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 Vintage #18 is a blues/R&B combo based in
the Washington, D.C. area. Fronted by sultry
vocalist Robbin Kapsalis and powered by
guitarist extraordinaire Bill Holter and the
immaculate rhythm section of Alex Kuldell
(drums/percussion) and Mark Chandler
(bass/keys/slide guitar), this band is highly
regarded for their modern, yet retro take on
blues and soul, representing the Central
Virginia Blues Society in the 2016 I.B.Cs.
The
band’s debut release, Grit, consists of
11 tracks, nine originals written by the band
and two cover tunes. The opener, “Diamonds Are
Optional,” has a funky Latin flair with a solid
bass line and crisp guitar work backing Kapsalis’
smoky vocal. The seductive “Is This Too Good”
follows, then “Love Hangover” ---not the Diana
Ross disco number, but a slow grooving walking
blues that picks up the pace midway for a great
guitar break. The first of two covers is Bob
Dylan’s “Million Miles,” and the band gives this
a marvelous slow blues treatment.
The
upbeat “Circles” has a traditional blues feel,
and Kapsalis ably handles the melancholy R&B
ballad “Pieces.” The second cover is a
classic:Z.Z. Top’s “Just Got Back From Baby’s.”
This one positively burns with Kapsalis’s
soulful delivery and Holter’s six-string
fireworks. “Poor Me” is a lovely old-school R&B
track, “Remember” is a funky rocking blues, and
the entertaining “Good Eye” is sharp ’60s-styled
rock n’ roller. The closer, “Circles Down Home,”
is a laid-back country blues that includes a
slide guitar run from Chandler.
All in
all, Grit is a delightful and very
entertaining debut release from Vintage #18, a
group that masterfully blends the traditional
and the modern in their approach to the blues.
--- Graham Clarke
 Australian soul/blues artist John McNamara
decided to head to Memphis for his sophomore
release, Rollin’ With It (Bahool
Records), and it certainly appears to have been
a wise decision. McNamara was a contestant in
the 2015 I.B.C. in the Bluff City and advanced
to the semi-finals that year. He enlisted the
legendary keyboardist Lester Snell as a
producer, arranger, and musician and brought in
the cream of the Memphis musical crop, including
drummer Steve Potts, guitarist Michael Toles,
bassist Jimi Kinard, and a horn section of Marc
Franklin (trumpet/flugelhorn), Lannie McMillan
(tenor sax), and Jim Spake (baritone sax).
Rollin’ With It rolls along with ten great
tracks of soul and blues music influenced by
that Memphis sound. McNamara wrote six of the
tunes, while the other four are covers of
classic tunes associated with the city. “Ask Me
About Nothing (But The Blues)” and “Blind Man”
were both recorded by Bobby “Blue” Bland during
his Duke Records days, while “Security” was
written by Otis Redding in the mid ’60s, and
Little Willie John had a mid ’50s hit with
“Suffering With The Blues.” Wisely, McNamara
doesn’t try to emulate the original artists, but
he puts his own soul-drenched vocals to
admirable use.
McNamara’s own songs measure up well with the
covers and combine blues and soul effectively
and his guitar work is on an equally proficient
level with his vocals. His sharp, stinging leads
are reminiscent of Albert King’s Stax work on
most of these tracks. Standouts include the
R&B-styled “One, Two of a Kind,” the swinging
“Bad Reputation,” “Under The Weight of the
Moon,” which has a cool after-hours feel, and
“Wild Out There.”
The
backing musicians are nothing short of
magnificent, really giving Rollin’ With It
the sound and feel of those classic Memphis
recordings from years ago. Of course, without
the ideal performer in front, it wouldn’t really
matter, and McNamara shows that he’s up to the
task with his soulful, heartfelt vocals and
formidable guitar skills. Fans of old school
blues and soul will enjoy this release.
--- Graham Clarke
 You
many not know who Bobby Messano is, but
you have more than likely heard him play guitar
over the past few decades. If you’re a child of
the ’70s, you probably heard Messano’s guitar
work on “Into the Night,” a major pop hit for
Benny Mardones. Over the years, he’s served as
guitarist and music director for Steve Winwood,
Lou Gramm, Rodney Atkins, Steve Holy, and Jimmy
Wayne. He’s also played on recordings by
Clarence Clemons, Franke and the Knockouts, Joe
Lynn Turner, and STARZ. He’s also released seven
of his own albums, including his latest and
best, Bad Movie (The Prince Frog Record
Company).
Messano co-wrote all 15 tracks with Jon Tiven,
with collaborations from others like former
Queen guitar legend Brian May, Larry Weiss, and
Steve Kalinch on various tunes. Stylistically,
the music spans a wide area and there’s truly
not a cull in the bunch. The title track opens
the disc and it’s a rugged Texas blues shuffle
which sets the mood pretty well, before shifting
to the soulful “Come To Your Senses,” the track
co-authored by Tiven and May. The heartfelt
ballad “Why Water A Dead Rose” is next and is
followed by the Hill Country-flavored romp “Road
To Oblivion,” then the crunching blues rocker
“Unconventional Wisdom,” which takes no
prisoners on either side of the political
spectrum.
“Too
Good To Be True” is heavy on the funk and solid
on good advice, while “If The Phone Ain’t
Ringing, It’s Me Not Callin’” cleverly updates
the fabled Bo Diddley beat, and “Never Too Late
To Break A Bad Habit” is a strong, solid rocking
blues. Country singer Alecia Elliot joins
Messano on the next two tracks, sharing lead
vocals on the lovely acoustic “Water Under The
Bridge” and singing background on the
reggae-driven “You Left Me No Choice.” “The Girl
Who Got Away” has a smooth after-hours feel and
“I Thought We Had This” has a gentle swing
rhythm and amusing lyrics. “We Need A Blessing”
addresses the immigration issue and “Is It Too
Late To Ask For A Miracle” serves as a call to
action, seguing into the optimistic anthemic
closer, “American Spring.”
Bad
Movie is a complete picture into the musical
gifts of Bobby Messano. Taking the songs
individually or collectively, it’s hard to go
wrong with this one. There’s something here for
any blues fans to enjoy.
--- Graham Clarke
 Low
Society’s third album, Sanctified (Rezonate
Records), finds the band (Mandy Lemons – vocals,
Sturgis Nikides – guitarist/producer) splitting
their time in Belgium and Memphis. Rhythm tracks
for the new release were recorded in Roeselare
with an impressive Belgian rhythm section (Jacky
Verstraeten –bass, Bart De Brueker – drums),
while all additional recording was done in
Memphis.
On
their latest release, Lemons and Nikides
collaborated on eight of the ten tracks, with
Nikides penning one solo, and there’s a great
mix of blues with rock and soul. “Raccoon Song”
is an interesting mix of punk, funk, rock and
blues, and “The Freeze” has a moody, late night
feel with guest Rick Steff adding organ to the
mix. The title track is a rowdy countrified
blues showcasing Nikides’ slide guitar, while
“River of Tears” continues on that theme with
more of a deep soul bent on vocals and slide.
“Nina,” a tribute to the late singer Nina
Simone,” starts out in a low-key, understated
manner with Nikides on acoustic guitar before
adding some deft slide work while Lemons’
smoldering vocal kick this stunning song to the
next level. Nikides’ takes the mic for his own
“Drowning Blues,” a powerhouse rocker. “New York
City Boy #3” is a reflective acoustic ballad
with Steff adding accordion to Nikides’ guitar,
and “Here Comes The Flood” bounces with a
Second-Line funky rhythm that will get heads
bobbing and toes tapping.
A pair
of covers bookend the album. John Prine’s “Angel
From Montgomery” would seem like a great fit for
Lemons and it certainly is, as she provides the
perfect combination of tough and tender on this
rendition. The blues standard “I’d Rather Go
Blind” closes the disc and is an equally good
fit for Lemons, who really pours her heart into
this one. You can feel the heartache coming from
the speakers.
From
previous listens to their work, I’ve really
enjoyed Low Society’s sound and the ease with
which they blend various musical genres into
their brand of the blues. With one of the best
blues vocalists and slide guitarists currently
practicing, it’s hard --- just about impossible
--- to go wrong with this excellent release.
--- Graham Clarke
 At
some point during the 2016 I.B.C., Mick
Kolassa and Mark Telesca hung out and
swapped songs back and forth. Among those songs
were “bluesified” versions of Beatles tunes that
each had developed over the years, both being
big fans of the Fab Four. One thing led to
another and the jam session became a
full-fledged album project. Kolassa and Telesca
brought Jeff Jensen on board to produce and add
his formidable guitar skills to the mix, and
You Can’t Do That! (Swing Suit Records) was
born.
Over
the years, there have been attempts by blues
artists to cover tunes from the Beatles with
mixed results as best. Though the Beatles
acknowledged R&B and blues artists as influences
(I remember reading a book in high school where
Ringo Starr named Lightnin’ Hopkins as a
favorite, the first time this teenager had ever
heard Mr. Hopkins’ name), their songs are so
ingrained in the memory banks of their devoted
fans that it’s often hard to actually swallow a
version that’s different from the original.
Let’s just say that Kolassa and Telesca pretty
much threw that format out of the window and
focused more on the words than the music, which
is really the only way this project could work.
And man, does this project work!
Kolassa and Telesca take 11 Lennon/McCartney
compositions, ranging from their earlier
pop/rock confections (“I’ll Cry Instead,” “Can’t
Buy Me Love,” the title track), their midterm
classics (“I Feel Fine,” “Got To Get You Into My
Life,” “She’s A Woman,” Fixing A Hole”), and
their latter-day period (“Lady Madonna,” “Why
Don’t We Do It In The Road,” “Mean Mr.
Mustard/Polythene Pam,” “She Came In Through The
Bathroom Window”) and completely transform them
into blues tunes.
Most
of the Beatles’ catalog included songs that
cover topics familiar to the blues genre ---
love, loss, heartbreak, and various character
studies --- but many times, the meaning of the
band’s lyrics was often lost because listeners
were entranced by the Beatles (and producer
George Martin’s) enthralling musical abilities.
By stripping these songs down to the basics, the
lyrics actually become the focus and the lyrical
gifts of John Lennon and Paul McCartney seem
even more impressive than originally thought.
Kolassa and Telesca alternate on vocals and both
do a fine job. It’s clear that both share a deep
love for the music. Jensen provides some
wonderful moments on guitar and the rest of the
instrumentation (drums/percussion from James
Cunningham, harmonica/guitar from Eric Hughes,
trumpet/flugelhorn from Marc Franklin, and
fiddle/mandolin from Tommy Boroughs) is just
perfect.
The
album title doesn’t just represent one of the
songs on the album, it also represents the
reaction that the duo got from some people when
the idea for the album was broached.
Fortunately, with a little help from their
friends (sorry), Mick Kolassa and Mark Telesca
have given blues fans some great music that we
might never have considered possible otherwise.
--- Graham Clarke
 Polly O’Keary and the Rhythm Method recently
issued their fourth release, Black Crow
Callin’, which will add even more accolades
to the bassist/singer/songwriter’s
already-impressive resumé. Already one of the
most creative songwriters in the blues with her
unique perspective on familiar blues topics,
she’s outdone herself with this batch of tunes.
As always, she’s joined by her husband, drummer
Tommy Cook, but this time around she welcomes
guitarist David Miller, a music legend on the
Southern California blues circuit.
The
feisty “Hard Hearted World” kicks off the disc
on a rocking note with some nice work on the
ivories from Eric Robert and a fierce guitar run
from Miller right out of the gate. “A Man Who
Can Stand” is a wry variation on the “needy
woman” theme and “Red Light” is a funky rocker.
The title track is a moody slow burner, and
“Yours To Lose” is a horn-fueled (courtesy of
the Powerhouse Horns) blues rocker.
O’Keary’s vocal on the yearning ballad “One
Life” is a standout, but she tops that on the
following ballad, “Reconciled,” where she’s
backed by vocalists Sheri Roberts Greimes and
Christina Porter. O’Keary’s vocal range allows
her to really tear through the uptempo rockers,
but she’s equally effective, if not more so, on
the slower ballads. She’s no slouch on the bass
either, of course, with the amusing “I Don’t
Understand” serving as an excellent example.
She
also offers sage advice on “Plan B,” which
features the horns again in a soul/R&B vein. The
somewhat unnerving “I Am The One” closes the
disc, with a sultry, yet disturbing vocal from
O’Keary and searing lead guitar from Miller.
Let’s just say that you REALLY need to hear this
one to appreciate it.
Polly
O’Keary continues to prove that she’s one of the
most underrated performers and songwriters in
the blues world today with Black Crow Callin’.
It’s always interesting to hear what she has to
say and how she says it.
--- Graham Clarke
 Jim
Roberts and The Resonants’ latest release,
Beneath the Blood Moon (KKP Records), is
not their debut album. The band previously
recorded and performed as the Jack Roberts
Harvey Band and previously released 2014’s
Devil On A Dirt Road. Frontman/singer/guitarist
Roberts (a.k.a. James R. Poggensee) played
guitar, sang, and wrote songs dating back to the
’70s before taking an extended hiatus in the
early ’90s to raise a family, working as a
police officer until his return to music in
2012.
Despite the name change, the band still includes
the “Jack” (bassist Tony Jack Grigsby) and the
“Harvey” (drummer Mike Harvey) from the original
band, and the three still collaborate with the
songwriting and music, though Roberts does the
lion’s share. Also participating is bassist Rick
Hollander on several tracks, along with
appearances from slide guitarist Grant Cihlar,
harmonica player Felix Flanagan, and Mike
Finnigan, who contributes keyboards on several
tunes.
The
band’s primary sound is Southern rock, but
there’s plenty of blues to be found within these
ten tracks, including the opening title track,
compliments of Roberts delta-fueled guitar and
stomping rhythm. “Dog Done Bit My Baby” is a
fine blues rocker with some sharp work on slide
guitar from Cihlar, and “Tupelo Fool” is cool
and funky. You can feel the humidity and
atmosphere on the swampy “Bayou Beau,” and “May
All Your Regrets Be Small” is an excellent
track, combining blues, roots, and a touch of
country (with a nice turn on accordion from
Nathan Rivera) in a sweet message from father to
son.
“Gold
Train Fever” is a powerful track that combines
blues, rock, and roots as well as can be done.
Finnigan’s B-3 figures prominently on this
track, and he shines on B-3 and piano on the
lively “Red Lips And High Heels.” “Southern
Hospitality” is Southern rock at its finest and
so is the moody “Dark Down In The Delta.” “The
Hell Hound’s Due,” an intense acoustic country
blues that closes the disc.
For
Southern rock fans, Beneath The Blood Moon
will certainly do the trick, but blues fans will
find a lot to savor with Roberts’ intense vocals
and slide guitar playing.
--- Graham Clarke
 For
Let’s Just Be Real (811 Gold Records),
Laura Tate’s fourth album, the lovely
Texas-born and raised singer brought in a few
big guns to help out, including producer/bassist
Terry Wilson, fellow vocalist Teresa James,
drummer Tony Braunagel, and a horn section led
by Lee Thornberg. The new release includes a
dozen tracks, all penned by others, but Tate has
the amazing ability to take somebody else’s
songs and make them her own, as heard on her
previous efforts.
The
song selection on Let’s Just Be Real
allows Tate to really show her range as a
vocalist. The disc kicks off with “Nobody Gets
Hurt,” one of three songs on the album written
by the late, underappreciated Stephen Bruton.
Tate’s sultry reading is spot on. “If That Ain’t
Love,” written by Wilson and keyboardist Jeff
Paris, has a light pop/soul feel and makes good
use of the horn section. The rollicking “Hitting
On Nothing,” from Allen Toussaint (in his “Naomi
Neville” incarnation) mixes blues and R&B with a
dash of Crescent City seasoning, and the smoky
“Can’t Say No” has a jazzy Latin quality.
Next
up is Thin Lizzy’s “Boys Are Back In Town,” but
Tate’s reading is quite different from the
original, starting off in a mellow easy
listening tone, but quickly kicking things up a
notch or two. It’s an interesting take and the
final product is very rewarding. Doug MacLeod’s
“Still Got The Blues” follows, and Tate does a
wonderful job on this tender slow burner. Wilson
and Teresa James wrote “I’ll Find Someone Who
Will,” and Tate gives it a feisty treatment. The
title track is an elegant, big band-styled
ballad, and Tate really gives a great
performance.
Tate
plays it coy on “I Know You Lie,” but her
smoldering take on the torch song “I Need A Man”
is sure to steam a few windows. “Big Top Hat,”
another Bruton composition, is a sassy swinging
number and you can tell Tate had a blast
recording it. The closing track is a terrific
country rocker “Wildest Dreams,” written by Jodi
Siegel.
The
backing band, especially guitarist Billy Watts
and keyboardist Paris, do a marvelous job, but
Tate’s vocal performance is really top notch, as
she skillfully works her way through this
versatile set of tunes. Let’s Just Be Real
is a very enjoyable set of songs that will
satisfy music fans of a number of genres,
notably blues, soul, and jazz.
--- Graham Clarke
 Ivor S.K.’s previous release, last year’s EP
Delta Pines, was a stellar set that
indicated great things ahead for the young
Australian bluesman (a.k.a. Ivor
Simpson-Kennedy). He certainly doesn’t
disappoint on his follow-up, Montserrat,
a splendid 10-song set of originals all written
by S.K., who also plays all the instruments ---
guitar, drums, bass, and percussion --- and
adroitly blends other genres into his brand of
blues.
The
title track opens the disc and pays a swinging
tribute to the island. “Don’t Say Goodbye” is an
updated version of an old blues theme, while
“Ain’t No Cross” is a darkly humorous blues
ballad. “I Been Had” is blues with a reggae beat
that works very well, and “Take The Good With
The Bad” is a somber acoustic ballad that befits
its subject matter. “It’s Raining” and
“Indianola” also really showcase S.K.’s acoustic
guitar work, the latter being the album’s sole
instrumental track.
The
Crescent City should adopt S.K.’s “Take Me Back
To New Orleans” as their theme song right now.
It’s a vivid picture of the city and powerfully
captures the city’s sights and sounds. The
ominous “Murder Tonight” is a noir-ish boogie
track, and the closer is the wry country blues
“Good Mawnin’ Judge.”
S.K.’s
scratchy vocals are a perfect fit for his songs
and his guitar work is not flashy but is very
effective, too. Montserrat is an
entertaining set and well worth waiting for
after his excellent debut last year.
--- Graham Clarke
 The
Dirty Mojo Blues Band (Shawn Strickland –
vocals/harmonica, Gary Strickland and Al Meck –
guitar, Tim Reinhard – bass, Mark Peterson –
drums) hail from central Pennsylvania and
specialize in harp and guitar-driven “dirty”
blues. Shawn Strickland participated in the 2012
I.B.C. and Gary, his father, grew up playing
classic and Southern rock. Their band deftly
combines the best of traditional blues via the
son with the classic/Southern rock leanings of
the father on their debut release, Made Cents
at the Time.
Shawn Strickland wrote all 11 of the songs which
cover most of the familiar blues topics, but
wisely the lyrics avoid cliché and are pretty
creative. Tracks include “Thin Ice” the
hard-charging opener, the old school romps “Too
Much Alcohol” and “Morrow County Jail,” the
amusing title track, a pair of strong blues
ballads (“Honey Bee” and “Papa Bear”), the
midtempo rocker “Go Ahead,” the blues shuffles
“When You Smile” and “Broken Strings,” and the
funky closer, “I Gots This.”
Shawn
Strickland's vocals are strong, sort of a cross
between Howlin’ Wolf and Johnny Winter, and his
skills on the harmonica are top notch. The
guitar combo of Gary Strickland and Meck also
works very well and the rhythm section is rock
solid. Greg Burgess plays keyboards on several
tracks and is also an asset.
This
is a very impressive first release by The Dirty
Mojo Band. Made Cents at the Time
combines well-crafted songs with excellent
musicianship and performances. Hopefully, we’ll
be hearing more from these guys soon.
--- Graham Clarke
 Though
it might be hard for some to believe, guitarist
Monster Mike Welch is celebrating his
25th year as a blues guitarist, dating back to
his start as a 13-year-old. A successful solo
artist with six releases under his belt, Welch
has also been a vital cog in Sugar Ray & the
Bluetones since 2001, and has recorded or
performed with Duke Robillard, Nick Moss, Johnny
Winter, the Knickerbocker All-Stars, Sugaray
Rayford, the Mannish Boys, Darrell Nullisch,
Anthony Geraci, and his partner on the new
Right Place, Right Time (Delta Groove
Music), singer Mike Ledbetter.
Ledbetter’s own resume is pretty impressive
itself, with experience in multiple genres such
as soul, gospel, pop, jazz, and opera before he
settled into blues of the West Side and Memphis
varieties. Honing his chops with a successful
eight-year tenure as lead singer and rhythm
guitarist in the Nick Moss Band, Ledbetter also
won critical acclaim for his performance on
Ronnie Earl’s 2015 album, Father’s Day.
Ledbetter and Welch participated in the 2016
special tribute to Otis Rush as part of that
year’s Chicago Blues Festival and there was such
chemistry between the duo that they decided to
make an album together and the blues world is
the better for it.
This
is an exceptional release, as Ledbetter and
Welch tear through a rousing 12-song set of
covers and originals. If their Chicago Blues
Festival performance was as good as this disc
is, I will forever regret missing it. Ledbetter
is an inspired, versatile, and deeply soulful
vocalist and he brings out the best in his
musical associate on these tracks. This is some
of Welch’s finest work on guitar and that’s
really saying something!
The
set list offers some familiar tunes for old
school blues and R&B fans, with songs associated
with Otis Rush (“I Can’t Stop Baby”), Elmore
James (“Cry For Me Baby,” “Goodbye Baby”),
Junior Parker (“How Long Can This Go On”), the
Coasters (“Down Home Girl”), and Tampa Red (“Cryin’
Won’t Help You”). But Ledbetter’s own
contributions (“Kay Marie,” “Big Mama,” and
“Can’t Sit Down”) are equally strong. Welch
contributes “I’m Gonna Move To Another Country,”
which sounds just like it came from ’50s era
Chess, and the closing instrumental, “Brewster
Avenue Bump.”
Making
a great disc even better is the supporting cast.
Guitarist Laura Chavez appears on four tracks
and more than holds her own. Keyboardist Anthony
Geraci is a force of nature on piano and organ,
as are Ronnie James Weber and Marty Richards on
bass and drums, respectively. Several tracks
include horns from Sax Gordon and Doug James.
Hopefully, this pairing is not a one-time deal,
because Monster Mike Welch and Mike Ledbetter
definitely have many more great songs in them.
Never was an album more appropriately titled
than Right Place, Right Time.
--- Graham Clarke
 John
Primer and Bob Corritore’s last
collaboration, 2013’s Knockin’ Around The
Blues, was a winner all around. Critics and
fans alike loved it and the album finished #5 in
Living Blues’ Radio Chart’s Top 50 Blues Albums
for the year, actually debuting at #1. Both
artists have spent their entire careers
literally singing the praises of the Chicago
Blues, and that release was as good a modern
example of the genre as there’s been in a while
--- until their latest project, Ain’t Nothin’
You Can Do! (Delta Groove Music).
Though
Primer’s opening shuffle, “Poor Man Blues,” and
Slim’s own “Gambling Blues” will have Muddy
Waters smiling up in Blues Heaven, most of the
remaining tracks magnificently recall the glory
days of the late guitarist. Primer and Corritore
have a magnificent rapport and that rapport
extends to the accompanying musicians as well.
The term “well-oiled machine” may be cliché, but
it certainly applies here. In addition to the
late pianist Barrelhouse Chuck, the impressive
backing band includes another piano legend,
Henry Gray, on three tracks, plus bassists
Patrick Rynn and Troy Sandow, drummer Brian
Fahey, and guitarists Chris James and Big John
Atkinson.
Traditional blues fans will recognize many of
the songs here --- Sonny Boy Williamson’s
“Elevate Me Mama,” Snooky Pryor’s “Hold Me In
Your Arms,” Johnny Temple’s “Big Leg Woman,”
Howlin’ Wolf’s “May I Have A Talk With You.”
Primer and Corritore do a masterful job in
recreating them. The title track, covered by a
host of blues men over the years, is just
superb. Corritore also contributes a slick
instrumental, “Harmonica Boogaloo,” which
showcases some sparkling musicianship between
the harmonica wizard, Primer on guitar, and
Barrelhouse Chuck. In addition to the opener,
Primer also penned the splendid slow burning
closer, “When I Leave Home.”
Ain’t Nothing You Can Do! manages to
recapture the sound of the classic post-war
Chicago blues as well as any modern-day blues
release possibly could, thanks to John Primer
and Bob Corritore, two of the finest current
masters of the genre.
--- Graham Clarke
 Following stints with Carl Weathersby and Sugar
Blue, among others, the Corey Dennison Band’s
self-titled debut on Delmark Records is an
impressive one. Its old school and straight
ahead, but it’s also contemporary and soulful.
Backed
by the estimable Gerry Hundt on second guitar
and organ, Nik Skilnik on bass and Joel Baer on
drums, Dennison shares writing with Hundt and
the duo proves to be a dynamic writing team on
the 13 songs herein. The opener, “Getcha’ Pull”
is destined to be a radio favorite. It’s a funky
number that will get your fingers snapping and
feet tappin’. Other notable tunes are the
rousing “She’s No Good,” “Aw Snap,” a medium
tempo number that tells a story about his
woman’s car getting stuck in the sand, ala
Albert Collins, and “Strange Things Happening.”
This
is a debut, but it’s a safe bet that Dennison is
on his way to a stellar career.
--- Mark E. Gallo
 This
two-CD set, Bone Rattler (Alpha Sun),
from the Bridget Kelly Band, features
vocalist Kelly with her side-kick Tim Fik, a
fiery guitar slinger and producer of the set,
along with the rhythm team of Mark Armbrecht on
bass and Alex Klausner on drums.
This
is Kelly’s fourth CD and the strongest yet. The
opener, “Ain’t Missin’ You” sets the pace for a
lively program. Ms. Kelly and Mr. Fik work a tag
team of energy that impresses. That energy
rarely lets up for the life of the disc. There
are a few impressive ballads ("No Good For Me,"
Deeper Than Blue," "The Dark Night," sung by Fik).
But the songs that will sell the disc are the
rowdier rockier tunes.
Recommended tunes ”Goin’ To Chi-Town" and "Mr.
Gaines," with R.B. Stone on harmonica.
--- Mark E. Gallo
I
first met Tim and Bridget Kelly Fik a few years
back in Bradenton, Florida at a party on Anna
Maria Island that my friends and I threw. They
were kind, generous folks and we hit it off from
the get go. Fast forward to the IBC a few years
back and I got to see them perform live for the
first time. Since then, they’ve evolved
considerably to become a fixture on the blues
circuit, and I heard the story behind the
Bridget Kelly Band's Bone Rattler
long before I got a copy for review. Tim’s a
mild-mannered in person, but put a guitar in his
hands and look out. This is the first record
that really features Tim at the forefront of the
band and I like to call it “Tim Gone Mad.” It’s
a butt-kicking 22-song disc, so we’ll hit play
and try to hit the highlights here.
Tim’s
fiery fretwork lights up the beginning of “Ain’t
Missing You,” and here we find Bridget saying
goodbye to a love gone bad. “I’m looking
up…you’re going down…nobody cares…if you leave
town…sleeping real good tonight….I ain’t missing
you.” The band’s in great form with Alex
Klausner on the drums and Mark Armbrecht on the
bass holding the pocket steady, and I already
know I’m in for a wild ride. Tim tones it down a
touch as the band segues to “What You Need,” and
here we find Bridget more than willing to give
her man what he needs. “Why you looking around
the room…you should be looking at me…no one’s
going to land you…there’s no one good like me.”
Bridget’s got the goods and he’s crazy to think
he’ll find better loving anywhere else.
“Levee
& The Bridge” continues with Tim’s pyrotechnics
while Bridget tells us about a flood that’s
affecting the integrity of the levee and the
bridge. “Waters run deeper than sin...we’re
trying to fix the levee and the bridge.” Tim and
the boys lend a frenetic energy to the tune, and
there’s serious doubt that the levee and the
bridge will be fixed in time to save the town.
The tune is an homage to the City of New Orleans
and the victims of Katrina, for all they went
through when the hurricane hit.
I’m
thinking its R.B. Stone blowing the harp intro
for “Boom Boom,” and it’s well done as Bridget
tells us she’s ready to move on. “Got me a plan,
dress and snakeskin boots…heading down the
highway with the wrecking crew…got a black cat
bone…boom boom…boom boom.” “I Ride the Wind”
finds Bridget expounding about life on the road
and the dues that must be paid. “Ain’t no pot of
gold at the rainbow’s end…the money’s gone and
so are my friends…every day…I ride against the
wind.” Tim’s fretwork is scintillating on this
disc and I’m thinking it’s good to unleash the
monster every now and then.
Our
tempo slows down for “No Good For Me,” and I’m
appreciating a mild break in the aural assault
on my ears as Tim plays some subtler licks on
this tune. Again we find Bridget on the wrong
side of a romance gone badly. “A flood on my
pillow…these tears won’t let me be…wow…my soul’s
real down…my mind’s in disbelief…I was so good
for you baby…you’re no good for me.” Bridget’s a
fighter, and I have no doubt she’ll land back on
her feet once her heart’s had time to heal. Of
course, a good cure for a broken heart might be
a road trip, and we hear about it next in “Going
to Chi-Town.” “Leaving in the morning…here’s a
second chance…leaving in the morning, baby…it’s
a sweet romance…Chi-town be calling…we’re going
to have a blast.” Discretion is the better part
of valor here, but trust me when I tell you Tim
and Bridget Kelly Fik know how to have a good
time. Whether or not Chicago’s ready for them,
that’s another question.
Bridget’s bad luck with love continues in
“Leavin’ on Sunday,” and here she’s ready to
leave another man who’s done her wrong. “I’m
leaving on Sunday…leaving at the crack of
dawn…I’m leaving on Sunday…cause you done me
wrong.” I can’t say enough about Tim’s fretwork
and the solidness of the rhythm section, but
it’s apparent that the Bridget Kelly Band is a
finely tuned machine and they’re definitely
showing off the goods here. “Same Bad Attitude”
finds love and its conflicts continuing to cast
a shadow on Bridget’s ability to enjoy life.
“Every day now baby…it’s the same bad
attitude…spinning lies…what’s come over you…once
gave me good love…now its bad attitude.” Time to
kick another one to the curb is what it sounds
like to me.
The
band moves on to another ballad, “Deeper Than
Blue,” and their ability to switch gears here is
impressive. “I’m falling…I’m sinking…going
down…missing you…I’m falling…I’m sinking…I’m
deeper than blue.” I’m not really sure what the
cause of all this bad luck for Bridget is, but
girlfriend, it’s got to get better soon. “Don’t
Bother Comin’ Home” finds Bridget wondering
where her man is and I’m starting to think her
picker’s broke. “Got my window open…bout to
throw out all your clothes…this time I ain’t
fooling…I’m going to make you crawl…I know your
secret lovers…are brunettes and alcohol….better
pick up the phone, Babe…you’re about to lose it
all.” There’s no bout a doubt it here at all,
he’s gone and good riddance.
“Outbound Mississippi” is a duet between Tim and
Bridget, neither one of whom had much luck in
love in Mississippi. “I’m leaving you, baby…I’m
going…gone…for good…heading down to Florida…just
like a grown woman should.” And from Tim’s
perspective…Outbound Mississippi…oh,
Florida…here I come…Clarksdale women treat me
mean…I guess my work round there is done.” This
is probably my favorite tune on the disc simply
because it is a duet between Bridget and Tim
that you don’t hear very often. The first disc
comes to a close with “Ghost Train,” and here we
find Bridget singing about the ever after.
“There’s a ghost train coming…it will stop at
every station…so why don’t you come
along…there’s a ghost train…and it’s coming for
us all.” Time to pull this CD and throw in disc
two.
A
haunting solo from Tim takes us to “The Dark
Night,” and he’s got the lead vocal. “Long is
the dark night…when you’re sleeping all
alone…I’ve tried to reach you…but you’re never,
ever home…I hear the whispers…and the rattling
of the bones.” Tim’s a weary traveler in this
life and well aware that his time is coming to
move on over to the other side as he travels in
the darkness of night and never sees the light
of day. I hear some steel guitar and R.B. Stone
is back, weaving his harp magic, on “Mr.
Gaines.” “I said…don’t mess around…with Mr.
Gaines…he’ll leave you sad and lonely…yes,
misfortune is his game.” Tim’s doing an
admirable job telling us about why we should all
avoid the acquaintance of the evil Mr. Gaines.
R.B.’s harp solo is killer and it’s been a while
since I’ve had the pleasure of hearing him blow
some harp.
“In My
Sorrow” is a decidedly rock blues tune and Tim
continues at the microphone. “Two sets of
footprints…in the sand…but I walked alone…in a
boring land…my heart is broken…and to my mind we
failed…but I will reach for her…beyond the
rail.” Tim’s love is gone now but he holds out
hope in the afterlife that they will walk hand
in hand, beyond the rail.
“I’m
so tired…I’m tired of paying dues…and the load
that I’m carrying…must be someone else’s blues”
is Tim’s first line of “I’m So Tired.” The road
is a hard place to travel but the only way to
succeed is to hit it, and deep down Tim knows
that in his heart, regardless of the burden he’s
carrying. “Hambone” finds Tim exploring the
memories of his youth. “When I was a young man…I
knew what I was working for…I saved up my
money…and I gave it to the girl next door…little
hambone…just a little hambone…finally gave up on
the whiskey…Still, I got to have a little
hambone.” Throw in a voodoo woman from New
Orleans and Tim’s better off if he sticks to a
little hambone.
Alex
and Mark ratchet up the tempo a bit and Tim’s
more than willing to talk about a woman he calls
“Bad Tornado.” “She’s a bad tornado…yes, she’s
going to give you the blues.” We’ve all known a
woman or two like this in our lives, and Lord
knows, it’s best to stay out of her path if you
can. I find “Cell Phone Blues” to be a uniquely
modern blues song and reflective of our society
today, when we’ve all got our noses buried in
the damn little screen. As Tim would say, “Seems
like I’m playing second fiddle…to the apps on
your cell phone.” Amen, brother, you’re
preaching to the choir here, and I’ve found my
second favorite song on this two-disc set.
“Cat’s
Out of the Bag” has a bit of a swing feel to it
and I’m enjoying the musical change at this
point in time. Bridget’s at the microphone for
this one, “Ooh, yea…oh yea…whoa yea…the cat’s
out of the bag.” The band closes with “Your
Limozeen,” and Tim’s back at the mic for the
final track. “Hey baby, yea…I wanna ride in your
limousine…cruise on down my way, baby…I can get
you what you need.” Who knew Tim was such a
charmer at heart, but I’ve enjoyed the fact that
he’s handled the vocal duties for all but one
track on disc two of this set.
Bone Rattler is exactly that, a tour de
force that allows the Bridget Kelly Band to let
Tim Fik share his prodigious guitar skills with
us as well as spend considerable time in front
of the microphone. I know the band’s plan is to
alternate discs between their more traditional
blues approach and their take on rock-blues, and
from the sounds of this two-disc set that’s a
smart way to go. You can learn more about my
friends from Florida at
www.bridgetkellyband.com. They’ve been
touring like crazy this summer, and it would be
great fun to hear them perform the songs of
Bone Rattler live. If you get a chance to do
so, tell them Kyle sent you.
--- Kyle Deibler
 I’ve
known my friend Lisa Biales for awhile
now, and she’s a woman of many talents. Her
paintings are exquisite and I still think about
one she painted on the beaches of Anna Maria
Island every now and then. I’ve had the pleasure
to see her perform live with EG Kight, but until
now I’d never heard a record of her own. Lisa
recruited Tony Braunagel to produce her new
record, The Beat of My Heart, and went
into the project with one song in mind, “Crying
Over You,” by Alberta Roberts. The impetus for
this tune was a 78 rpm record of the tune,
recorded by her mother back in 1947. Tony
assembled a veritable who’s who of musicians to
work on this project, and rarely do you hear a
disc like this today.
Jim
Pugh is on the Steinway piano and I hear Larry
Taylor’s upright bass loud and clear as Lisa
tells us she’s “Disgusted.” “I’m so tired of
these men…trying to make a monkey out of me.”
Joe Sublett lends his saxophone to the mix, and
I love the big band sound on this tune. Lisa
tackles the Dave Crawford tune, “What a Man,”
next and I’m loving Jim Pugh’s organ in the
background. “What a man…what a man…what a mighty
good man…say it again, now…what a man…what a
man…what a mighty good man.” Johnny Lee Schell
lends his fretwork to the mix and the band is
killing it.
Lisa
marches on and next tackles an Allen Toussaint
tune, “I Don’t Want to Hear It.” “Had yourself a
good thing…you were too blind to see…collecting
that old gossip…well, let me tell you…you just
lost me…cause…I don’t want to hear it.” Joe
Sublett’s sax work is sublime and Lisa’s
surrounded herself with an amazing group of
musicians to work with on this project. A drum
intro takes us to our next track, “Be My
Husband,” a tune written by Nina Simone. “Be my
husband…and I’ll be your wife…love and honor
you…the rest of your life…if you’ll promise me
you’ll be my man…I will love and honor you…the
best that I can.” Lisa’s vocal is strong,
straight-forward and she does an excellent job
on this tune by Nina.
“Messin’ Around With the Blues” is a
piano-driven song, and I’m reminded of a ’50s
lounge setting with a cold drink in my hand.
“With you on my mind…I’m blue all the time…if
only you knew…what I’m going through…losing my
mind…just messin around…with the blues.” Lisa
tackles a gospel tune, “Said I Wasn’t Gonna Tell
Nobody,” and it’s a cool touch with her
background singers sounding like a choir behind
her. “Well…I said I wasn’t going to shout for
joy, but, I…couldn’t keep it to myself.” The
tune was written specifically for the Abssinian
Baptist Choir, and Lisa has me believing.
The
inspiration tune for this record, “Crying Over
You,” by Alberta Roberts is next, and a cool
aspect of the song is incorporating the voice of
Lisa’s mother to sing the start of the second
verse. “Why do I remember…little things one
can’t forget…maybe because I’m hoping…I’m going
to get you yet.” Jim Pugh’s Steinway piano is
prominent in the background for this tune and I
appreciate the impact of Lee Thornberg’s trumpet
as well. A beautiful tune and I can see how it
inspired Lisa to record this record.
Darrell Leonard’s trumpet intro leads us to our
next track, “Wild Stage of Life.” “If I say
yes…to several moments…of happiness…for I can
only learn…in my wild stage of life…if I’m to
become…someone’s faithful wife.” I’m not
familiar with Henry Glover but he wrote a
beautiful tune here, and Lisa knocks it out of
the park. Paul Brown’s fretwork is amazing here
as well, and I love this song’s presence on the
record. Next is “Don’t Let Nobody Drag Your
Spirit Down,” a tune by Eric Bibb and C. Hoglund.
“Walk with the rich…walk with the poor…learn
from everyone…that’s what life is for…don’t let
nobody drag your spirit down…remember…we’re
walking up to heaven…don’t let nobody turn you
around.” Lisa has an amazing ability to change
vocal styles at will and she more than does this
tune by Eric Bibb and company justice.
Chuck
Berghofer’s 1813 Upright Bass provides the
background for “Romance in the Dark,” and Lisa’s
having fun here. “In the dark….it’s just you and
I…oh, let’s let the rest of this world go
by…cause they can just dance…we’re going to find
romance…in the dark.” Paul Brown’s fretwork on
his 57 Gibson L5 is stunning and I’m a happy
camper here. A heavy kick drum beat from Tony
indicates a change in mood, and Johnny Lee
Schell’s Cigfiddle leads the way on “I Should
Have Known Better.” “Been a long time coming…and
the cards were stacked…it’s been a long road…to
hell and back…you won every hand…I lost every
bet…I think that I…should have known better.”
This is a love gone bad and by her own
admission, Lisa, should have known better.
Johnny
Lee Schell is back on the guitar, providing the
intro to our last track, “Brotherly Love.” “You
can’t walk down your own street…you can’t trust
the ones you meet…and kindness is seldom heard
of...don’t you think it’s time we
learned…brotherly love.” A fitting end to what
has been a great record --- a little brotherly
love between everyone is definitely a good
thing.
I’ve
enjoyed The Beat of my Heart by Lisa
Biales. It features an eclectic mix of tunes
inspired by a recording by her mother that is
superbly produced here. Surrounded by an amazing
group of musicians, Lisa took me back to a time
when songs like these were performed in a high
class lounge, and a cocktail in hand would be
appropriate. Her website is
www.LisaBiales.com, and I encourage you to
go there and learn more about this very talented
artist. Lisa’s followed her muse with every
recording she’s released, and this one’s a gem.
--- Kyle Deibler
 The
Andy T Band was out here in Colorado for our
member’s party and absolutely wowed the crowd at
Syntax with their new lead singer, Alabama Mike.
Great fun was had by all, and to see the band
live had me reflecting on all of the great times
I’ve had when Nick Nixon was their featured
singer. Time catches up with all of us, and
while Nick won’t be on the road with the band
anymore Alabama Mike holds down the microphone
wonderfully. The band’s new disc, Double
Strike, serves as a transition with both
Nick and Mike contributing their lead vocals to
the party.
We
start off with “I Want You Bad,” and Alabama
Mike is at the microphone for this one, telling
us how bad he wants the woman of his desire. “I
want you bad, baby…I can feel it in my bones…I
won’t you bad, baby…I don’t want to be alone.”
It doesn’t get any clearer than that and I’m
appreciating the saxophone contributions from
Kaz Kazanof and John Mills, along with Andy T
and Anson Funderburgh on the guitar. Alabama
Mike seems to be a lover, not a fighter, and we
hear more from him on our next track, “Somebody
Like You.” “This could be my turn…you get
lonely, too…I’ve been looking for…somebody like
you.” Be careful what you wish for Mike, you
just might catch her. Larry van Loon’s killing
it on his Hammond B3 and the band is having fun.
Nick
Nixon takes the microphone for “Deep Inside,”
with Greg Izor lending some killer harp to the
mix. “Deep inside…deep inside…I’m deep inside
your heart, babe…I’m deep inside of you.” Now
Mike could take a lesson or two in charm since
Nick’s the master of love, and I’m enjoying
hearing his sweet voice fill my headphones on
this tune. “Sweet Thing” is our next track, and
Nick is telling us all about the woman he loves.
“I know she really loves me…she’s my sweet
thing…she puts honey in my coffee…sugar in my
tea…that’s how I know there’s nobody but
me…she’s my sweet thing.” Nick’s got a keeper
here and I know he’ll hang onto her.
The
mood changes as Nick tackles our next track, “I
Feel So Bad.” “Sometimes I want to stay
here…then again, I want to leave…I just can’t
make mind up…I shake my head and walk away…I
feel so bad…my baby gave me a dirty deal.” Andy
T is playing a sweet guitar solo behind Nick’s
heartfelt vocals and you can feel the pain he’s
sharing. More keyboards and horns provide the
intro for Nick’s next vocal, “Juanita.” “I ought
to be stronger…since I see…your love is no
longer…here with me…still I keep
calling…calling…calling your name…Juanita.” Nick
is definitely pining for Juanita’s return, but
it’s very clear she’s not coming back. Sorry.
Nick, you’re unlucky in love this time.
Our
tempo picks up considerably for “Mudslide,” and
it’s an instrumental that sets the band loose to
play what they will. Larry’s B3 and Andy T’s
guitar lead the way with Jim Klingler keeping
the pocket going on the drums. It’s a nice
interlude and we turn the microphone back over
to Alabama Mike for our next track, “Sad Times”.
Larry’s B3 with the horns provide the
introduction for this tune as Mike tells us how
it is. “Baby…since you left me…my life has been
so bad…I’m trying to find something…to help me
feel bad.” Alabama Mike’s taking this one hard
and he’s struggling to handle the sad times
being left behind has brought him.
Anson’s got the guitar solo to introduce the
band’s next tune, “Doin’ Hard Time,” and Alabama
Mike is contemplating the confusion he feels
with the woman he loves. “You’re my big house
warden…and you got me doing…hard time…I’ll keep
on loving you baby…I’m wrapped up in your
chains…I don’t want to be free…I’ll suffer in
your pain.” I’m feeling Alabama Mike’s pain
here, but he’s determined to hang in there and
love this woman who treats him so badly. “Drunk
or Sober” is the band’s next tune, and Larry’s
twinkling the ivories here as Nick tells us
about the woman he loves. “I love her drunk or
sober…there’s no one to take place…cause I love
her…to me it’s no disgrace…I love her drunk or
sober…and there’s no one to take her place.” I
admire Nick’s loyalty but I’m not sure I could
do the same here.
The
fun continues with Nick contemplating the turn
of events in his life on “I Was Gonna Leave
You.” “I love and trusted…thought you’d always
be mine…my friends all said…you were mighty
fine…your sister warned me…about your two-timing
ways…the day you left me…I was gonna leave you.”
Nick’s remorseful here, but he can’t have a
cheating woman in his life and he’s better off
that she’s gone. “Dream About You” is the one
song on the disc that has Alabama Mike singing
lead with Nick on the background vocal, with
Alabama Mike dreaming that his woman came back.
“I had a dream…my baby came home to me…ain’t no
way in the world…this could ever be. Andy T is
wailing on the lead guitar and I’m thinking it’s
about time Alabama Mike came to his senses.
“Where
Did Our Love Go Wrong” has the band slowing the
tempo down a bit, and it’s the final song on the
disc with Alabama Mike at the microphone. “Was
it something I said…didn’t I tell you that I
love you…now I’m singing this sad song…where did
our love go wrong?” Poor Alabama Mike has been
unlucky in love for most of this disc, and I
wish you better luck in the future.
Double Strike clearly shows why the Andy T
Band with Alabama Mike is one of the best
traditional blues bands touring these days. All
of the band members are crack musicians who
deliver the goods, and you just can’t argue with
the one-two punch of Alabama Mike and Nick Nixon
on lead vocals. The band’s website is
www.andytband.com. Check out their touring
schedule since there’s a good chance they’ll be
coming to a town near you soon. Consummate
professionals, they’ll show you a good time,
fill the dance floor, and leave you wanting to
hear more.
--- Kyle Deibler
 I’ve
known Mike Westcott for the better part
of ten years or more so I was happy to give his
new disc, Atomic Blues, a spin when he
sent it to me. I appreciate Mike’s songwriting
and this disc has almost a futuristic bent to
it.
“Gotta
pay my bills, baby, my paycheck ain’t come
through, don’t even have enough dough, to buy my
dog some food” is the opening lyric to “Broke,”
and we’ve all been there. Mike’s first resort is
to head to the pawn shop with his best guitar
and go from there. I’m hearing organ from Chris
Brooks while Jay Turner on bass and Jean-Paul
Gaster are holding down a strong beat in the
pocket. It’s good to hear Mike’s guitar again,
and you can’t help but hope that he pulls
himself out of the financial dilemma he finds
himself in.
The
band segues onto “Good Groove” and here Mike’s
telling us there’s an art to creating it. “You
want the groove good…you’ve got to take your
time…if you do it right…she’ll beg you for
more…she’ll love you all night…rock you to your
core.” Mike’s obviously got it all figured out,
and more power to him for keeping “the groove
good.” A strong guitar intro from Mike leads us
to “Wonderdrug,” and he’s got a package outside
his front door. “It’s a wonder drug from
overseas…says it’ll bring a grown man to his
knees…from me to you…says it’ll make you feel 10
feet tall.” I’m not quite sure what all’s in the
wonder drug, but it sounds like it’s giving Mike
an edge with the women and that can’t be a bad
thing.
More
keyboards from Chris Brooks, and here we find
Mike’s relationship ending in “Done.” “I don’t
want to have to leave you…but you don’t seem to
want to fight to make me stay…there’s nothing I
can do now…to make you change your ways.”
Breaking up is always hard but at the end of the
fight, sometimes you’re just through and it’s
“done.” Mike’s passionate tones convey the pain
he feels but he’s going to have to let her go
and move on. I find “Pie Hole Blues” a strange
name for a tune, but the rhythm section is
killing it and Chris’s organ is spot on as well.
This is a frenetic instrumental and its fun for
me to hear Mike’s current band tear it up. Up
next is “Funkii,” and Mike offers a different
perspective here. “Time to put your cares
away…the funk will make you feel ok, what you
get is what you see…and you’re about to see
funkii.” Jay’s delivering a heavy bass line for
this tune and it’s good to let your hair down
every now and then.
Another heavy bass line from Jay leads into “The
Reaper,” and it appears he’s coming for Mike.
“Shot all my horses and burned down my
barn…drove all my family away from my farm…heard
it was you and I fell to my knees…how could you
take everything that we need?” The Reaper will
always come to settle the score and you best be
prepared to pay the debt you owe him before you
lose everything you have.
Jean-Paul sets the tone for the final cut,
“Swamp Monster Blues,” and he’s hitting the
drums hard. “Going up to the mountain…I can
drown my sorrows…maybe you can find yours too.
Mike’s killing it with some serious slide work
to end this record and I’ve enjoyed the
diversity to be found in his musical
arrangements on this disc.
Atomic Blues is an aggressive record, and it
features Mike Westcott and his band playing some
impressive arrangements not typically heard on a
blues disc. I’m happy in that it shows
Westcott's musical growth, and he’s
surrounded himself with some killer players to
deliver his musical message. His website is
www.mikewestcott.com,
and I’m happy to see he’s got a busy gig
schedule on the east coast. I’ve enjoyed the
listen, and keep hitting it hard, Mike.
--- Kyle Deibler
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