|
 Double
Strike (American Showplace Music) could be
described as a transition album for the
Nashville-based Andy T Band, with veteran
singer Nick Nixon retiring after doing three
very fine albums with guitarist Andy T. A search
for a new vocalist to replace Nixon came down to
the highly-recommended Alabama Mike, who had his
own solo career underway. Andy T still had some
tracks with Nixon that needed to be heard, so
this album does an even split --- six vocals by
Mike and six by Nick --- thus, the reason it's a
good transition from the past to the future. An
added bonus is the appearance of blues guitarist
Anson Funderburgh, currently touring with the
Andy T Band this summer, on four cuts.
The
first two songs on Double Strike feature
Alabama Mike on vocals, a nice way of
introducing this exciting singer to the Andy T
loyalists who may have been concerned that the
music quality would drop with Nixon's departure.
That fear is quickly dispelled as Mike booms out
the words to the blues shuffle "I Want You Bad,"
showing off powerful, rich vocals.
Funderburgh, who needs no introduction to most
blues fans, comes in with a strong blues guitar
solo late in this cut. Oh, Anson, how we love to
hear you play the blues! Next up is a pleasant
blues shuffle, "Somebody Like You," a lilting
melody that again gives Mike a chance to shine
while Larry van Loon comes in at the midway
point with a strong B3 solo.
Our
first Nick Nixon cut, the mid-tempo "Deep
Inside", is an Andy T original that features
harmonica accompaniment by Greg Izor. Nixon then
gets more soulful with the original composition
"Sweet Thing," an ode to that woman who takes
good care of him. Performing here as part of the
Texas Horns, sax legend Kaz Kazanoff checks in
with a nice tenor sax solo. Nixon keeps this
soul train moving down the track with a pair of
Chuck Willis numbers, the oft-covered "I Feel So
Bad" and "Juanita." The latter song gives us the
first slow blues number of the disc, this one
with some nice gospel overtones. It's Nixon's
best vocal performance on the album as he pleads
with Juanita to come back to him. Nice subtle
blues guitar accompaniment by Andy T here.
With a
total of 13 cuts on the album, with each
vocalist appearing six times, that leaves one
number unaccounted for, thus we get a very nice
mid-tempo instrumental "Mudslide," written by
Funderburgh. But Anson doesn't appear on this
one, instead with Andy T ably handling the
guitar duties along with van Loon's B3 work.
van
Loon provides the intro to another mid-tempo
shuffle, "Sad Time," marking the return of
Alabama Mike to the front of the stage for a
Nick Nixon original composition. Good vocals,
but it's van Loon's B3 playing that bumps this
tune up to another level. A killer sax solo by
Kazanoff sure doesn't hurt either. A band
original, the slow blues "Doin' Hard Time," is
all about the guitar players, with Andy T and
Anson both checking in with powerful solos.
This
band sure likes to sing about drinking (after
all, the title of their first CD was Drink
Drank Drunk), and here they cover Goree
Carter's "Drunk Or Sober." Nixon returns to the
mic for this number with a bit of a funky New
Orleans beat, nice sax playing by Kazanoff and
good piano by van Loon. Nixon does his final
vocal (and we hope it's not the last of his
career) on the mid-tempo blues, "I Was Gonna
Leave You," telling his woman that he was
already planning on leaving her on the day that
she walked out the door.
The
final two cuts on Double Strike feature
Alabama Mike on vocals, completing the
transition and looking ahead to the promising
future of the Andy T Band. "Dream About You" is
an up-tempo number that gives Andy a chance to
stretch out on guitar between Mike's shouting
vocals about his dream that his baby was coming
home to him. Closing the album is a Kazanoff
original, "Where Did Our Love Go Wrong," which
of course features Kaz's fine sax work but also
strong soulful, pleading vocals by Mike.
We're
going to miss Nick Nixon being part of this
band, but bringing Alabama Mike on-board was a
brilliant move by Andy T. Mike is in his early
50s, relatively young by blues standards, so
he's got a long career ahead of him. Expect this
band to be a force in the blues world for quite
some time. If Double Strike is an
indication of what's ahead for the Andy T Band,
then the future looks bright.
--- Bill Mitchell
 The versatile Chicago guitarist
Billy Flynn has
played with just about every blues act in the
Windy City since the early ’70s, playing over
the years with such luminaries as Sunnyland
Slim, Mighty Joe Young, Luther Allison, Billy
Boy Arnold, Kim Wilson, Mississippi Heat, the
Legendary Blues Band, Otis Rush, the Cash Box
Kings, Jody Williams, Willie Kent, James
Wheeler, Little Smokey Smothers, and dozens of
others.
Chances are very good that even if you’ve never
heard of him, you’ve actually heard him on
recordings with the above artists and many
more --- backing Dawkins on Kant Sheck Dees
Blues, Little Arthur Duncan on Singin’ With The
Sun, and Big Bill Morganfield on his Ramblin’
Mind, just to name a few of my favorites. He
also played on the soundtrack to the motion
picture Cadillac Records and appeared on the
Chicago Blues: A Living History CD series. Flynn
has also led his own group for years and has
released ten albums of his own. Recently, Flynn
released his debut recording for Delmark
Records, the impressive Lonesome Highway.
The album clocks in at over 70 minutes with a
whopping 17 tracks. The opening duet with Deitra
Farr, “Good Navigator,” is a wonderful slice of
old time rock and roll that’s guaranteed to get
even the infirm on their feet dancing. Farr also
joins Flynn on “Hold On,” which finds the guitar
player picking up the harmonica. A skilled
guitarist capable of emulating many of the past
blues legends, Flynn does a masterful job
channelling such Windy City luminaries as
Dawkins on “If It Wasn’t For The Blues,” slide
wizard Earl Hooker on “Small Town,” Otis Rush on
the excellent title track and “The Lucky Kind,”
and Robert Nighthawk on “Jackson Street.”
Flynn wrote 16 of the 17 tracks on
Lonesome
Highway. “Never Had A Chance” is a fine
urban-styled blues, “Waiting Game” is a straight
boogie track in the John Lee Hooker tradition. “Long Long
Time” kicks up the boogie, too, with Roosevelt
Purifoy’s driving keyboards up front, “The
Right Track” has a funky New Orleans beat, and
“I Feel ‘Um” revisits ’70s-era blues/funk with Purifoy’s keyboards and Christopher Neal’s
soaring sax break. On the closing track, the
seasonal “Christmas Blues,” Flynn’s guitar work
combines the stinging lead work of B.B. King
with a bit of Big Jack Johnson grunge, plus a
little bit of the Oil Man in Flynn’s vocal.
There are also a pair of excellent
instrumentals, one being a dynamite cover of the
’60s R&B smash, “The ‘In’ Crowd.” “Blues
Express” is a great horn-driven number that
features background vocals from Flynn and fellow
producers Steve Wagner and Dick Shurman.
In additon to Farr, Purifoy, and Neal, Flynn
gets able assistance on these tracks from E.G.
McDaniel (bass), Andrew “Blaze” Thomas (drums),
Doug Corcoran (trumpet), and Dave Katzman
(rhythm guitar).
Lonesome Highway is a superb release from one of
Chicago’s finest musicians. It’s past time that
Billy Flynn took center stage after years of
supporting the Windy City’s finest blues men and
this fine, well-balanced release should set that
in motion.
--- Graham Clarke
 Mr. Sipp, The Mississippi Blues Child, is the
alter ego of Castro Coleman, a renowned gospel
guitarist who has appeared on over 50 gospel
recordings and won numerous awards while playing
for such groups as The Williams Brothers, The
Pilgrim Jubilees, and The Canton Spirituals,
along with his own group, The True Believers. In
2010, he decided to give the blues a shot and
has wowed audiences with his singing, guitar
work, and songwriting. He won regional honors
and competed in the I.B.C. in 2013, where he
made the finals, and in 2014, where he won the
overall Band title and the Gibson Guitarist
Award.
Sipp’s previous album,
the 2015 Malaco Records’
release The Mississippi Blues Child was
well-received by a large group of blues
fans --- contemporary, urban, soul/blues fans
who dug his songwriting and vocals and
blues/rock fans who were blown away by his
guitar skills. His latest Malaco effort, Knock A
Hole In It, improves on all counts, with Sipp
turning in a dozen new songs that touch on all
of the above-cited genres, plus one mighty
impressive cover tune.
The title track opens the disc and serves as an
autobiographical track of sorts, a nice
introduction to those new to Mr. Sipp and his
music, which manages to cover most of his
musical territory in about four minutes. The
energetic “Bad Feeling” is a thoroughly modern
blues tune which combines blues with R&B, and
“Stalking Me” continues the R&B groove behind a
lighthearted theme. “Sea Of Love” and “Baby Your
Mine” are both smooth ballads with pop edges
that really showcase Sipp’s considerable vocal
talents.
“Gotta Let Her Go” and “Going Down” both
showcase Sipp’s guitar, the former in more of a
rugged rock vein and the latter lacing a healthy
dose of funk behind the fretwork (both are
served well by Carrol McLaughlin’s B3 backing).
Speaking of funk, Sipp brings plenty of it to
“Juke Joint,” another keeper backed by Howlin’
Wolf’s “Smokestack Lightnin’” melody. “Strings
Attached” is a R&B-styled smoky ballad with an
appropriately pleading vocal from Sipp, and
“Love Don’t Live Here Anymore” follows a similar
theme.
The upbeat “Turn Up” will bring a smile to the
faces of longtime Malaco listeners, as the
punchy horn track and loose-limbed rhythm will
remind soul/blues fans of Tyrone Davis, while
“Love Yourself” is a message of encouragement to
women with low self-esteem. For the closer, Sipp
offers up a scintillating cover of Jimi
Hendrix’s “Little Wing,” hitting all the right
notes for Hendrix fans while taking time to
expand upon the guitar legend’s original with
dynamic results, even throwing in a version of
the “Star Spangled Banner” at the close.
Again serving as producer (with Tommy Couch, Jr.
as co-executive producer), Sipp does the lion’s
share of the work here, playing guitar, bass,
strings, and arranging horns with the late
Harrison Calloway. McLaughin’s contributions on
piano and organ are superlative, with Jeffrey
Flanagan (bass) and Stanley Dixon or Murph
Calcedo (drums) helping set the pace, along with
The Jackson Horns (Kimble Funches – trumpet,
Jessie Primer III – tenor sax, and Robert Lamkin
– trombone).
Knock A Hole In It is a fantastic example of
modern-day blues by a modern-day bluesman who
will make quite a mark on the entire blues genre
before he’s done. Mr. Sipp’s brand of blues
should appeal to blues fans across the board.
--- Graham Clarke
 Chris Antonik recently released his third album,
Monarch, and it’s without question his best
release yet. In recent years, the Canadian
singer/songwriter/guitarist has dealt with his
share of adversity, including a recent divorce,
and that battle colors the songs and
performances on the new disc as Antonik
reflects on what happened in the past, where he
is now, and where he hopes to be as he moves on
with his life.
Antonik wrote or co-wrote
11 of the 13
tracks and really seems in the zone throughout
the disc with some of his finest work as a
composer, singer, and guitarist. The energetic
opening track, “I’d Burn It All Down (For You)”
is dedicated to his children and will really
strike a chord with any parent, and the blues
rocker “Slow Moving Train” is a hard charging
cautionary tale that testifies to the wisdom of
slowing down and enjoying the things you have.
The catchy “Gold Star” mixes funk and blues
effectively, and “The Monarch and the Wrecking
Ball” finds Antonik laying down ghostly slide
guitar over sweet chick singers and an
irresistible groove, courtesy of drummer Chuck
Keeping and bass man Guenther Kapelle. The
haunting “Love, Bettike” is actually a song of
hope and encouragement and serves as a
centerpiece of sorts for the album.
The horn-fueled “Forgiveness Is Free” gives
Antonik plenty of room to shine on guitar, and
“The Art of Letting Go” is a perfect mix of
blues and soul, while “All Our Days” leans in
the country direction with sublime pedal steel
guitar from Burke Carroll. “New Religion” and
“Hungry Ghost” reflect on making a new start and
dealing with addiction, respectively.
The two cover tunes fit well with the subject
matter. “You’re Killing My Love” was written by
Mike Bloomfield and Nick Gravenites and Otis
Rush sang it on his late ’60s Mourning In The
Morning album and Antonik does a fine job
“funking” this one up. Ben Fisher, who
co-authored several songs on the album with
Antonik, and Paul Olsen’s reflective “Everywhere
I Go” closes the album beautifully.
While Keeping’s drumming can be considered the
album’s “secret weapon,” the rest of the band (Kapelle
– bass, Jesse O’Brien – keyboards, Samantha
Martin and Delta Sugar – backing vocals, and the
outstanding horn section) really kick things up
a notch throughout. As stated above, Monarch is
definitely Chris Antonik’s best release to date
and is proof positive that he is one of the
fast-rising stars in the blues world.
--- Graham Clarke
 Based in Omaha, the
Hector Anchondo Band was
good enough to make the semi-finals in the 2015 I.B.C. and the finals in the 2016 competition.
Guitarist/singer Anchondo moved from alt-rock to
the blues several years ago and hasn’t looked
back. A fine singer and guitarist, he’s backed
by a potent band (Khayman Winfield –
drums/vocals, Justin Shexlton –
harmonica/vocals, Josh Lund – bass, Matt Russo –
percussion, with Eric Stark and Kenny Glover –
horns).
The band’s second album,
Roll The Dice (Hector Anchondo), recently hit stores and it’s one for
blues fans to seek out, with ten powerful
tracks, nine written by Anchondo. Samantha Fish
provides co-lead vocals on the opening track,
“Dig You Baby,” a raucous boogie track. Fish
turns in a fabulous vocal on this track and
Anchondo and Shexlton tear it up on guitar on
harmonica, respectively. “Masquerade” is a
stomping shuffle, the title track is a strong
mid-tempo blues, and “Face It Down” is a
jet-fueled roadhouse rocker.
The band can slow it down very nicely too, as
evidenced on the excellent blues ballad,
“Sometimes Being Alone Feels Right.” Anchondo’s
measured vocal fits the song to a tee on this
track and he also adds some fluid guitar work.
“That’s How It All Goes” mixes a bit of surf
guitar with a bluesy beat, and “Jump In The
Water” is a lighthearted romp, as is “On Your
Mic, Get Set, Sing,” both of which are probably
pretty fun songs to hear live. The soulful slow
blues “Here’s To Me Giving Up” closes the disc
on a sweet note.
The band covers Peter Green’s “Black Magic
Woman,” too. Anchondo’s version resembles
Santana’s version a bit with the Latin rhythms
and somewhat on guitar, but he uses that version
basically as a springboard and takes the song in
an interesting and satisfying direction.
If their impressive finishes in consecutive
I.B.C.’s isn’t enough to convince blues fans
that the Hector Anchondo Band will be a force to
be reckoned with in the near future, then
listening to Roll The Dice should seal the deal.
--- Graham Clarke
 The Australian trio
Lazy Eye (Evan Whetter –
vocals, organ, harmonica, Erica Graf – guitar,
backing vocals, Mario Marino – drums, backing
vocals) describes their music this way, “Think
Booker T. sharing a scotch with B.B. King at the
crossroads after midnight.” Over the past few
years, the band has earned several awards in
their home country via the Australian Blues
Music Awards (2015 Group of the Year) and the
South Australian Music Awards (2013 Best Blues
Album and 2014 Best Blues Artist), several other
nominations, and numerous accolades. In 2016,
they represented South Australia at the I.B.C.s
in Memphis.
Pocket The Black, their fourth and latest
release, deservedly earned 2016 Blues Album of
the Year honors from the Adelaide Roots & Blues
Association and has been nominated for Album of
the Year at the 2017 Australian Blues Music
Awards. This stylish effort presents ten
originals that mix silky smooth soul and jazz,
and gritty blues seamlessly, and was recorded
live in the studio with an actual audience,
which gives the set a unique live feel with
studio-quality sound.
The opener, “Keepin’ From Lovin’,” is a funky
blues with a Latin flair showcasing Whetter’s
languid vocals and Graf’s crisp fretwork. The
jazzy title track features sharp guitar work
from Graf and Whetter really lets loose on the
Hammond, and “Back The Way I Came” is a nice
traditional blues shuffle. “Let Me Down Easy” is
a cool slow blues, and the crowd-pleasing “Shack
O’Mine” channels Bo Diddley.
“Do You Know How It Feels” is a magnificent slow
blues that clocks in at seven minutes-plus.
Whetter really stretches out on the vocal and
organ, with Graf doing likewise on guitar.
“Treat Your Lover Right” provides a change of
pace, a dandy country blues tune with Whetter on
harmonica with Graf accompanying on guitar and
vocally. “It Ain’t Right” is a lively shuffle
fueled by Marino’s driving rhythm. The trio also
turns in a pair of fine retro instrumentals, the
spicy “Mucho Jalapeño” and the atmospheric
“Swing For Marz,” which closes the disc.
Pocket The Black is one of my favorite 2017
releases, so far. Lazy Eye’s approach to the
blues, mixing jazz and soul in equal parts, is
very effective and the trio blends together so
well, even more impressive when considering that
this disc was recorded live in the studio. Blues
lovers are strongly encouraged not to let this
one pass them by.
--- Graham Clarke
 Harmonica master
Steve Krase is recognized as a
blues dynamo on the Houston music scene, thanks
to his legendary live performances and his work
on the Connor Ray Music record label, where he’s
released four of his own albums and backed many
of the label’s other artists, including Trudy
Lynn on her three Connor Ray releases. A
multiple winner in the annual Houston Press
music awards, Krase also advanced to the
semi-finals in this year’s I.B.C.
Should’ve Seen it Coming, Krase’s latest release
for Connor Ray, includes 11 tracks, with
five original tunes, plus a pair of bonus cuts.
He’s backed by a core unit of Rock Romano
(bass), David Carter (guitar), Richard Cholakian
(drums), Randy Wall (keys), and Alisha Pattilo
(sax), with James Gilmer contributing percussion
on several tracks. Ms. Lynn adds backing vocals
on three tracks, and guitarists Mark May and Bob
Lanza each guests on one song.
May’s guitar work is a highlight on the old
school opener, “Brand New Thang,” written by
Romano, and Lanza dazzles on a rocking version
of the Arthur Alexander hit, “Shot of Rhythm and
Blues.” The Willie Dixon tune, “Crazy For My
Baby,” is a standout, as is the jumping take on
Fats Domino’s “Let The Four Winds Blow,” Wee
Willie Wayne’s “Travelin’ Mood,” and Clarence
“Frogman” Henry’s “Troubles, Troubles.”
Krase’s brother David wrote “Repo Man” and the
title track, which are both present in regular
and “explicit” versions and are entertaining in
either format. Krase also pays tribute to his
former boss and musical mentor, the late Jerry
Lightfoot, with a swinging version of
Lightfoot’s “Make You Love Me Baby” --- Krase
spent ten years in Lightfoot’s Essential Band
---
and contributes the wild “The World’s Still In A
Tangle,” an adaptation of the Jimmy Rogers Chess
classic updated for The Walking Dead crowd.
Should’ve Seen It Coming shows why Steve Krase
is so highly regarded on the Houston music scene
by both peers and fans alike. Krase is a fine
vocalist and musician and the band really knocks
this material out of the park. This album is a
must for fans of the real deal blues.
--- Graham Clarke
 The Call Of The Night (JHR Records) is the
latest release from Louisiana musician Josh
Hyde. Born in Baton Rouge but raised in New
Orleans, the music of the Pelican State emanates
from every note that’s played and sung on these
nine original tunes, all written or co-written
by Hyde, who started playing guitar at age 10
and writing songs soon after. For this, his
sixth album, Hyde enlisted Nashville producer
Joe V. McMahan and assembled an excellent band,
including keyboardist John Gros and guitarists
Sonny Landreth, Buddy Flett, and Tony Daigle.
Hyde penned most of these songs during a dark
period (his mother’s passing and a recent
divorce). The title track opens the disc and
reflects upon recovering (or not) from a recent
loss. “The Truth” has a sort of Little Feat
meets The Meters vibe, especially Gros’
keyboards. “Close,” one of two tracks with Flett
on guitar, is a gentle ballad and reminded me of
a Lyle Lovett tune, both musically and with
Hyde’s vulnerable singing.
“Offshore” is a song about “high infidelity”
---
even including a reference to the mythical
“Jody” character --- and Landreth’s slide guitar
accompaniment is a marvel. Landreth shows up
again on “It’s Not Too Late,” his slide work and
Daigle’s acoustic guitar perfectly complementing
Hyde’s pleading vocal. Next is the psychedelic
swamp funk of “Need A Lil’ More,” an excellent
showcase for Gros’ keyboards.
“Guitar In Hand” is a somber track about lost
love featuring a guitar solo from Hyde that
reflects the pain he’s going through almost as
effectively as his vocal does. “Mississippi
Bridge” is actually the first song Hyde wrote as
a youngster, which recounts his days of
traveling back and forth on a bus from Baton
Rouge to Alexandria and back every other weekend
after his parents’ divorce. The closer is “I’ve
Got This Song,” a soft and gentle ballad with a
soulful vocal turn from Hyde.
Clocking in at just over 30 minutes,
The Call Of
The Night is all killer, no filler --- an
excellent and far-reaching set of blues, soul,
and roots. Do yourself a favor and check out
this fine young musician, Josh Hyde. You can
thank me later.
--- Graham Clarke
 Hurricane Ruth LaMaster has earned her nickname
via her full force gale vocals, which blend
blues, rock, and even a taste of country. Born
and raised in Illinois, her father owned a
tavern in Beardstown, Illinois, where she heard all
three genres of music in her formative years.
She’s performed with an impressive list of blues
legends: John Lee Hooker, B.B. King, Willie
Dixon, Taj Mahal, just to name a few. But she’s
also opened for an all-star cast of rocker in
her time: Heart, Judas Priest, Joan Jett, and
others, so she can raise the roof in several
ways.
Last year, LaMaster issued a four-song EP,
Winds
of Change, collecting a few of her favorite
covers --- a strong, but brief set that merely
served to whet the appetites of those who
clamored to hear more. They get their wish with
Ruth’s latest, on her own Hurricane Ruth
Records, the pulverizing Ain’t Ready For The
Grave. Teaming up with Grammy-winner Tom Hambridge, plus some of Nashville’s finest
musicians in keyboardist Reese Wynans (SRV),
bassist Michael Rhodes (Joe Bonamassa),
guitarists Pat Buchanan (Faith Hill, Kenny
Chesney) and Rob McNelley (Delbert McClinton),
the powerhouse vocalist has unleashed what may
be her best set yet.
For her new release, LaMaster collaborates with
Hambridge and/or Richard Fleming on nine of the
12 tracks, and they include the rollicking
opener, “Barrelhouse Joe’s,” the blues rocking
“Hard Rockin’ Woman,” which could serve as
LaMaster’s theme song, the gritty “Far From The
Cradle,” the Southern rocker cautionary tale “Estilene,”
and the funky blues “Beekeeper.” There’s also a
sweet slow blues ballad, “My Heart Aches For
You,” where Ruth really stretches out vocally,
“Let Me Be The One,” a rocking shuffle, and
soulful collaboration with the McCrary Sisters,
“Good Stuff,” and the gospel closer, “Yes I
Know.”
Hambridge’s “Cheating Blues” turns up the funk
nicely, and the moody “For A Change,” penned by
Hambridge and Fleming with Scott Holt, has a
swampy vibe. The album’s lone cover tune is a
sizzling version of the AC/DC classic “Whole
Lotta Rosie” that could melt your speakers.
Ain’t Ready For The Grave is a powerhouse set
from Hurricane Ruth. Call it a Category Five
release if you want. The description certainly
fits.
--- Graham Clarke
 Johnny Mastro & Mama’s Boys claim New Orleans as
a base of operations, but the four-piece band
(Johnny Mastro – harp/vocals, Smoke – guitar,
Dean Zucchero – bass, and Rob Lee – drums) got
their start in Los Angeles at Babe’s & Ricky’s
Inn. The band is named after club owner Laura
“Mama” Gross. Their music is an interesting
mixture of traditional and contemporary blues
with nods to the styles in Chicago, New Orleans,
and the West Coast, plus a heaping helping of
rock. Never Trust The Living is the band’s
11th release, and it’s hot as a firecracker.
The new disc features
11 tracks, eight
originals written or co-written by Mastro and
three covers. The stomping rocker “Snake Doctor”
kicks off the disc, and it’s a great mix of
torrid groove and swampy reverb. The fiery
Texas-fueled shuffle “Whiskey” keeps the
pressure on before a haunting read of Snooky
Pryor’s “Judgement Day” sets an ominous tone.
“Monkey Man” ventures toward Chicago with some
fierce slide from Smoke and Mastro’s harp, while
“Don’t Believe” is a fine slow blues with some
inspired fretwork from Smoke, more in a T-Bone
mode this time around.
The band really soars on a stunning instrumental
cover of the old standard “House of The Rising
Sun,” taking it fairly straight at the beginning
before jumping into high gear for the middle
portion before slowing the pace back down at the
close, with.an excellent and unique read on this
longtime favorite. The crunching Windy City
shuffle “Walkin’” is another standout, and the
title track has a countrified boogie beat.
Mastro and Smoke make a pretty good team on harp
and guitar throughout this disc, and nowhere is
that more apparent than on the old school rock
and roller “Bucksnort Annie.” Freddie King’s
“The Sad Night Owl” is the third and final
cover, a fine after hours instrumental with
Mastro really channeling Little Walter with his
playing. The closer, “Indrid Cold,” is a driving
blues rocker that ends the disc in the same
manner it began.
Never Trust The Living is a relentless,
breathtaking batch of rocking blues that will
please any discriminating blues fan. Johnny Mastro & Mama’s Boys play a dazzling and
original brand of blues and fans who like the
hard rocking variety will want to listen to this
one over and over again.
--- Graham Clarke
 The Atlanta-based quartet
Delta Moon features a
twin slide guitar attack with Tom Gray and Mark
Johnson, combined with a fine mix of fine songwriting and
musicianship that mixes the blues with rock and
pop sensibilities. The band took home top honors
at the 2003 I.B.C. and since then has steadily
built a loyal following via touring and the
release of several fine albums, including their
most recent effort, Cabbagetown (Jumping Jack
Records).
Cabbagetown consists of ten tracks, nine of
which were written by the band. They’re a varied
lot, ranging from the roots rocker, “Rock and
Roll Girl,” which opens the disc, the acoustic
“The Day Before Tomorrow,” the jaunty “Just
Lucky I Guess,” and the lighthearted “Coolest
Fools.” The mood is a bit more somber on the
driving “Mad About You,” and “Refugee,” which
recounts the harrowing journey of some of the
world’s citizens seeking a better life.
“21st Century Man” is a funky, sardonic look at
the modern world’s obsession with gadgets, and
the closer, “Sing Together,” is a pop-like plea
for unity within the human race. The band also
contributes a fine instrumental, “Cabbagetown
Shuffle,” a fun romp which features dueling
slide guitarists (Johnson on bottleneck slide
and Gray on Hawaiian guitar) with backing from
drummer Marlon Patton, bassist Franher Joseph.
There’s also a decidedly updated, and upbeat,
reading of Son House’s “Death Letter,” that
merges blues and hip hop in equal doses.
Blues fans will enjoy the upbeat nature of most
of the songs on Cabbagetown, but Delta Moon’s
uniquely catchy brand of blues should also
appeal to music fans who appreciate roots and
rock as well.
--- Graham Clarke
 Based in Norfolk, Virginia,
Anthony Rosano and the
Conqueroos mix traditional blues with modern
rock. The band advanced to the semi-finals twice
at the I.B.C., and previously released two
well-received albums. Led
by guitarist/singer/songwriter Rosano, the band
includes Jeremy “JB” Bustillos
(harmonica/sax/vocals), Paul Warren (bass), and
Scott Smith (drums). Their third, and latest,
effort is a self-titled affair that the band
recorded in New Orleans with able assistance
from producer Mike Zito, who also played guitar
and provided backing vocals, Anders Osborne, and
Johnny Sansone.
The band shines on blues rockers like the
opener, “28 Days,” the sizzling “Wicked Grin,”
and the ballad “Bound To You,” but they can get
funky when the mood hits, as on tracks like
“Revolve” and “Shakin’ In The Veins” (with slide
guitar from Osborne). ‘”Give Me Strength” is a
fine blues shuffle, and “You Don’t Know Me” is a
radio-ready rocker.
The slower tempo “Long Island Sound” features
Sansone on accordion and a sweet sax break from
Bustillos. The Southern rocker “Blackbird” mixes
acoustic and electric to powerful effect, and
the closer, “Proud of My Sins,” shows the band
in fine form in country blues mode, with Rosano
picking up mandolin, Bustillos on harp, and
fiddler Michael Harvey joining in.
Rosano and the Conqueroos are really firing on
all cylinders with this well-rounded and
interesting release, which should appear to
blues and roots fans, especially those who
prefer the rock-edged variety of the genre.
--- Graham Clarke
 Nearly four years after their critically
acclaimed debut release, Jim Gustin & Truth
Jones are finally giving their fans what they’ve
been waiting for, a sophomore release that
builds on the promise of its predecessor.
Memphis offers ten hot-as-fire tracks written or
co-written by singer/guitarist Gustin and fellow
lead vocalist Jeri Goldenhar (a.k.a. Truth
Jones). As on their previous release, 2013’s
Can’t Shed A Tear, the new album is produced by
Terry Wilson, highly regarded for his work with
Eric Burden, Teresa James, Ana Popovic, and
others).
Gustin’s powerful, weathered vocals are a potent
combination with Goldenhar’s rich soul and
gospel-influences style. Gustin takes the lead
on five of the cuts, including the robust rocker
“Half Past Ten,” the soulful title track, the
funky “I Love What I Got,” the shuffling “Crazy
Little Woman,” and the mid-tempo “Slipping
Away.” Goldenhar shines on her four tracks,
“Live With Yourself,” a Second Line shuffle, the
blues ballad “You Know Me Too Well,” “Big
Hearted Woman,” and the country-flavored “I
Ain’t Playing.”
The pair team up on the closer, the soul burner
“Right Time For Good-Bye,” which features the
best vocal performances for both artists on the
album, which is really saying something.
Individually, they are impressive enough, but
they save their best for the collaboration.
Gustin’s guitar work throughout is rock solid.
He works pretty well in a variety of settings on
these tunes. The backing band (Wilson –
guitar/bass/ backing vocals/percussion, Steve
Alterman – keys, Herman Matthews –
drums/percussion) is superb, whether playing
urban blues, Texas roadhouse, or Louisiana
Second Line). The above-mentioned Teresa James
provides outstanding support with background
vocals.
Blues fans are advised to check out the amazing
vocal talents of Jim Gustin & Truth Jones via
their latest release. Memphis is an excellent
foray into modern blues, soul, and R&B that will
please fans of all three genres.
--- Graham Clarke
 Jon Zeeman’s latest effort,
Blue Room (Membrane
Records), finds the New York bluesman working
with some of South Florida’s finest musicians,
including the late Butch Trucks. Zeeman was part
of the legendary Allman Brothers Band drummer’s
Freight Train Band and has played with the ABB
at the famed Beacon Theatre. He’s also performed
with Susan Tedeschi, Janis Ian, and Chris
Spedding. In addition to Trucks, who plays drums
on two tracks (believed to be his last two
studio recordings), Zeeman is joined by Tom
Regis and Bob Taylor (keyboards), Phil MacArthur
(bass), and George Lilly (drums).
Zeeman wrote eight of the ten tracks, the two
covers are a sparkling reading of Robert
Johnson’s “Love In Vain,” and a funky version of
Jimi Hendrix’s “Still Rainin’, Still Dreamin’,”
that is largely faithful to the original but
with more of a funky edge. Zeeman’s originals
are top notch, among them the two tracks
recorded with Trucks; “All I Want Is You” is a
“Dimples”-like southern boogie track and the
slow burning shuffle “Next To You.” Zeeman will
donate half of the royalties generated by these
two tracks to Trucks’ family and to his favorite
charity, The Big House Museum in Macon, Georgia.
“Hold On” is a sturdy blues rocker and “If I
Could Make You Love Me” is a good late night
blues ballad. “All Alone” mixes a bit of Latin
and pop with the blues, and “Talking ‘Bout My
Baby” combines jazz and funk effectively. The
title track is a classy but short instrumental
with Zeeman unaccompanied on guitar, while the
closer, “Nothing In The World,” has a laidback
groove that closes the disc on a high note.
Blue Room is an entertaining disc from start to
finish. Jon Zeeman is a first-rate guitarist,
signer, and songwriter, and deserves to be heard
by a larger audience. Hopefully, this release
will help that cause.
--- Graham Clarke
 Some people don’t do well when dealing with
personal losses. Often, they end up making bad
decisions that make things even worse. Lauren
Mitchell is not one of those people. Last year,
the Tampa Bay area blues and soul singer
suffered a breakup not only of her band, but
also her marriage. One of those things is bad
enough, but two might make send some to the rubber
room. However, Mitchell hung tough, plunging
into her work and connecting with
producer/drummer Tony Braunagel and an all star
band that included guitarists Johnny Lee Schell,
Josh Sklair, and Jose Ramirez, keyboardist Jim
Pugh, bassist Reggie McBride and the Phantom
Blues Band Horns (Joe Sublett and Darrell
Mitchell).
The resulting album,
Desire, is a tough-as-nails
serving of blues, rock, and soul and the
big-voiced singer makes the most of her
material, a mix of original tunes and tasty
cover tunes originally made famous by the likes
of Etta James, Aretha Franklin, Diana Ross,
Betty Davis, and Betty LaVette. Though she may
not have composed the songs, she sings them all
like she’s lived them.
The defiant opener, “I
Don’t Need Nobody,” an early James recording,
sets the stage pretty well. “Soul Music”
follows, a wonderful track where Mitchell
recalls her father introducing her to the music
that she loves. The moody title track has a
countrified Delta feel and an emotional vocal
performance.
“Jump Into My Fire” is another cover of a James
tune from later in the late singer’s career,
and Mitchell knocks this one out of the park
with a smoking-hot performance. A slow
burning take on Franklin’s “Good To Me As I Am
To You” positively sizzles. The breezy “Feels So
Good,” from Tomcat Blake, is a keeper, too, as
is the rocking cover of Betty LaVette’s “Stand
Up Like A Man.,” and her heartfelt reading of
“Today.” The Ashford and Simpson hit “I Ain’t
Been Licked Yet” kicks things up a notch with a
punchy horn section and Mitchell exchanging
vocals with the backing vocalists throughout.
Betty Davis’ “Anti-Love Song” just oozes funk
with a nasty bass line and a sultry Mitchell
vocal, and the gospel tune “Bridge Of My
Dreams” really swings with more great call and
response vocals between Mitchell and the backup
vocalists (Maxanne Lewis, Leslie Smith, and
Kudisan Kai). “Lead Me On” is a splendid
original slow blues penned by Mitchell, Braunagel, and
Sheri Nadleman, and Mitchell and Nadleman are also responsible for the terrific
closer, “Brown Liquor.”
One door closes, and another opens. From bad
things, good things often emerge. Lauren
Mitchell took the adversity in her life and
transformed it into a major victory with Desire.
Blues and soul lovers, if you miss this one
you’re sure to regret it.
--- Graham Clarke
 My Blues Bytes bud Kyle Deibler raved about
Sean
Chambers’ latest release, Trouble & Whiskey
(American Showplace Music), in last month’s
Blues Bytes, and there’s very little I can add
to his praises. Chambers, a Florida-born
guitarist, toured with the great Hubert Sumlin
and served as his bandleader for many years, and
from my own listening experience, Chambers is
one of the most dynamic blues rock guitarists
and vocalists currently practicing. This latest
release does nothing to disprove any of that.
The intensity rarely, if ever, lessens on
first-rate originals like “I Need Your Lovin’,”
“Bottle Keeps Starin’ At Me, the scorching title
track, “Handyman,” the rowdy rocking “Sweeter
Than A Honey Bee,” and the funky closer, “Gonna
Groove.” Chambers and the band (Kris Schnebelen
– drums, Todd Cook – bass, Michael Hensley –
B3/piano) also all take a turn strutting their
instrumental stuff in the sharp, “Travelin’
North.”
There’s a fine trio of covers here, too. One of
my favorite Johnny Clyde Copeland tracks was
“Cut Off My Right Arm,” and Chambers’ version
would have made the late Texas bluesman proud.
His blazing reading of Rory Gallagher’s
“Bullfrog Blues” might render your speakers
virtually useless because you’ll want to play it
loud and often. Chambers takes his sweet time on
the third and final cover tune is B.B. King’s
“Be Careful With A Fool,” with fantastic
results.
Mr. Deibler hit the nail right on the head last
month, if anyone needs further convincing.
Discriminating blues rock fans will definitely
have to have Sean Chambers’ latest release in
their collections. To this blues rock fan,
Trouble & Whiskey definitely ranks with his best
releases.
--- Graham Clarke
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