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You might say Zydeco music is in the blood of Jeffery Broussard. The youngest of six siblings, he grew up soaked in the music via his father, Delton Broussard, who led the Lawtell Playboys, a band mostly made up of family members, including Jeffery, who began playing drums in his father’s band at the age of eight. He mastered several instruments over the years, including bass, guitar, fiddle, while secretly teaching himself to play his dad’s accordion. He co-founded the legendary Zydeco Force, and later his own Creole Cowboys.

Broussard has never been one to worry about innovations to Zydeco, so recently he began a collaboration with members of New Orleans’ TBC Brass Band (Edward Jackson – trombone, Paul Cheenne – saxophone, David McKissick – trumpet) and a swing band rhythm section (Hannah David – drums, Spike Perkins – bass, Zachary Wiggins – keys, producer Romain Beauxis – guitar) as the Nighttime Syndicate.

Their debut album, Bayou Moonlight (Fairground Records), billed to Jeffery Broussard & The Nighttime Syndicate, includes 13 tracks that effectively combines these various music styles into a cohesive unit that stands up extremely well whether you’re moving or stationary.

The upbeat opener, “Whatever” (an old Zydeco Force tune) will certainly place listeners in the “moving” category, with its brisk rhythm and Broussard’s warm vocal punctuated by the sharp horn work. “It’s Alright,” a delightful track originally recorded by Curley Taylor and Zydeco Trouble, is another fast mover, with guest vocals from Jamie Lynn Fontenot and K.C. Jones.

There’s also a terrific version of Texas songwriter extraordinaire Bill Carter’s “Richest Man,” which Broussard (who teams with Jelly Joseph on the vocal duties) previously recorded on the Creole Cowboys’ debut album some 20 years ago.

There’s also a pair of fine Broussard’s originals --- the lively “Aww Baby” and the mid-tempo “Oh Ye Yaille,” which he previously recorded. The extra instrumentation adds a soulful flavor to these newer versions, as well as Sam Cooke’s “A Change Is Gonna Come” is presented as a slow burner with superb work from the horns and band along with a heartfelt vocal from Broussard.

The traditional “Madeline” (often covered by Delton Broussard and the Playboys) is sure to get listeners off their seat and on their feet, while “I’m Coming Home” will keep them around for a slow dance.

Another Zydeco Force number, the humorous “Roaches,” is a busy, upbeat song with Wiggins adding piano to the horns, and the band has a great time with Rosie Ledet’s “Hello Baby,” featuring playful lead vocals from Anna Moss. The slow burning read of Rockin’ Sidney’s “No Good Woman” has a real bluesy feel, thanks to Wiggins on organ and contributions from the horns.

The traditional instrumental “Swing” comes blasting out of the gates, allowing ample space for each musician to take the spotlight before Broussard closes the album with a stirring performance of Jonathan Butler’s “Falling In Love With Jesus.”

The combination of Louisiana musical genres makes for some mighty fine music on Bayou Moonlight. Hopefully, we will hear more from Jeffery Broussard & The Nighttime Syndicate soon.

--- Graham Clarke

Carolyn Wonderland covers a wide swath of music styles, similar to the amount of territory that her current home state of Texas takes up. She's blues, she's country, she's soul, she's rock, and even there's occasional gospel vibe thanks mostly to her powerful voice. She's also a very fine instrumentalist, capable on both the electric guitar and the lap steel.

Her talents are on full display on the latest release from Alligator Records, Truth Is, produced by the illustrious Dave Alvin, who also plays guitar on  three cuts. A dozen songs, all but two Wonderland originals, with plenty of diversity to capture what she's all about. Many of her compositions are topical, urging change in our fractured society.

Truth Is opens with "Sooner Or Later," with Wonderful combining her powerful vocals with a Texas twang, and there's a definite blues vibe here as she urges everyone to take action. Alvin makes his first guest appearance with a killer guitar solo. Drummer "Nooch" Carnuccio opens "I Ain't Going Back" with rhythmic drumming before Wonderful comes in with her powerfully insistent message that her will's too strong to go back to the past. Marcia Ball, Ruthie Foster and Shelley King join in on backing vocals, with the extra voices giving the song a bit of a church feel.

Wonderland plays wonderful guitar while delivering her important message on the up-tempo mover, "Truth Is," with her insistence that it is hard to stay free and that we need to march before we can crawl. "Let's Play A Game" has an opening that sounds a little gospel, but becomes a country/blues mashup with her lap steel work. It's one of her calls to action, especially as she sings, "... Can't have peace without justice ..." and many other similar motivational verses.

The mood changes to the feeling of just going out and having fun on "Whistlin' Past The Graveyard Again," a mid-tempo blues with guest Cindy Cashdollar sitting in on lap steel and Red Young contributing tasty piano work. Wonderland sings that she's going to have fun and listen to live music even though tomorrow morning won't be much fun. To provide the proper mood for the title, Wonderland does some pretty nice whistling as the song comes to an end. Henri Herbert sits in on piano on the New Orleans style blues, "It Should Take," on which Wonderland urges everyone to have courage and perseverance, giving one example that it takes more than wings for a bird to fly.

We get to the two cover songs next. Bukka Allen gives us a slow piano intro to the Greg Word / Eddie Hawkins composition, "Wishful Thinking." It's a jazzy number with limited instrumentation, providing Wonderland the chance to shine on both vocals and guitar. The coolest song here is a rendition of The Band's "Orange Juice Blues," written by Richard Manuel and originally done on their Capitol Rarities 1968-1977 album and also with Bob Dylan on one of the Basement Tapes collections. Carolyn's version is kind of a country blues, with lap steel from Cashdollar, guitar from Alvin, and piano from Ball. This one's a keeper!

We get another really good keyboard performance from Bukka Allen on the up-tempo blues rocker, "Tattoos As His Talisman," about the cool dude who's got a way with style. It was co-written by Alvin, who also handles guitar parts. Red Young provides the subtly beautiful intro on piano to the jazzy "Flowers In Bloom." Contrasting the quiet opening, Wonderland comes in with power in her voice as she reassures herself that everything's gonna be alright.

Needing an escape from the world, Wonderland takes us to a tropical paradise on the feelgood "Deepest Ocean Blue," given that Latin vibe with lap steel to go with Young's relaxing piano and organ work.

The album closes with a loving tribute to the late piano player Gene Taylor, penned by Wonderland and Alvin. Taylor played with Alvin in the early version of The Blasters, as well as being part of so many important bands during his lifetime. At six minutes and 39 seconds, "Blues For Gene" gives every instrumentalist a chance to stretch out, with Herbert playing the piano parts. Wonderland and Alvin take turns wowing us with their guitar work, and the word is that both artists were shedding tears during the recording of this song, probably especially when they refer to the night Taylor died during the 2021 Texas power outages during the dead of winter. It's an appropriate ending to a fabulous and diverse album.

Truth Is is a necessary addition to every blues library. Wonderland is a powerhouse, and teaming with Alvin made her even better. It'll be on my Top 10 at the end of the year.

--- Bill Mitchell

Jennifer Lyn & The Groove Revival recently released their fifth album, Retrograde (J&R Collective), a disc that looks back while moving steadily forward. Jennifer Lyn’s powerful vocals and guitar work are complemented by Richard Torrance (guitar/backing vocals), Barb Jiskra (keys), Nolyn Falcon (bass), and Jim Anderson (drums/backing vocals). Lyn and Torrance penned all ten tracks, combining the blues with classic rock of the ’70s variety.

The opener, “Light The Fire,” practically roars out of the gate with serious fretwork from Lyn and Torrance. This track would be blasting all over the radio if there were any justice in the world. The briskly-paced “Searching for Solid Ground” has a southern rock groove and contemplative lyrics, leading into “Sucker for the Pain,” which has more of a blues vibe with Lyn’s soulful vocals, Jiskra’s piano and Torrance’s fierce slide guitar. The emotive ballad, “Refuge,” featues another powerful vocal turn from Lyn.

The sultry blues “Do Bad Things to You” should steam up the windows with the driving backbeat and Lyn’s sizzling vocal, and “Soul Saver,” is another strong ballad with a bit of a soul/jazz backdrop via Jiskra’s keyboards. “Baggage” has a groovy second-line rhythm and Torrance’s slide guitar as it tells the tale of a potential lover with more minuses than pluses, and the funky “’59 Cadillac” finds Lyn coming out on the better end of a broken relationship.

Lyn proudly declares her independence on the upbeat rocker “Breaking Chains,” with her soaring vocal and guitar interplay with Torrance. The album wraps up with the reflective “Do It All Again,” where she looks back on a broken relationship with no regrets and lessons learned.

With Retrograde, Jennifer Lyn & The Groove Revival take a look back at the rock sounds of the ’70s, mixing it with tough blues rhythms to produce a fresh, new brand of blues rock that will surely satisfy listeners.

--- Graham Clarke

Any release from The Christopher Dean Band is guaranteed to provide a first rate mix of blues and R&B. The New Jersey-based singer/guitarist has released six quality releases on “Chicago” Carl Snyder’s Lost World Music label, including his latest outstanding effort, Steppin’ Out Tonight, which features 14 satisfying tracks.

Dean is backed on these sides by the legendary Snyder (piano/organ) and three different bass players (Arcellus Sykes, Rob Fraser, Joshua Colon, who also plays rhythm guitar on several tracks), with guests Steve Lombardelli (horns/keys), Dave Hollingsworth (drums), and Dennis Wieand (trumpet).

The opening cut was a pleasant surprise --- an update of one of my favorite pre-war tunes --- a jaunty version of Crying Sam Collins’ 1931 release “My Road is Rough and Rocky,” with inspired slide guitar and vocals from Dean. The next track is a terrific cover of Jimmy Johnson’s “Serves Me Right To Suffer,” and this version hews closely to the version Johnson recorded for 1978’s Living Chicago Blues anthology (Snyder played piano on that version as well).

The first Dean original is the sweet and soulful ballad, “Here With Me,” highlighted by Dean’s sincere vocal and keen guitar work. A sharp reading of Robert Cray’s “Walk Around Time” successfully recaptures the blend of soul and blues of the original version, and is followed by Dean’s second original, “You Are The Reason,” a buoyant, Latin-flavored soul ballad.

On the cover of T-Bone Walker’s “That Old Feeling Is Gone,” Dean nails the guitar master’s tone and phrasing, with the band really locking in, from Snyder’s piano to the dynamite horn section.
Dean’s fine covers of Mel Waiters’ slow burner “Running Stop Lights” and T.K. Soul’s funky “Party Like Back In The Day” further demonstrate his ability to balance blues, soul, and R&B at a variety of tempos and grooves. He slips some Latin influences into his version of Curtis Mayfield’s classic “I’m The One Who Loves You.”

The album closes with a couple of Dean originals, the soul ballad “Save Us” and the R&B-flavored “Thank You For Letting Me Know,” with Ann Peebles’ “If We Can’t Trust Each Other” in between. There are two “bonus” songs that bring things back to the blues --- a jaunty update of the 1927 Furry Lewis side, “Everybody’s Blues,” and a rugged, rocking version of Hound Dog Taylor’s “She’s Gone.”

Steppin’ Out Tonight is another top notch release from The Christopher Dean Band, maybe his best to date. It should satisfy any blues fans who also dig southern soul and R&B.

--- Graham Clarke

A few years back, Brody Buster was considered something of a child prodigy, teaching himself to play harmonica at age 7, soon finding himself playing with artists like B.B. King, Quincy Jones, Chaka Khan, and Keb Mo, and appearing on TV shows and at blues festivals all over the world. He eventually started Brody Buster’s One Man Band, placing second at the International Blues Challenge and winning Best Harmonica Player, as well as releasing a well received album in 2019, Damn! I Spilled The Blues.

Unfortunately, during the Pandemic and following the death of his brother, a series of bad decisions sank into drug addiction, and Buster fell off the music scene for five years, losing nearly everything, including his life. In late 2023 he relocated to Kansas City and began putting the pieces back together, cleaning himself up and focusing on family and music. He became a big part of the Kansas City music scene, started writing songs, and put together a band  to make an album. Redemption tells the story of Brody Buster’s fall and resurrection.

Buster serves as lead vocalist, guitarist, and harmonica player on these nine songs, seven of which he composed. He’s joined by Jackie Myers (keyboards), Ian Pond (drums), Terry Dry (bass), Howard Mahan (slide guitar), Jacque Garoutte (bass/rhythm guitar/background vocals), and Danielle Nicole, who sings background vocals on two tracks.

Buster’s own compositions tell his story and pull no punches. The opening track, “Can You Hear Me,” finds Buster regretting his past actions and seeking amends to those he did badly during his dark period,. The gritty “Born To Be Bad” is an old school blues describing the struggle.

The hard-charging “Deadwood Shuffle” is a keeper track, with tons of energy and superb work on the harp from Buster, and the relentless rocker “Working With The Devil” features Mahan on slide, as Brody leaves his past behind looking to the future.

“Wish These Blues Would Stop” is a funky blues that refers to his past issues, and “Protection From Your Affection” finds Buster trying to put a bad relationship behind him. “The Color Blue” is a moving ballad that features Nicole on backing vocals.

Two covers by Kansas City musicians who have recently passed away conclude the disc, a soulful version of Eugene Smiley Sr.’s “This Time I Got The Blues” and a rocking take on Billy “Beale” Woods’ “The Wants.”

It sounds like Brody Buster found Redemption indeed with this remarkable comeback album. While he does reflect on his downfall with clear eyes, he focuses even more firmly on what’s ahead, boding well for both Brody Buster and for blues fans.

--- Graham Clarke

Brandon Santini is not a new name to me, having read reviews of previous albums by this highly-regarded harmonica ace,. His fifth album, Which Way Do We Go? (MoMojo Records), is the first one to come into my possession, and I can now see and hear what I've missed out on. Based now in Springfield, Illinois, Santini returned to his previous home city of Memphis to record this latest album, teaming up with former band mate Jeff Jensen, who produced the album and appears on several of the tracks. The rest of the band on this session includes Timo Arthur (guitar), Cliff Moore (bass), Ron James, Drums, and Jesse James Davis (backing vocals).

I liked this album the more I listened to it. There's some really notable songs here, showcasing Santini's harmonica skills, his deep, whiskey-flavored voice, and his skills as a songwriter. This is high energy blues/rock that will appeal to a wide swath of blues fandom.

For my money, the best cuts come in the latter half of the album, especially the mid-tempo walkin' tune "Blues So Bad," with a strong harmonica solo and extra throaty vocals from Santini. One of the two singles from the album, "Working On A Mystery," is a fast-paced blues stomper, reminding me of something Dave Edmunds might have recorded during his Rockpile days. Santini is trying to get closer to that babe just to hold her hand, but there's a mystery he needs to solve first. As on every cut, he gives us a rollicking harmonica solo.

Another favorite is the mid-tempo heavy blues "Baby's Got Soul," with a hypnotic, funky rhythm that likely fills up the dance floor at Santini's live shows, followed by the up-tempo closer, "She Got The Way," featuring the combo of a harmonica solo leading into a smokin' guitar solo from Arthur.

The first single released prior to the album coming out was the topical opener, a mid-tempo blues on which Santini asks the question of what's happening to our world before a background chorus of singers gives thiis inspirational number a gospel feel. Staying with a similar theme is "The War Ain't Over," with fuzzy, echoey vocals from Santini over a driving rhythm, and the same background chorus singing and hand clapping joins in as the song progresses.

"See That Pony," with a steady propulsive beat, and "Ain't Turning Back," both bring a swampy feeling, the latter a slower blues with Santini and his backing singers delivering the message that we're heading down a road from which we can't turn back. He increases the tempo during a strong harmonica solo before ending the song with a repetition of the song's main line. Changing the mood is a more up-tempo rocker, "Do What Comes Naturally," with wah wah guitar from Arthur giving a Memphis mood later in the song.

More on the blues side of the blues/rock equation is the slow, walkin' blues, "Mile After Mile," introduced by Santini's harp before he sings about that long journey he's taking, with that walk accentuated by a nice harmonica solo. Another blues number is the mid-tempo "Trouble Stay Away," with Santini pumping out plenty of emotion in his vocals.

Which Way Do We Go? is a solid blues album from Santini, making me think I need to explore his previous catalog. One thing is certain. The dude can play the harmonica, which is always a good thing.

--- Bill Mitchell

Hailing from Macon, Georgia, singer/songwriter/guitarist Hughes Taylor counts Stevie Ray Vaughan, David Gilmour, Steve Gaines, Duane Allman, and Jimi Hendrix as influences. His sixth and latest release, Roasted (The Bent Note), provides a great showcase for Hughes’ dynamic guitar work, soulful vocals, and compelling songwriting. Joining him on these 11 tracks are Ben Alford (bass), Nich Gannon (drums), Zach Wilson (keys) and Emily Lynn and Evie Somogyi (background vocals). The album combines the five tunes from Hughes’ 2024 EP. Dark Roast. with six additional tunes, dubbed Light Roast.

The nimble rocker “Moondance Baby” opens the set, highlighted by lively guitar runs and rock-solid rhythm support. “Ballad of Big Bill McGuire” is a rugged western blues tale with a southern rock feel, and the ballad “Until It Hits” mixes blues, soul, and jazz.

“Midnight Angel” is a powerful, mid-tempo rock, with fierce fretwork backed by Wilson’s keyboards and Lynn’s vocals. “From The Other Side” is reminiscent of a classic ’70s-era rock anthem, and “(In The Morning) When It’s Over” deftly mixes rock guitar over a driving blues groove.

“Beautiful Stranger” and “When Love Comes Home” are both solid rock tunes with pop overtones, with the latteroffering sizzling guitar work. The strong “Before You Fall” and “Hangin’ On” lean toward the blues side of the aisle, with fine work from both Taylor on vocals and guitar and the rhythm section, who also shine on the cool closing instrumental, “Rochester.”

Roasted is a fine set of blues rock tunes, leaning ever so slightly to the rock side of blues, but there are some great songs and performances that will make blues fans want to hear more from Hughes Taylor.

--- Graham Clarke

Matt “The Rattlesnake” Lesch was 12-years-old and living in St. Louis when he began studying the music of Albert King, B.B. King, Freddie King, Buddy Guy, Robert Johnson, Muddy Waters, and Howlin’ Wolf. At 16, he was mentored by local legend Big George Brock, and soon thereafter became Brock’s lead guitarist. Lesch has led his own band since his mid-teens, playing many local clubs and festivals in the Midwest, releasing his debut album at the age of 20. Now 27, Lesch has released Blues Cut Like Glass (Blues Lotus Recordings).

The opening track, “Feel So Good,” is a good ol’ blues boogie shuffle, with crisp fretwork from Lesch and organ from Taylor Streiff. “He’s A Bluesman” is a slow blues ballad remembrance of Brock, with harmonica from Jonny “Diamond” Erblich. The swinging “Big Legged Woman” introduces the horn section (Dan Smith – trumpet, Ben Shafer – tenor sax, Ian Buschmann – baritone sax), who also appear on the swaggering “I’m So Tired,” which follows.

“She’s My Everything” is a sturdy blues rock shuffle, and “Sittin’ At The Station” is a moody track that mixes jazz and blues. The somber, mid-tempo “Going Through This World All Alone” teams Lesch’s fiery guitar with organ from Luke Sailor, while the title track is a splendid slow blues that brings back the horns and Sailor on piano. Lesch’s guitar work and vocals are marvelous on this track.

The energetic shuffle, “Keep Your Promise,” benefits from the tight rhythm section (John Davies – bass, Chuck “Popcorn” Louden – drums, Wayne Sharp – organ) and hot guitar work from Lesch and rhythm guitarist Rich McDonough. “Let Me Cook For You” is a fast-paced instrumental that really DOES cook, thanks to Lesch on guitar, Gus Thornton on bass, and Louden on drums.

“Still Got My Blues” is a standout slow blues that leads into the closing instrumental, “Jammin’ At Paul’s,” which teams Lesch with Sean “Mack” McDonalds on guitar and organ and Paul Niehaus IV on drums.

The savvy Matt Lesch plays with a style and flair that belies his youth. He’s a genuine talent on guitar and a rapidly developing vocalist and songwriter who has a bright future ahead of him. Blues fans are advised to get on board right now with “The Rattlesnake” via the outstanding Blues Cut Like Glass.

--- Graham Clarke

Shari Puorto’s latest release, Hold On, offers more of the singer/songwriter’s mix of blues, rock, and roots that has captivated fans from coast to coast. Puorto recently moved from Los Angeles to Annapolis, Maryland, but hasn’t missed a beat, recording this set of eight original tunes with a versatile band (Ryan Ball – guitars/background vocals, Scott Chasolen – keys/background vocals, Doug Woolverton – trumpet/background vocals, Byron Isaacs – bass, and Randy Schrager – drums). The band collaborated on several of the songs with Puorto, and Woolverton and Chasolen co-produced the album.

The encouraging title track launches the disc in fine fashion, with Puorto’s strong vocal and rock-edged guitar work from Ball. Next, Puorto asks the question “Where Is The Great Music Going?,” combining blues and rock with a bit of country flavor. “Cyclone” is a gritty blues rocker, and “In The City” nimbly mixes blues and soul with a touch of jazz. “Why Not Me?” is a moody slow blues, one of Puorto’s best vocals of the album. The late Barry Goldberg co-wrote that tune and the moving “Forever More” with Puorto.

“You’re Right, I’m Wrong For You” adds a taste of funk and soul to the blues (compliments of Chasolen’s deft work on the keys), and the closer, “Home Bound,” summarizes Puorto’s sound perfectly --- a marriage of blues, rock, funk, and soul.

With superb songwriting and her versatile vocal style, Shari Puorto hits all the marks on the outstanding Hold On.

--- Graham Clarke

The sign of a strong blues scene is the number of new releases coming out every year. I get so many submissions sent to me, either by regular mail or by email, and at busy times in my life I just have to put some requests for reviews and airplay on hold until time permits.

That's the case with this very fine self-released album Brighter and Brighter, from Albany, New York group Amy Ryan Band, This one waited patiently in my email inbox until I could get to it, and I'm certainly glad I didn't overlook it. This example of a solid band dishing out soulful blues deserves to be heard, and perhaps it will garnish interest from one of the many blues labels out there right now.

Ms. Ryan is a solid vocalist, mixing soul and blues with her pleasant voice, with plenty of sass when she's singing about failed relationships. The other two key contributors on every cut are Richard Green (guitar, vocals) and Ed Stein (keyboards), both taking a big share of the instrumental solos on the 11 cuts, all of which are original compositions by either Ryan, Green, and Stein, often collaborating with each other. Rhythm section duties are shared by bassists Dave Imbarrato and James Alanson Kirk, with Mark McKay and Finn Green taking turns on the drum kit.

Ryan shows the power in her voice on the opening number, the slow, swampy "Hear That Train," with guest guitarist Mark Tolstrup providing appropriate slide guitar. "Won't You Tell Me" is a slow, jazzy soul/blues with Ryan sounding a bit like vintage Etta James at times, especially when her voice soars through the octaves, with Stein laying down a steady foundation with his organ. Green contributes a strong blues guitar solo and guest Chris Ferrone jumps in with a strong sax solo.

"I Got Eyes" is an up-tempo funky soul tune, featuring the first of three appearances by the outstanding Hancock Horns (Jeff Stevens - trumpet, Kris Jensen - sax, Peter McEachern - trombone). This trio of dudes adds a very brassy wall of sound on their studio stints, complementing Stein's organ solo and Green's guitar work. Stein and Green also shine on the up-tempo soulful blues, "Hold My Heart," a danceable tune on which Stein switches over to piano.

Ryan gets more aggressively demanding with her vocals on the blues shuffle "Outta My Life," telling that man that she wants to see the back of him as he's walking away, also using what turns out to be a recurring line of "...gotta put you down ...," which is also heard on a later cut. The Hancock Horns are back with their big sound, with Green laying down a scintillating blues guitar solo.

"Digging Myself Out of the Hole" is kind of a sequel to the previous number, a slow soul number on which Ryan sends out her blues side while trying to recover from the relationship in which the man lied, cheated and stole her money.

We get the remarkable Hancock Horns for one more cut, the pleasant soul tune "Brighter and Brighter," a more positive and optimistic song from our lead singer's life, with Jensen treating us to a very fine sax solo. We then return to the relationship problems on a mid-tempo soul with a walking beat, "How Dumb Do You Think I Am." Ryan packs a whole lot of emotion into her voice, while Stein and Green lay down back-to-back killer solos.

Green steps up to the mic for his own composition, Take It Or Leave It," an up-tempo blues/rock mover. It starts with a similar sound to Billy Boy Arnold's blues classic, "I Wish You Would," before Green clearly lays out what he wants in this relationship, giving that woman two choices --- take it or leave it. Green and Ryan harmonize on vocals at times, and we hear the same statement, "...gonna put you down ..." as in one of the previous cuts.

The sass in Ryan's voice returns on the funky and soulful "You Don't Get To," with Green laying down plenty of Memphis-style guitar licks. Closing the album is a slow, jazzy blues, "Love Is a Fool's Game," with Ryan again coming up empty in her search for love. We hear tasteful piano work from Stein and a nice bluesy guitar solo from Green.

Brighter and Brighter is a very nice album, and will have me searching for the Amy Ryan Band's other forays into the studio. This band is certainly worth our attention.

--- Bill Mitchell

Trial By Fire (Shakey Buddha Records), released by Fran Drew and the Lucky Strikes, was recognized as Best Self-Produced CD of 2024 by The Connecticut Blues Society. Ms. Drew got her start singing on street corners in the French Quarter and at various open mics before forming The Lucky Strikes (Dennis Cotton – drums, Max “Ce La Vie” Samson – bass, Gene Donaldson – guitar). Their new release, Trial By Fire, includes a dozen tracks, with guest appearances from Sax Gordon Beadle, guitarists Steve Isherwood, Brandt Taylor and Richiman, harmonica player Rich Badowski, and Matt Parker on sax.

The set list consists of mostly familiar blues tunes, beginning with the swamp blues classic “Neighbor Neighbor,” leading into the Memphis soul standard “Breaking Up Somebody’s Home,” the sassy “Flamin’ Maimie,” and the spicy “Roll With Me Henry.” Ms. Drew handles these tracks with aplomb and enthusiasm while superbly backed by the Lucky Strikes (Isherwood and Gordon also sit in on most of these tracks).

The band also delves into New Orleans R&B with a funky cover of Chris Kenner’s “Something You Got,” before launching into the tough rockabilly raver, “Fujiyama Mama,” with Taylor sitting in on guitar. Taylor also contributes to the sultry blues “I Look Good In Bed,” written by Dayna Kurtz. Big Maybelle’s rollicking “(That’s a) Pretty Good Love,” penned by Fred Mendelsohn and Buddy Lucas, gets a rowdy treatment as well.

The final third of the album focuses like a laser beam on the blues, beginning with “The Hunter,” one of Albert King’s most memorable tunes, the blues perennial “Rock Me Baby,” the New Orleans blues burner “You Can Have My Husband,” and a marvelously jaunty take on Memphis Minnie’s “Chauffeur’s Blues,” which closes the disc. Badowski adds harp to the final three tracks.

Trail By Fire is a fine set of blues classics updated with a fresh coat of paint, thanks to Fran Drew’s versatile vocals and the outstanding musical contributions of the Lucky Strikes.

--- Graham Clarke

Based in the Netherlands, No King is a high-energy blues rock quartet (Sjoerd Schelvis – vocals/keys, Jelle Wunderink – guitar, Stijn Middelhuis – bass, Lars Middelhuis – drums) that recently released their debut album, Roadside Rhythms. The band composed all eight songs, which combine blues and rock with a touch of pop flavoring.

The opener, “Wide and Far,” is a hard-charging blues shuffle, with searing fretwork from Wunderink and impressive backing from the band. The title track follows, with a bit more of a rock edge, serving as a narration to the band’s formation. The gritty “Midnight Misery” tells the story of Wunderink’s terrifying car crash, which left a lasting impression on the band as evidenced in both the lyrics of the song and the album cover art, while the catchy “Spacetime Rock ‘n Roll” incorporates pop and rock into the blues.

The blue rocker “Down Downtown” features standout guitar and rhythm section work, and “Show And Tell” slows things down just a notch, allowing space for Schelvis’ keyboards and vocals to shine. The brisk instrumental “Royal Gumbo” picks up the pace once again before the album wraps with the moody blues “Ain’t No Fool,” which, like the rest of the album, is packed with distinctive music and songwriting.

No King serves up an impressive debut release with Roadside Rhythms, which hopefully will lead them to wider exposure to blues rock fans across the world.

--- Graham Clarke

The Speed Of Life (American Blues Artist Group) is the 10th release from the Ohio-based singer/songwriter/guitarist Dudley Taft, with this release leaning a little more to the “rock” side of the blues rock genre that is his specialty. That’s perfectly fine. Taft has crafted a dozen excellent tunes, and his powerful vocals and guitar work are still front and center.

The session was recorded at Svorov Studios in Prague, and Taft is backed by Nick Owsianka (drums), Dave Marks (bass/percussion/keyboards), Bennett Holland (keyboards), and backing vocalists Ashley Charmae (Taft’s daughter) and Gina McCann.

The opening track, “Wanted Man,” is a terrific blues rocker with a funky edge, while “Miles And Miles To Go” is a road song with a driving beat and a nice mix of acoustic and electric guitars. “Work It Out,” “Burn It Down,” and “Set Me On Fire” are all hard-charging rockers with slightly different tempos, all highlighted by gritty guitar work. “Pretty Little Thing” is a sweet tribute to Taft’s wife and daughter.

“Topaz Blue” is a well-crafted, masterful ballad that’s equal part blues and rock, maybe the most distinctive track on the disc. “Same Mistakes” is a driving rocker taken at breakneck speed, and the hopeful “No Yesterday” features scorching Hendrixian fretwork.

“The Traveler” has the feel of a classic rock ballad, and Taft does a fine job on vocals and songwriting. “Into The Blue” takes a similar bent, with Taft’s nimble guitar work and great harmony vocals. On the thunderous closer, “No Time Left (Long Live The King),” Taft ruminates on the state of the world.

The Speed Of Life is another fine addition to Dudley Taft’s musical catalog. Each album improves upon its predecessor, and the singer/guitarist/songwriter continues to hone his craft.

--- Graham Clarke

Christopher Wyze & the Tellers (Wyze – lead vocals/harmonica, John Boyle – guitars, Gerry Murphy – bass, Mark Yacovone – keyboards, Douglas Banks – drums, Ralph Carter – backing vocals/percussion, Irene Smits – backing vocals) follow up their successful debut album, Stuck In The Mud, with a live set captured at the Juke Joint Chapel music hall at the Shack Up Inn in Clarksdale, Mississippi. The CD/DVD set, Live In Clarksdale (Big Radio Records), includes ten songs, eight from the band’s debut release, plus two blues classics originally cut by Leroy Carr and Scrapper Blackwell.

The eight original songs, written by Wyze with Carter, Murphy, or Cary Hudson, all charted on the Roots Music Report (RMR) chart, and they include “Three Hours From Memphis,” “Back To Clarksdale,” “Money Spent Blues,” “Hard Work Don’t Pay,” “Stuck In The Mud,” “Cotton Ain’t King,” “Looking For My Baby,” and “Good Friend Gone.” Wyze and the Tellers faithfully and energetically recreate these tunes, and the production gives the listener (and the viewer) the feeling that they’re sitting on the front row.

The two Carr/Blackwell covers, “How Long, How Long Blues” and “Nobody Knows You When You’re Down and Out,” are both well done. Carr and Blackwell recorded the former tune in 1928 and Blackwell recorded the latter in 1961, both in Indianapolis, That's where where Wyze and a couple of the band members call home, so these tracks have sentimental value.

The DVD includes the live performance of the songs on the CD, but there is also a cool feature video with Wyze traveling through Clarksdale, giving viewers a useful guided tour of the city. The tour includes a visit to the Shack Up Inn, the Clarksdale Tourism Department (with Bubba O’Keefe, who has played a big role in the city’s recent development), Cat Head Records (with Roger Stolle, who needs no introduction here), Ground Zero Blues Club, and Deak Harp’s harmonica shop, as well as several restaurants and the Delta Blues Museum. It provides a great guideline for anyone unfamiliar with the city, and Wyze has a blast giving the tour.

Blues fans (both newcomers and hardened vets) will get a kick out of Live In Clarksdale for the music and the information. Thanks to Christopher Wyze & the Tellers for putting this together.

--- Graham Clarke

Bay Area blues man Blind Lemon Pledge (a.k.a. James Byfield) has released his first live album, Lemon Live! (Ofeh Records). Coming off one of his best CDs, 2024’s Oh So Good, Pledge (guitar/vocals) assembled his band (Winston “Sioux City Slim” Andrews – harmonica, Peter Grenell – bass, Juli Moscovitz – drums) for a pair of shows in Pacifica, California, from which 13 tracks were selected for this entertaining set. Six tunes were penned by Pledge with seven recognizable covers.

The set opens with three Blind Lemon Pledge originals, the slide guitar workout “Black Eyed Susie,” which serves as a tribute to Son House, the lively “Hard Heart Honey Bee,” and the bawdy “Sugar Rush,” a swinging, old-timey number. Pledge’s cover of Fenton Robinson’s “Somebody Loan Me A Dime” follows the Boz Scaggs ballad cover version, taking its sweet time and allowing space for Pledge’s guitar work and Sioux City Slim’s tasteful harmonica.

Pledge also offers two splendid Muddy Waters tracks, a rumba version of the somewhat obscure “She’s Into Something,” and a driving, Delta-esque interpretation of “I Feel Like Goin’ Home.” There’s also a terrific take on the ’50s R&B (Little Willie John) and pop (Peggy Lee) hit “Fever,” and the traditional blues/folk song, “I Know You Rider” (traced back to another “Blind Lemon” – Blind Lemon Jefferson, among others).

Another Byfield original, the somber blues track “You Can’t Get There From Here,” slows the pace a bit, but Tommy Johnson’s “Big Road Blues” is given an upbeat treatment and the Pledge original “Railroad Mama” is a cool “train” song that shuffles right along. The blues standard “The Red Rooster” gets a laidback, Delta read before Pledge closes the set with “Junkyard Dog,” an amusing track that invites enthusiastic audience participation.

Lemon Live! would serve as a great starting point for blues fans new to Blind Lemon Pledge, as it provides a fine representative set of the amiable blues man’s talents and charms, and should encourage them to dig deeper into his catalog. It’s also a fun set that his longtime fans will really enjoy.

--- Graham Clarke

Tim Gartland’s latest release, Right Amount of Funky (Taste Good Music), features eight originals written or co-written by the harmonica master (Karen Leipziger co-wrote two of the tracks) that blend the blues with soul, roots rock, and reggae. Gartland plays chromatic and diatonic harmonicas, providing his weathered baritone vocals on all tracks with support from Robert Frahm (guitars), Jack Bruno (drums), Mike Joyce (bass), Joey Nardone (keys), Nalani Rothrock (backing vocals), Andy Peake (percussion/backing vocals), Dennis Drummond (acoustic guitar/backing vocals), and Jolie Grace Wareham (backing vocals).

The world-weary “Waste A Worry” opens the album, the tale of a friend who’s down on his luck but determined to persevere. The title track adds a taste of New Orleans as Gartland reflects on what makes music good music.

“A Better Life” is a bluesy rhumba that describes the influence of immigration in the country, and “Walk Away” takes a somber look at the end of a relationship, belying it’s bouncy, good-natured rhythm. Gartland co-wrote both of these tunes with Leipziger.

“If This Ain’t Heaven” is an upbeat love song with a Gulf Coast feel, while the reggae-flavored “Alone Times” continues the musical trip southward down to the islands. “About To Cry” is a slow, soulful blues, and the closer, “Stop Working Me,” is a straight blues track bemoaning the constant presence of sales pitches, hustlers, and con men.

Right Amount of Funky is a satisfying set of blues and roots tunes that showcases Tim Gartland’s clever songwriting and his deft harmonica skills.

--- Graham Clarke

Stevie J Blues is back with his latest single, “So Close,” a smooth blues/R&B two-stepper with an irresistible rhythm and a catchy hook that folks will be singing to themselves all summer long.

Lending a hand on vocals this time around is PKMG composer Dubb Ruffin, who has co-written a few previous memorable Stevie J Blues tracks (“Like Marvin,” “Leaving Me,” and “Uber”) and seems pretty comfortable behind the mic himself.

Sounds like another winner for the Jackson, Mississippi blues man.

--- Graham Clarke

Grady Champion’s latest single, “If The Price Is Right,” finds the Canton, Mississippi bluesman reflecting on the way of the world, and how each of us can do what we want in life, no matter what kind of start you have, if we are willing to put the work in to get it, something the hard-working Champion knows from experience.

Like his previous single (“So What If My Best Ain’t Good Enough”), this track is also produced by Eddie Cotton, who adds his own distinctive guitar to the proceedings.

“If The Price Is Right” is another great release from Champion that should satisfy blues, soul, and R&B fans.

--- Graham Clarke