill in a few blanks when I discovered that
Bell was a huge part of Stax Records as a
performer and songwriter, leading me to dig
deeper into his music.
In
2016 Bell released This Is Where I Live,
considered a “comeback” recording even though he
has remained active as a touring and recording
artist. That album won the Grammy for Americana
Album of the Year in 2017, among other honors.
In 2018, I was able to see Bell on stage with
other artists from his Wilbe Records label, and
he was just amazing, singing and performing with
an energy and vitality that belied his age (a
month away from his 79th birthday). What
impressed me the most was that his vocal
abilities had barely diminished (if at all) in
the 40 years since I’d first heard him.
Bell
recently released a follow-up, One Day Closer
To Home, on his Wilbe label. Recorded at
Wilbe Studios in College Park, Georgia, and
co-produced by Bell and Reginald “Wizard” Jones,
the new album features a dozen tracks that find
the singer/songwriter backed by his touring
band, The Total Package Band. Bell co-wrote 11
of the songs with various collaborators, and the
tunes blend blues and soul with country and
Americana. His vocals are still magnificent,
that perfect blend of silk and grit that
listeners will recognize, and he is well at ease
with the various genres covered.
“I
Still Go To Parties” opens the disc, a crisp and
funky soul workout that put folks on the dance
floor. “I Will Remember Tonight” mixes country
and soul, Rurik Nunan’s violin is a nice touch.
The tender ballad “In A Moment Of Weakness” was
recorded in Memphis at Sam Phillips Recording
Service, and features bassist Leroy Hodges and
B3 master Charles Hodges along with a string
quartet, and “Brag About You” is a peppy, joyful
soul/pop track. “Human Touch” is one of those
superb love ballads that Bell specializes in,
and “I’ve Got Feet” is a tasty, upbeat swinger.
“Let’s Make Loving Great Again” is a splendid
R&B slow burner that’s timeless, as solid a fit
in 2023 as it would have been 50 years ago. The
mellow soul-blues groover “We Can Never Go Back”
features horns and bluesy guitar work from Cody
Matlock and Larry Eaglin, and the atmospheric
title track describes a man literally and
figuratively trying to put his life back
together.
The
ballad “When I Stop Loving You” is powerful,
with Bell’s most emotional and vulnerable vocal
turn, “Ain’t Gon’ Let It Bother Me” (written by
Carl McBride) is a funky vow of determination
and defiance, and the energetic blues rocker
“Georgia Peach” brings this wonderful album to a
conclusion.
One Day Closer To Home is a worthy follow-up
to Bell’s previous release. The production
values are on par with its predecessor, the band
is first-rate, as are the songs, and William
Bell remains a force to be reckoned with, his
legendary voice as powerful and soulful as ever.
--- Graham Clarke
 Sister Lucille (Kimberly Dill – lead vocals,
Jamie Holdren – guitar/vocals, Kevin Lyons –
drums/percussion, Reed Herron – bass) return
with their second album, Tell The World
(Blue Heart Records), a stellar ten song set
capturing the band’s heady mix of
Memphis-inspired blues, soul, roots, and rock,
dubbed “Memphunk” by the band. Dill and Holdren
wrote the majority of the songs and the band is
joined on several tracks by guests Chris
Stephenson and Al Gamble (keys), Peter Climie
(sax), Will Paladino (trumpet), Freedman Steorts
(trombone), and Reba Russell (backing vocals),
who also co-produced with Dawn Hopkins.
The
title track opens the disc, with Dill proudly
announcing that she’s found a first love. The
exuberant number is puncutated with horns and
Holdren’s wah-wah guitar. “Everytime I Leave” is
an emotional break-up ballad with Dill on vocals
and the funky “Breakin’ My Heart” tells the
heartbreak story from the male perspective, with
Holdren taking the mic and providing crisp,
sharp lead guitar.
Reba
Russell contributed “Why Not You,” a spunky Hill
Country-flavored song attesting to the power of
women. She joins Dill on vocals and Holdren adds
scorching slide guitar. “My Name Is Lucille” is
a love song of sorts, telling the tale of B.B.
King’s guitar and the origin of the name the
King of the Blues gave his Gipson ES-330.
“Montezuma Red,” the name of a bright red
lipstick created during WW II, is a feisty
rocker that declares the color as a symbol of
power, determination, and independence. The
“Red” theme continues with Holdren’s “Devil In A
Red Suit,” about a sneaky underhanded double
dealer, and Dill’s vocal versatility is on
display as she ably handles the countrified
shuffle “Ready For The Times To Get Better,”
recorded by Crystal Gayle in the mid '70s.
The
album wraps up with the sultry, soulful “My New
Lovers,” and a terrific, show-stopping cover of
Sugar Pie DeSanto’s “Soulful Dress,” complete
with a vibrant horn section and spirited vocal
from Dill.
There’s no question that Tell The World
is as good, maybe better than their excellent
debut, 2019’s Alive. The group’s
songwriting and instrumental skills are first
rate, and Dill and Holdren provide a great
one-two punch as vocalists. Sister Lucille is on
a roll and shows no signs of slowing down, which
is good news for blues fans.
--- Graham Clarke
 Danny Liston grew up in St. Louis listening
to and singing with his brother’s Ray Charles
and Little Richard 45s. He started out as a
drummer playing in soul bands around town,
eventually moving to guitar and helping for the
band Mama’s Pride with his brother and a friend.
They signed with Atlantic, releasing two albums
in the ’70s. Set to tour with Lynyrd Skynyrd,
their career path changed course after the
Skynyrd plane crash. A few months later they
hooked up with Gregg Allman, opening his shows
as Mama’s Pride, then backing Allman as the
Gregg Allman Band.
Battling addiction, Liston left the music scene
to raise a family and got into the restaurant
business. He cites his wife and embracing the
Christian faith for helping him to achieve
sobriety. Since then, he recorded an album with
his old band and two more as a solo, the latest
being Everybody (Blue House Records), a
ten-track set of originals of blues and soul
with Grammy-winning producer Jim Gaines at the
helm.
The
soulful title track kicks off the disc, an
upbeat, positive message of hope that will put a
smile on your face and a hop in your step (Bekka
Bramlett is featured on backing vocals). “Didn’t
Find My Blues In Mississippi” is funky and
swampy in its delivery --- the intersection
between Memphis and Muscle Shoals.
“Real Man” is a powerful gospel-soul ballad that
offers good advice to those facing temptation.
The easy-going “Old Friends” looks back on old
relationships and good times, and “Love
Everyday” asks the eternal question, 'why can’t
everyone just get along.'
The
roadhouse rocker “Goodbye Jack Daniels” finds
Liston deciding to move on from the wild,
reckless life and turning over a new leaf.
“Right As Rain” is a smooth soul ballad, while
“Scandal” is a country-flavored R&B tale of a
love triangle.
“Made To Rock & Roll” is the tale of a guitar,
told from the instrument’s perspective, and the
emotional album closer, “A Change Has Come,”
serves as Liston’s proclamation of faith and how
that faith helped him battle and beat his
demons.
Backing Liston on these tracks are Steve Potts
(drums), Davy Smith (bass), Will McFarlane
(guitar), Mark Narmore (piano), Rick Steff
(organ), Alan Branstetter (trumpet), Brad Guin
and Buddy Leach (saxes), and Trinecia Butler and
Kimberly Helton (background vocals). Also
contributing on selected tracks are Brother Pat
Liston (vocals), Cory Edwards (piano), Bob Lohn
(piano), and Michael O’Hara (B3).
Everybody is a fine album of blues, soul,
and R&B. Danny Liston’s comeback is a remarkable
one and, hopefully, this excellent release will
open the door to even more recordings in the
future.
--- Graham Clarke
 The
Bay Area blues stalwarts Delta Wires
combine downhome blues (via Ernie Pinata’s
harmonica and Richard Healy’s guitar) with a
taste of the urban blues (a pristine three-piece
horn section) for a potent mix captured
extremely well on the group’s latest release,
If Somebody Told Me…..
Pinata and Healy are joined on this ten-song set
by bassist Tom Gerrits, drummer Tony Huszar,
keyboardist Richard Sylvester, and the
aforementioned horn section (David Bowman –
trombone, John Christensen – trumpet, Caleb
Murray – saxophone).
The
band wrote three tunes and the seven covers cut
a wide path through blues, R&B, and even jazz
circles. The originals include “Can’t Win For
Losin’,” a tune which finds the band describing
the trials and tribulations of being a working
blues band, capturing the essence of the band’s
musical vision. The heartfelt title track is
dedicated to Pinata’s late son as Pinata bares
his soul with this moving tribute. The third
original, “Bring Me Up,” is a swinging blues
with ample space for the horns to shine.
The
covers range from a couple of Duke Records
classics (Larry Davis’ “I Tried” and Bobby
“Blue” Bland’s hit “I Pity The Fool”), Southern
Culture on the Skids’ gritty roots rocker
“Voodoo Cadillac,” John Lee Hooker’s “Dimples,”
a pair of Sonny Boy Williamson classics (John
Lee Williamson’s “Sloppy Drunk,” and Rice
Miller’s “Hand Outta My Pocket”), and the wild
card closer, Count Basie’s swinger, "Blues in
Hoss' Flat," not as bombastic as the original,
but much more bluesy and a lot of fun.
The
Delta Wires offer a strong, well-balanced set of
blues, R&B, and a nice bit of jazz with their
latest effort, If Somebody Told Me…..
--- Graham Clarke
 Deb Callahan’s sixth album, Backbone
(Blue Pearl Records), is a fresh mix of blues,
soul, funk, and R&B in the tradition of the city
the singer calls home, Philadelphia. The 12
songs include ten written or co-written by
Callahan with her bandmates, which include
guitarists Allen James, Chris Arms (who also
produced the album), and Alan Glass, drummer Tom
Walling, bassists Garry Lee and Dave Arms,
keyboardist Danny Schogger, saxophonists Jay
Davidson and Ken Ulansey, harmonica player John
Colgan Davis and vocalist Charlene Holloway.
The
funky “What I’m Working With” kicks off the
disc, the horns really adding a soulful punch
behind Callahan’s testifying. “Crazy Ride” and
“Rogue” are deep soul/R&B ballads, and “Big Girl
Pants” mixes funk and rock. serving as an
encouragement for anyone going through tough
times. The swinging “A Few New Tricks” blends
blues and jazz.
Callahan really nails the Percy Mayfield classic
“Danger Zone,” with one of her best vocals on
the album. “Still Fighting To Be Free” moves
seamlessly back and forth from acoustic guitar
(Alan Glass) to an electric blues rocker, with
Davis’ harmonica throughout the track serving as
an added bonus.
The
fiesty “Don’t Tread On Me” is a soulful rocker,
and the moody “Cleaning House” features Chris
Arms’ shimmering slide guitar behind Callahan’s
emotional vocal. The soul ballad “Thought You
Were My Girl” finds the singer feeling
disappointed and betrayed, and “Just What the
Doctor Ordered” is a popping funk/soul workout.
The
album wraps with a cover of Sean Costello’s
“Anytime You Want,” a tough rocker that hews
closely to the original version, with nice
fretwork from James.
Backbone is another winner from Deb
Callahan, who remains one of the most compelling
vocalists in the blues and soul genres, a voice
to be reckoned with in the coming years.
--- Graham Clarke
 Singer, songwriter, and guitarist Jeff
Pitchell has recorded with J. Geils, Rick
Derringer, Dave Mason, James Cotton, and
Clarence Clemons. He’s won several awards,
including Best Guitarist in the state of
Connecticut (at age 15!) and several songwriting
awards, and his song “An Eye For An Eye” was
recorded by John Mayall.
His
2002 album, Heavy Hitter, reached #7 on
the Billboard charts, and his latest album,
Playin’ With My Friends (Deguello Records)
finds Pitchell teaming up with a host of musical
guest stars.
The
aforementioned “An Eye For An Eye” opens the
disc and it’s an easy-going shuffle. The late
guitarist Jay Geils guests on slide guitar for
the rousing “Prisoner of Love,” and the late
Charles Neville sits in on sax for a tasty cover
of the Atlanta Rhythm Section’s ’70s smash “So
Into You” (Reese Wynans provides on keyboards).
Pitchell’s fretwork is reminiscent of SRV on the
Texas-styled shuffle “Your Magic Eyes,” which
leads into the moody “Out In The Cold,”
featuring SRV’s nephew Tyrone on co-lead vocals
and guitar. The stirring roadhouse rocker “All
Night Long” finds guitarist Duane Betts teaming
with Pitchell, and “Unsung Hero” tells the story
of a working, struggling blues man, as Pitchell
and Rick Derringer collaborate on vocals and
guitar.
“Not
Guilty,” written by Bruce Feiner, adds a taste
of funk to the blues, and “Blinded By Desire” is
a hot blues-rocker with an emphasis on rock.
“Fat Cigars” was the title track to Pitchell’s
1997 album, one of his first big tracks, and he
reprises it here for a host of potential new
fans.
Singer Christine Ohlman (“The Beehive Queen”)
joins Pitchell on vocals for the R&B groover “I
Like The Rut,” and singer Claudette King (B.B.
King’s youngest daughter) takes the mic for a
live take on the Robert Cray-penned title track,
which also features Neville on sax.
The
album closes with a cool cover of Bobby “Blue”
Bland’s classic “I Wouldn’t Treat A Dog,” which
features Pitchell’s strongest vocal effort on
the album.
Playin’ With My Friends is a nice
introduction to Jeff Pitchell for new fans, but
also a fond look back at some of the
singer/songwriter/guitarist’s finest moments
throughout his lengthy career. It’s a fine,
enjoyable disc that deserves to be heard.
--- Graham Clarke
 British blue/roots singer/songwriter/guitarist
Andrew Riverstone was inspired to perform
from guitarists Peter Green, Paul Kossoff, Jeff
Beck, and Jimmy Page, vocalist Al Green and the
Motown catalog, and songwriters Neil Young and
Tom Petty. He worked as a session musician in
London, performing at various London venues, and
touring with the Irish band Cast of Thousands
before launching his solo career. He’s released
five albums over the last decade, including his
latest, Pushing Against The Flow
(Atlantic Highway Records).
The
title track, a mid-tempo blues rocker, launches
the disc, highlighted by strong rock-edged
fretwork. The gritty “White Flag Burning” and
“He’s The Richest Man,” a swinging blues
follows. The moving “Into The Storm (Beaches of
Pentewan)” tells the tale of the Darlwyne, a
ship lost off the Cornish Sea coast in 1966 with
31 people aboard.
The
amusing “Back In The Cool House” lightens the
mood somewhat with its slippery, funky vibe, and
“Here Comes The Shakerman” is a tribute to Jesus
Jellett, a fan of Riverstone’s who was renowned
for his eccentric dance moves at various
festivals in the ’60s and ’70s.
“Ancient Valley Of The Rocks” is a beautiful
guitar instrumental that might remind listeners
of those glorious Peter Green-led Fleetwood Mac
recordings of the late ’60s. The atmospheric
“Dust Left Behind” is a slow blues shuffle, and
the soul-blues tune “Out On The Money Go Round”
(about balancing work with life) adopts bass
riffs from Busta Jones archived from a jam
session he and Riverstone recorded years ago.
The
closer, “Shades of Blue (Highwire),” is a sober
look at the end of a relationship.
Riverstone is a superb guitarist and has a warm
vocal style, and his songwriting is first-rate.
Pushing Against The Flow was a nice
introduction to me and encouraged me to delve
deeper into his catalog. It’s an interesting mix
of blues rock, soul, and funk.
--- Graham Clarke
 The
North Dakota-based blues rockers Jennifer Lyn
& The Groove Revival recently issued a
five-song EP, Gypsy Soul (J&R
Collective), which is a worthy follow-up to
their 2021 release, the BMA-nominated Nothing
Holding Me Down. Lyn (guitar/vocals)
co-wrote the tunes with Richard Torrance
(guitar/backing vocals) and they’re backed by a
strong rhythm section (Barb Jiskra – keys, Chris
Addison – bass, Jim Anderson – drums). The
songs, like on Lyn’s previous albums, reflect
the band’s mix of blues, rock and soul.
That
versatility is on display from the outset both
musically and lyrically with the title track,
which opens the disc. The song swings and rocks
with each band member getting an opportunity to
stand out. “Low Down Dirty Shame” introduces a
bit of funk into the mix, along with tasty
fretwork from Lyn and Torrance. “Going Round In
Circles” is a splendid blues ballad with crisp
guitar from Torrance and a soulful vocal from
Lyn, and “Give Me All of Your Lovin’” is a
torrid number with a classic rock.
The
album closes with “You Can Take It All,” a
well-crafted Americana ballad about two lovers
who find themselves together after dealing with
many failed relationships. Lyn and Torrance’s
musical rapport on this track is sublime and it
brings a delightful close to an excellent album.
The
only fault with Gypsy Soul is that there
just ain’t enough of it (17 minutes), but it
will certainly satisfy until Jennifer Lyn & The
Groove Revival return with more great music.
--- Graham Clarke
 The
Grand Rapids-based Weezil Malone Band is
led by guitarist/singer Larry Fitzgerald (a.k.a.
Weezil Malone), who is something of an
institution in the area, playing and recording
for four decades. Backed by bassist Dave Alves
and drummer Carl Schantz, Fitzgerald presents
the band’s latest album, Desert Drive-In,
a hard-charging set of blues rockers that’s
mixes blues, funk, and rock seamlessly. The
dozen tunes were written by Fitzgerald, who also
produced the album with Austin Mark Ruhstorfer.
The
opener, “All Over Again,” is a crunching boogie
rocker that sets the bar pretty highly for the
rest of the album. “Children of Night” has the
funky Texas feel of early ZZ Top, and “Easier To
Steal” mellows the mood a bit, but retains that
funk rhythm (Dan Giacobassi adds saxophone on
this track), as does the mid-tempo “Walk Away
From Me.” Meanwhile, “Tattoo Lady” leans more
toward metal with the fuzzy guitar and
Fitzgerald’s raw vocal, but Giacobassi’s sax
adds blues flavor, and “On My Porch” is a
rock-edged blues.
“Whiskey” is a straight-ahead grinding rock tune
that would have been a smash on FM radio back in
the day, and “Take it Away” is a boogie shuffle
that really swings. “He’ll Be Gone” is a strong
blues rocker, and the title track settles into a
deep, funky groove that backs Fitzgerald’s
guitar fireworks.
The
gritty “I Slowed Down” sounds like early ’70s
guitar-fueled rock, and the closer, “Enough Is
Enough,” is a cool track that updates the Bo
Diddley beat.
Desert Drive-In is a great listen for fans
of the timeless blues rock sound. Larry
Fitzgerald knows his way around the block with
this stuff and this one holds up extremely well
with repeated listening. Check it out.
--- Graham Clarke
 Connections (Dancing Rooster Records) is the
latest release from the Bruce Katz Band.
Katz (piano, Hammond organ, organ bass) is
joined by two new members, singer/guitarist
Aaron Lieberman and drummer Liviu Pop on this
stellar session, which was recorded at the
legendary Capricorn Studios in Macon, Georgia.
Katz is well acquainted with Macon’s music
scene, playing a vital part of Gregg Allman’s
band and various other Allman “Family” bands
(Butch Trucks Les Brers and Jaimoe’s Jasssz
Band). He’s even joined on three tracks by
bassist Shaun Oakley (grandson of Allman
Brothers Band bassist Berry Oakley). The 11
tracks include seven by Katz, two by Lieberman,
one co-written by the pair, plus one cover.
“Right Here Right
Now” opens the album, a jaunty Crescent
City-flavored romp that finds Katz on piano
backed by Lieberman’s muscular guitar playing
and Oakley and Pop’s rock-solid rhythm work.
Katz stays on piano as Lieberman takes the mic
for the easygoing “Nighttime Stroll,” but moves
to the B3 for the funky “Where’s My Wallet.”
“Morning on Basin
Street” keeps that New Orleans vibe alive,
starting with a short bit of piano from Katz
before moving to a brisk, jazzy pace and more of
that splendid B3. Lieberman penned and sings on
the driving blues rocker “Down Below,” which is
followed by the album’s lone cover, a smooth
version of Jessie Mae Robinson’s oft-recorded
“Sneakin’ Around.”
“The
Dream” is a well-crafted instrumental that
wouldn’t have sounded out of place on one of Sea
Level’s late ’70s/early ’80s recordings, and
“All About That” is a lively jazz with nice
musical interplay between the band. “Gary’s Jam”
adds a taste of funk to the mix, and Lieberman’s
“Tides Are Turning” is a strong blues track with
rock-edged guitar.
The album closer,
“What I Feel,” is a deep, reflective track that
features Katz on B3 and this glorious soul-jazz
track provides a glorious conclusion to a fine
album that will satisfy fans of blues, soul, or
jazz. Bruce Katz deftly connects these genres,
and more, on Connections.
--- Graham Clarke
 Nelson Blanchard
has been performing since he was ten years old,
when he would take the stage at his father’s
nightclub, called Blanchard’s, off Highway 70 in
Pierre Part, Louisiana. Since then, he has
worked with many legendary artists, including
Kenny Neal, the Goo Goo Dolls, Kenny Rogers,
Sammy Kershaw, John Schneider, Tab Benoit, Jo-El
Sonnier, GG Shinn, and he’s been a part of
Louisiana’s LeRoux for over 25 years. He’s owned
Techno Sound Recordings Studio since the ’80s
and has written hundreds of songs and produced
hundreds of CDs.
So, at the tender
age of 70, Blanchard has finally released an
album of his own. The wheels began to roll on
releasing Nelson Blanchard (White Car
Records) after he recorded a voice-over for
Austin-based producer/artists Lloyd Maines, who
was impressed by Blanchard’s vocals. Recorded at
Techno Sound in Baton Rouge, and produced by
Blanchard, David Hyde (who also played bass),
and Nashville-based songwriter Dan Tyler, the
album’s 11 tracks are steeped in Louisiana R&B
with a few hints of country, zydeco, and bit of
rock n’ roll.
The opener, “The
Girl Doesn’t Love You,” is an energetic bit of
soul music that gets the album off to a lively
start. “(I’m Not Just) Anybody’s Fool”
effortlessly mixes country and soul, with
Blanchard’s vocal a solid fit in either genre,
while “Treat Your Lady Right” is downhome
southern blues with Kenny Neal lending a hand on
guitar and harmonica.
John
Schneider teams with Blanchard on vocals for the
Cajun-flavored “My Heart’s In Louisiana, which
is followed by a splendid cover of the jazz
standard “Teach Me Tonight.”
The rambling country
rocker “Big I-10” was penned by producer Tyler,
while Blanchard wrote the moving “Free Bird In
The Wind” with Scott Innes, describing the site
of the 1977 Lynryd Skynyrd plane crash.
The
next pair of ballads were written by Tyler,
“Twenty Years Ago,” and “Please,” both fine
examples of country-soul, while “Far Cry” has
more of a country feel, thanks to Maines’ steel
guitar accompaniment. Tareva Henderson joins
Blanchard in a spirited cover of the Dale &
Grace classic “I’m Leaving It Up To You,” which
closes the album.
It's a shame that
Nelson Blanchard waited so long to release his
own album, but based on the quality of his
debut, we can look forward to more great music
from him in the near future. Nelson Blanchard is
a keeper, for sure.
--- Graham Clarke
 Big Shoes is
a Nashville-based supergroup that specializes in
the genre music folks call American Roots,
basically a mix of country, soul, and blues, at
least in the case of this band (Rick Huckaby –
vocals/guitar, Mark T. Jordan – keyboards, Will
McFarlane – guitar/slide guitar, Kenne Cramer –
guitar, Tom Szell – bass, Lynn Williams – drums,
Bryan Brock – percussion). Certainly, this band
is well-versed in each of these genres, some of
the members having worked with Bonnie Raitt, Van
Morrison, Delbert McClinton, Taj Mahal, Etta
James, Bobby “Blue” Bland, and many others.
The band’s third
album, Fresh Tracks (Qualified Records),
was produced by the band and recorded, mixed,
and engineered by Kevin McKendree at his studio,
The Rockhouse, in Franklin, Tennessee. Guest
musicians include Dana Robbins (horn
arrangements/saxophones) and Quentin Ware
(trumpet), both parts of McClinton’s band,
Little Feat vocalist Shaun Murphy, and
background vocalist Vickie Carrico.
Fresh Tracks opens with “I Got You Covered,”
which has a Muscle Shoals country-soul feel with
Huckaby’s warm vocal and the horn section in
support. “Hole In The Sky” is a bluesy shuffle
with fine fretwork from McFarlane, Cramer, and
Huckaby, and the clever “If The Blues Was Green”
has a swampy Gulf Coast R&B feel, while the
ballads “You Can’t Love Me Like That” and “Roses
Are Blue” lean toward the country side of the
aisle (Murphy and Carrico shine on backing
vocals on the latter track).
“Permanent Midnight”
is a gritty soul ballad penned by Huckaby,
Jordan, and Szell that’s arguably Huckaby’s best
vocal turn on the album (there are several
finalists here, trust me). The energetic
countrified rocker “I’ve Seen The Light” is
destined to be a crowd pleaser at the group’s
live shows, and McFarlane’s catchy “There Ain’t
Nothin’ You Can Do” has a lilting reggae feel
that really sinks in.
The
mid-tempo “Drunk On Love” swings and rocks
along, and the country-pop ballad “Tell Me I’m
Wrong” is one of those finalists for best vocal
from Huckaby, who shows a lot of range on this
track.
“That’s What I Get
For Lovin’ You” is a laidback shuffle notable
for McFarlane’s slide guitar and Jordan’s
keyboards, and the album closer, “Dreaming
Again,” is a solid ballad that fits seamlessly
in the country or soul categories.
Fresh Tracks
is a fine combination of well-crafted tunes and
superb musicianship that will please fans of
blues, soul, and roots music.
--- Graham Clarke
 Guitar Kingdom,
the latest effort from Cincinnati guitarist
Dudley Taft, is another powerhouse set of
blues-rock that combines blues with Seattle
grunge, and most definitely hard rock. Taft
wrote 10 of the 11 tracks, and he’s backed by
Kasey Williams or John Kessler (bass), Alex
Dungan or Nick Owisanka (drums), Andy Smith
(keyboards), Walfredo Reyes Jr. (percussion),
and his daughter Ashley Charmae (backing
vocals).
All that is packaged
in one of the coolest album covers seen in a
while.
The driving opener,
“Black And Blues,” mixes blues and grunge into a
hard-charging shuffle that grabs you by the
collar. Taft gives us a look at his story with
the autobiographical rocker “Old School
Rocking,” and “Oil And Water” has the feel of a
moody 70’s-era rock n’ roller, thanks to Smith’s
keyboard framework. The bluesy ballad “Still
Burning” cools things off for a few minutes
before the title track kicks things back up with
some appropriately crunchy fretwork driving
things along.
The mid-tempo “Get
Stoned” is a nice fit at the album midpoint,
just as intense and energetic as what preceded
it, but taken at a slower pace with a touch of
acoustic guitar built in. Next, Taft pays
tribute to some of his “Favorite Things” … cars,
guitars, and his lady, and goes acoustic on the
reflective “Darkest Night,” showing some
excellent unplugged chops.
The
pile-driving rocker “I Want More (Younger Days)”
would probably serve as an anthem for many in
his audience who long for the carefree days of
youth, and “The Great Beyond” captures the
Seattle grunge sound with the gritty guitar and
propulsive backbeat.
Guitar Kingdom
closes with a terrific cover of Tinsley Ellis’
“A Quitter Never Wins,” a master class in mood
and tone, both musically and vocally. A fine
wrap-up to a typically outstanding release from
Dudley Taft.
--- Graham Clarke
 New Orleans blues
man Jeff Chaz plans to record a Christian
Blues/Rock album in the near future, recently
releasing a single that offers a sneak preview
of things to come in more ways than one.
The
premise of “Wide Road” is taken from Matthew
7:13 -14, where Jesus states that the path to
everlasting life is the narrow one while the
wide path leads to death and destruction and
that few people ever find the narrow path
because the wide path is so enticing and
alluring.
Chaz
grimly warns of the danger of the wide path,
backed by gritty, ominous guitar and a
plaintive, haunting rhythm. It’s a sobering
message, but Chaz’s focused delivery just might
get the attention of someone who needs to hear
it.
--- Graham Clarke
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