Blues Bytes

What's New

June 2008

an associate Order these featured CDs today:

Wanda Johnson

Alberta Adams

Watermelon Slim

Rob Roy Parnell

David Jacobs-Strain

Kelly Richey

Seth Kibel

Sonny Landreth

Wanda JohnsonWanda Johnson may well be on her way to becoming the new voice of soul and blues. Hailing from Belton, South Carolina, Johnson was born in 1963 into an all-girl family that was constantly surrounded by music. In the early ’90s, Johnson began sitting in with local bands. By 1999, her lovely voice and tremendous stage presence caught the attention of Gary Erwin (aka Shrimp City Slim) – a blues keyboard player/singer/songwriter, promoter, and record label owner. The two have been collaborating ever since, and Johnson continues to hold her day job as a victims’ right advocate.

As with her two prior releases, Steve Green recorded, mixed, and mastered the 14 new songs over a few days. The primary songwriters were Johnson and Slim who contributed more than half of the material himself. Hold What You Got features Wanda Johnson (vocals) and the six-piece Shrimp City Slim Band who work as Johnson’s support band when she is on the road. "Allergic To Mink" is a joyful experience thanks to this well rounded band.

The opening track – the title cut – is a fun song about a skinny little thing becoming a big leg woman. On it, Johnson’s vocals make her sound elderly and appear wise. You’ll sing along with the chorus on the catchy "Give Your Face A Rest." Motown meets Stax on "Wheel Your Love To Me" where Juke Joint Johnny’s harp infuses blues into the pop sounding song.

Comparisons between Johnson and a young Irma Thomas have been drawn in the past. You’ll hear why on the classy ballad "Your Side Of Town." It is a lovely and tender song, but the chorus is too repetitive and the lyrics leave too many questions unanswered. For fans of the six-string, "Girlfriend" features Silent Eddie Phillips’ low down and dirty slide guitar. You’d be hard pressed to call this a blues album as the melodies are more aligned with R&B and soul. Still, "Believe Me Baby" is a very blues-like song that depicts a smoky cocktail lounge and sounds inspired by Otis Rush’s "All Your Love (I Miss Loving)."

Johnson’s first two CDs – Call Me Miss Wanda and Natural Resource – were filled with happy and fun melodies. Some of that same girlish nature exists here, but overall Hold What You Got reflects a mature and strong-willed woman. Although these songs aren’t as likable as the ones on her previous recordings, Wanda Johnson has created a radio-friendly pop music CD. At the forefront is the ivory of Slim who shares the singer’s spotlight. His keyboards are at their best when focused on boogie-woogie style piano as opposed to high school prom/wedding reception material. Johnson’s full potential is yet to come. When it does, she’ll be one of the great vocalists of our generation.

--- Tim Holek

Alberta AdamsDetroit Is My Home is an exquisite new outing from Detroit’s 90-something Queen of the Blues, Alberta Adams. This is the bowl-you-over kind of disc that the big labels might squeak out once in a while, but local labels aren’t expected to have the firepower to produce.

Eastlawn Records doesn’t subscribe to such cliché theories. The production is tight, contributions of the accompanying musicians stellar, and Ms. Alberta is in fine voice throughout. From the opening salvo of boogie woogie chops emanating from Mr. B on the opening “Keep On Keepin’ On,” it’s obvious that this is going to be a party. Alberta, whose current image graces the front cover and one from 50 or more years back is on the back, rocks the house.

The following “Tired of Being Alone,” is a plaintive blues on which she wonders why her man left her (“he didn’t even say goodbye”). “Hello Little Boy,” a tune Alberta cut for Chess 40 years ago, features a superb Paul Carey big bodied guitar solo, Al Hill’s piano, and musical director RJ Spangler’s rock steady drumming. “I’m So Worried,” with James O’Donnell’s sweet plunger trumpet setting the backdrop, is a song that just drips the blues. Alberta gets her soul into lines like “don’t know how I’ll make it/baby, if I don’t have you.”

Following the very hip title cut, Alberta invites the internationally-lauded Ann Rabson (Saffire-the Uppity Blues Women) to sit in on the Rabson-penned “Dr. Blues,” a percussion driven delight. Al Hill returns to the piano chair for his “Always Home,” a tune that reminds of a Randy Newman blues at times. Clever lyrics, great piano work, and the vocals of a master. Alberta’s own “Wet Clothes” is kicked off by a Spangler rim shot and keeps a steady shuffle throughout. Alberta sings about “hanging out like wet clothes drippin’ on dry land,” because the men just aren’t to be trusted.

Rabson returns to sit in on her New Orleans heavy “Struttin’ My Stuff,” a tune on which AA duets with Cee Cee Collins and gets way sassy. Everyone here shines. The baritone, piano and drums work magically and there’s no denying the draw of Ms. Alberta. Cee Cee adds to the mix in a most delightful way. This may be the centerpiece for a disc that’s a knock-out top to bottom. Al Hill sits in for his “Long Gone,” a tune that Alberta takes for her own.

“Every Day I Have the Blues” is medlied in with Tim Marks’ “I’m On the Move,” a tune he wrote for Adams and which she carries with authority. Carey plays delicious lines, Rabson adds tasty touches, and Alberta’s backup singers are Cee Cee Collins again, with the Princess of Detroit Blues, Thornetta Davis. Great tune. Ann Rabson brings the bluesy piano in for a low lights blues on “Hopin’ It Will Be Alright,” a tune from her prolific pen that Alberta wears like a comfortable slinky dress. Great mute work from O’Donnell gives it atmosphere to spare.

The closer is a live version of Roscoe Gordon’s “Just A Little Bit,” a rousing way to close the set. Recorded at Sushi Blues, a club in Florida, it features the band showing off their considerable chops and Ms. Alberta singin’ it like she’s been doing for a half century or more.

The core band here is as first-class as they come. Producer and Handy-nominated drummer supreme RJ Spangler leads the band. Paul Carey, one of the standout guitarists on the planet, shares space with Shawn McDonald’s organ and a killer horn section of Keith Kaminski (tenor and bari) and James O’Donnell (trumpet).

Alberta Adams received a Lifetime Achievement Award from the Detroit Blues Society, has been nominated for a couple of Blues Music Awards and has been knockin’ ‘em dead in the city for more than half a century. She sings it like she’s lived it and brings more real life to the tales than a boatload of bluesifiers. Ms. Adams is the real deal, and there just aren’t many of the classic singers around to tell us how it really was and is. Alberta Adams is a Detroit treasure – make that a national treasure.

--- Mark E. Gallo

Terry Gillespie, formerly of Detroit, now calls Ottawa, Ontario home. It is certainly Canada’s gain. The highly regarded critic Tim Holek has called him Canada’s “King of Roots Music.” He has indeed been a bit of a Canadian blues legend for 40 years. Though raised in England, he was born in Edmonton, but it was in Detroit, in the 1950s and '60s, that he cut his musical teeth. He attended MSU to study chemical engineering, but it was musical concoctions that moved his soul. He came up on the local stages and shared space with everyone from John Lee Hooker to Albert Collins, with stops along the way backing Peter Tosh and Jimmy Cliff. He moved from Detroit to Montreal briefly and made the return to Canada permanent when he took Ottawa for his home in 1967.

Brother of the Blues, his first recording in many, many years, is an amalgam of all of the above and more influences picked up along the way. The lead-off title tune reminds of Mark Knopfler with its stunning guitar work. On “Yellow Moon,” there is a heavy footed shuffle and a “chorus” of saxophones from Jody Golnick over Stephen Barry’s deep bass and Gordon Adamson’s snappy drums. “Big Boy” has a slinky groove, “Cold Ground,” with Martin Boodman’s harp comping, is deceptively upbeat.

“Yellow Moon” has shades of Van Morrison, both in Gillespie’s vocal presence and in the arrangement. “Carl Nicholson” (aka Van Morrison) is even more so, down to the imagery in the writing. ("I will sing my song along a winding lane/one country to another/we were young/our souls on fire/in 1968 that’s when I met my brother”).

Jimmy Reed’s “I’ll Change My Style,” the only cover in the bunch, has a lope that’s infectious. “Rue Guy Boogie” is not a boogie. Whatever it is, it is definitely a toe-tapper of the highest order. It has elements that remind of the Band. Jody Golick’s baritone work is the treat on the cut. “Bath Tub” reflects his affection for Jamaica music, with an almost dub style, and the closer “Kruschev” is a flashback for us of a certain age who remember Nikita and his shoe pounding episode at the UN as the enemy.” Cool harp, big percussive beat,

This is most decidedly not your daddy’s blues.

--- Mark E. Gallo

Watermelon SlimWatermelon Slim received six Blues Music Awards nominations in 2008, winning Best Album and Best Band awards. Combining the six nominations this year with the six nominations he received in 2007 gives him an unprecedented twelve nominations total in consecutive years. Relentless touring and two excellent albums of his quirky hard-rocking blues over the past couple of years has resulted in the charismatic Oklahoma bluesman becoming one of the most popular artists in modern blues.

Slim’s latest effort, with his band, the Workers, is probably his best yet. No Paid Holidays (NorthernBlues Music) features his riveting brand of blues that takes the listener from the Mississippi Delta north to Chicago and back down through Oklahoma. Propelled by Slim’s scorching dobro (electric and acoustic) and his weathered vocals, along with outstanding support from the Workers (Cliff Belcher – bass, Michael Newberry – drums, Ronnie “Mack” McMullen – guitars, along with Grammy winner Dave Maxwell on keyboards for a couple of tracks), No Paid Holidays is an exhilarating ride from start to finish.

Standout tracks include the incendiary “Archetypal Blues No. 2,” which features some magnificent guitar work from Slim, and a ramped-up version of Detroit Jr.’s “Call My Job,” driven hard by Slim’s harmonica. Lee Roy Parnell adds sizzling slide guitar to “Bubba’s Blues.” “And When I Die,” the Laura Nyro-penned classic made popular by Blood, Sweat & Tears over 30 years ago, sounds for all the world like an original composition in Slim’s hands.

“Into the Sunset” is a country-flavored romp, and “Max The Baseball Clown” is a fond remembrance of Max Patkin, the legendary barnstorming baseball clown who toured minor league stadiums for over fifty years. “I’ve Got A Toothache” proves that even the most mundane events can give someone the blues with imagery so vivid you can almost feel yourself getting one. Slim closes the disc with an atmospheric cover of Mississippi Fred McDowell’s “Everybody’s Down On Me.”

Watermelon Slim continues to be one of the most original and vital voices currently working in the blues. Expect to hear more from him and No Paid Holidays during the 2009 Blues Music Awards.

--- Graham Clarke

Rob Roy ParnellRob Roy Parnell plays that wonderful Gulf Coast gumbo of music he grew up with in Texas that mixes of rock, blues, country, R&B, soul, and boogie woogie, with a little bit of swamp thrown in for good measure. This brand of music has been lucrative to others of his ilk, such as his brother Lee Roy Parnell and Delbert McClinton, both of which has carved solid careers bringing this music to fans all over the world. Parnell’s latest release, Let’s Start Something (Blue Rocket Records), features him at the top of his game, doing what he does best, playing powerful Texas roadhouse music.

The opening cut, “I Know Better,” would have been a great fit on one of those ’80s/’90s Black Top Records with it’s punchy horn section (Don Wise on sax and Scott Ducaj on trumpet) and James Pennebaker’s smooth guitar break. “Sorry As They Come” is a solid R&B track picked up a notch by Kevin McKendree’s B3 and Lewis Stephens’ piano. “Long Distance Love” features brother Lee Roy’s slide guitar and has more of country feel to it.

Stephen Bruton co-wrote the funky “That’s All She Wrote,” and contributes lead guitar and backing vocals, and Nashville singer Jonell Mosser adds powerful backing vocals to “If Mama Ain’t Happy.” “Rose Petals” sounds like a long lost swamp pop classic. Parnell had a hand in writing 10 of the 12 tracks, the lone covers being a bluesy version Percy Mayfield’s “Loose Lips,” and a rocked-out take on Roy Brown’s R&B classic “Lollipop Mama.”

Parnell is regarded as one of the best harmonica players out there and has a voice that’s an easy fit for everything he tackles here. In addition to the musicians previously mentioned, he gets able assistance from Dave Milsap on lead guitar (who also co-wrote a couple of tunes), bassist Sarah Brown (who also collaborated on “That’s What the Blues Is All About”), Hector Watt on lead and rhythm guitar, Steve Mackey (bass), Lynn Williams and Rodney Craig (drums).

Fans of hard-rocking Texas music will love Let’s Start Something, which is guaranteed to put a hop in your step. Check out Rob Roy Parnell at his website,

--- Graham Clarke

David Jacobs-StrainLiar’s Day is David Jacobs-Strain’s sixth release. The 24-year-old is already recognized as one of the most accomplished finger-stylists and slide guitarist in any genre. Though his style has deep roots in the blues, Jacobs-Strain has absorbed other influences as well, resulting in a body of work that is equal parts blues, rock, and even some World influences.

Liar’s Day was produced by Kenny Passarelli (Otis Taylor, Stephen Stills, Eddie Turner), who also plays bass, and has Joe Vitale on drums, with support from Billy Barnett on tambourine. Passarelli and Vitale, Joe Walsh’s rhythm section in the ’70s, are perfect compliments to Jacobs-Strain, maintaining an aggressive presence, but allowing the guitarist ample room to ply his wares. Indeed, the disc offers a wide range of material that really highlights his abilities.

Jacobs-Strain brings eight originals to the table this time around (out of 11 total tracks). The fiery title track discusses the current war from the soldier’s viewpoint. “Rainbow Junkies” sounds sort of like Bo Diddley meets Vishwa Mohan Bhatt. “Say It To My Face” is a straight rocker, as is “Christmas In July.” “Don’t Have a Choice” is a poignant ballad featuring Passarelli on piano.

The cover tunes are all blues tracks. Jacobs-Strain gives Robert Johnson’s “Traveling Riverside Blues” a jazzy makeover. His rowdy remake of Mississippi Fred McDowell’s “Write Me A Few Short Lines” is letter-perfect. There’s also an ominous take on Walker T. Ryan’s “Black Cat at Midnight.”

Jacobs-Strain’s guitar work is already renowned, but his singing is also first-rate as well. Liar’s Day is a sincere and passionate work and stands out as his best effort yet.

--- Graham Clarke

Kelly RicheyGuitarist Kelly Richey’s latest release, Carry The Light (Sweet Lucy Records), is her most personal release yet, with 11 songs that capture her feelings on a variety of topics, from the state of the world we live in to the ongoing war to her own personal reflections on life.

Richey has been active on the recording scene since the early 9’0s, when she was part of the group, Stealin’ Horses, which recorded on the Arista label, before forming The Kelly Richey band. Since then, she’s recorded ten CDs, both as a solo artist and with the band. Her fretwork has drawn comparisons to Jimi Hendrix and Stevie Ray Vaughan.

As stated, Richey addresses modern topics with her lyrics, whether it’s the threatening encroachment of government into our daily lives (“I Want You”) to the current state of both country and global affairs (“What In The World (Were We Thinking),” “Run Like Hell”), to the war on terror (“Angela’s Song,” “No More Lies”). Whatever your opinions may be on these subjects, Richey doesn’t bash you over the head with her opinions. She’s merely putting them out there for you to digest. Regardless of whether you accept or reject them, you’re guaranteed to hear them out based on her method of delivery. For most artists trying to express their personal beliefs, this is a lost art. Fortunately, Richey does it the right way.

Even more personal are tracks like “When All Is Said Or Done,” which addresses our mortality and whether we’ve done all we need to do before our time is gone. “Looking For A Fight” describes her desire for people with differing opinions to better understand what makes the other side tick (sound advice for both sides of the political spectrum), and the riveting title track could probably serve as Richey’s mission statement.

Throughout, Richey receives standout support from her band (Josh Seurkamp – drums, Amos Heller – bass, Bill Brandenburgh – keyboards, with additional guitar from John Redell and Mick Denton), along with a strong, sympathetic effort from co-producer Rick Brantley.

Carry The Light is a powerful and personal statement from Kelly Richey, one that sounds like it’s been tucked away for a long time and bursting to come out. This one is definitely worth your attention.

--- Graham Clarke

Seth KibelTenor saxophonist Seth Kibel got his start playing with the Cayuga Klezmer Revival, New York’s premier klezmer band, and currently leads the Alexandria Kleztet. He’s received numerous awards in the Washington/Baltimore area for his work in klezmer, but he has also fronted numerous swing and jazz groups, while performing with Sam Moore (of Sam and Dave fame), Percy Sledge, and the Coasters and recording with Eugene “Hideaway” Bridges, Daryl Davis, the Skyla Burrell Blues Band, and jazz vocalist Esther Haynes.

The Great Pretender (Azalea City Recordings) is Kibel’s first solo recording and features interpretations of classic songs along with some creative original compositions. Though he’s more or less associated with klezmer, his saxophone work and arrangements are bathed in the blues.

Kibel covers a wide range of artists on The Great Pretender, from Woody Guthrie (a relaxed take on “This Land Is Your Land,” featuring Dave Giegerich’s dobro), to Joe Zawinul’s bouncy “Walk Tall,” to Willie Woods’ rocking “Hot Cha.” He gets vocal support on four tracks. Eugene “Hideaway” Bridges plays guitar on three tracks and takes the mic for a breathtaking version of Bob Dylan’s “If You See Her, Say Hello,” and a delightful take on the Kinks’ “You Really Got Me,” complete with more of Giegerich’s dobro. Blues singer Melanie Mason tackles Duke Ellington’s “I Ain’t Got Nothin’ But The Blues” with successful results, and Billy Coulter does a nice job with Tom Waits’ “Mr. Siegal.”

The original compositions include “Nuts and Bolts,” a hot jazz number which features some blistering guitar from D.C. guitar legend Dave Chappell, and “Corcoran Blues,” which has more of a blues feel.

This is a very well-crafted collection of blues, jazz, and R&B from Kibel. Fans of all three styles will embrace this one. Check this release out at and visit Kibel’s website (

--- Graham Clarke

Englishman Richard Morgan is a published poet and has also been making documentaries for Swiss TV for the past 15 years. Recently, he decided to embark on his third creative career, writing and singing songs in a blues/jazz vein. Recently, he released an EP called Letting Go (invisipics). Morgan wrote all four songs and is accompanied by pianist Leo Chevalley.

The four songs are in the style of ’30s to ’50s jazz/blues and show Morgan to be a talented lyricist with wit, charm, and intellect. “Life’s A Roller Coaster” is a song of optimism that we can all relate to, about how the bad times in life are soon supplanted by good times. “Falling Down” is a lively and humorous little love song, and “Big Bad Man” is a harrowing, yet hilarious tale of encountering a fearsome chap in France. The title cut is a reflective track about growing old and letting things go that have held you back.

Morgan has a warm, engaging voice that suits his material well. He should only improve with more experience. As mentioned, his lyrics are first-rate and sometimes remind you of those mid 20th century jazzy standards. Chevalley provides excellent, sympathetic fills and the occasional solo.

Fans of jazzy piano-driven blues will find Letting Go to be a pleasant listening experience. Go to for more information on the disc and on Richard Morgan.

--- Graham Clarke

Sonny LandrethAs far as slide playing the blues you can’t get much better than south Louisiana’s greatest blues import, Sonny Landreth. Perfectly evident on his latest release, From the Reach (Landfall Records), Landreth slides and slithers up and down the frets producing some incredible sounds. This has always been the case if you’ve ever had the distinct pleasure of seeing him play live or just heard his recordings. Having the great fortune of living in Lafayette, LA., Landreth’s hometown, I get to see him live on a pretty regular basis. I wrote a review of his live CD for this site, a few years back, after seeing him perform at a CD release party for Live at Grant Street. This picker continually surprises me with his unique style of playing.

Landreth alone is worth the price of any recording he may show up on, solo or with so many other artists ranging from John Hiatt to Cajun superstar Zachary Richard. The extra icing on the cake for From the Reach has a turnaround of sorts where an awesome array of musical greats appear on Landreth’s recording this time including his partner in arms, Eric Clapton (who’s been quoted to say that Landreth may be one of the greatest guitarists playing today), country great Vince Gill, New Orleans’s favorite piano player Dr. John, Mark Knopfler and the main Parrotthead himself, Jimmy Buffet. Landreth has said about this recording, “It’s the classic dream come true. I wrote these songs with these guests in mind, as a tribute to their influence on me. Inviting them to come aboard led us down some amazing paths.”

And what truly inspiring paths Landreth and his musical cohorts traveled down. The lead-off track, "Blue Tarp Blues," features Knopfler and Landreth trading guitar licks in a simmering stew with Knopfler’s distinctive picking and vocal works adding superb depth to the tune. Additional standouts (though every song is a winner in my opinion) includes the upbeat "Howlin’ Moon," adding a New Orleans beat supplied by Dr. John’s piano and voice barking back at you about the Howlin’Moon. Vince Gill’s country sensibilities mesh very well with Landreth’s playing on "The Goin’ On." To get a riveting example of what Landreth can do on a guitar, take a listen to "Uberesso" and be prepared to sit (or stand if you play air guitar like myself), surrounding yourself with astounding music.

Obviously, I’m a huge fan of Landreth (you haven’t figured that out yet) but just let his music speak for itself. Run, and I mean dash, to your nearest CD store to get a copy of From the Reach and I guarantee you a heck of a good time. Or simply go to Landreth’s site,, to listen to samples, check tour dates and purchase the CD online. Enjoy.

---Bruce Coen

Magda PiskorczykBlues from Poland? Possibly the last place you’d expect to hear blues coming from. Magda Piskorczyk has a great bluesy voice, and you’d never guess that she was from Eastern Europe – although you might guess at Mississippi or Tennessee.

Magda Live (Graff Records) was recdorded live in Gdansk, Poland, and it comprises 13 tracks with a mixture of Robert Johnson, Nat Adderley, Tracy Chapman, Tommy Johnson, Paul Rogers, Sister Rosetta Tharpe and others.

The album has a jazzy feel to it, breaking into blues now and then, with most of the jazz feeling coming from the tenor sax playing of Arkadiusz Osenkowski and from Roman Ziobro on double bass.

If you’re looking for something different, then give this CD a listen.

--- Terry Clear

North Miss All-StarsShake Hands With Shorty, from the North Mississippi Allstars, a band formed in 1996 from the remnants of a punk band DDT, has just been released in Europe by Blues Boulevard Records, an outfit dedicated to bringing great blues to European ears (the original release was on Tone Cool Records). The CD was recorded in 2000, and it was the band’s debut album – it’s taken eight years to come round again, but it still sounds fresh.

The inspirations for the band are mainly Mississippi Fred McDowell and R.L.Burnside. Gary Burnside plays bass on a couple of tracks --- his father’s “Goin’ Down South” and Junior Kimbrough’s “All Night Long.” As both of those inspirations are big favourites of mine, it was a reasonable assumption that I would like this CD, as long as the songs were played well – and they are. There is also a hint of Allman Brothers and Canned Heat mixed in, too, to spice up the pot.

They’ve brought five more albums since this one, but to my mind, the original is still the best. The CD opens with Fred McDowell’s “Shake Em On Down” – they’ve made a lot of changes to this song, but it hasn’t spoiled it – rather, it’s just taken it in a slightly different direction and given it a bit more tempo. Maybe a bit too much for purists, but I like it.

There are four McDowell tracks altogether, plus three by R.L.Burnside, a Junior Kimbrough, a Furry Lewis and Little Walter’s “Sitting On Top Of The World.” These guys have the ability to record cover versions of great blues songs, adding their own flavour, without spoiling the original ideas.

I’ve been trying to pick out a favourite, but there are two and I can’t decide between them – so, here they are: Track 2, Fred McDowell’s “Drop Down Mama,” and track 3, R.L. Burnside’s “Po Black Mattie.”

The guests on the album, as well as Gary Burnside, include Cedric Burnside, Alvin Youngblood Hart and Otha Turner, creating a good mixture of styles.

Well done, Boulevard Records, for bringing this CD out again.

--- Terry Clear

Duke DangerI have to admit to this being the first time that I’ve heard of Duke Danger (Duke Faglier), a native of Daytona Beach, Florida. In high school he played in bands with a couple of the Allman boys, among others, and this obviously helped shape his music, along with a great love of B.B.King’s material.

The CD cover for If It Ain't One Thing (Blues Boulevard) lists various influences as well as B.B.King, including Albert King, Freddie King, James Cotton, Junior Wells, Little Milton and Etta James. However, his vocals seem to have more of a soul feel than pure blues – not that this detracts from the man’s talent. The vocals on this CD go from soul through rhythm & blues to blues, giving a good feel for the breadth of the man’s range.

From the 13 tracks on the CD, there are five written Duke and a couple written by rhythm guitarist Jimbo Thornton. Of the others, the best to my mind (and my favourite track on the album) is Steve Bogard’s “Damn Your Eyes,” a track normally picked by female vocalists. He makes such a good job of this track that it puts the most of the other tracks a little in the shade, although his version of Cole Porter’s “Tuffer Than Tuff” comes a very close second.

I haven’t been able to find out much about Duke Danger, but I’m guessing that this is his first CD. I think we’ll be hearing more from him in the future.

--- Terry Clear


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