|
 A
thumbnail sketch of Elvin Bishop’s career: Grew
up in Tulsa but settled in Chicago, member of
Paul Butterfield’s Blues Band alternating lead
guitar with Mike Bloomfield 1960s; Big
mainstream radio hit 1976 “Fooled Around and
Fell In Love” on which he played but didn’t
sing; Evolving solo touring and recording career
landing on major blues label Alligator some
years ago; Survived considerable adversity when
two close family members were murdered in the
early 2000s.
Suffice it to say, the man has paid his dues.
He’s at the point in life he can pretty much
call the shots on what to play and where to go.
Which brings us to his latest on Alligator,
Somethin’ Smells Funky ‘Round Here from
Elvin Bishop’s Big Fun Trio. I
seriously doubt any industry pro tainted the
leader’s autonomy on this one.
For
the leadoff and title track, some of us finally
have a spokesman when it comes to current news
and commentary. And we DON’T have to hear it
from TALK radio. Bishop states in his opening
rap that “funky” doesn’t refer to a groove this
time, but to the odor coming from Washington,
D.C. “... If you’re white you’re all right, but
if you’re black or brown we don’t want you
around ...” citing one example among many
dandies. And he shares writing credit with the
other two of the trio which delineates the Big
Fun Trio’s democracy: Bob Welsh on
piano/guitar/organ and Willy Jordan on cajon and
vocals. Cajon? You know, one of those newfangled
(probably prehistoric) percussion boxes one sits
on and taps for effects replicating a drum kit.
Somethin' Smells
Funky ‘Round Here is a short, sweet and
definitely to-the-point disc coming in under 40
minutes and sporting a variety of rhythms,
tempos, and styles one might expect from a
seasoned blues guy.
There’s room for the down home, Bishop can be as
good ol’ a boy right with the best of ‘em. We’ve
also certified his hardcore Chicago blues
credentials, and shades of each personality
surface on this disc. He sings or comments on
maybe half the tracks. The album lacks
production punch in places due to
instrumentation, take “I Can’t Stand the Rain”
for example sung admirably by Willy Jordan (who
in fact tears it up). But after being spoiled by
Ann Peebles or Tina Turner, you really miss that
heavy backbeat. On the other hand, when Bob
Welsh plays his boogie piano on this collection
the percussionist makes the listener swear he’s
hearing a drummer’s brushes.
More
on cajon player Willy Jordan’s vocals: “You’re
Love Keeps Lifting me Higher and Higher” is
perfect for his range. “That’s the Way Willie
Likes It” is more relaxed with his timbre nearly
perfect for the blues. Bishop warns vocally of
the proverbial “Another Mule” apt to be kicking
in anyone’s stall without notice, and gives us
more of his life’s story as time passes, which I
have no doubt is 100 percent true, on “Lookin’
Good.” It’s gratitude for living in this moment,
and the good coming out of seemingly horrible
and desperate episodes of life.
The
presentation concludes with a Zydeco-styled
piece, “My Soul,” featuring guest accordionist
Andre Theirry. Pull a blindfold test on a blues
friend and he might swear it’s Clifton Chenier
playing the squeezebox from out of the past.
I
know I’m preaching to the choir, but Elvin
Bishop is one hell of a guitarist. Funky
‘Round Here gives us, among many delights, a
chance to really enjoy Bishop’s playing in both
the lead and rhythm sense. Each is quite
different from the other.
--- Tom Coulson
 Ms.
“Little Chevy” (http://littlechevy.ch) fronts a
Swiss-based band under her own nickname. They
call their sound “blues soul,” but we hear a
potential poppy brand with rock, more on the
country side, and on tracks featuring dobro
guitar it’s almost bluegrass. The concluding
track is virtually voice and guitar sounding
folk.
Slow
tempos and minor keys, where applicable, go with
thematic original often dark lyrics. She sure
has a purported fascination for the evil side.
Other than that, hear boogie shuffle and New
Orleans rhythms.
All we know about Ms. “Little
Chevy’s” identity is her first name Evelyn. She
sings confidently on-key with a charming accent
a mile wide. “Little Chevy” claims the drummer
is her boyfriend and songwriting partner (what
is it with singers and drummers?), and she’s a
stand-alone vocalist. But she’s so interactive
with a couple pianists throughout the album
you’d think she was its player.
The cover of
her/their sophomore release, Lucky Girl, shows
the young lady in bandana blowing a gum bubble
suggesting their image as rockabilly. The
variety of the album sounds otherwise.
Production
and musicianship is all good and one
can tell they’re an experienced and rehearsed
group. Aside from the expected topics of love
and
emotion are real-live observations on social
consciousness, the quest of the spirit. The best
part? Most of the tunes will stay in your mind
long after they have ended. That’s saying
something for original music. True questions of
course are these: Does their public like? Do
fellow musicians approve? Those are answers we
can’t get from outside listening in, but I’ll
bet critics collectively give a thumbs-up.
--- Tom Coulson
 The Statesboro-born
country blues singer, songwriter and guitarist
Brooks Williams now has this 28th album to his
name in a career spanning a similar time scale,
an immense achievement by one of the hardest
working troubadours in the business. Based in Cambridgeshire, UK, Brooks has never been in
greater demand on both sides of the pond as his
prodigious talent is increasingly recognised
across the blues, folk and Americana spectrum.
Whether headlining festivals or playing small
gigs in rural venues, Brooks feels at home and
delivers high quality performances in his
inimitable easy going style.
Lucky Star, on Red Guitar Blue Music was
recorded in three days and epitomises the vibe
and excitement of the old Sun records. As
Williams explains, “no isolation booths, no
overdubs, no headphones, just musicians playing
songs together in a way that used to be pretty
common but isn’t anymore.” The jaunty opener,
“Bright Side Of The Blues”, is a reminder that
blues can be happy and optimistic, a celebration
of overcoming difficult situations. The funky,
jazz-infused “Always The Same” showcases the
technical skills of drummer Stu Brown, bassist
Kevin McGuire and pianist Phil Richardson.
Next
up is a superb version of New Orleans’ R&B
singer Christopher Kenner’s hit record,
“Something You Got.” Williams’ compositions,
“Mama’s Song” and “Gambling Man,” are works of
pure genius in terms of lyrics, arrangements and
acoustic finger picking guitar technique,
enhanced by Scottish folk legend Rab Noakes’
background vocals. Creamer and Turner’s “After
You’ve Gone” is a throwback to the early 20th
century, replicating the sound and authenticity
of the original popular song.
“Here Comes The Blues” and “No Easy Way Back”
prove that Brooks can write contemporary blues
songs which will also stand the test of time and
leave an important legacy for future
generations. A gospel track recorded by Sister
Rosetta Tharpe, “Rock Me,” written by Rev Thomas
Dorsey, further intensifies the variety of
material on this album. “Jump That Train” is a
welcome addition to the repertoire of memorable
train songs in blues history thanks to brilliant
slide guitar and driving vocals from Williams.
The mood changes with “Whatever It Takes,” a
beautiful, tear-jerking ballad dripping with
emotion. Walter Hyatt’s upbeat “Going To New
Orleans” would have made a fitting finale but is
upstaged by two bonus tracks of Williams with
Hans Theesink who toured together recently. The
combination of resonator guitar and mandolin on
“Rock Me,” plus the scintillating acoustic
guitar and vocal duet on “Gambling Man,” shows
that the chemistry between the two iconic blues
men is something special.
It might have been a lucky star which brought
Brooks Williams to UK shores, but it is pure
talent, hard work and relentless touring which
has brought him to the pinnacle of his career.
---
Dave Scott
 When the Pope dies and goes to heaven he looks
for his house and comes across several mansions
which he claims must be his. But every time he
asks “Is that mine?” he is told, “No, it’s Ray Manzarek’s... No, it’s Jon Lord’s... No, it’s
Brian Auger’s...” Eventually he pulls up outside
a rundown shack with his name on it, located in
the bad side of heaven. “What’s this about, I
can’t live here I’m the pope!” only to be told,
“Hey, popes are a dime a dozen; a good keyboard
player is hard to find.”
I was reminded of this story when I listened to
this debut CD 5x5 on Lost Wasp Records from UK
Cumbrian and the Scottish borders band Redfish,
hearing their amazing keyboard player Fraser
Clark. Classically-trained and a seriously good
jazz and blues player and composer, Clark has
immense creative qualities and technical
abilities which are hard to find on the current
scene. Not that Redfish are a one-man band, this
relatively new five-piece now gaining widespread
acclaim with their atmospheric, dynamic,
high-energy performances.
I saw them at Edinburgh Blues Club last year and
they upstaged the high profile American
headliners with a barnstorming set of covers,
albeit clever and refreshing interpretations.
The only unanswered question was could they also
come up with some good original material? 5x5
answers this in the affirmative and although an
EP, at just under 30 minutes of intense blues,
it feels close to a full album.
The funky opening number, “For The Love Of The
Wrong Woman,” sets the scene, with Rod Mackay’s
pulsating bass and Sandy Sweetman’s precise
drumming the perfect platform for Martin
McDonald’s intricate guitar fills and Clark’s
restrained contributions. The second original
song, “Accustomed To The Darkness,” demonstrates
how all five musicians engage in the song
writing process from the initial groove through
to the addition of structure, melody and lyrics.
Lead singer Stumblin’ Harris gives the words
meaning through sensitive yet impassioned
vocals, his range impressive as he responds to
the growing crescendo of McDonald’s searing
guitar work.
Sonny Boy Williamson’s “Temperature
110” and Jimmy McCracken’s “Every Night and
Every Day” keep the band rooted in deep blues,
the latter featuring sensational keys which take
the breath away. The transition to the third
original track is seamless, ‘”Material Man,”
sounding as good if not better than the
preceding covers.
Dave Miller of Circa 16 in Dumfries deserves
credit for capturing such a high quality live
studio recording. Overall, this album represents
a landmark in the continued evolution of Redfish
as a band to be reckoned with, and well worth
seeing live on stage to experience their
showmanship, professionalism, eccentricity and
passion.
---
Dave Scott
 At 82, Buddy Guy has
seen a few of his comtemporaries leave the scene
in recent years, so you can’t really blame him
for being a bit introspective on his latest
release, The Blues Is Alive and Well (Silvertone/RCA
Records). The opening track finds him asking for
just “A Few Good Years” and the closer, “End of
the Line,” starts out a bit somber but ends up
with Guy defiantly proclaiming that at as he
approaches the big finish line he “won’t be
quiet and he won’t behave,” which is good news
for blues fans all around.
Like his previous efforts, Guy teams with
producer Tom Hambridge, who also wrote or
co-wrote all of the original tunes, and Guy
receives rock-solid support from his stalwart
rhythm section backing Guy (Hambridge – drums,
Kevin McKendree – keyboards, Rob McNelley –
guitar, Willie Weeks – bass).
There is also a generous list of guest stars on
the new release, including another pair of
legendary guitarists, Jeff Beck and Keith
Richards, both contributing crisp and succinct
guitar solos in the slow blues “Cognac.”
Relative newcomer James Bay joins Guy on vocals
and guitar for “Blue No More,” a smoky late
night ballad that would have fit into B.B.
King’s wheelhouse pretty easily.
Listening to Mick Jagger’s excellent harmonica
backing on another slow blues, “You Did The
Crime,” I can’t help but think of that series of
pictures by Dick Waterman of Jagger getting some
pointers from Guy’s longtime partner Junior
Wells from the late ’60s/early ’70s. Sounds like
the lesson paid off rather well for ol’ Mick.
While tunes like the above-mentioned “A Few Good
Years” and “End of the Line” show that maybe Guy
is looking at his own mortality, they’re not
overly maudlin and show that Guy won’t be
hanging up his guitar anytime soon. “When My Day
Comes” and “Somebody Up There” are in the same
vein, but the former boasts a fiery Guy solo
that belies any notions of the end being near,
while the latter brings to mind an amped-up John
Lee Hooker slow boogie. Guy admits on “Old
Fashioned” that the description may fit, but he
doesn’t care and throws out a white-hot guitar
solo to verify it.
Other tracks don’t focus as much on
introspection, like the rousing “Bad Day,” the
spirited shuffle “Guilty As Charged,” and the
slow burner title track about a cheating woman
(one of several tracks to feature The Muscle
Shoals Horns in support). The funky “Whisky For
Sale” includes backing vocals from the McCrary
Sister, which is never a bad thing, and “Ooh
Daddy” is a hard rocking boogie.
There are two covers on the disc, or really one
and a half covers. The first is an inspired take
on the Sonny Boy Williamson II classic, “Nine
Below Zero,” and the other is a minute-long
snippet of Red Nelson’s “Milkin’ Muther for Ya,”
which is Guy singing one of the verses while
playing guitar.
Thanks in large part to Buddy Guy’s lifelong
efforts, The Blues Is Alive and Well. Hopefully both will continue to stand strong for
a long time to come.
--- Graham Clarke
 It’s been 17 years since
Kid Ramos released a
solo album. He has been busy during that time,
however, raising two sons and battling and
beating cancer. Long recognized as one of the
most distinctive guitarists in the blues,
playing lead guitar with The James Harman Band,
The Fabulous Thunderbirds, and Los Fabulocos
while releasing four albums of his own. For his
latest release, the appropriately-titled Old
School (Rip Cat Records), Ramos is joined by a
stellar band (Kedar Roy – bass, Marty Dodson –
drums, Bob Welsh – keyboards, Danny Michel -
guitar) and vocalists Johnny Tucker, Kim Wilson,
Big Jon Atkinson, and Ramos’ 17-year-old son,
Johnny.
Ramos pays tribute to B.B. King with the lively
instrumental “Kid’s Jump,” which kicks off the
disc, then backs his son, Johnny, on the Magic
Sam cover, “All Your Love.” I really like Ramos’
shimmering guitar tone on this track. The
younger Ramos acquits himself very well on this
track and conveys a real sense of hurt and
longing on his other appearance, the Arthur
Alexander hit “Anna (Go With Him).” Sounds like
the youngster has a bright future in the blues.
Tucker takes the mic for four selections. He
co-authored with Ramos three of his four songs on the disc, “Tell Me What You Want,” a nice
mid-tempo shuffle, “You Never Call My Name,”
featuring his vocal backed by Ramos’ guitar, the
slow blues “I Can’t Wait Baby,” and the
traditional gospel tune “Jesus Come By Here.” To
these ears, the slow blues is the best song of
the four; Tucker really nails the vocal and
Ramos’ guitar work is splendid as well.
Ramos sings on two songs,
doing a fine job on
a pair of ’50s pop tunes, the Buddy Holly hit
“Heartbeat” and Nat King Cole’s “Mona Lisa.”
Atkinson, who recorded the album at his home
studio in Hayward, California sings his own
composition, “Weight On My Shoulders,” a great
T-Bone Walker-esque late nighter. Ramos’
former T-Birds mate Wilson closes the disc with
Walker’s swinging “High Society.”
Of course, Ramos gets ample opportunity to
present his guitar skills on each of these
tracks, as well as on two other instrumentals. “Mashed
Potatoes and Chili” reminded me a lot of those
great Freddie King instrumentals from the early
’60s, and “Wes Side (Bumpin’)” is a wonderful
cover/homage to jazz guitar legend Wes
Montgomery.
Here’s hoping that Kid Ramos doesn’t go so long
between album releases next time. Old School
is
just what the doctor ordered for fans of
traditional blues and this great,
underappreciated guitarist.
--- Graham Clarke
 Here in Babylon (Jesi-Lu Records), the tenth and
latest release from L.A.-based Teresa James and
the Rhythm Tramps, finds the group continuing to
mine the rich fields of blues, roots, soul, and
gospel music with very satisfying results. The
talented Ms. James (vocals/keyboards) is joined
on these 12 original compositions by her
longtime partner Terry Wilson
(bass/co-producer), guitarist Billy Watts,
drummer Jay Bellerose, and Mike Finnegan (B3),
with Darrell Leonard (trumpet/horn arrangements)
and Joe Sublett (sax).
The opening soul-drenched “I Know I Ain’t
Been So Perfect" is a greasy slice of delicious
southern soul, with Finnegan and James teaming up
on B3 and Wurlitzer, respectively. The ominous
socially-charged title track is next, and “Give
Me A Holler,” the next cut, simmers like a pot
of Louisiana gumbo. The R&B track “Heads Up,
Hearts Open” gives a nod to Memphis-styled R&B
with a nice showing from the horn section, and
James really shines on the wistful ballad “I
Keep Drifting Away.”
On “Ground Zero,” James presents a new account
of the story of Robert Johnson’s deal with the
devil at the Crossroads, while the mid-tempo
“Hold On” has a Motown/pop fee. The clever
and stylish “You Had To Bring That Up” deftly
mixes blues and jazz with Leonard’s trumpet
featuring prominently throughout.
“The Day The
Blues Came To Call” is a poignant tribute to the
late Gregg Allman. James revisits her Texas
roots on the roadhouse stomper “I Gotta Roll,”
takes listeners to church with the
gospel-flavored “21st Century Man,” and channels
the great Bo Diddley on the raucous closer “Find
Me A Bar.”
Here in Babylon is another fantastic release
from Teresa James and The Rhythm Tramps. These
folks make some mighty fine music, with this great
set of songs and performances appealing to
music fans across the board.
--- Graham Clarke
 Joe Goldmark became interested in steel guitar
after hearing the New Riders of the Purple Sage
play with Jerry Garcia in San Francisco during
the late ’60s. Prior to that, he had played
guitar in a few garage bands and bass in soul
bands after moving to San Francisco from Tucson,
Arizona.
Dropping out of music to start a family,
Goldmark resurfaced in the mid ’90s playing
steel guitar in settings different from the norm
for the instrument, reinterpreting rock and soul
music and writing his own instrumentals.
Goldmark’s most recent release is
Blue Steel
(Lo-Ball Records), an impressive 13-song set
that includes six instrumentals and seven tracks
featuring vocals from Glenn Walters, formerly of
the Hoodoo Rhythm Devils, and Dallis Craft.
Goldmark is backed by a stellar band as well,
including Bey Paule Band drummer Paul Revilli
and keyboardist Tony Lufrano, plus bassists
DeWayne Pate, Karl Severeid, and Hank Maninger,
and guitarists Garth Webber, Gary Potterton, and
Jim Campilongo.
Goldmark’s instrumentals are very interesting,
whether the melodic and dreamy “Night Flight,”
or the country-tinged “Ginger Ale” and “Warm
Rain.” On the remaining pair, Bob Marley’s
“Natty Dread” and “Tacky Tango,” Goldmark gives
the former a carefree, island treatment and a
rocking country flair on the latter. Campilongo
wrote “I Want To Be With You Forever,” and plays
guitar with Goldmark. He and the other
guitarists and keyboardists perfectly complement
Goldmark’s playing in each setting.
Singer Walters covers three tunes: a swinging
read of Rufus Thomas’ “All Night Worker,” Jimmy McCracklin’s jump classic “The Wobble,” and B.B.
King’s “Beautician’s Blues.” Ms. Craft ably
takes care of the remaining vocals: a gorgeous
cover of ”A Love So Beautiful” (from Jeff Lynne
and Roy Orbison), Graham Parker’s “Howlin’
Wind,” Lefty Frizzell’s “Look at What Thoughts
Will Do,” and “True Love Travels On A Gravel
Road,” a song that perfectly bridges soul and
country.
Blue Steel was a pleasant surprise to this
listener. Joe Goldmark does an excellent job
incorporating the steel guitar into the blues
and R&B realms. Though he’s not the first artist
to explore this territory, he certainly ranks
with the best, based on this recording.
--- Graham Clarke
 Kathy & The Kilowatts return from their
successful 2017 release Let’s Do This Thing,
which was the Austin Blues Society’s entry for
Best Self-Produced CD at the 2018 International
Blues Challenge, with
the equally excellent Premonition of Love, the
band’s debut release on the Nola Blue label.
Singer Kathy Murray has been a mainstay on the
Austin blues scene since the ’80s, ranking with
the upper echelon of the city’s ladies of the
blues Marcia Ball, Lou Ann Barton, and Angela Strehli. Her longtime music partner Bill
“Monster” Jones remains a force of nature on
guitar, and they’re joined by an impressive set
of guest artists, including label mate Benny
Turner, who plays bass on several tracks.
The first track, “First Do No Harm,” is a supple
blues/R&B track with a punchy horn section and
Jones’ guitar weaving in and out behind Murray’s
plea to put peace before violence. The title
track is a funky Texas tune inspired by Freddie
King, whose brother cousin Turner provides bass
on this track. His bass guitar also drives the
next two, the smoldering “Beggars Can’t Be
Choosers” and the sassy “Always Fooling Me.”
“Grow Some” is an irresistible shuffle that
should have the audience moving at the band’s
shows.
Slowing things down a bit with Lowell Fulson’s
“Black Nights,” Murray’s vocal is really top
notch and the band is superb in support. Magic
Sam’s “What Have I Done Wrong” is also covered
and Jones’ fretwork is spot-on. The gritty down
home blues grinder “Final Verdict” features
Turner and Kim Field (harmonica), and the Cajun
classic “Sugar Bee” is a nice change of
pace. Jones plays accordion on the latter, while
the Diddley-esque “Answer Yes” further showcases
the band’s versatility.
The roadhouse rocker “All These Questions”
features Floyd Domino’s driving piano, as does
the Texas-styled shuffle “I Got This,” and the
island-flavored closer, “The Bigger Picture,”
encourages all to focus on the things that
matter.
Based on these ears, it’s a safe bet that
Premonition of Love will equal and exceed the
accolades that Kathy & The Kilowatts received
for their previous effort.
--- Graham Clarke
 Pittsburgh-based guitarist
Tim Woods has been
involved in the blues music scene in one way or
another and in one location or another for over
three decades. Though he’s only recorded a pair
of albums during his career, he’s played as a
solo artist, formerly as a longtime member of
The Mountain Jam Band, and currently as part of
the Woods Family Band (with his sons Derek and
Ryan), in addition to leading his own five-piece
band. His lifelong dedication to the blues
earned him a spot in the New York Blues Hall of
Fame in 2012.
Human Race is Woods’ second release and features
a dozen originals, 11 written by Woods that
show the vast influences in his musical style as
developed over the years. The excellent opener,
“Can You Feel It,” is reminiscent of those
classic late ’60s blues rockers, while “Every
Day” brings to mind the southern rock of the Allmans,
both in its musical delivery and optimistic
message, and “Step” is a funky, driving
instrumental that reminded me a lot of the James
Gang album that my upstairs neighbors during
college regularly cranked up at 6 am
each morning, but in a much better way.
The gentle rocker “Take A Minute” is a
pop-flavored reminder to stop and savor what you
have while you have it, and Woods channels Jim
Morrison vocally on the title track, a churning
blues rocker. “Black Maria” was written by
Woods’ friend Perry Werner and is a mid-tempo
mix of southern rock and blues. It’s followed by
another instrumental, “TW Funk,” which is
exactly what the title indicates. Nice work on
this tune and the rest of the set from Bobby Lee
Rodgers on bass. Rodgers also produced the disc
and plays guitar, drums, and keyboards on
assorted tracks.
"Trixie” is the third and final instrumental on
the album, and it’s as terrific as the earlier
pair, combining the best of the Allman’s (I hear
a lot of their “Revival” in the melody) with the
Grateful Dead (with the Garcia-inspired lead
guitar). “Have Mercy” offers more gritty blues
rock, as does the crunching Hendrixian “Where
Did She Go?” The closer is an upbeat rocker,
“Leave The Earth Alone,” that implores us all to
take care of our planet.
Rodgers does yeoman work backing Woods on most
of these tracks, but is assisted ably by Pete
Lavezzoli (drums), Don Coffman (upright bass),
and William Newell Bate (drums) on assorted
songs.
Human Race is an outstanding sophomore effort
from Tim Woods. The guitarist’s versatility in a
variety of music styles should appeal to a wide
range of music lovers.
--- Graham Clarke
 The right Reverend Freakchild returns with
Dial
It In (Treated and Released Records), a sizzling
set of blues, blues rock, roots, etc., presented in the Reverend’s own inimitable
style. This time around, he’s joined by a few
friends: drummer Chris Parker (Bob Dylan, Joe
Cocker, Paul Butterfield), guitarists Hugh Pool
and Mark Karan, harmonica player Garrett Dutton
(G Love), vocalist Hazel Miller, keyboardist
Brian Mitchell (B.B. King, Al Green, Levon
Helm), and sax man Jay Collins (Gregg Allman).
The album is bookended by “Opus Earth,” a
spacey, largely instrumental blues, with the
Reverend playing National steel and other “earth
sounds,” chants and moans, and “Opus Space,”
with the Reverend reprising on National steel,
but with additional bells, cymbals, gongs, and
assorted sounds. In between there’s just about
everything, starting with a scorching take on
the Depeche Mode song “Personal Jesus,” with
Pool on harmonica, then moving to “Hippie
Bluesman Blues,” a sporty country blues with the
Reverend’s spoken-word vocals complemented by
Karan’s pungent lead guitar.
Dutton’s harmonica punctuates the funky title
track, as does Miller’s inspired backing vocals,
while the gentle “Skyflower” is light and
ethereal. “Roadtrance” is a short, but hard
rocking jam that segues into the thoughtful folk
rocker “Damaged Souls,” and Mitchell adds a
little barrelhouse piano on the roadhouse raver
“15 Going On 50.” The Reverend also covers Bob
Dylan’s “It’s Alright, Ma (I’m Only Bleeding),”
transforming it into a Diddley-esque rocker with
Collins’ wailing sax in tow. With Lisa Marie
providing backing vocals, the Reverend also
covers Blind Willie Johnson in a spirited
reading of “Soul Of A Man.”
Reverend Freakchild’s albums are always a
pleasure to listen to, because he’s very much
his own man and follows his own vision of the
blues while seemingly having a blast doing
so. He’s definitely not phoning it in on Dial It
In. I dig his laconic Lou Reed-like vocal
delivery as well. If you are a blues fan with an
adventurous soul, you certainly need to give
Reverend Freakchild a spin.
--- Graham Clarke
 Over their nearly 30 year career, the German
band B.B. and the Blues Shacks have given over
4,000 performances throughout Europe and the
rest of the world. They blew the audience away
with their American debut back in 2009 at the Doheny Blues Festival in Los Angeles, and have
continued to tour and record almost non-stop.
Led by founding brothers Michael Arlt
(harmonica/vocals) and Andreas Arlt (guitar),
the current line-up includes Fabian Fritz
(keyboards), Henning Hauerken (bass), and Andre
Werkmeister (drums). The band recently released
their latest album, Reservation Blues, on Rhythm
Bomb Records.
The new disc includes
14 original tunes,
and the band is augmented on several tracks by
guests Till Seidell (rhythm guitar), Tom Müller
(saxophones), and Steve Gössinger (trumpet). The
band’s specialty is traditional West Coast and
’50s-era Chicago blues mixed with swing and jump
blues, and they do it extremely well, beginning
with the Chicago-styled title track, powered by
Michael Arlt’s harmonica. The toe-tapping “Lay
Some Shuffle Down” laments the state of current
music, while “Mad About You” is a nice ballad
with a little Louisiana spice, and “I Can’t Go
On” has a vintage rockabilly feel. The band
returns to the Windy City with the breezy
shuffle “Year of Strife,” and move to the soul
side of the blues with the horn-fueled ballad
“From Now On.”
Arriving at the midway point of the album,
“Angry Cat” is a terrific instrumental that
showcases Fritz’s keyboards and Andreas Arlt’s
fretwork. “Not Much To Lose” is another tough
Chicago-based track with a great harmonica solo
from Michael Arlt, which is followed by the
outstanding “Honeycomb,” a swinging number with
the horn section really picking things up. The
Arlt brothers really shine (with Fritz on piano)
on the superb slow ballad “My Time Ain’t Long,”
and the Sonny Boy Williams/Rice Miller-inspired
“Little Secrets.” The rocking “Things Won’t
Change” and the funky “Why Can’t I Go Home”
close the disc on a swinging note.
Listening to Reservation Blues, it’s easy to see
why B.B. and the Blues Shacks have built such a
devoted following over the years. Blues fans who
dig old school traditional blues done well
should harbor no reservations about listening to
this most excellent release.
--- Graham Clarke
 The Kris Lager Band has been touring across the
country for over 15 years, playing their brand
of “Feel Good Funk & Heavy Soul.” Lager is a
talented songwriter who focuses on everyday life
as he sees it, dealing with life, love, death,
the toils of the road, and domestic adventures.
He’s a charismatic singer whose style will
captivate listeners, and his latest release, Love
Songs & Life Lines, is a stunning work that
listeners will want to hear over and over again.
Backed by a tremendously funky unit (Scooby Sha
Bo Bo – drums, Aaron Underwood – bass/backing
vocals, and Lefever – sax), Lager, who plays
guitar and piano, takes us through a mesmerizing
14-song set.
The opening instrumental, “Aurora Borealis,” has
a melodic Middle Eastern flair as Lager nimbly
demonstrates his guitar chops, while the catchy
“The Heart Wants What The Heart Wants” has more
of a reggae flavor. The beautiful Americana
track “Sweet Magnolia” is next, written shortly
after the death of Lager’s father, and the
poignant “I Wanna Hold You In My Arms” was
written for his mother as she dealt with her
husband’s passing. “San Francisco Bound”
recounts a road trip with Lager’s new lady
friend, who later became his wife.
The gentle “You Know I Love You” started out as
a lullaby to Lager’s daughter but expanded into
an intimate song about two lovers trying to
reconnect, and the soulful “Pickin’ Up The
Pieces” is about putting one’s life back
together. The swinging pop rocker “You And
I” would be a hit in a perfect world, and if it
wasn’t, the Dylan-esque “Where The Green Grass
Grows Tall” would be. “Guiding Light” is the
song that every man with a good woman should
have playing in his head.
The reflective “I’m Still Here & I Ain’t Lettin’
Go” serves as Lager’s look at his life so far
and his future plans, the ballad “I’ll Be
Thinking Of You” focuses on the loneliness of
life on the road, and the gentle acoustic
“That’s What Love Is” is as fine and vivid a
description of what love really is as I’ve ever
heard.
Lager closes the disc the same way he
opened it, with a beautiful
instrumental, ”Journey’s Sonata.”
The whole album has a gentle and understated
vibe, and though the instrumentation appears to
be a bit sparse, it’s perfect for the music,
particularly the wonderful rhythm section and Lefever’s always timely appearances on
saxophone. Love Songs & Life Lines is a
masterful set of tunes that will be a welcome
addition to any music lover’s collection.
--- Graham Clarke
 Ted Hefko has
been a veteran of the New Orleans music scene
since the age of 18 when he arrived via
bus from Wisconsin. He ended up at the
University of New Orleans studying modern jazz,
choosing saxophone as his instrument. He spent
ten years freelancing between the Crescent City
and New York, opening for The Funky Meters,
Derek Trucks, Rebirth Brass Band, and North
Mississippi Allstars. Settling in New York, he
started leading his own groups playing southern
Louisiana standards and modern jazz, among other
genres, but ended up relocating to New Orleans a
few years ago where he recently released Gas
Station Guru (Onager Records) with his band, The
Thousandaires.
Gas Station Guru contains nine songs, six
originals and two covers. The originals include
the jazz-flavored opener “Two Vices,” which also
features an appearance from guitarist Mem
Shannon, “The Roofer,” a R&B track that vividly
captures the essence of the New Orleans variety
of the genre (and the city itself) perfectly,
the Crescent City-funky “Tell Me The Truth,” the
country-tinged “The Next Train,” which includes
guest musicians from the Cajun band T’Canaille
(Lance Caruso – accordion, Latasha Covington
–rub board), “Ten Dollar Hat,” more classic N.O.
R&B with a tasty piano break from Sherman
Bernard, and the swampy slow blues “Stop Sayin’
Unless.”
The three cover tunes are choice,
too, beginning with Billy Joe Shaver’s “Ride Me
Down Easy,” presented in a gentle country-soul
ballad setting. “Ain’t Gonna Give You None O’ My
Jelly Roll” is terrific, a fun Dixieland romp
through New Orleans jazz territory, and the
closer is Steve Goodman’s timeless “City of New
Orleans,” played pretty much straight but with a
definite jazz presence throughout. Hefko’s
world-weary vocal is right on the money.
Gas Station Guru is a superlative release from
Ted Hefko and The Thousandaires, who manage to
capture everything that’s wonderful about the
music and the city of New Orleans in just over
40 minutes and nine songs.
--- Graham Clarke
 Guitar Jack Wargo has toured with Screamin’ Jay
Hawkins, Hank Ballard & the Midnighters, Billy
Preston, and Solomon Burke. He’s recorded with
Ray Charles and the Jacksons, and his band,
Guitar Jack & No Slack served as the house band
for the Los Angeles edition of B.B. King’s Blues
Club. You could say that this cat certainly
knows a thing or two about R&B and the blues.
Any listeners with doubts should just refer to Wargo’s latest album,
Keepin’ It Real, a
satisfying set with 11 original songs plus
one tasty cover.
Wargo’s brand of blues mixes in healthy doses of
R&B, jazz, and pop along the way, but the
opening cut, “You Don’t Feel The Same,” is an
excellent mid-tempo slice of smooth urban blues
with very tasteful guitar work from Wargo.
“Power of Love” is a slow burning blues/R&B
ballad pleading for unity in the world.
“Keep On Keepin’ On” adds a dose of funk to the
blues, while “Inventory Blues” has a ’70s feel
with its pop/jazz backdrop, as does the funky
blues of “Shipwrecked.” “Nobody But You” is a
crisp blues rocker with harmonica from Jimmy
Powers.
The Latin-flavored “No Stranger” features the
Sweet Inspirations on background vocals, and
“Only-est One” leans toward the soul side of the
blues with a heartfelt vocal and subtle guitar
work. “Blues Holiday” continues that smooth ’70s
soul vibe forward and features vocals from the
Sweet Inspirations, Willie Chambers, Jacqui
Walker Adamcik, and James Whitney that add to the
pleasure. The good vibes continue with the
sweet “She’s Got Soul.” The Woody Guthrie
standard “Goin’ Down The Road Feeling Bad” is
covered in an upbeat, energetic version that
will put a hop in your step. The disc closes
with the optimistic “Sending Out A Message.”
Wargo (guitar/vocals) gets great support from
his band (A.D. Beal – vocals, Edoardo Tancredi –
drums, Matt Bragg – bass, Arlan Oscar Shierbaum
– keys) along with the aforementioned guest
vocalists and a stellar cast of guest musicians
that includes Powers, Mike “Hurricane” Hoover
(harmonica), Mike Finnigan (keys), Rick Reed
(bass), and Wilfredo Reyes, Jr. (percussion).
Keepin’ It Real is a rock-solid set of original
blues and R&B from Guitar Jack Wargo, one of the
best in the business.
--- Graham Clarke
 The Steven Troch Band is fronted by Belgian
harmonica ace Troch, who in addtion to being a
harp-blowing son of a gun is also a soulful
vocalist and a songwriter of the first degree.
He’s backed by talented guitarist Steven Van Der
Nat, bassist Lizz Sprangers, and drummer Erik
Heirman. On their latest release, Rhymes For
Mellow Minds (Sing My Title Records), the band
is joined by keyboardist Bruce James and a
sturdy three-piece horn section (David Loos –
tenor sax, Nicolas Talbot – baritone sax, and
J.B. Biesmans – tenor and baritone saxes) on
several tracks.
The opening track, “The Short End,” has a
definite Excello vibe with its lazy rhythm and
Van Der Nat’s shimmering guitar fills, and his
guitar work on the humorous “Bad Taste” brings
Cobra-era Otis Rush to mind. Blues fans who are
into Star Wars will get a kick out of the groovy
instrumental “Going To Dagobah.” “Troubled One”
brings to mind ragtime, courtesy of James’ sharp
piano work, and the country-flavored “Long Long
Beard” is a keeper, too. The dazzling “White
Line Express” should keep the joint jumping, as
should the country blues instrumental stomp
“Rabbit Foot Trail.”
The cautionary tale “15 Minutes” swings gently
with Van Der Nat’s guitar and a steady driving
beat, and Troch breaks out the chromatic for the
shuffle “Mister Jones.” The spacey “Vertigo”
really showcases the guitar work of Van Der Nat,
and “Bedroom Eyes” is a slower-paced downhome
blues. The Caribbean-styled bluesy “Rain Rain”
is a standout, as is the thunderous Windy City
blues closer, “Walk Away” (stick around for the
amusing hidden track about a minute after the
wrap-up).
Rhymes For Mellow Minds is a clever, innovative,
entertaining effort from Steven Troch and band.
This talented band deserves to be heard by a
much wider audience and hopefully, this album
will allow that to happen.
--- Graham Clarke
 Freddie Pate learned to play guitar at age 4 and
was singing in nightclubs at the age of 8.
Moving to Texas in his late teens, he worked as
a sideman in Dallas and Houston for a couple of
decades, eventually leading his own band playing
many of the honky tonks and opening for great
country acts of that time from Willie Nelson to
Ronnie Milsap to Loretta Lynn to George Jones.
In 1990, he moved to southwest Louisiana and became a
member of Wayne Toups and Zydecajun. Pate
recorded a country album in 2016 and has played
for several years on Delbert McClinton’s annual
cruise.
Pate met Mike Zito on one of the McClinton
cruises, and they became friends. Zito
encouraged Pate to release a blues album and
he’s done just that, recently releasing I Got
The Blues, recorded at Zito’s Marz
Studio in Nederland, Texas. Zito also helped Pate
produce the disc and plays rhythm guitar. Pate
handles all the lead guitar and vocal duties, as
well as
contributing two original tunes to the
11-track set. He’s backed by Terry Dry
(bass), Matt Johnson (drums), and Lewis Stephens
(keys).
Pate has a rip-roaring time working through this
fine set of Gulf Coast-flavored blues, R&B, and
rock n’ roll tunes, including a rousing take on
Vasti Jackson’s “Let The Juke Joint Jump” to
open the disc. He also tears through covers of
Elmore James’ “Sho-Nuff I Do,” the Little Walter
standard “My Babe,” and the Cajun classic “Jolie
Blond.” He swings through B.B. King’s “Dance
With Me Baby,” shuffles into Fats Domino’s
“Hello Josephine,” and bluesifies Hank Williams’
“Hey Good Lookin’.” Fom the You Gotta Hear
It To Believe It Department comes “Beer Drinkin’
Dog.”
Pate’s originals include the roadhouse rocker
“Have You Ever Loved A Woman” and the storming
title cut. For the most part, Pate’s vocals are
rugged and gritty, perfectly suited to the
energetic music presented on most of
the disc, but he easily moves from tough to
tender and does an excellent job on the
Toussaint McCall R&B classic “Nothin’ Takes The
Place Of You.”
This was a very enjoyable release from Freddie
Pate, loaded with plenty of the energy and
downhome charm of those vintage recordings from
Texas and Louisiana many years ago. Blues fans
will find a lot to love with I Got The Blues,
and they’ll be glad that Mike Zito was so
persuasive.
--- Graham Clarke
 Lisa Mednick Powell
doesn’t record often, but
when she does it something pretty special. Blue
Book (Cicada Sounds) is her first release in 16
years. Her latest effort was recorded in
California and New Orleans with her husband,
bass player Kip Powell, and several guest
artists, including Tommy Malone, Victoria
Williams, Alison Young, Danny Frankel, and Greg Leisz. The ten tracks combine folk, Americana
and the blues, making a powerful and personal
statement that touches on events past and
present.
The haunting opener, “Smoke Over Carolina,” is
the third song of a trilogy of Civil War-related
songs, but this track also addresses the “civil
war” that occurs sometimes between worker and
boss. “Pieces of Your Soul” is a somber
country-flavored ballad, and the wistful “Cold
Coffee” gently swings. “To The Wilderness” leans
a bit toward rock with Malone’s guitar adding a
little zip, while the scathing “Give The Guns To
The Girls” was written just after the Boko Haram
tragedy. The upbeat and reflective “Highway
Prayer” closes the disc, with Powell on keyboards
and Malone contributing slide guitar and joining
in on vocals.
Fans may grouse about the extended period
between Lisa Mednick Powell’s album releases,
but they can take solace in the fact that each
release is an absolute gem as this talented
artist pours everything she’s got into every
facet of her recordings. Blue Book is a
superlative set of emotionally-charged music
that makes you think while you listen.
--- Graham Clarke
 Guitarist/vocalist Peter Veteska (a.k.a. Peter
V) bought his first guitar at age 12, a black
Les Paul that he bought from a pawn shop on
payments earned from a paper route. He taught
himself to play guitar listening to records by
Derek & the Dominos and the Allman Brothers,
playing his first paying gig at 15. Frustrated,
he dropped out of the music scene at age 21
and didn’t return for over 25 years, regaining
his chops playing local blues jams and honing
his vocal skills to go along with his guitar
skills. Soon, the Peter V Blues Train was born.
The Blues Train (Peter V – guitar/vocals, Aron
Louis Gornish – keyboards, Alex D’Agnese –
drums, Sean Graverson – bass) recently released
their third album, Running Out Of Time, a
stalwart set of blues that occasionally throws a
little jazz, funk, and soul into the mix. The
set consists of seven original tracks and four
interesting covers, plus guest appearances by
keyboardist Jeff Levine (Joe Cocker, Hall &
Oates, the Chambers Brothers), sax man Danny
Walsh (Gregg Allman, Aerosmith), and a host of
other artists.
The disc kicks off with the percolating blues
rocker, “Stay On Track,” and a swinging read of
Richard Ray Farrell's “Cherry On The Cream,”
before seguing into the jazzy ballad “Buzzed
Busted & Blue,” which includes some nice moments
from Walsh on sax. Big Maceo Merriweather’s
“Worried Life Blues” gets a slow burning
treatment, but things pick up considerably with
the scorching, scathing “Running Out Of Time.”
The funky instrumental “Time To Collect” will
please Tower of Power fans with its grooving
West Coast vibe.
The fun continues with an entertaining remake of
the Doc Pomus / Leiber & Stoller classic
“Youngblood.” Peter V picks up the acoustic for
“Time For Me To Go,” and slows things down for
the smoldering slow blues “Freedom.” Singer
Kelley Dewket takes the mic for a robust cover
of Bonnie Raitt’s “Love Me Like A Man,” and the
disc closes with the soulful “Lay Down My
Friend,” a somber tribute to the late Michael
Packer, Peter V’s friend, mentor, and fan, to
whom the album is also dedicated.
Mr. Packer would be mighty proud of
Running Out
Of Time. It’s a most impressive release from the
Peter V Blues Train.
--- Graham Clarke
 Irreverent Dissident (Annie Gator Records) is
guitarist J.J. Vicars’ first album since
returning from a decade overseas. He won the
2017 Northeast Ohio Blues Challenge and competed
in the 2018 International Blues Challege. Vicars’ brand of blues
combines straight-ahead contemporary blues with
boogie, rock n’ roll, and urban blues with an
occasional tongue-in-cheek approach. The album
consists of 13 tracks, two of which are
bonus tracks, one being an alternate
version. Vicars wrote or co-wrote eight of the
tracks and also did most of the heavy lifting
behind the scenes.
The opener, “Long Way From Home,” is a hard
charging autobiographical rock and roller, and
the shuffle “Can’t Get Along With You” leans a
bit toward rockabilly. The cover of “Wang Dang
Doodle” is taken at a faster and harder rocking
pace than usual. The humorous and slightly
salacious “Things I Need” is a hoot, and “That Ain’t Me” is a reflective ballad with a country
bent. “What Do I Tell My Heart” picks up
the pace in the same country vein.
A powerful guitarist versed in a variety of
styles, Vicars includes five instrumentals,
ranging from the spacy opening interlude, “Los
Vatos in A,” the rambunctious “Stinky Twinky,”
with a guest appearance from 90-year old sax
legend Big Jay McNeely (this track also appears
in a bonus alternate version at album’s end,
sans sax), the Texas twangy “Downhome,” and “Deguello,”
a multiple guitar track that returns to the
spacey vibe of the opener.
The bonus tracks include the aforementioned
“Stinky Twinky” and “Three-Toed Midget,” a
hilarious bluegrass romp with Vicars’ guitar
and irreverent vocal backed by banjo, mandolin,
ukulele, and assorted barnyard sounds.
Irreverent Dissident is a fun and well-rounded
set of blues, roots, Americana, and rock n’ roll
that’s well worth seeking out.
--- Graham Clarke
 A recent arrival in Nashville from New York,
Meg
Williams has made a name for herself in a short
time in Music City, performing with her band and
as a solo/duo act sometimes up to three times a
night. She’s an excellent singer, guitarist, and
songwriter, and all of that is on display on her
most recent release, the EP Maybe Someday, featuring six potent blues rockers led by
Williams and her backing band (Dan Wecht –
guitar/slide guitar, Greggory Garner – bass,
Kyle Laws – drums) and vocalists (Sara Rogers,
Sam Gonzales, Chase Walker, Wilson Harwood, and
Skylar Gregg).
The opener, “Not My Problem,” is a lively, funky
rocker, while the shuffle “Bad Lovin’” gives the
young lady an opportunity to display her guitar
chops. “Little Bit Of The Devil” has a distinct
southern rock feel with fiery slide guitar from
Wecht and a slippery groove in tow, and the
optimistic title track continues with that same
southern vibe, similar to the current Tedeschi
Trucks Band playbook including Wecht’s slide
guitar. “You Let Me Down” boasts a gritty guitar
riff and grooves pretty hard, while the closer,
“I Feel A Heartache Coming,” is a terrific
pop-rocker.
Maybe Someday is an intriguing release. Meg
Williams has the talent to go in a number of
musical directions beyond the blues genre with
her tender but tough vocals, potent guitar
playing, and her first-rate songwriting skills.
This set may be short, but it packs a mighty
punch.
--- Graham Clarke
 The Rockwell Avenue Blues Band consists of blues
veterans Steve Freund (vocals/guitar), Tad
Robinson (vocals/harmonica), Ken Saydak
(vocals/keyboards), Harlan Terson (bass), Marty
Binder (drums). These guys have been playing and
recording together since the 1970s, either
backing such blues luminaries as Sunnyland Slim,
Big Walter Horton, Mighty Joe Young, Lonnie
Brooks, Otis Rush, Buddy Guy, Junior Wells,
Johnny Winter, Koko Taylor, and too many others
to list, or backing each other on their
respective albums over the years.
Though they’ve gone their separate ways in
recent years, Saydak came up with the idea of a
reunion, bringing all these artists back to the
Windy City. The idea took shape in a recording
session that’s been released by Delmark Records
and appropriately entitled Back To Chicago.
Produced by Dick Shurman and recorded by Steve
Wagner at Riverside Studios, the album features
15 tracks, and each of the artists gets ample
space to shine.
Freund, Robinson, and Saydak split the vocals
evenly at.five apiece. Freund’s five tunes, four
of which he wrote, include the John Lee
Hooker-inspired “Boogie In The Rain,” “Lonesome
Flight,” written about the death of his father,
a cool fast-paced cover of Elmore James’
“Stranger Blues,” “Hey Big Bill,” a fine tribute
to Big Bill Broonzy, and the slow burner “Have
You Ever Told Yourself A Lie,” which also
includes some excellent slide guitar work from
the guitarist.
Saydak’s robust vocals are featured on the
ballad “That Face,” the reflective and defiant
shuffle “Chariot’s Gate,” “Reason To Believe,”
which addresses gun control, the comical “Love
Police,” and the contemplative ballad “Dream.”
He wrote or co-wrote a couple of the other songs
as well, and his keyboard work is superb, as
always.
Robinson is known as one of the finest blues and
soul singers currently practicing, and he
certainly doesn’t disappoint with his five
selections. On the opener, “Blues For Hard
Times,” Robinson discusses working together to
overcome tough circumstances, and he gets soulful
on Saydak’s “Free To Love Again,” the
inspirational “We Believe,” the powerful ballad
“Rich Man,” and the title track.
The rhythm section does an excellent job in
support and the musicianship is excellent
throughout by all. Chicago blues fans can’t ask
for much more than this superlative
collaboration. Hopefully, we’ll be hearing from
the Rockwell Avenue Blues Band again in the near
future.
--- Graham Clarke
 You may not have
heard of the band Stone Stanley before,
but you likely have seen them many times. Maybe not this particular
flock of musicians, but more likely
some similar local group setting up in the
corner of your neighborhood tavern to play their
own brand of the blues. Bands like Stone Stanley
play in many, many joints everywhere blues
fans congregate. A few audience members pay
close attention, applauding every solo and at
the end of each song. Others in the bar sit and
talk, only occasionally looking up at the band.
And there's always at least one obnoxious drunk
that generally gets ignored by the rest of the
patrons.
Stone Stanley is
that band you'll hear if you drop into one of
the small blues bars in the high desert region
of southern California. But if you can't get to
one of this band's haunts, check out their
self-released album, The Mudstomp Tapes,
produced by bandleader Jason Trombley (credited
as Jason Robert on the band's
website) who sings and plays guitar on the
dozen cuts here, 11 of which are his original
compositions. The only cover is Warren Haynes' "Soulshine,"
featuring guest guitarist Jim McComas.
The Mudstomp
Tapes kicks off with the very primal,
plodding sound of "Bitter End," with Trombley
moaning out the melody for the first few bars
before coming in on slide guitar. Trombley isn't
a great singer, but he's good enough and packs
plenty of emotion into his songs. He's not a
great guitarist, but he's good enough for his
material. That kind of sums up my feelings on
this album --- the final package exceeds the
sum of its parts.
Trombley squeezes out every
drop of feeling he can get from his guitar on
"The Beast Inside," about a woman struggling
with addiction. He then goes full
Native on "Iroquois Chant," with more primal
moaning and chanting over the course of two
minutes, then picks up the tempo on "Be With
Me," a plea for his woman to join him in
building a house and starting a family while
throwing out some wicked and fuzzy slide guitar
riffs. I guess his plea didn't work, as the
slow, mournful blues instrumental "Unfaithful
Woman follows, with no words needed to convey
his heartbreak.
The Haynes cover, "Soulshine,"
brings out Trombley's best and most passionate
vocals over its five and a half minute duration. It
stands as the best cut on The Mudstomp Tapes;
Trombley obviously loves this song and something
about it helped elevate his singing to
another level. I would have preferred that the
album ended here because the closing number,
"Bottled," doesn't cut it as Trombley reminisces
about his youth while also talking about getting
caught in the bottle. (Kudos, however, for
mentioning wrestling great Andre the Giant!).
His vocals just weren't strong enough on this
one.
Groups like Stone
Stanley are helping to keep the blues alive.
Their contributions, while more limited in scope
than national and international acts, are
nonetheless a valuable part of the music. Check
them out --- as well as any other local band ---
when you get the chance, and feel free to drop a
few extra bucks in the tip jar.
--- Bill Mitchell
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