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Shemekia Copeland's
latest album mixes powerful
gospel-influenced blues vocals with a thick
slice of Americana, making America's Child
(Alligator) one of her more intriguing albums
yet. The album cover displays a little girl
sitting in a field and wrapped in an American
flag, a visual plea that there's still a lot
right about our country despite what we see and
hear on the daily news.
Kicking off America's Child in proper
fashion is "Ain't Got Time For Hate,"
a
great topical song that's so very appropriate in these
divisive times in the United States. We get the
first of many great guitar
licks by Will Kimbrough, who co-wrote the song, as
well as pedal steel from Al Perkins and the
surprising inclusion of Emmy Lou Harris and John
Prine among the background vocalists.
Copeland repeated implores during this number " ...
we ain't got time for hate ... ," and that
pretty much sums up the feeling here.
Following is the funky "Americans," on which
Copeland talks about the many diverse types of people that make up
our country. It's highlighted by more pedal steel playing,
this time by Paul Franklin. Who ever said that
there's no place for this instrument in the
blues genre? On "Would You Take My Blood"
Copeland challenges someone who maybe is a
threat to her, a mid-tempo number on which she's
backed by sparser instrumentation. At first I
was yearning for Copeland to turn it loose and
not be so restrained with her vocals, but then it's like
she read my mind with her voice soaring a little
more later in the cut.
Prine joins in on "Great Rain," a mid-tempo
blues that he co-wrote, and featuring a nice guitar solo by Kimbrough.
"Smoked Ham and Peaches" is a real "back porch"
type of song made effective by Rhiannon Giddens
playing the African banjo and Kimbrough on
National guitar. Copeland takes the opportunity
to sit back and reflect on the simpler things in
life that are real compared to all that's fake
in the world, singing "...When
the whole world seems fake, give me something
real ..."
"The Wrong Idea" is an up-tempo
number that has some seriously good fiddle
playing from Kenny Sears. We then head into a
slow blues, "Promised Myself," featuring
legendary guitarist Steve Cropper, with Copeland taking
her vocals to another level of emotion. She
wasn't planning on falling in love again, but she
found a reason not to stick to the plan.
"In The Blood Of The Blues"
is an
intense number on which Copeland says that her blood of the blues
includes a lot of the bad things that have happened to
African-Americans in the past and the present. "Such A Pretty Flame"
is a slow
blues with a bit of a funky beat in which she
metaphorically sets fire to her dreams, singing "...
Wrapped my dreams in pretty paper, then I lit a
match ..."
Copeland shouts out a powerful blues in tribute
to the one she loves on "One I Love," and despite all obstacles she's going to
make sure that word gets across to the man. We
hear even more hot blues
guitar from Kimbrough here. "I'm Not Like Everybody Else"
is
a slow, sparse number written by Ray
Davies that features hauntingly solid guitar and
effective slide work from Kimbrough as well as inspirational vocals from Copeland.
Bringing this fine album to a fitting close is a
traditional gospel-ish lullaby "Go To Sleepy
Little Baby," consisting mostly of
Copeland's voice with occasional guitar from
Kimbrough.
Shemekia Copeland is one of the most dynamic
blues singers on the scene today, and
America's Child is not only a fine addition
to her discography but also a needed reminder
about who we are as a society. Well done,
Shemekia!
--- Bill Mitchell
 Noted
harmonica ace Mark Hummel lets his harp
do most of the heavy lifting on Harpbreaker
(Electro Fi Records), an all-instrumental album
with the song selection coming from various
previously-released albums, unreleased sessions,
and a few new cuts. But the listener is also
treated to some mighty fine guitar slingers,
with a significant array of Hall of
Fame caliber players on the
album, including Anson Funderburgh, Little Charlie Baty,
Billy Flynn, Rusty Zinn, Chris "Kid" Andersen,
among others.
The
music on Harpbreaker generally has a jazzy/swing feel to
it, especially on the live version of Buddy
Rich's "Rotten Kid," which gives Charles Wheal a
chance to stretch out on guitar and includes a killer
drum solo by Marty Dodson. "Walkin' With Mr. Lee" is a New
Orleans classic, written and recorded in 1958 by
saxophonist Lee Allen, and Hummel does an
outstanding job at using his much smaller
instrument to the same effect as Allen's iconic
tenor sax.
"Cristo Redentor" is a slow
number from the 2013 Hustle Is Really
On sessions at Andersen's Greaseland studios.
We're more familiar with Charlie Musselwhite's
version of this number, but Hummel acquits
himself well with very nice chromatic harp work.
Little Charlie gets to show off on the
fast-paced romper "Crazy Legs," a Little Walter
original. I love every version of the Horace Silver classic "Senor
Blues" that I've heard, and Hummel's version
more than meets my expectations as he again shows
how well the harmonica fits into a jazz format,
making this classic jazz tune his own here. We
get to hear more jazz harp on "Glide On," a mid-tempo number with exquisite guitar from Zinn and tasty
piano from Chris Burns.
I
realize that all-instrumental albums aren't
always for everyone, but Harpbreaker does
the trick for harmonica buffs, especially if you
like hearing the instrument treated like it's
part of a big band jazz ensemble. Recommended.
--- Bill Mitchell
 The
Scottish band’s 2017 Live Trouble album
consistently gained 5-star reviews and sounded
as if it couldn’t be surpassed in terms of
reflecting the raw energy, spontaneity,
technical supremacy and charisma of these giants
of blues rock. However, Gerry Jablonski and
the Electric Band’s Live At The Blue Note
takes their stage performance to a new level as
everything came together in an exceptional and
memorable night in Poland.
The
set opens with “Sherry Dee,” the fans favourite
from Life At Captain Tom’s, Gerry’s
infectious solo guitar riff and introductory
vocals leading into the now trademark sudden
explosion as the other virtuoso musicians burst
into action with a cacophony of controlled
sound. An extended version of “Soul Sister”
features the most dazzling improvised solos you
are likely to hear from Jablonski and Peter
Narojczyk, the latter’s killer harp attack
making the hair stand up on the back of your
neck. “Two Time Lover” swings along with
tasteful harp and guitar interludes until the
crescendos and anguish kick in, sprinkled with
moments of light and shade to add subtle layers
and texture.
The
powerful “Black Rain” highlights the inimitable
bass tones of Grigor Leslie whilst the
canine-themed humour of the fast and furious
“Fork Fed Dog” confirms that the rhythm section
with Lewis Fraser on drums is formidable. Gerry
introduces the funky, roller coaster, hurdy
gurdy sounding “Angel Of Love” as a song about
his wife, its sumptuous lyrics reflecting the
sensitive side of the extrovert bandleader. If
the 18th century Scottish bard, Robert Burns,
was living today he would surely hang out with
Jablonski, sharing their love of music, writing
poetic lyrics and promoting egalitarianism.
“Broken Heart” is the only track which is also
on their previous live album but this version is
a tour de force with breathtaking harmonica and
guitar pyrotechnics, underpinned by Fraser’s
technically impeccable drumming as he both solos
and complements the instruments around him. The
heartfelt, angry, emotional outburst from the
broken hearted Jablonski is a fitting end to one
of the best live albums this reviewer has ever
heard.
All
credit to Polish producer Łeszek Łuszcz who
transformed the original recordings into a
crystal clear, high-octane, hour-long production
where even any slight imperfections sound
magnificent.
--- Dave Scott
 Mike Zito took home some well-deserved
hardware at this year’s Blues Music Awards,
winning the Blues Rock Artist award. His latest
release, First Class Life (Ruf Records),
was issued about the time of the BMAs and finds
the Texas-based singer/guitarist/songwriter
celebrating his sobriety and family, as well as
his love for the blues, deemphasizing the “rock”
potion of “blues rock” ever so slightly. Zito is
joined on this album, his 15th overall, by Lewis
Stephens (keyboards), Matthew Johnson (drums),
Terry Dry (bass) and guest guitarist Bernard
Allison.
The
opener, “Mississippi Nights,” is a sweaty,
swampy blues shuffle that paints a vivid picture
of the Delta, with Zito working overtime on
slide guitar. The autobiographical title track
is next, with more of that superb slide, as Zito
recounts his return from addiction and his
appreciation for “a second chance at a first
class life.” The slow blues of “The World We
Live In” is an honest look at the general state
of the world today. Zito lays down some
exquisite guitar work to go along with his
appropriately world-weary vocals. A few songs
later, he encourages listeners to do their part
to help make things better with the more upbeat
“Time For A Change.”
Zito
and Allison have a blast on the guitar romp
“Mama Don’t Like No Wah Wah,” which is based on
Allison’s playing days with Koko Taylor, who
didn’t like any effects (she called them “wah
wah”) on the guitar and would chide Allison when
he slipped a few into one of her songs. The
ominous “Old Black Graveyard” describes a
broken-down, basically abandoned cemetery,
similar to the ones where old bluesmen are often
buried in the Delta. The mood is much better
with “Dying Day,” a bouncy, soulful love letter
from Zito to his wife, and the funky blues “Back
Problems,” a humorous reflection on the daily
burdens some have to bear. “Damn Shame” is a gem
as well, a marvelous slow burner where Zito is
at his best, both vocally and on guitar.
Zito
also offers a couple of choice cover tunes: a
most excellent reading of the soul-blues classic
“I Wouldn’t Treat A Dog,” a mid ’70s hit for
Bobby Bland, and a rowdy version “Trying To Make
A Living,” a 1960 release from Earl Hooker and
singer Bobby Saxton on the Bea & Baby label.
First Class Life is definitely a first class
release, but that’s what blues fans have come to
expect from Mike Zito, who keeps getting better
and better with each release.
--- Graham Clarke
 There might be a few bands out there that do
blues rock better than Too Slim and the
Taildraggers, but they are few and far
between. Heck, these guys have been doing it for
over 30 years and show no signs of letting up,
or even taking a deep breath at this point. The
trio (Tim “Too Slim” Langford – guitars/vocals,
Jeff “Shakey” Fowlkes – drums/vocals, Zach Kasik
– bass/vocals) has a superb new release on
Underworld/Vizztone Records, High Desert Heat,
with ten piledriving tracks, nine originals
penned by the band and one dynamite cover.
The
above-mentioned cover, The Chambers Brothers’
“Time Has Come Today,” kicks off the album, with
Slim focusing more on the blues aspect of the
tune than the psychedelia of the original with
more of a blues rock approach with muscular
guitar and vocals. “Trouble” is a sweaty blues
boogie with guest Sheldon “Bent Reed” Ziro on
harmonica, “Broken White Line” is a fine
Southern blues rocker that is reminiscent of the
Black Crowes early ’90s work and features a
terrific guitar solo from Slim, and “Stories To
Tell,” stays in that mode, but at a slightly
slower, funkier pace.
“One
Step At A Time” ups the “Blues” quotient with
crunching rock-edged guitar work and a
world-weary vocal from Slim, while “What You
Said” ups the ante considerably with Slim’s
guitar work giving this one more of a Texas (via
ZZ Top) groove. “Runaway” is a funky rocker with
a distinctive chorus that would be a hit tune if
there was any justice in the world at all. The
ballad “A Little More True” finds Slim
reflecting on life lived and yet to be lived,
and the dark and moody “Lay Down Your Gun”
surges at a slow, but intense pace. The haunting
title track, a spaghetti western-styled
instrumental, closes out the disc in excellent
fashion.
Too
Slim and the Taildraggers have produced a
winner, maybe theit biggest winner yet, with
High Desert Heat. It has just you would
expect to find in any Too Slim production,
memorable songwriting and musicianship, and a
tasty combination of blues and rock.
--- Graham Clarke
 Lucky Hand (Black Hen Music) is guitarist
extraordinaire Steve Dawson’s eighth solo
album, and his first all-instrumental release
since 2014’s Rattlesnake Cage. Dawson is
the artist behind the scenes much of the time,
producing and performing on releases from
artists like Jim Byrnes, Kelly Joe Phelps, John
Hammond, and Big Dave McLean. While his
contributions add much luster to those works,
it’s when he works on his own recordings where
Dawson really shines. These ten compositions,
all penned by Dawson, feature the guitarist in
solo and duo format, along with backing from a
string quartet with arrangements from longtime
collaborator Jesse Zubot.
The
album is a diverse mix of blues, country, folk,
and jazz, and Dawson can play them all. The
idyllic opener, “The Circuit Rider of Pigeon
Forge,” is the first of five tracks that teams
Dawson with the string quartet and the interplay
between them is marvelous . “Bentonia Blues” is,
as the title indicates, a gentle, meditative
blues pairing Dawson’s National Steel Guitar
with the legendary Charlie McCoy’s harmonica,
and the lively “Bone Cave” reunites Dawson with
the quartet, while the solo “Hale Road
Revelation” gives the guitarist ample
opportunity to showcase his nimble fingerpicking.
The
rousing “Old Hickory Breakdown” finds Dawson and
the quartet going back and forth at breakneck
speed with satisfying results, and mandolinist
John Reischman joins Dawson on the lovely
“Little Harpeth.” The title track is next, with
the quartet providing quiet, but effective
support behind Dawson’s deft fingerpicking. The
fast-paced “Hollow Tree Gap” is a toe-tapper
that ventures into bluegrass territory, and
“Lonesome Ace” has a countrified feel
reminiscent of Doc Watson. The closer, “Bugscuffle,”
features Dawson on the Weissenborn lap guitar.
Lucky Hand is a wide-ranging, far-reaching
collection of masterful guitar. Steve Dawson
never fails to disappoint whenever he straps one
on and this disc is no exception. Guitar players
or anyone who enjoys guitar played well will
love this set.
--- Graham Clarke
 For
her latest release, Love Lives On, singer
Dana Fuchs formed her own record label
(Get Along Records) and ventured to Memphis,
which was the home of Stax/Volt, Sun, and Hi
Records, and also served as a launching pad for
the careers of her musical idols (Otis Redding,
Al Green, and Johnny Cash). In the past few
years, Ms. Fuchs has dealt with the death of
three close family members, but also the birth
of her son. These events helped shape the body
of work on Love Lives On, providing a
message of endurance, faith, and hope.
Fuchs wrote the lyrics on 11 of the 13 tracks,
also collaborating with longtime partner Jon
Diamond and Scott Sharrard, formerly with Gregg
Allman’s band. As any wise performer would do
when recording in Memphis, she surrounded
herself with the best musicians, including Rev.
Charles Hodges (organ), Steve Potts (drums),
Kirk Smothers and Marc Franklin (trumpets), Jack
Daley (bass), Glen Patscha (piano/wurlitzer),
Eric Lewis (pedal steel/lap steel/mandolin),
Felix Hernandez (congas), and backing vocalists
Reba Russell and Susan Marshall.
As
anyone familiar with her knows, Fuchs has a
voice that was born to sing blues and soul,
rough and tough when it needs to be and soft and
vulnerable when required. The opener (and what
an opener!!), “Backstreet Baby,” mixes rock,
funk, and soul, and Fuchs’ sultry vocal is
backed perfectly by Franklin’s catchy guitar
riff, a punchy horn section, and sweet backing
vocals. The soulful “Callin’ Angels” screams
Memphis from the opening notes, one of three
tracks that finds Fuchs paying tribute to her
lost loved ones (the others are the touching
title track and “Faithful Sinner,” a
gospel-flavored ode to her late father).
“Sittin’ On” may be the most fun break-up song
I’ve heard in a while, with the upbeat and funky
presentation contradicting the somber subject
matter, the slower-paced “Sedative” has a touch
of menace musically and vocally, while “Ready To
Rise” mixes rock and soul in equal doses, and
“Fight My Way” has a country lilt with Diamond’s
acoustic guitar and Lewis’ mandolin. “Battle
Lines” is a sobering autobiographical track
that’s offset by the upbeat “Same Sunlight.”
Fuchs also covers two tracks, previously done by
two of her idols, positively nailing Redding’s
“Nobody’s Fault But Mine” and a marvelous
stripped down take of Cash’s “Ring of Fire” that
may leave a tear in the eye of the most
hard-hearted soul.
Dana
Fuchs and Memphis are a great fit. Hopefully,
the two will meet again soon. Love Lives On
is a terrific set of blues and soul from one of
the finest voices of either genre today.
--- Graham Clarke
 Tas Cru’s latest release, Memphis Song
(Subcat Records), pays tribute to the city and
is dedicated to all of the musicians who have
found inspiration there. His previous release,
Simmered & Stewed, was nominated for Best
Emerging Artist Album at the 2018 BMAs, Cru has
received much attention in recent years not only
for his excellent songwriting, but also his
guitar work and vocals. Cru really outdoes
himself on this superlative set with 12 shining
originals that fully acknowledge his own debt to
the city’s music.
The
disc kicks off with “Heal My Soul,” a stirring
gospel-flavored number with backing vocalist
supported by Andy Rudy’s rollicking piano and
Dick Earl Erickson’s harmonica. The title track
follows, a haunting track that features a strong
vocal from Cru and backing from Victor
Wainwright (piano), Pat Harrington (slide
guitar), and Mary Ann Casale (acoustic guitar),
who co-authored these first two selections with
Cru. Next is “Fool For The Blues,” a tight blues
rocker punctuated by Guy Nirelli’s scintillating
B3 work, followed by “Give A Little Up,” a duet
with Cru and Casale waxing philosophical on the
benefits of getting along with each other.
“Daddy Didn’t Give You Much” is a very nice
smooth slow burner with a fine guitar solo from
Cru. “Have A Drink” is a cool fun-filled tribute
to the blues that should invite plenty of
audience participation at Cru’s live shows, and
“That Look” is funky and slightly salacious.
“One Eyed Jack” keeps the funk going with an
upbeat tune about playing the hand “the Good
Lord dealt me,” and “Queen of Hearts” is a
powerful urban blues ballad that shows Cru at
his best on vocals and guitar.
“Don’t Lie To That Woman” is a slow burning,
almost jazzy track that offers good-natured (and
wise) advice to men everywhere, while “Feel So
Good” is a cool crowd-pleasing shuffle. The
closing track is “Can’t Get Over Blues,” an
extended mid-tempo shuffle that gives Cru,
Nirelli, and Ericksen a moment in the spotlight.
Memphis Song is an inspired release that
pays tribute to the city that has inspired so
many musicians over the years. Tas Cru
successfully captures the essence of the Bluff
City’s musical palette on these tracks --- the
grease and grit of the city’s blues and rock n’
roll scenes along with the satin-smooth sounds
of Memphis soul. Blues fans should definitely
check this one out.
--- Graham Clarke
 Every release that I hear from Jeff Jensen,
I say, “this is the best one yet.” Well, don’t
expect anything different with the Memphis-based
singer/songwriter/guitarist’s latest release,
Wisdom & Decay (Swingsuit Records), because
this one is definitely his best one yet, with
his best songs to date, seven of the ten tracks
are Jensen originals or collaborations. This one
has “labor of love” written all over it.
Relocating to Memphis years ago really gave
Jensen’s career a jumpstart and he acknowledges
the impact the city has made on his life with
the opening track, which is an excellent cover
of one of Little Milton Campbell’s best tunes,
“Living Off The Love You Give.” Jensen’s
passionate vocal, combined with Chris
Stephenson’s B3, and a dynamite Stax-flavored
horn section (Kirk Smothers – saxes, Marc
Franklin – trumpet/flugelhorn) set the bar
pretty high for the rest of the disc. The
haunting “2000 Days” is the story of a struggle
with addiction, and Jensen’s lyrics pain a vivid
picture of desperation and despair at first, but
joy at finally overcoming the demons.
The
somber “Pretend Forevers,” about the inevitable
conclusion of long term relationships of all
kinds, will remind listeners of those vintage Hi
Records ballads (with strings recorded at Sam
Phillips’ Recording Studio in Memphis), but the
celebratory “Good Woman Back Home” picks up the
tempo and the mood. Tom Waits’ “Downtown” gets a
smoky, Latin-tinged treatment that remains
faithful to the original version. The humorous
“Luck Is Gonna Change” has a rollicking gospel
beat, lively keyboards from Stephenson and
Gerald Stephens, and choral backing led by guest
vocalists Reba Russell and Susan Marshall.
“What We Used To Be” is a darkly comedic
vaudevillian take on the current state of the
country. More societal in nature than political,
it also features a vocal appearance from Victor
Wainwright. Jensen also tackles the Bob Dylan
tune “Tonight I’ll Be Staying Here With You,”
turning in a supremely soulful vocal
performance.
The
closing two songs are “Something In The Water”
and “Water Jam,” an instrumental double header
which gives Jensen, the band (Bill Ruffino –
bass, David Green – drums/percussion), the
aforementioned horns, and strings (Jessie Munson
– violin, Wen Yin Yu – violin, Beth Luscombe –
viola, Iren Zombor – cello) an opportunity to
strut their stuff.
There’s little doubt to these ears that
Wisdom & Decay is the best release so far
from Jeff Jensen. He’s firing on all cylinders
as a singer, guitarist, and composer. No doubt
it sets the bar pretty high for his next
release, but we know that he’s more than up to
the challenge.
--- Graham Clarke
 Formerly known as Markey Blue, the Markey
Blue Ric Latina Project are still generating
a lot of fireworks with their tasty combination
of the blues of Mississippi, Memphis, and
Chicago, as heard on their latest release,
Raised in Muddy Water (EllerSoul Records).
Singer/percussionist Jeannette Markey is a vocal
force of nature and guitarist Ric Latina is one
of the finest guitarist currently practicing.
Markey penned all 11 of the selections and she
and Latina produced the disc.
The
title track kicks off the disc and gives
listeners an electrified taste of the
Mississippi Delta blues with Markey’s gritty
vocal and Latina’s soaring guitar. “Corrina
Shine” is a funky southern rocker written in
tribute to Taj Mahal, one of several tribute
tracks on the disc. The following tune, “A
Little More Before I Die,” is a supple slow
blues written in tribute to John Prine,
particularly his masterpiece “Angel From
Montgomery,” and “Red Room” is a steamy Gulf
Coast-flavored blues shuffle with harmonica from
Ronnie Owens.
The
swampy rocker “Mississippi Soul” is next, and
Markey and Latina both deliver big time on this
one, and moreso on “Walking Over This Line,” an
excellent slow burner that you wish would have
gone on indefinitely. Markey also teams up with
the late, great Eddy Clearwater on vocals for
the free-wheeling “I Like It Like This,” which
also features The Chief battling it out on
guitar with Latina.
A
pair of ballads follow: the socially conscious
“Tears All Over The World” and the smoky,
after-hours “When I Close My Eyes,”along with
another tribute tune, “Come And Go,” a raucous
roadhouse rocker inspired by that roadhouse
rocker himself, Delbert McClinton. The closing
track is an entertaining bonus track captured
live with members of Robben Ford’s rhythm
section (bassist Brian Allen and drummer Wes
Little) and Charlie Daniels’ keyboardist Shannon
Wickline.
Markey and Latina’s own band (Wickline –
keyboards, Marcus Finnie – drums, John Marcus –
bass, Jim Williamson – trumpet, Doug Moffet –
sax/baritone) provide superb support on the
studio tracks. The Markey Blue Ric Latina
Project continues to pay big musical dividends.
Raised In Muddy Waters is their best
effort yet, which is really saying something.
--- Graham Clarke
 The Lucky Losers’ third release, Blind
Spot (Dirty Cat Records), is a continuation
of the duo’s enticing mix of blues and soul.
Cathy Lemons (vocals) and Phil Berkowitz
(vocals/harmonica) penned all 11 tracks of their
new release, some with Danny Caron, who once
served as guitarist/musical director for Charles
Brown. Once again teaming up with Kid Andersen,
who co-produced the disc with the couple and
recorded it at his Greaseland Studios, the Lucky
Losers are backed by a top notch band (Ian
Lamson – guitars, Chris Burns – keyboards, Endre
Tarczy - bass, Robi Bean – drums) and a host of
guest artists.
The
opener is an up-tempo shuffle, “It’s Never Too
Early,” which features Berkowitz’s smooth vocal
backed by Lemons and some nice work on the piano
from Burns. Berkowitz gets a little solo time on
harmonica as well. Lemons takes lead vocals on
the gritty Memphis-styled blues “Take The Long
Road” (backed by guest Laura Chavez on guitar),
and she backs Berkowitz again on the funky
“Alligator Baptism,” backed by a horn section
that includes Nancy Wright (sax), Jack Sanford
(baritone sax), and Jon Halbeib (trumpet),
before taking the mic again on the redemptive
ballad “The River.”
Chavez returns on guitar for the Latin-flavored
“Supernatural Blues,” while the lively “Make A
Right Turn” flirts with Americana with Annie
Staninec guesting on fiddle, and “Bulldogs and
Angels” takes on a bit of a Crescent City vibe.
The modern urban R&B “Last Ride” is a hard-edged
look at some of the chilling events of the day,
and “Don’t Take Too Much” is reminiscent of
’70s-era funk, as is “Love Is Blind,” which also
boasts a strong vocal from Lemons.
The
closer, “You Left It Behind,” is an entertaining
tongue-in-cheek duet similar to their previous
releases where the pair trade good-natured barbs
and recollections. It’s that warm rapport that
makes their duets so effective, and as stated
before, it’s obvious that these two have a great
time making music.
Blind Spot continues The Lucky Losers’
streak of excellent recordings. May that streak
continue for a long time to come.
--- Graham Clarke
 Australian singer/songwriter/guitarist Kara
Grainger ventured to Austin, Texas to record
her fourth album, Living With Your Ghost
(Station House Records). Grammy winner Anders
Osborne co-produced the disc and contributes
guitar and vocals. Other musicians on the album
include Ivan Neville (keys), J.J. Johnson
(drums), Dave Monsey (bass), and The Texas
Horns. A fine slide guitarist, Grainger is a
talented and versatile vocalist as well, and she
wrote or co-authored 11 of the 12 tracks.
The
title track opens the disc, a straight-ahead,
but very effective rocker highlighted by
Grainger’s vocal and slide guitar, both of which
voice yearning regret at things and people that
have passed through her life. The southern
rocker “Working My Way Back Home” conveys the
struggles of life on the road, and the standout
“Man With Soul” is a energetic blues rocker.
“Nowhere To Be Found” is an excellent ballad
which features a passionate vocal from Grainger,
who plays acoustic guitar on this track, backed
by Neville’s stately keyboards.
Osborne joins Grainger on the wonderful “You’re
In New Orleans,” a light-hearted romp which
should put a smile on even the crustiest
curmudgeon’s face. The deliciously funky “Groove
Train” keeps that vibe moving along with help
from The Texas Horns. “Reason To My Verse” is a
slow-paced ballad that features a crisp and
concise solo from Grainger, and “Broken Record”
(written by Jackie Bristow and Mark Punch) has a
folk/country feel while “Favorite Sin” rocks
hard. “Nobody But You” is a gentle, heartfelt
ballad, which leads into the breezy shuffle
“Love Will Get You Through The Door.” The
closer, “Freedom Song,” features layered guitars
and haunting, atmospheric vocals.
Grainger’s soaring slide guitar work and her
warm vocals have always been worth hearing, but
her songwriting on Living With Your Ghost
make this one a cut above her previous releases,
and make it well worth seeking out.
--- Graham Clarke
 Italian singer/guitarist Dany Franchi’s
recent release, Problem Child (Station
House Records), should satisfy blues fans of
several different varieties. His soulful vocals
will please a certain percentage, while his
songwriting will satisfy those who like the
traditional variety of blues, and his inspired
guitar work will make any blues fan smile.
Franchi wrote 10 of the 13 tracks, enlisting
Anson Funderburgh and Andy Talamantez as
producer and assistant producer, respectively,
with both making a few guest appearances on
guitar.
The
disc gets off to a rousing start with the
horn-fueled Memphis R&B burner “Back To The
River,” which includes lead guitar from
Funderburgh, then moves quickly to the fiery
roadhouse rocker “Give Me A Sign,” which
features Jim Pugh tickling the ivories. The
Eddie Taylor classic “Big Town Playboy” gets a
nice Windy City treatment from Franchi with
guest Greg Izor on harmonica, and “Real Love” is
a delightful throwback slow dancer. The scrappy
midtempo shuffle “Run Around” is a keeper, too.
“You
Don’t Want Me” is classic R&B with Franchi
testifying fervently with The Texas Horns
providing powerful support, and the stop-time
“Don’t Steal My Time” is loaded with swagger.
Franchi pays tribute to Freddie King with a
sharp cover of the Texas Cannonball’s
“Sen-Sa-Shun” before slowing things down again
with the slow blues ballad “My Only One.” He
also gives a nod to the West Side blues
guitarists with a sizzling treatment of Willie
Dixon’s (via Magic Sam) “Everything Gonna Be
Alright,” and closes with a venture into funky
blues rock territory with “Wanna Know,” and a
understated finale with Funderburgh for the
delta-flavored title track.
I
wasn’t familiar with Dany Franchi prior to
hearing Problem Child, but I definitely
want to hear more from him soon. He has a real
knack for songwriting in addition to being a
standout guitarist and vocalist. This disc
should be must-listening for any blues fan.
--- Graham Clarke
 Brother Dege is Dege Legg, a skilled
guitarist/singer/songwriter who formed and
fronted the southern rock band Santeria for a
decade and four albums before striking out on
his own. Since then, he’s worked hard on his
songwriting, which come from his own life
experiences and combine the blues of the
Mississippi Delta with Americana and his
weathered vocals and impressive slide guitar
playing. He’s released four albums, his debut
being Folk Songs of The American Longhair,
which caught the attention of Quentin Tarantino,
who included a selected track from it in the
movie and soundtrack of his Django Unchained.
Brother Dege’s fourth release, Farmer’s
Almanac (Psyouthern Records), is a dark and
desolate masterpiece of blues and Americana. It
has an almost cinematic setting, opening and
concluding with a haunting and somber
instrumental, “Partial To The Bitters (Parts 1
and 2),” similar to the beginning and ending of
a movie. Part 1 really sets the stage well for
the rest of the album, which kicks off with the
rousing “Country Comes To Town” and “The Early
Morn,” with Legg’s dobro giving each track a
foot-stomping country blues feel. “The
Shakedown” is a medium tempo stomper with an
ominous backbeat, and “Bastard’s Blues” is a
sobering story about a doomed youth who turned
bad at an early age.
You
could say that “The Moon and The Scarecrow” is
the album’s centerpiece, and deservedly so, with
it’s chilling imagery and Legg’s delicate guitar
work --- definitely the standout track amidst an
album of standout tracks. The stirring “Ballad
of Ingo Swann,” which leans more toward the rock
side of the aisle, and the slower-paced “Laredo”
has a swampy country rock vibe. The blues rocker
“Whiteboy” and the intense slow burner “No Man A
Slave,” a defiant narrative about a man
determined to live his life on his terms, good
or bad.
Farmer’s Almanac is a stunning piece of work
that paints a haunting picture of the hard times
and struggles that are sometimes associated with
life in the Deep South. Anyone who lives there,
or has spent time there, can relate to some of
Brother Dege’s vivid imagery and the passion
behind his singing and playing. This album
belongs in any music lover’s collection.
--- Graham Clarke
 The
Jackson, Tennesse-based Little Boys Blue
joins forces with guitarist John Holiday (a.k.a.
Kid Memphis) for their sophomore effort for
VizzTone (and fifth release overall), Hard
Blue Space. Already a formidable unit with
JD Taylor (vocals/harmonica), his son Alex
Taylor (guitar), Mark Brooks (drums), Dave
Mallard (bass) in place, the addition of Holiday
lifts the band to even greater heights. The new
release includes ten hearty originals that touch
on both traditional and contemporary blues,
mostly penned by JD Taylor with co-writing
credits on a couple of tracks to Holiday and
Alex Taylor.
The
traditional stomper “Six Feet Down” opens the
disc and is followed by the traditional
mid-tempo shuffle “Loving Kind” and the slow
burner “Blues Bug,” punctuated by some excellent
guitar from Kid Memphis and understated B3
backing from guest Dave Thomas. The swampy title
track is next with JD Taylor contributing a Slim
Harpo-like talking vocal and some fiery
harmonica blowing, and the slippery “Morning
Train” maintains a similar groove.
“Cold Inside” is a swinging blues with first
rate contributions on B3 from Thomas, who also
plays some dazzling piano on the rollicking jump
blues “Might As Well.” “Got A Mind of Your Own”
is a funky R&B-based urban blues, and “If The
Blues Start Calling” is a slow blues ballad that
features guest Andrew White on slide guitar. The
greasy shuffle “Going Back To Memphis” concludes
the disc in style.
Hard Blue Space is a strong set of original
tunes that will satisfy blues fans, whether they
like their blues old-school or modern. The
addition of Kid Memphis to the roster
(temporarily or otherwise) only makes a great
band even greater.
--- Graham Clarke
 Nightlife (Rip Cat Records) is the latest
release from John Clifton, and it’s a
sterling example of playing the blues like they
used to do back in the day. Clifton is a great
harmonica, but he also plays guitar and is a
powerful vocalist. In the late ’80s, he and his
brother, guitarist Bill Clifton, founded The
MoFo Party Band in Fresno, and since then he has
become one of the most popular performers on the
central California blues scene. He’s performed
with a number of blues artists, including
touring and recording with Big Bill Morganfield
on Morganfield’s 2016 release, Blood Stains
On The Wall.
Nightlife is Clifton’s second solo release
and includes a 12-song mix of covers and
originals that focus on blues and soul with a
touch of rock thrown in for good measure.
Clifton shines on vocals and harmonica
throughout with a couple of appearances on
acoustic and electric guitar, and he gets superb
backing from guitarist Scott Abeyta, bassist
Matt Moulton, drummers John Shafer and Roman
Rivera, percussionist Peter Wolf, and
keyboardists Bartek Szopinski and David Aus.
Clifton does a wonderful job on the cover tunes,
which include a rousing read of Charlie
Musselwhite’s “Strange Land,” Lee Moses’ stellar
soul burner “Sad About It,” a slick,
country-flavored take on the Leiber/Stroller/Otis
classic “Last Clean Shirt” (a.k.a. “Brother
Bill”), a slow, soulful version of Little
Walter’s “Long As I Have You,” a rocking
interpretation of Ricky Allen’s “No Better Time
Than Now,” and Muddy Waters’ “Still A Fool” gets
a stirring treatment, too. The title track,
written by Harvey Zimmerman, Bernie Baum, and
Florence Kaye, was originally recorded by Elvis
Presley for Viva Las Vegas, but Clifton’s
version would do the King proud.
The
five originals include the rockabilly raver
“Brand New Way To Walk,” the instrumental “Swamp
Dump,” which mixes Louisiana swamp blues with
Latin rhythms, the energetic instrumental “How
About That,” “Wild Ride,” a stylish instrumental
teaming Clifton on harmonica and Szopinski on
piano, and the splendid slow blues closer “Every
Now And Then,” which gives Clifton, Szopinski,
and guitarist Abeyta ample opportunity to solo,
with each making the most of the opportunity.
Nightlife is an outstanding release that
proves John Clifton and his mates deserve to be
heard by a much wider audience. Hopefully, this
fine album will give them a nice start toward
that goal.
--- Graham Clarke
 Artur Menezes won the Gibson/Albert King
Award for Best Guitarist and finished third in
the Band Category at this year’s International
Blues Challenge. With his dynamite, recently
released fourth album, Keep Pushing, the
Los Angeles-based guitarist shows that both
honors were well-deserved. He is a blues icon in
his native Brazil, where he works as an educator
for the music, organizes weekly concerts,
headlines festivals through out Latin America
and Europe, and even opened for Buddy Guy during
his 2012 Brazilian tour.
The
opener, “Now’s The Time,” is a breezy soul-based
shuffle with horns (impeccably provided
throughout the disc by Jamelle Adisa –
trumpet/flugelhorn and Doan Boisey –
tenor/baritone sax) that showcases some sharp
fretwork and smooth vocals from Menezes. The
title track is a fine bit of contemporary blues
powered by a driving beat and energetic vocals
and guitar, and “Come With Me” is a crunching
blues rocker. The blues ballad “Any Day,
Anytime” slows things down for a few minutes and
Menezes’ solo is most impressive, while the
funky “Should Have Never Left” finds the
guitarist’s solo bringing to mind the stinging
leads of Albert Collins.
The
jazzy “Love ‘n’ Roll” swings at a breakneck pace
and Menezes’ liquidy guitar tones are matched
perfectly by the horn section. The muscular
“Pull It Through” deftly mixes blues and rock,
and “Give Me My Money Back” is a great Windy
City-styled blues. The silky ballad “Can’t Get
You Out of My Mind” is a splendid combination of
blues and jazz that allows Menezes to prove that
his vocal talents matching his guitar prowess.
“’Til The Day I Die” closes the disc on a
rousing note, with the band going into full hard
rock mode for the last couple of minutes.
Menezes has guitar chops to die for, but his
vocals are equally effective. He gets first-rate
support from his band (Daniel Aged – bass, Gary
Novak – drums, Carey Frank – B3/keyboards) and
the aforementioned horn section. Producer Josh
Smith, a pretty formidable presence on guitar
himself, contributes rhythm guitar on several
tracks.
Keep Pushing is an impressive piece of work
that shows assures Artur Menezes’ name should be
prominent when blues fans start talking about
the music’s future.
--- Graham Clarke
 Willie Jackson is a Savannah, Georgia native
who has been involved in music all of his life,
beginning in the church, where as a youngster,
he played drums and sang in the choir. His
previous non-music career was cut short due to
an accident in 2009, and since then he has spent
most of his time trying to support his family by
writing songs and performing, learning to play
the bass guitar. He occasionally leads three- to
five-member bands, where he entertains blues
fans with a mix of his own original songs and
classic cover tunes.
Recently, Jackson issued a six-song EP,
Chosen By The Blues, which features his own
highly original and unique compositions and
arrangements. He’s backed by the Tybee Blues
Band (Jon Willis – bass, Dillon Young – lead
guitar, Paxton Eugene – drums, Ace Anderson –
harmonica), which gives him rock solid support
behind his strong, equally unique vocals.
The
opener, “Just An Old Dog,” is an old school
down-on-my-luck rocker highlighted by Jackson’s
booming vocal and Young’s lead guitar. “Big
Boned Woman” is an amusing slow blues about
Jackson’s 600 pound lover who not only wrecks
his life but also his house, and the mid-tempo
“I’ll Throw You Back” cleverly associates loving
with fishing. “Sleepin’ On The Job” is another
slow blues with an urban feel (nice work from
Willis and Eugene adding just the right amount
of funk) and fluid guitar work from Young and
harmonica from Anderson.
“Why
You Still Mad” features more great guitar from
Young and harp from Anderson, as Jackson laments
his lady still being angry even though he’s done
all he can to get the other woman out of his
house, even changing the sheets in the bed. The
closer, “Diggin’ My Shovel” is a subtle (as a 2
x 4) and raucous roadhouse rocker loaded with
double-entendres that will bring a smile to your
face.
Chosen By The Blues is a very entertaining
disc, and Willie Jackson shows himself to be not
only a great vocalist but a talented songwriter
with a knack for putting a new, fresh spin on
familiar blues topics. This one is well worth
seeking out for fans who dig the old fashioned
blues with a modern edge.
--- Graham Clarke
 Talented keyboardist Michael Kaeshammer
was born in Germany but relocated to British
Columbia with his family as a youth. He became
interested in boogie woogie piano in the style
of Pete Johnson, Albert Ammons, and Meade Lux
Lewis while listening to his father’s records.
With that in mind, it only seems natural that
eventually he would venture down to the Crescent
City to record an album with many of the city’s
finest musicians at the legendary Esplanade
Studios.
Something New (Linus Entertainment) is the
product of that collaboration and it consists of
11 tantalizing songs, ten written by Kaeshammer,
with an impressive guest list that includes
Cyril Neville (vocals), George Porter, Jr.
(bass), Curtis Salgado (vocals/harmonica),
Johnny Vidacovich (drums), Chuck Leavell (wurlitzer),
Amos Garrett (guitar), Jim Byrnes (vocals),
Colin James (vocals/guitar), and Randy Bachman
(guitar).
The
rousing opener, “Scenic Route,” kicks off the
disc in fine fashion, with Kaeshammer’s piano
and smooth vocals, Vidacovich’s rumbling
percussion, and the cheerful horn backing
provided by William Sperandei, Chris Gale, and
William Carn). The funky gospel-flavored “Do You
Believe” features Salgado on vocals and
harmonica with the horn section joined by Matt
Perrine of the New Orleans Nightcrawlers on
sousaphone, and “She’s Gone” is an entertaining
track that showcases Byrnes’ growling vocal with
Garrett on guitar and Leavell on wurlitzer.
Meanwhile, Kaeshammer’s vocal talents are on
full display for the ballads “Come On Home” and
“Josephine.”
The
soulful “Who Are You” teams Kaeshammer with
James, the latter shining with Bachman on their
respective guitar solos, and Neville comes up
big with his wonderful lead vocals on the
wistful ballad “Heaven And Earth.” “Dixie Has
The Blues,” with its irresistible second line
rhythm, should get the folks up on their feet
come next Mardi Gras . “Forbidden Love” is a
smoky jazz tune with jazz trumpeter Bria
Skonberg complementing Kaeshammer’s silky vocal.
Kaeshammer closes with a pair of instrumentals,
the first a boisterous take on the classic
“Sweet Georgia Brown” while “Weimar,” the
elegant closer, finds the pianist paying tribute
to the region of the same name from his native
Germany that produced such classical composers
as Bach and Listz.
A
wonderful and rewarding release, Something
New should be heard by anyone who loves
blues or jazz piano in the New Orleans
tradition, but it’s an exciting journey for
anyone who loves great music.
--- Graham Clarke
 The
Kansas City-based band Grand Marquis is
currently celebrating its 20th anniversary.
Formed in 1998 during the height of the swing
revival, this six-piece ensemble (Bryan Redmond
– lead vocals/saxophones, Chad Boydston –
trumpet/backing vocals, Trevor Turla –
trombone/backing vocals, Ryan Wurtz – guitar,
Ben Ruth – bass/sousaphone/backing vocals, Fritz
Hutchison – drums/backing vocals) has continued
to make powerful music.
The
band’s previous release, Blues and Trouble,
ranked among the top three best self-produced
recordings of 2013 by the Blues Foundation. Five
years later, the band’s latest release,
Brighter Days (Grand Marquis Music), shows
that the boys have lost nothing off their
fastball. The new album features nine tracks,
seven originals, that acknowledge the band’s
musical influences --- Kansas City (jazz and
swing), New Orleans (blues and R&B), and Memphis
(soul and blues).
The
opener, “Another Love,” gets the disc off to a
rousing start with a groovy Memphis feel via
classic ’60s Stax, and the title track follows,
a wonderful slice of jazzy soul with Redmond’s
robust vocal giving the song a feel reminiscent
of those classic ’60s rock bands with horns
(Blood, Sweat, & Tears, Tower of Power, etc.).
“I’m On Fire” is a cool Latin-flavored rhumba
and “Night Shift” cruises along with an
irresistible second line rhythm. “It Don’t
Matter” is a terrific funky instrumental that
keeps the New Orleans vibe rolling along.
“Ain’t No Spark” is an old school, early R&B
call-and-response tune with a sharp, understated
guitar break from Wurtz with plenty of spice,
and “Bad Seed” is a swinging shuffle with a few
twists and turns along the way. The band closes
with two excellent covers, turning Jimmy Cliff’s
classic “Many Rivers To Cross” into a fantastic
piece of southern soul with a touch of gospel,
and picking up the second line beat again with a
stirring take on the traditional “Down By The
Riverside.”
Brighter Days is another well-crafted,
enjoyable release from Grand Marquis that’s a
ball from start to finish, showing the band is
still in peak form with their fresh take on a
vintage style of music.
--- Graham Clarke
 Gretchen and the Pickpockets are a six-piece
soul/jazz/rock ensemble featuring vocalist
Gretchen Klempa, her brother Mike Klempa (bass),
Ryan O’Connell (trumpet and guitar), Tom
O’Connell (drums and percussion), Richie Smith
(guitar), and Diego Tunjano (saxophone). The
group is based in Boston and has been active in
the New England area for about five years,
winning several awards and honors in the region
since its inception.
The
band’s new release is Falling Rising
(Pickpocket Records), featuring ten original
tunes and including appearances from guest
musicians Mark Taddonia (trombone), Conor Powers
(trombone), and Billy Jewell (trumpet). The
playful “Keep Talking” starts the disc off on a
upbeat note, while the soulful ballad “Love You
Forever” is highlighted by Gretchen Klempa’s
expressive vocal. The jazzy “Easy On My Heart”
is another showcase for her vocals and the horns
really kick into high gear as well, and “Devil’s
Due” and “Fall Into You” are is fine pair of
slow burners.
The
festive “Let Me Do My Thing” combines jazz, pop,
and funk, giving the track a Crescent City vibe,
and “Take Flight” has a strong Latin feel. “Back
and Forth” is another slower tempo ballad, while
“Far, Far We Go” picks up the pace with a
funkier edge before the disc before closing with
the wistful “Time and Time Ago.”
While more on the jazz side of the aisle than
blues, Falling Rising is an bold mix of
musical styles that will certainly please blues
fans. Gretchen Klempa’s vocal talents are
formidable and the Pickpockets show an
impressive versatility with a variety of musical
styles.
--- Graham Clarke
 In
2014, James Byfield (a.k.a. Blind Lemon
Pledge…..surely one of the great blues names of
all time) released Evangeline (Ofeh
Records). The late, great NYC bluesman Michael
Packer sent me a copy, saying that I really
needed to hear it. I was glad that he did,
because the man deserves to be heard. He
released another couple of albums since
Evangeline and has continued to mix
recording and performing, receiving much airplay
and recognition. Recently, Byfield reissued
Evangeline, which remains a captivating
collection of blues and Americana styles, all of
which have influenced his music throughout his
career.
Byfield plays all of the instruments heard on
Evangeline, and he covers a lot of ground on
this set, beginning with “Buley’s Farm,” a
tribute to the old prison songs that John Lomax
recorded over a half century ago (complete with
a capella chorus and cigar-box guitar solo). He
explores other facets of the blues with the
Louis Jordan tribute, “Go Jump The Willie,” the
Crescent City-styled “Brimstone Joe,” “Midnight
Assignation,” a blues-rocker with some scorching
slide work, and the title track, a moody country
blues inspired by Son House.
Byfield also explores folk music with the lovely
ballad “Jennie Bell,” old style pop music (“Ham
and Eggs”), jazz (the smoky “How Can I Still
Love You”), Latin rhythms (“Language of Love”),
and country (“How Can I Still Love You”). He has
a warm, engaging quality in his vocals and shows
serious guitar skills in a variety of styles.
Evangeline remains an interesting and
invigorating journey through the blues and
various Americana styles several years after its
initial release. Byfield, who trademarked the
Blind Lemon Pledge moniker a few years ago,
continues to explore these styles of music
today. It would be a real challenge to find
anyone who could be a better, more entertaining
interpreter of either style.
--- Graham Clarke
 Florida vocalist Victoria Ginty is a
regular on the Tampa music scene with her band
Ladyhawke, having made the transition from the
country music scene in Nashville where she
previously recorded for BMG Critique Records
before the contraction of the music industry
there. She fell in love with the blues scene
around Tampa and decided to make her mark in the
blues genre. While in Nashville she honed her
songwriting skills to match her impressive vocal
talents, and both are on display on her new
release, Unfinished Business (Blue Door
Records).
The
title track opens the disc, a rowdy and
flirtatious track with a sassy vocal turn from
Ms. Ginty, who co-wrote this and seven more of
the 11 tracks with Ladyhawke bassist Mike Ivey
and others. The redemptive “Take Me Down” has a
real gospel feel, with Ginty backed by a somber
choir in an a capella opening that gives way to
a full band. “Hard To Move On” is a touching
ballad about the end of a relationship with
Ginty’s vocal conveying heartbreak and regret,
“You Don’t Love Me No More” is an upbeat blues
rocker.
Ginty makes Jimmy McCracklin’s “Every Night and
Every Day” her own with her slow burning
delivery, maybe the best vocal on the disc, but
I would really hate to single one out in
particular because they’re ALL good (nice guitar
break from Grace Lougen on this one, too). “Give
It Up” is an upbeat R&B number and the emotional
ballad “Water,” co-written by Ginty and Michael
Alan Ward, readdresses the gospel theme. Ginty’s
Latin-tinged remake of “Sign Your Name,” the
late ’80s pop hit from Terence Trent D’Arby
(whatever happened to him??) is another vocal
highlight.
Earl
Bud Lee’s “Lying (In Each Other’s Arms)” is an
interesting mix of soul with a bit of country,
and “Do Me Right” is a funky rocker with Ginty
telling her man she’s had enough of his jive.
The closer, “The Blues Found Me,” is a super
ballad with another great vocal performance.
Personally, I’m happy the blues found her,
because Unfinished Business is a powerful
release and a great showcase for Victoria Ginty.
Her marvelous voice will be sure to satisfy any
music lover who digs the blues, soul, and R&B.
--- Graham Clarke
 The Allman Goldflies Band consists of singer
Gary Allman, a cousin of Gregg and Duane Allman,
and bass player David “Rook” Goldflies, who
served a couple of tenures with the Allman
Brothers Band in the late ’70s/early ’80s, as
well as stints with Gregg Allman’s early ’80s
band, Dickey Betts & Great Southern and the mid
’80s Southern rock supergroup BHLT. Currently
based in Panama City, Florida, the group has
attracted a lot of attention around the Gulf
Coast region and will be touring the U.S. soon.
As
might be expected, the group’s debut release,
Second Chance, is a mix of Southern rock and
blues in the tradition of the Allman Brothers.
It features ten original tracks, authored or
co-authored by Allman and Goldflies (with Cindy
Menfi collaborating on one tune). Allman plays
acoustic and slide guitar, keyboards, and
provides vocals, while Goldflies plays bass,
guitar, drums, and keyboards, along with vocals.
They are also joined by Joe Weiss
(guitar/bass/background vocals), and the late
Luther Wamble (lead guitar).
“Ever Been So Lonely Baby” starts things off in
bluesy fashion, a funky shuffle with Allman
Brothers written all over it. Allman’s gritty
vocals are a perfect fit and Wamble’s guitar
work is right on time, while Goldflies unleashes
a cool bass solo near the tune’s end. “Standing
In The Georgia Rain” is a sincere song of
redemption where Allman, who served time in the
Federal Correction System, vows to make the best
of his second chance. “Southern’s All I Ever
Wanted To Be” is a song that will appeal to
anyone who digs Southern rock and is sure to be
a crowd favorite in the Deep South, while
“Yesterday’s Blues” is a somber ballad with
soaring guitar work from Wamble.
Goldflies also plays fiddle on the album and
shows off his skills to great effect on the
rousing instrumental “Fadiddle,” which
interestingly combines Cajun, bluegrass, and
Eastern European musical styles. The ballad
“Baby Show Me How” has a countrified feel and
features Allman playing some splendid slide
guitar, and “Pretty Green Eyes” is a haunting
track about the lonely life of a road-weary
musician.
“Can’t Turn Back Now” turns up the funk again
with some outstanding bass from Goldflies, who
also sings this one, while the lovely ballad
“You Give Me Love” features Wamble’s last
recorded performance and it’s an excellent one.
The closer, “When Jesus Calls,” is a gospel tune
Allman wrote in tribute to his late mother, and
features a full choir performance that will
raise a chill bump or two on even the coldest
heart.
The
title Second Chance is really indicative
of two things --- the Allman Goldflies Band
reuniting after originally forming in the early
2000s and Gary Allman’s return from
incarceration. Though there will be inevitable
comparisons to the Allman Brothers Band, as with
most bands in the Southern rock vein, Allman and
Goldflies are taking what was already in place
and building on it. The results are worth
hearing and, hopefully, there will be more to
come from these guys.
--- Graham Clarke
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