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 Like
many Chicago blues musicians, John Primer got
his start playing at Theresa's Lounge. Everybody
who was anybody played at Theresa Needham's
blues bar, which opened in 1955 and soon became
the most famous blues bar in the world. The
number of artists who played there from its
opening to its 1985 closing are too numerous to
mention
Primer has assembled ten other artists who
played there regularly as John Primer and
Friends for a Tribute to Theresa's Lounge
(Blues House Productions).
The contributing musicians are Billy Branch
(harmonica/vocals), Bob Stroger (bass), Mary
Lane (vocals), Willie Buck (vocals), Carlos
Johnson (guitar/vocals), John Watkins
(guitar/vocals), Harmonica Hinds (harmonica),
Twist Turner (drums), Tony Mangiullo (drums),
and Jeff Brinkman (bass). There are 13 songs,
some of which were crowd favorites at Theresa's,
while Primer wrote four songs paying tribute to
the club and those who played there at one time
or another.
Junior Wells usually opened his set with the
rousing “Up In Heah,” so Primer begins this disc
with the same song. He wrote “7 Nights for 7
Years,” describing the toil and effort he went
through paying his dues at Theresa's, and “The
Blues Is King” about the importance of keeping
the blues alive and vital.
He
also wrote “We All Need Help” in tribute to Ms.
Needham, and “Blues Survivalist,” where he
declares that he will do his part to keep the
blues marching onward.
Primer handles vocals and guitar duties (with
Watkins) on the first three tracks and Branch
delivers vocals on “Sugar Sweet,” a tune Muddy
Waters played at Theresa's regularly, with
Johnson and Primer both on guitar.
Another pair of songs that were regulars in
Waters' sets were “Champagne and Reefer,” sung
here by the ageless Willie Buck, and “She's
Nineteen Years Old, ably sung by guitarist
Johnson.
Another favorite Junior Wells song, “Little By
Little,” is revived, with Primer on vocalsand
Hinds on harp. 90-year-old Mary Lane, the only
regular woman singer at Theresa's, sings her own
“Mary's Song,” backed by Primer and Johnson on
guitar.
Primer delivers a rollicking cover of “Cut You
Loose,” a hit for Ricky Allen in 1963. Watkins
takes the mic for his own “Here I Am Knockin' At
Your Door Again,” which was frequently sung by
James Cotton.
The
closing tune, Little Walter's “Mean Old World,”
was the last song performed every night at
Theresa by Sammy Lawhorn, with Primer singing
the tune here in tribute to that highly
underrated Chicago guitarist.
Primer appears on all 13 tracks, providing his
outstanding fretwork throughout, with Johnson
and Watkins also contributing. Hinds and Branch
are also excellent, and the rhythm sections,
Turner and Mangiullo on drums and Stroger and
Brinkman on bass, are pretty evenly split
throughout the album. They do a marvelous job as
well.
The
music on this album takes you back to when all
of them were actively playing at Theresa's, and
that's the highest compliment that can be paid.
Most
of these artists are now in their 70s, 80s, and
90s, but still active and making contributions
to the blues world. It's great that they were
able to gather and produce this wonderful
tribute. I can't imagine a blues fan not wanting
to hear John Primer and Friends' Tribute to
Theresa's Lounge.
--- Graham Clarke
 One
of the most memorable shows I've witnessed in
the past dozen years was a Phoenix appearance by
the Joe Krown Trio, at the time consisting of
bandleader/keyboardist Krown along with
guitarist Walter "Wolfman" Washington and
drummer Russell Batiste Jr. My oh my, that was a
wonderful evening of New Orleans music!
Washington and Batiste are now both gone, but
Krown has put together a new band with the
addition of singer/guitarist Papa Mali, drummer
Eric Bolivar, and bassist Casandra Faulconer.
You are accurate in saying four band members
can't form a trio, so this group is now known as
the Joe Krown Trio +1, featuring Papa Mali.
Regardless of the name and the number of
members, this is still one of the best at
performing a wide range of New Orleans music.
The latest album is Qualified
(Sledgehammer Blues), a collection of 11 tunes,
both Krown and Papa Mali originals and
well-chosen covers.
Krown kicks off this show with "Qualified," a
typical New Orleans piano number, done by Dr.
John earlier in his career. We get another
Louisiana classic in "Junco Partner," first done
in 1951 by James Wayne. The story of conditions
in the Angola prison has since been covered by
an impressive array of music personalities, but
I'll put this version, with vocals by Papa Mali,
up against any other rendition.
There are few other songs in American culture as
much fun as Ray Charles' "Mess Around," with
Krown ably handling the piano duties on this
up-tempo version. The tempo slows considerably
for another New Orleans standard, "Fortune
Teller," with Cyril Neville coming in to
handle the vocals.
The
funky, soulful Allen Toussaint song, "Going
Down," just plain tastes like New Orleans, as
Krown knocks it out the park with his organ
playing. Up next is the Professor Longhair
classic, "Mardi Gras In New Orleans," with Papa
Mali's vocals bringing to mind how the 'Fess
sounded on his various renditions of the song.
Papa
Mali composed the first of two instrumentals, "Neckbone,"
and this funky mid-tempo tune suits the mood
quite well, The same funky vibe can be heard on
the Krown-penned instrumental, "Under The
Influence," later on the disc.
Solomon Burke would undoubtedly be pleased to
hear Papa Mali singing deep from within his soul
on "Cry To Me," written by Bert Russell and
becoming one of the many hits from Mr. Burke
back in the day. Guest trombonist Mark Mullins
carries the show on the Papa Mali original,
"Honey Bee," a pleasant mid-tempo song that also
gives Krown plenty of room to shine on the 88s.
Closing this fantastic collection of New Orleans
music is a mellow version of Allen Toussaint's
"Last Train," with Krown again showing his piano
skills.
Listening to this album makes me want to hop on
the next flight to New Orleans to listen to the
plethora of great music available every night
around the city, not to mention the world class
cuisine. It won't be tonight, but I've got to
get back there real soon.
--- Bill Mitchell
 Filmmaker
Robert Mugge has produced over three
dozen documentaries over the past five decades,
over 30 of which are music-related.
Many
of those films have dealt with the blues,
including Deep Blues, Pride and Joy:
The Story of Alligator Records,
Hellhounds on My Trail: The Afterlife of Robert
Johnson, Last of the Mississippi Jukes,
Blues Breaks, Blues Divas, A
Night at Club Ebony, Deep Sea Blues,
All Jams On Deck, Big Shoes: Walking
and Talking the Blues, Deep Roots: The
Art and Music of Bill Steber and Friends,
and Elvin Bishop's Raisin' Hell Revue.
Mugge's documentaries have also covered jazz,
Creole and zydeco music, New Orleans blues and
R&B, gospel and soul, bluegrass, roots, and
Hawaiian music.
I've
seen many of these films, and it's impossible to
go into one of these movies and not come out
knowing more about their subject. They are
loaded with compelling and fascinating
information and wonderful musical performances
from the artists featured.
Mugge previously authored a memoir, Notes
from the Road: A Filmmaker's Journey through
American Music, in 2023.
This
year, he published a second music-related book,
Quotes from the Road: The Wit and Wisdom of
American Musicians (The Sager Group), which
features excerpts from 150 of the interviews
that he conducted with American musicians and
many supporters. Many of the discussions within
the book are not items that were discussed in
the film, so music fans will be seeing much of
this material for the first time.
Among the blues artists interviewed are Lonnie
Brooks and his son Ronnie Baker Brooks, Lil' Ed
Williams, Koko Taylor, Katie Webster, Marcia
Ball, Robert Lockwood Jr., Roy Rogers, Willie
Coffee (a friend of Robert Johnson), Vasti
Jackson, Chris Thomas King, Bobby Rush, Little
Milton, Willie King, Deborah Coleman, Denise
LaSalle, Odetta, Ann Peebles, Irma Thomas, Mavis
Staples, Otis Clay, Tommy Castro, Kim Wilson,
Buckwheat Zydeco, Elvin Bishop, Ted Drozdowski,
R.L. Hulsman, Larry McCray, Coco Montoya, Lee
Oskar, Jimmy Thackery, Rev. Billy C. Wirtz, and
others.
The
book is divided into 25 different themes, which
include the artists discussing how they got
started in the music business, their influences,
their early struggles, their playing styles and
techniques, and their songwriting. Also
discussed are family traditions, performances
and venues, touring, and recording. There are
other topics broached that include dealing with
adversity and racism and politics.
One
of the most interesting chapters deals with
Hurricane Katrina and the aftermath for New
Orleans musicians, which reveals a lot more
about the prelude and aftermath of the storm
that all of the New Orleans population had to
deal with. The musicians were no exception, and
there are harrowing reminiscences from Ball,
Thomas, Dr. John, Theresa Andersson, Eddie Bo,
Jon Cleary, Cyril Neville, Kermit Ruffins, and
many others. If you haven't seen New Orleans
Music in Exile, it's one of the best of
Mugge's films.
Blues fans will also enjoy the excerpts from
jazz artists like Sun Ra and Sonny Rollins, and
from the Creole and zydeco artists like Boozoo
Chavis, John Delafose, Beau Jocque, Nathan
Williams, Lawrence “Black” Ardoin and Sean
Ardoin, Corey Ledet, Rosie Ledet, and Major
Handy.
One
of the things I've always enjoyed about Mugge's
films is the way he generates a feeling of
comfort around his subjects, with that feeling
enabling them to open up about their careers.
They are incredibly open about reflecting on
their accomplishments, what they still want to
achieve, their disappointments, and what they
enjoy the most (and the least) about their
chosen professions.
These interviews actually make the reader feel
that the musicians and collaborators are talking
directly to them. This is true with Mugge's
films and it's also true with this book.
Simply put, if you are a fan of American music,
you will absolutely love Quotes from the
Road: The Wit and Wisdom of American Musicians.
--- Graham Clarke
 Here's
another young blues artist that Blind Pig is
bringing forward after the very fine recent
albums from Jovin Webb and Sonny Gullage. Their
latest find, Amani Burnham, is a
20-year-old guitarist born in Ethiopia and
raised in Connecticut.
If
the blues power trio sound is your thing,
Burnham does it right on his debut album,
Roots & Wings (Blind Pig), with a dozen cuts
co-written with label head honcho Jeff Schroedl.
Burnham handles the heavy lifting on guitar and
vocals, backed by drummer Ray Hangen and bassist
Matt Raymond. Burnham is a good enough singer
for what he's doing here, but, face it, we're
here for the young man's guitar wizardry.
Burnham is heavily influenced by the blues/rock
of Stevie Ray Vaughan, yet it would be incorrect
to assume he's a mere imitator. The dude is his
own blues rocker. The opening cut, "Fastlane,"
is a fast-paced instrumental showing the SRV
influence. "I Wanna Know" is a slow blues
shuffle that also invokes memories of Vaughan's
music but with heavier guitar effects and
introspective questions by Burnham.
The
title cut, "Roots and Wings," allows Burnham to
step into his own image, a mid-tempo funky,
high-energy blues with plenty of creative guitar
licks, while "The Last Thing I Remember" is a
slow blues with plenty of innovative guitar
notes inserted into the mix.
Burnham goes to his strengths on the past-paced
blues rocker, "Bluejay," followed by a powerful
12-bar blues, "You Can't Heal What You Hide," as
he implores that other person to open up about
their fragilities, repeating that he's someone
that can be leaned on. A strong blues guitar
solo here.
One
of my favorites is the fast-paced blues rocker,
"Sideways Thru Time," a bit of an homage to Jimi
Hendrix with plenty of guitar effects while he
sings about defying time constraints. Burnham
increases the tempo even more on the 12-bar
blues, "Waiting By The Window," the title
describing his actions while he waits for that
special someone to walk through his door at
night. His guitar work here is pretty much
straight-ahead blues.
"Lovers Till They Die" is another up-tempo blues
rocker, as he sings, "...Can't let go, can't say
goodbye ...," and then coming in with a killer
guitar solo. The mood changes completely on the
slow, ethereal tune, "Midnight Waterfall," with
Burnham's guitar solos being more restrained but
just as tasty. It took me a couple of times
through the album to really appreciate this
number, but it finally hit me.
"Some Sorta Love" is a mid-tempo blues, with
guitar effects coming in later in the tune while
he eventually admits he doesn't stand a chance
in finding love.
Taking this album in a completely different
direction is the closing number, the very slow
blues, "Bleeding Heart," which goes on for
nearly eight minutes. What makes this one click
is the purer guitar sounds he puts forth
throughout. It really shows still another side
of Amani Burnham, perhaps pointing to even more
diversity in his music moving forward,
especially as he finishes the last 45 seconds
with a much faster tempo.
That
final number arouses my curiosity even more as
to what's ahead for Burnham. This is not an
artist that's going to just repeat the same
thing every time out. For now, I'm really
digging Roots & Wings, with the
excitement to find out what's next.
--- Bill Mitchell
 Zac Harmon & The Drive recently released
Zac Harmon & The Drive Live, capturing the
band's energetic stage show from various
locations in the U.S. and Europe.
Band
members included Harmon – vocals/guitar, Corey
“Brown Coy” Lacy (keyboards/vocals), Nate “The
Bass” Robinson (bass), Gino “LockJohnson”
Iglehart (drums/vocals), and Kingston “Soul
Fingers” Livingston (guitar/vocals). Other
musicians contributing include Jabari Johnson
(guitar/vocals), Tommye Young-West (vocals), Leo
Saenz, Jr. (horns), and Bobby Sparks
(keyboards).
Ten
tracks, are included, most of which have also
appeared on previous Harmon albums over the
years.
The
jazzy instrumental “Ntro” kicks off the show,
and lets the band strut their stuff before
Harmon takes center stage with “Hump In Your
Back,” a funky blues workout that originally
appeared on Harmon's 2015 Blind Pig release,
Right Man, Right Now. Even with Harmon
onstage, the band still gets ample solo time.
The
mid-tempo “Blue Pill Thrill,” originally heard
on 2012's Music Is Medicine, keeps the
funky blues vibe alive, withHarmon relatings the
wonders of that magical pill that raises
awareness in more ways than one.
“Feet Back On The Ground,” also from the 2016
Blind Pig release, is a soulful blues ballad
that Harmon handles with aplomb, backed by
outstanding work from the band. The lively
call-and-response “40 Days” dates back to
Harmon's 2002 release Live at Babe and
Ricky's Inn, featuring some strong fretwork.
It's
followed by an exuberant reading of the gospel
tune, “Don't Let The Devil Ride,” written by the
Rev. Oris Mays. Young-West joins Harmon on
vocals on this track and Livingston and Johnson
add crisp guitar solos.
“Boogie Down” is another older track from
Harmon's 2008 release Shot In The Kill Zone,
and it's a great old-school juke joint boogie
tune where the band really stretches out, each
member getting a moment in the spotlight.
“Little Blue Bird,” the Stax Records classic
soul tune originally cut by Johnnie Taylor, is
also given an extended treatment with an
excellent vocal from Harmon, paying tribute to
some of the voices that influenced and
encouraged him.
The
final two tracks come from Harmon's recent
releases on Catfood Records. “Mississippi Bar B
Q” is the title track from Harmon's 2019
release. Its laidback groove and lyrics capture
a down home, Saturday afternoon Mississippi
barbeque so well that you can smell and taste
the ribs and chicken. The southern soul burner
“Slide” appeared on 2024's Floreada's Boy
as “Let It Slide,” and wraps the album up
nicely.
Harmon sounds great on these tunes and the band
is awesome throughout, with guitarist Livingston
particularly standing out.
Zac Harmon & The Drive Live is an
outstanding release that should get a lot of
play during the summer months, maybe at a few
Mississippi barbeques along the way.
--- Graham Clarke
 Russ
Green got into the music business later in
his adult life, first working in the film
industry, but the blues bug bit him and he's
certainly been making up for lost time. He takes
a Jimi Hendrix approach to the harmonica,
learning from Sugar Blue, another longtime
Chicago bluesman who pumps that same frenetic
energy into the blues harp.
Following on the success of his debut album from
2018, City Soul, Green has outdone
himself with his latest, Stone Cold
(Overton Music). If you dig Chicago blues
harmonica with an attitude, this is the album
for you. All 10 songs are Green originals, and
the cat knows his way around the blues.
"Lint Redux" opens the album, a slow, 12-bar
blues with Green already showing off his
impressive harp work while singing about the
hard times he's endured. That leads into the
title cut, "Stone Cold," a soulful number that
starts out slowly before turning into an
up-tempo romp. Joe Munroe's organ playing in the
intro makes me think about Garth Hudson.
"12
Feet Of Water" packs a wallop of emotion and
plenty of sound around Green's vocals as he
sings about a woman with 12 feet of water in her
living room and calling 911 couldn't help her.
Green does some of his best harmonica work on
the funky, jazzy "Hey Man," as he tells about
this man who's got a gun and now he's on the
run.
Green sings about the hardest thing he has to do
is "Waitin' On You," what he's telling that
woman while packing a lot of emotion into his
voice and following with a more subtle harmonica
solo. "Nobody Knows" is a slow country blues,
with Green and his harp accompanied only by an
acoustic guitar. The two instruments bond well
together as they trade back and forth.
Vince Agwada shows up on three cuts, shining
brightly with his guitar work on the up-tempo
blues, "Need You Do Bad," leading into a very
heavy blues sound on the mid-tempo tune, "I
Believe." Another keeper here is the up-tempo
shuffle, "Troubled World," a straight-ahead
blues that gets the blood a' pumpin' as Green
details the hard life of a bluesman.
Putting an end to Stone Cold is "Boogie
Joint," a fast-paced stomper that has Green
putting out those wild harmonica gymnastics that
he learned from Sugar Blue.
Green has put together a very fine collection of
blues, showcasing his harmonica skills,
songwriting expertise, and solid singing. I look
forward to hearing more from this man.
--- Bill Mitchell
 Any
album from Bill Wharton, the Sauce Boss,
is guaranteed to be a good time. He never fails
to disappoint with his entertaining songs and
his flair for mixing various genres with the
blues that fit into a perfect musical gumbo.
For
his latest release, With Extra Sauce,
Wharton is joined by Neal Goree (guitar),
Kendrick Jacobs (bass), and Brett Crook (drums)
on 10 songs, eight Sauce Boss originals and two
scarcely recognizable cover tunes.
If
you're not familiar with the Sauce Boss, he
brings his own brand of hot sauce, Liquid Summer
Datil Pepper Hot Sauce, to each gig and cooks up
a pot of gumbo while he's performing. At the end
of the gig, everyone in attendance gets a bowl.
Wharton has his gumbo recipe on his website, and
a few others that he shares on his blog. Wharton
was the subject of the Jimmy Buffet tune, “I
Will Play For Gumbo.”
On
the opening track, “Burn It Up,” Wharton plays
slide guitar on a frying pan guitar, or as he
defines it, “a three-string cigar box guitar
with two humbuckers in a 9-inch cast iron frying
pan.” It's a stomping, good-natured romp.
“I
Wouldn't Mind It” is a bit more serene, with
Goree playing wah-wah guitar over a laid-back,
relaxing rhythm. A string section is added to
“Ce Soir C'est Bon,” a Cajun tune about a
fiddle-playing gal who stole the Sauce Boss'
heart.
The
first cover tune is an entertaining version of
the traditional classic “Mama Don't Allow.” “Try
This” is a spacey mix of blues, rock n' roll,
rap, along with the Sauce Boss' slippery slide
guitar playing --- talk about a musical gumbo!
The
string section returns to back Wharton and his
guitar for “Smile In A Basket,” an optimistic
tune that declares that a smile would help
against some of the world's many problems. The
second cover is a freewheeling take on “Don't
Let The Devil Ride,” the gospel standard teaming
Wharton's National Steel guitar with Goree's
electric guitar.
“Snugglin' With My Baby” is a really cool
Christmas blues number, and the funky blues of
“BBQ” will make your stomach growl, while the
gentle album closer, “Next Time You Wonder,” is
a somber track about friends going their
separate ways.
The
Sauce Boss' recordings always put a smile on my
face.. They're so well-played and the songs are
always memorable, and Wharton's genial
performances are a delight. The band support on
this release (the “Extra Sauce”) is first-rate.
Do
yourself a favor and check out the music of the
Sauce Boss if you've not previously had the
pleasure. You can thank me later.
--- Graham Clarke
 British blues guitarist/singer Dave Thomas
has enjoyed a career spanning over five decades,
going back to the '60s heyday of blues legends
John Mayall, Eric Clapton, and Peter Green. He
joined the progressive rock band Blonde On
Blonde when he was 18, sharing the stage with
Dylan, Hendrix, Fleetwood Mac, Genesis, and Deep
Purple. For 15 years, he led the house band at
Shake Down Blues, backing more than 40 American
blues artists on UK stages.
Thomas has also enjoyed a successful solo
career, with Bridge Street Blues (Blonde
On Blonde Direct Limited) his latest release.
Offering ten songs recorded in Ireland with
multi-instrumentalist Declan Sinnott, Thomas
manages to reflect on the past while at the same
time focusing on how it influenced his present
and future destinations.
The
opening track, “Go To Legends,” is a fun track
that finds Thomas offering sage advice on the
best way that a blues lover (or really anyone,
for that matter) can make it through life --- a
plan that might add thousands to the list of
blues fans if the advice is heeded.
“City Streets” is a rock-solid original blues
tune with a vintage feel showcasing Thomas'
nimble fretwork and forlorn vocal, and the
somber “Gone For Good” adds harmonica and slide
guitar to great effect.
“Big
Fast Car” is a cool, laid-back blues with Thomas
itching to hit the road like so many itinerant
blues men have done in the past. “Honey” is a
terrific tune lamenting the one who got away.
“Mr.
Moonchild” is an amusing track about a rival for
the ladies that Thomas humorously delivers with
bemusement and frustration, while “Busted”
revisits a familiar blues subject, giving it a
fresh treatment.
“I
Know You Through and Through,” co-written by
Thomas and Julia Smalley, picks up the pace with
a bit of a funky rock edge and some wah-wah
guitar punctuating the lyrics. “All Loved Up” is
a lively toe-tapping blues that adds harmonica
and horns to the mix.
The
autobiographical title track closes the album,
with Thomas reflecting on where he came from and
how much things have changed since he lived
there as a lad.
Thomas' guitar work is excellent throughout the
album, and his warm vocals are a snug fit for
these highly personal songs. The whole album has
a relaxing and refreshing quality that sits well
with the material.
Bridge Street Blues is another winning
release for Dave Thomas.
--- Graham Clarke
 Nicky T and The Snake Charmers (Nicholas “Nicky
T” Tabarias – vocals/guitar, Andy Szymanski –
keys, Frank Greenhaigh – bass, Pete Berg –
drums) recently issued their second release,
Ain't Wasting Time, paying tribute to blues
legends B.B. King, Magic Sam, Bobby “Blue”
Bland, and Ronnie Earl. There are 11 tracks
on the album, eight written or co-written by
Nicky T, with three covers. Guest artists
include Earl, Chris Codish, Greg Nagy, and Kurt
Crandall and a host of others.
The album opens with Magic Sam's “That's All I
Need,” with vintage keys and the classic
rhythmic backbeat, but Nicky T's solo brings the
track up to more contemporary fare. “Mistreating
Mama” is an original shuffle, with the added horns
(Keith Kaminski on tenor and baritone saxes and
Charlie Miller on trumpet), along with Nicky T's
fretwork, giving the song a West Coast feel.
“Feel
Like A Hundred” is an old time rock n' roller
with hard-charging guitar (straight out of Chuck
Berry territory) and piano.
B.B. King's “Guess Who” gets a reverential
treatment from the band, plus lead vocals from
Nagy, who also sings lead on “The Glass,” a
memorable slow burner which also features a
guitar solo from Earl, who has served as a
mentor for Nicky T for many years.
The dynamite
instrumental “Thank You Magic Sam” is another
tribute to the West Side legend, and is loosely
based on Sam's own “Feeling Good.”
The title track is an extended slow blues that
finds Nicky T looking inward, determined to put
the past behind him and focus on what's
now.....punctuating the message with superb
guitar work.
“Waiting For The Sunshine” and the
instrumental “Charming The Snake” are both
swinging blues that will get bodies moving.
These two tracks bookend Nagy's return to vocals
with an excellent read of the Bobby “Blue” Bland
standard “Lead Me On.”
The album closes with “Life on Life's Terms,” an
unplugged version of the title track of the
band's debut album, with Crandall adding harp to
Nicky T's acoustic guitar.
Ain't Wasting Time is an outstanding effort from
Nicky T and The Snake Charmers who pay tribute
to legendary artists of the past while keeping
one foot planted firmly in contemporary blues.
With an excellent set of original songs and
superlative musicianship throughout, this album,
and band deserve to be heard by blues fans.
--- Graham Clarke
 Read
a bio of Shaun Murphy's music career and
you'll find that she's done a lot and played
with many significant musicians over her long
history. I was most familiar with her time with
Little Feat in that group's later years. Yes, it
was impossible to replace Lowell George in that
group, but she did a very good job at the front
of the stage the last time I saw Feat 30-plus
years ago.
Most
recently, Ms Murphy has been releasing blues
albums, and that's a good thing. Her latest
self-released album, Brand New Blues,
shows she's still got the vocal chops, with a
slightly raspy and extremely powerful voice. Her
natural feistiness is evident on all 13 songs.
Produced by drummer Tom DelRossi, the rest of
the band includes Tommy Stillwell (guitar),
Anthony Saddic (keyboards), and Mike Means
(bass). It's a powerful ensemble, especially
when Stillwell turns it loose on his axe.
The
opening cut, "Mama's Home," Murphy announces on
this blues shuffle that in no uncertain terms
she's back from some manner of incarceration, as
she's walking up the stairs and heading for the
bedroom. Really nice slide work here from
Stillwell. Murphy sings vehemently about her
persistent woes that won't be denied on the
funky number, "Bad Luck And Trouble," with her
voice soaring with incredible power.
The
mood changes considerably on the very slow
number, "Mobile," as she struggles with her past
while heading to Mobile, Alabama to get away
from the man that made a mess out of her, with
Stillwell laying down some incredibly snaky
guitar. That leads into the title cut, "Brand
New Blues," a mid-tempo blues on which she
states assertively that he's changing her ways
and not wasting time on that man.
Murphy sings that she's walking blind in a
hurricane with no compass or map on the slow
blues, "Against The Wind," with Stillwell
supporting the powerful vocals with a strong
guitar solo. Following is another slow blues,
"Killing Time," as she reflects that the past is
a shadow and the future's a plea, and Stillwell
again lays down a mournful blues guitar solo.
We
get a lighter, happier side of Murphy on
"Flatlands," as she expresses her love for the
topography of Mississippi as she's driving
through the area in a '75 Cadillac, absorbing
the culture and musical influences with
Stillwell knocking out some incredible slide
guitar licks. The mood shifts again on the slow,
soulful ballad, "Just As I Am," with Murphy
asking that man to love her just as she is.
Saddic's piano accompaniment gives this tune a
bit of a gospel feel, as do Murphy's pleading
vocals and the sounds of the backing singers.
With
"Flatlands" and "Just As I Am," we've hit the
two best cuts on this album.
Murphy gets feisty again on the mid-tempo "Take
My Kiss Up Off My Lips," as she's sending that
man on his way and wants him to remove all
vestiges of their relationship, including the
tattoo on his hips. Saddic again contributes
tasty piano work, as does Stillwell on guitar.
She claims to be following the advice to marry
for money and not for love on the mid-tempo
blues shuffle, "I'm Gonna Take The Money," and
she vehemently declares that's her vision for
future relationships.
"BIg
Gurlz Don't Cry" is a funky blues on which she
proclaims the relationship is over and she's not
going to be mournful about it, singing, "...But
you'll never see any tears in my eyes ..."
Murphy and Stillwell team up on vocals on
another funky blues, "Love Me Like You Used To
Love Me," stating that the relationship is over
and one of them has to hit the road. Saddic is
back with another tasty piano solo.
The
final number on Brand New Blues, "Love's
Track," opens with a heavy drum beat, and Murphy
projects her vocals with a mighty furor as she's
tired and can't carry this heavy load any
longer. Nice backing from all three band members
on this concluding number.
If
you aren't real familiar with the powerful
vocals and effective songwriting of Shaun
Murphy, then you certainly should be listening
to Brand New Blues. It's an impressive
statement from someone who's been around long
enough to have absorbed the experiences that
shape her songwriting and sincerity in her
voice.
--- Bill Mitchell
 Garage Glamour (Pravda Records) is the sixth
release by The Claudettes, with the band
introducing a new vocalist, Rachel Williams with
this release. The remainder of the band
(Johnny Iguana – keyboards/vocals, Zach Verdoon
– guitar/bass/vocals, and Michael Caskey –
drums) is the same as on their previous album.
The band is joined by Chicago blues man John
Primer on one song and guitarist Ella Feingold
for another song. Iguana penned nine of the ten
tracks, which, as with previous Claudette
releases, span the blues, rock, and pop genres.
Primer teams up with Williams on the opening
track, “(You Are My) Whole World,” an inspired
performance from both of these vocalists (Primer
also plays guitar on the track) that is as much
soul as it is blues. Williams is front and
center on vocals for the atmospheric blues
“Winter Came While You Were Gone,” her emotional
vocals ranging from wistful to accepting that
the relationship is at an end.
The noir-ish “That Could Be Arranged” has a
menacing, frantic quality with Iguana
alternating between organ and piano and the
skittering rhythm section, all framing Williams'
sultry vocal. Feingold guests on guitar for the
funky R&B/pop-flavored “Touch You Back,” which
was released as a single.
The album's only cover
is an ominous take on “Whirlpool,” a tune
recorded by Wanda Jackson in the early '60s,
highlighted by a rocking solo from Verdoorn and
Iguana's dazzling keyboards.
“Mr. Pecker's Apoplexy” is a harrowing account
of the drama between Jeff Bezos and the National
Enquirer's David Pecker, highlighted by
Williams' dramatic vocals and Iguana's wild
array of keyboards. “No Matter How Much” is
driven by Iguana's pounding rhythm on piano as
Williams laments the loss of a lover.
“The
Aftermath” is a dark, somewhat paranoid blues
with Williams'' asking “Are they still looking
for me?”
“Don't Give It Up To The Thieves” is a delirious
mix of hip-hop, soul, and blues, as Williams
delivers the lyrics via a breakneck-paced rap,
and the closer is “There Is No Other
Side.” It's fairly morose subject matter
belies it's gentle, beautiful packaging.
Rachel Williams is a wonderful addition to The
Claudettes with her stylish and versatile vocal
delivery. Iguana and the band are still musical
masters. If you enjoyed their previous
releases on Yellow Dog Records and Forty Below
Records, then you will love Garage Glamour.
--- Graham Clarke
 Chicago blues vocalist/keyboardist
Denise La Grassa continues to impress as a singer and
songwriter. Evidence can be found on her latest
release, A Crossroads Communion (deelagee
Records). Backed by guitarists Alvin Santner and
John Kregor, slide guitarist Stephen Ryan,
bassist Steven C. Manns, drummer Timothy Walker,
and with a guest appearance from Mississippi Heat's
Pierre Lacocque on harmonica for two tracks, La Grassa is in fine form on this set, penning
eight of the nine tracks with Kregor.
The energetic “Big Bad Dream” opens the album,
driven by rock-edged guitar and La Grassa's
strong vocal. “These Vain Games” is a swampy,
gritty blues track, and “Who Will Mourn You”
reflects on what happens after someone departs
this mortal coil. “Boy the Blues Have Been Blue
to Me” is a driving blues rocker with fine work
from Santner on guitar and Lacocque on
harmonica.
“The Jesus Reel” is a largely-acoustic
gospel/blues, with La Grassa desperately praying
for solutions and answers from above to help
bring change to a turbulent world. The album's
lone cover is a raw version of “I'll Play the
Blues For You” that's refreshingly different
from the Albert King version. La Grassa and
Manns share lead vocals and Lacocque sits in on
harp again.
“Go Down Laughing Good” and “Joyride” are both
social commentaries on the state of affairs in
the world, the former with a rapid-paced vocal
from La Grassa backed by Santner's guitar which
has a funkier edge. The closer, “Go
Bad Mouth Yourself,” finds La Grassa telling a
man that he's the problem in a struggling
relationship.
A Crossroads Communion is another winning set
from Denise La Grassa, with fine songwriting and
musicianship. She may be influenced by artists
like Memphis Minnie, Albert King, and R.L.
Burnside, but her brand of blues has both feet
planted in the present while steadily moving
toward the future.
--- Graham Clarke
 Anni Piper is known as the Australian First Lady
of the Blues. She's a sultry vocalist, an
accomplished bass player, a savvy songwriter,
and an entertaining performer. She's won
multiple awards for her recordings in Australia,
and was a semi-finalist in the International
Blues Challenge. Her music
ranges from traditional blues to contemporary
blues-rock.
Men Are Like Potato Chips (Sugar
Daddy Records) is Piper's seventh studio release, featuring eight original tracks with one
cover.
Piper is backed by her son Flynn Piper on
backing vocals, Ted Swanson on guitar and
Hammond organ, Steve Karin on keys, Jimi Bott on
percussion, Brian Foxworth or Joe Trump on
drums, Chris Shuttleworth on tuba, and John
Dover on trumpet. Tim Langford (a.k.a. Too Slim
of Too Slim and the Taildraggers) plays guitar
on one track. Swanson and Bott produced the
disc, which was recorded in Portland.
The steamy “Devil Bride” opens the disc with an
inspired guitar solo from Swanson, and the blues
rocker “Naughty Nurse” is quite clever and
suggestive in its lyrical content.
The amusing
title track has a bit of an old-time jazzy vibe
with Karin's piano and Shuttleworth's tuba.
“Cactus Girl” is a driving roadhouse rocker with
a '70s feel, while “Cheetah” is a slow burner
with a sensual vocal from Piper.
“Stalker” is a mid-tempo number about a menacing
ex who won't go away, and “Match With A
Sasquatch” is a hilarious rocker that finds
Piper in search of a big fella that will satisfy
her needs.
The album's lone cover is John Prine's “Angel From Montgomery,” with Langford
guesting on guitar. Piper does a wonderful job
on this tune, with her son providing strong
backing vocal support.
The album closes with “F.I.G.J.A.M.,”
a rip-roaring blues rocker.
There's not a lot of subtlety to be found on
Men
Are Like Potato Chips, which was Anni Piper's
intent. It's a steamy, sexy set of provocative
blues rockers that should satisfy fans of the
genre. Piper's vocals are great and her
songwriting is clever and most amusing and the
band, particularly Swanson on guitar, is first
rate.
--- Graham Clarke
 The Justin Saladino Band has an upcoming album
slated for release in October. The band recently
released it's first single from the album,
“Leave Me Blue.” It's a deep, soulful blues
ballad driven by Saladino's soulful, vulnerable
vocal and his fierce, stinging fretwork.
It definitely bodes well for the album, titled
Steal My Soul. Saladino and his band continue to
impress mightily with each album release.
--- Graham Clarke
 Stevie
J Blues is dropping a new single just in
time for summer. “The JukeJoint” (PKMG LLC) is a
sweaty mix of blues and funk paying tribute to
one of the blues' most familiar topics.
The
breathless pace of this tune makes you feel like
it's the weekend and you just can't wait to head
on down to where the party starts.
Stevie J
Blues always delivers, and he certainly does on
this track, perfect listening for
summertime and will be part of his upcoming EP
release.
--- Graham Clarke
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