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I was first turned on to Toronto band The Imagine If when I received a single, "Like You," from what was then an upcoming album, Great Expectations (Gypsy Soul Records).

Here is what I said in my earlier review about that one song --- "Based on this number, I'll describe The Imagine If as more soul/R&B, and let's put the word SOUL in capital letters because this song drips with vibes of classic soul. It's a very nice, lyrical love song, driven by the scintillating vocals of Alia Logan, who packs a bundle of emotion into this 3 minute and 46 second gem. I look forward to hearing more from this previously unknown group.

We are now getting to hear the rest of the album, and it's already heading for a spot on this year's Top Ten list. If you check out The Imagine If website, you will see that they describe their sound as 'creative music by a few people.' There are five regular members of this very tight band, with horns added for that extra soulful punch. It's more soul than blues, but Ms. Logan's voice will pull in even the most ardent traditionalists and the band's arrangements will keep them there.

Logan's voice hits us in right from the start of the first cut, "Old Shack By The Highway." I'll put this one in the box of rockin' soulful blues, highlighted by Keith Boddy's very good blues guitar solos and our new favorite singer's soaring vocals. Up next is the second single, "Devil's Child," a blues all the way, with its mysterious lyrics being accentuated by plenty of horn sounds.

Moving on to the mid-tempo bluesy soul, "Flowers" is another vehicle for Logan to show the enormous range of her voice, while Boddy comes in with lots of special effects on his guitar solos. Boddy steps to the front with heavy guitar work on the up-tempo blues/rock number, "Wait For The Moment."

Keyboardist Eric Lefebvre shines on the gentle mid-tempo soul/R&B tune, "Intimacy," giving a late night blues effect while Logan caresses our hearts with her lovely voice. Listening to it again, I think I just fell in love. Keeping the same feeling, the previously-reviewed single, "Like You," comes next, a nice follow-up to "Intimacy."

"Moonshine' is a rockin' soul/blues, with Logan frequently repeating the line, "... don't tell me I'm wrong, I give the people what they want ...,"  with Lefebvre's keyboards popping before Boddy lays down a killer blues guitar solo. Not to be omitted is the rhythm being laid down by bassist Brian Pauls and drummer Tom Paulovits.

A more restrained sound comes from "Great Expectations," with Lefebvre's gentle piano playing is all that backs Logan's beautiful, inspirational vocals before the rest of the band comes in. The tempo and overall sound increases on the rockin' soul number "December 32." I realize I'm repeating myself, but once again Logan knocks it out of the park with her vocals.

The Imagine If has saved another great song to wrap up Great Expectations, the up-tempo soul blaster, "My Mission," with plenty of horns, blues guitar from Boddy, and solos from keyboardist Lefebvre and bassist Pauls. Logan aggressively shouts out her vocals, letting that someone else that her mission is to love him and he's now got his plan to follow. If the secondary mission is to really convince us that Alia Logan is the next great singer on the blues and soul scene, then mission accomplished.

Take my word for it, this is a compelling and addictive album. Add it to your collection and you will be listening to it frequently. The Imagine If is a band on the way up, with Great Expectations serving as a big rung on the ladder.

--- Bill Mitchell

I go way back as a fan of the soul singing of Billy Price. Still just a novice blues fan at the time, I was more familiar with the Chicago sound. Living in the Washington, D.C. area at the time, we got a lot of the bands that traversed the Atlantic seaboard. Price hit D.C. clubs quite regularly, bringing to us what was often called blue-eyed soul. It was a bit of adjustment to expand our then rather narrow tastes in blues, but it didn't take long before my friends and I all started grooving to the soul vibes of Price. That was more than 40 years ago, and I'm pleased that Billy is still doing it and sounding as good as ever.

His new album, Person Of Interest (Little Village) was recorded at Ultratone Studios in Studio City, California, a long way from Price's home base of Pittsburgh. Produced by drummer Tony Braunagel, the dozen songs are all originals, written by Price with a host of co-writers.

Person Of Interest opens with the soulful, snaky, and funky "Inside That Box," with plenty of horns and a group of female background singers repeating the line, "... I'm not going to look inside that box ..." Nice guitar work here from Josh Sklair as well as the tight horn section of Ron Dziubla, Eric Spaulding, and Mark Pender, the latter putting down a nice trumpet solo. Sklair again provides the opening to the up-tempo blues "Song I Never Heard Before" with a strong blues guitar solo.

One of my favorites is the up-tempo soul anthem "She Checks All The Boxes," with a big wall of sound from the horns, giving Price the impetus to put more power behind his voice. This may be a new song, but it so much reminds me of the stuff he used to do in the previous century. The tempo and volume both go way down for the slow blues, "Mercy," highlighted by Eric Spaulding's tenor sax solo as well as the emotion that Price puts into his vocals.

 The title cut is a funky soul tune with very fine drumming from Braunaugel, followed by the very fast blues, "Can't Get Enough," a tribute to that woman who treats him right. Joe Bonamassa comes onboard for "Change Your Mind," a tribute to the late guitar wizard Roy Buchanan, with whom Price sang early in his career. It's a slow blues that gives Jim Pugh a chance to show off on the piano.

The horns and Sklair's guitar support Price's anguished vocals on the mid-tempo soul/blues "They Knew,"  and then the mood changes completely on the Latin-ish sounding "A Certain Something," about that mysterious woman who brings Price so much mystery around his feelings about that particular woman. It's Pugh's piano work, Braunaugel's polyrhythmic drumming, and the horns that give this song the right atmosphere, making the listener feel like they are at some Caribbean beachside bar.

More classic Billy Price sounds come from the soul tune, "The Gift," followed by a mid-tempo blues shuffle, "Crying At The Stoplight," about a woman that Price observed pouring out the tears in the car next to him. He wonders whether someone has done her wrong. She catches him looking at her, but doesn't try to hide her shame. Pugh lays down a tasteful organ solo before Price sings a little more about the effects of sadness as he continues to try to speculate on why she's so sad, and eventually relates it to similar hurts that he's felt. It's an appropriate lead-in to the soul ballad, "I Lose It," as he sings about the ups and downs of love. Nice guitar work from Shane Theriot.

Wrapping up the show is the mid-tempo soul/blues "Damage Control," as still another of his relationships is in danger of falling apart, especially when she was spied out having a good time on the arm of another man. He reminds her that, "...the price is high when you sell your soul ..." Spaulding is back with another killer sax solo.

It might be trite to say that Billy Price is like a fine wine, getting better with age. But the decades of singing in concert halls and night clubs haven't diminished his skills in the least. If you want proof, take a listen to Person Of Interest.

--- Bill Mitchell

It's been awhile since I've heard anything new from harmonica ace Mark Hummel, but here's another middle-aged blues cat still doing it, as heard on True Believer (Rockinitis Records). 13 cuts of very fine blues, recorded at Greaseland Studios in San Jose, and co-produced by Hummel and Greaseland guru Kid Andersen. Add noted guitarists Junior Watson and Billy Flynn to the mix, plus a whole bunch of other notable musicians, and you've got yourself a killer blues album.

The very familiar blues voice of Oscar Wilson graces the opening cut, "High Time For The Devil," a slow blues about the devils among us in our society. Hummel plays mean harmonica in backing Wilson, reminding me of Little Walter with his aggressive harmonica riffs. Woo! What a way to start a blues album. Hummel then comes out with a more contemporary blues theme in "Ghosted," when no one will answer his calls and texts. This one's got a Five Royales vibe going for it. The mid-tempo funky blues, "Headed For Heartache," gives both Flynn and pianist Bob Welsh the chance to solo on their respective instruments in one that has kind of a 'live in the studio' feel.

One of the greatest blues songs of all-time is Otis Rush's "Double Trouble," with Hummel and the band turning in a very strong version, especially with the agony coming out in both Hummel's voice and harmonica, while Watson lays down the requisite killer guitar solo which takes it all over the top. Excellent! The mood changes on "What The Hell," Elvin Bishop's up-tempo blues lament about the state of the world including how much he disliked one of our past presidents. "Jacknifed" is another fast-moviing blues about the frustrations of making enough money in the blues business, stating that, "... if you're not corporate-sponsored, you gotta play to pay ..."

"Stop Messin' Round" is a mid-tempo 12-bar blues, with Watson's very good guitar work and Jack Sanford's sax work introducing the tune before Hummel steps to the mic. Watson again shows off his prolific instrumental skills on the B.B. King slow blues, "Broken Heart," before the band tackles Little Walter's "Who," turning this classic blues into a slower jazzy version that has Wes Starr providing more subtle drumming through the use of brushes. Brett Brandstatt provides a late night feel with his piano playing. "Mr. Two-Thirds" is a stop-time number with Hummel singing about that man who's always cutting in front of him.

Hummel again pays tribute to Little Walter with the instrumental number, "The Toddle," capturing LW's harmonica riffs to a T. Another contemporary theme comes in on the Hummel original, "Lil Electric Car," riding the new tech car they love so much even though they need to plug in that "chariot" every so often. Welsh lays down a really nice piano solo midway through the tune.

Blues veteran Joe Beard joins in on vocals for the closing number, "Shufflin Days," a very slow blues that allows Hummel to insert his harmonica breaks at all the right places. It's a nice ending to a wonderful album, leaving the listener with a smile.

True Believer is another success in the Mark Hummel discography. This man can play and sing the blues.

--- Bill Mitchell

When Matt “Guitar” Murphy passed away in June of 2018, he was in the process of recording a new album with drummer and producer Bob Christina, having completed three songs. The intent was to record songs of artists that Murphy either played with or influenced. After the guitarist’s death, Christina reached out to friends of Murphy, with the goal of the album changing from a Matt “Guitar” Murphy album to a celebration of his life and his music.

The resulting project is True Blues Brother: The Legacy of Matt “Guitar” Murphy (Nola Blue Records), a stellar two-disc, 23-song set featuring over 70 musicians, billed as Bobby Christina’s Caravan.

Volume 1 kicks off with one of the Murphy tracks, appropriately entitled “Matt’s Boogie,” featuring the legendary guitarist with Ricky “King” Russell on guitar, Bruce Bears on organ, with Bob Worthington on bass, and Fran Christina (Bobby’s older brother and former Roomful of Blues/Fabulous Thunderbird drummer) manning the drum kit.

Next is a rollicking cover of Chuck Berry’s “You Never Can Tell,” with Dave Howard on vocals and Neal Vitullo on guitar, and Junior Parker’s 1962 track “I Feel Alright Again” with a strong vocal from Brian Templeton and guitar work from Nick Adams.

The next two tracks are from the Memphis Slim songbook, who enjoyed a lengthy musical partnership with Murphy. A downhome read of “Mother Earth” features Johnny Nicholas on vocals and piano with Scrappy Jud Newcomb on guitar and mandolin, and Fran Christina sings and plays drums on “I’m Lost Without You,” with guitar from Bill “Fox” Mills, Al Copley on piano, Greg Piccolo on tenor sax, and Marty Ballou on bass. “The Beehive Queen,” Christine Ohlman, takes the mic for a powerful cover of the Etta James classic “Something’s Got a Hold on Me.”

After a short run through the “Peter Gunn” theme, Willie Dixon’s (via Otis Rush) “I Can’t Quit You Baby” is delivered via vocalist Phil DiOrio, guitarist Troy Gonyea, harmonica man James Montgomery, Ballou on bass, and Bob Christina on drums. Toni Lynn Washington ably handles Aretha Franklin’s “Think,” taking a lower-key approach that works very well.

One of my favorite Murphy tunes, “Way Down South,” has guitar from Steve Cropper and Enrico Crivellaro, harp from Lee Oskar, and vocals and piano from Kenny “Blues Boss” Wayne, while Ronnie Earl and Adams share guitar duties on the cool instrumental “Suffering Soul,’ with keyboards from Ron Levy and drums from Jaimoe. Closing Volume 1 is a rip-roaring original tune from Tom Hambridge, “Jack Rabbit Boy.”

Volume 2 begins with the second track highlighting Murphy’s exquisite guitar tone on the magnificent “Matt’s Shuffle,” backed by Bears, Worthington, and Bob Christina on drums. This track really put a smile on my face because it showed that even after going through his health issues of the early 2000’s, Matt Murphy without a doubt remained a top-notch guitarist. Another superb guitarist, Bob Margolin, is featured on the Howlin’ Wolf tune “Evil,” with vocals from Craig Rawding, Jerry Portnoy on harmonica, Chuck Leavell on piano, and Bob Christina on drums.

Rawding also sings the swinging “Rocket 88” with Bill Kirchen and Mike Williams on guitar, Leavell on piano and The Mitchfest Horns (Doug James – baritone sax, Doc Chanonhouse – trumpet, Gordon “Sax” Beadle – tenor sax). Christine Ohlman returns for the tender ballad “Sugar On The Floor,” while Fran Christina returns to the mic for another Memphis Slim tune, “Lonesome,” with Duke Robillard reprising Murphy’s crisp guitar work from the original Vee-Jay release. Tracy Nelson (backed by The Refine Singers) performs an uplifting version of the Freddie King standard “Same Old Blues.”

“I’m Gonna Make You Mine” was a Lou Christie hit. Magic Sam performed a demo version of the song that was released after his death. Doyle Bramhall II delivers a terrific, soulful version, also playing guitar and bass on the track. The Bobby and James Purify hit, “Shake A Tailfeather,” is on board, too, a favorite from the Blues Brothers movie Murphy appeared in, with vocals from Nick David.

The dreamy ballad “Tired of Sleeping Alone,” is the final track to feature Murphy on guitar, along with Ricky “King” Russell, who also sings the tune. After another “Peter Gunn” transition, the album’s final two tracks feature two of Murphy’s longtime friends, Joe Beard and Billy Boy Arnold. The first track is Muddy Waters’ “Let Me Hang Around,” with Beard on guitar and vocals, Arnold on harmonica, Brian Leach on bass, and Kenny “Beedy Eyes” Smith on drums. The final track is Beard and Arnold alone on Beard’s traditional blues “You Wasn’t Doin’ Too Good.”

True Blues Brother: The Legacy of Matt “Guitar” Murphy is a loving tribute to one of the blues’ finest guitarists. The fact that over 70 of his peers showed up to honor Matt “Guitar” Murphy’s memory and his music speaks volumes, and this album should be in any blues fan’s collection.

--- Graham Clarke

John “Jubu” Smith has had a remarkable career as a guitarist, beginning at age 19, when he began a decade-long tenure with the R&B band Tony Toni Toné. He also backed Whitney Houston on a world tour and has also played for the past 15 years with Frankie Beverly & Maze, mixing in recording sessions with Luther Vandross, Mary J. Blige, Boyz II Men, Toni Braxton, George Duke, and George Benson. He also leads his own soul-blues bands, Legally Blynd and the Jubu Smith Experience.

Smith recently teamed up with Charlie Hunter (hybrid guitar) and Calvin Napper (drums) to release Jubu on the Little Village Foundation label.

Jubu features eight instrumental tunes that seamlessly mix blues, jazz, and funk, which is not a real surprise given this guitarist’s impressive résumé. The album opens with “Hamster Wheel,” a lively tune which locks into a deliciously funky groove, thanks to Hunter’s driving bass line and Napper’s in-the-pocket drumming. “Jubu’s Poem” is a mellow, jazz piece highlighted by Smith’s melodic soloing, which might remind one of George Benson’s playing, and “Carroll Drive” is a delightful bluesy shuffle that will challenge listeners to sit still.

“Kwik-Way Nostalgia” is a relaxed foray into blues and jazz, with nice instrumental interplay between Smith, Hunter, and Napper, while the energetic “Organization’s Sake” is a taut soul and funk exercise that would have been a nice fit in the Meters’ catalog. Guitarist Eric Gales joins Smith on the masterful blues and funk workout “EG Is Here,” which features superb and stunning fretwork from both men, and the aptly titled “Extreme Pleasure” positively percolates with funk.

The gentle “At Long Last,” adopts a more reflective tone, with Smith’s guitar work really stretching out on this track. The pair of closing tracks are the straightest blues tracks on the album. The lively “McLeansville Blues” offers up tasty guitar work from Smith, with the funky backing from Hunter and Napper giving a cool Memphis rhythm section vibe, keeping the groove tight. The album closer is “Totally Convicted,” a smoldering slow blues.

Jim Pugh, founder of Little Village Foundation, describes Jubu Smith as “(p)erhaps the greatest guitar player most people have never heard of.” Based on this fascinating release, that description may not fit for much longer. Blues, jazz, funk, and R&B fans will love Jubu, as will anyone who just loves music.

--- Graham Clarke

The Pontchartrain Shakers (Amedee “A5” Frederick – vocals/guitar/bass, Jojjo Wight - vocals/guitar, Luciano Leães – keyboards, Red DeVecca – bass, Earl Smith, Jr. – drums) were formed in 2018 and are regarded as one of the most popular bands in the New Orleans area. As a fifth generation blues artist, Frederick grew up around the music with his family and boasts a three-octave vocal range, while Wight is a guitar virtuoso and multi-instrumentalist who started playing drums at a club on Bourbon Street clubs at the age of 12. They recently released their self-titled debut album on Southland Records, and trust me when I say it deserves to be heard.

The album features ten tracks, eight written by Frederick and/or Wight, with one co-written by Frederick and his father, Amedee “The Creole Blues Man” Frederick, and two covers one from the elder Frederick and one from Randy Newman. The opener, “Time To Make A Change,” is a relaxed, mid-tempo opener showcasing A5’s vocal abilities and the guitar work and keyboards are standout as well. The swamp boogie romp “Going Fishing” is a lot of fun, a perfect summer song if you’re headed for your favorite fishing spot.

You can’t help but get hungry listening to “I Need A Creole Woman,” a splendid slow burner with superb fretwork where A5 describes the key to his ideal mate --- mad cooking skills. The rumbling blues “Miss You Baby” finds Wight on vocals and laying down some tasty guitar, and “A5 Boogie” is a classic boogie track lamenting the polluted state of their fishing hole and offering solutions. The funky blues “She Don’t Know” is catchy both lyrically and musically with nimble keyboard from Leães, and is followed by Wight’s intriguing “Dead Snake Blues.”

Randy Newman’s “Louisiana 1927” is covered by the Shakers, and they present a powerful and moving version of the tune which has seen a lot of airplay and multiple cover versions since Hurricane Katrina. The last two tracks feature contributions from the elder Frederick, who wrote “Cain Snake,” a cool, swampy variation of the “Crawlin’ King Snake” theme, and co-authored the closing track with A-5, the soulful plea for peace “We Need Love.”

As stated above, Pontchartrain Shakers is an album that needs to be heard by fans of blues of the Louisiana variety. It’s one of my favorite releases this year, a very enjoyable listening experience.

--- Graham Clarke

Mystic Chiefs (Moondogg Records) is the third release from Southern California blues singer Johnny Ray Jones and it pays homage to some of the region’s standout blues and roots bands, including Canned Heat, the James Harman Band, the Blasters, the Blue Shadows, and the Red Devils.

Jones is backed by some of the region’s finest musicians, dubbed the Mystic Chiefs, on this 11-song set, including Junior Watson (guitar), Carl Sonny Leyland (piano), Tex Nakamura (harmonica), Johnny Lee Schell (guitar), John Bazz (bass), Stephen Hodges (percussion), and J.R. Lozano (drums).

Jones includes five songs from the Red Devils’ repertoire, including the band originals “Automatic,” which opens the disc, the ominous “Devil Woman,” and “No Fightin’,” the first track featuring Leyland’s piano and the latter two showcasing Watson’s lead guitar. Billy Boy Arnold’s “I Wish You Would” and Willie Dixon’s standard (via Muddy Waters) “I’m Ready” were favorites of their live shows, covered here as well.

Sonny Boy Williamson II is well-represented with two tracks, “Trying To Get Back On My Feet” and “My Younger Days.” I think Jones’ expressive vocals are an excellent fit with all these vintage tracks, but particularly on the Williamson II tracks. Another Dixon (via Waters) track, “Don’t Go No Further,” is a standout. Leyland, Watson, and Nakamura all shine on this track, and Slim Harpo’s “Shake Your Hips” really cooks as well.

“Sugar Sweet,” written by Mel London was first released by Muddy Waters in 1955, with the Mystic Chiefs really tearing into this jaunty shuffle, especially Leyland on the keys. The closing track comes from Howlin’ Wolf, the slow burner “I’ll Be Around,” with a strong vocal from Jones and superb backing from the band.

If you’re looking for a great contemporary set of vintage electric blues, as the song says “Don’t Go No Further” than Johnny Ray Jones and Mystic Chiefs. This is a fine set that will drive your blues away.

--- Graham Clarke

Christopher Wyze was born in Indiana, and has been shaped by blues, rock n’ roll, Americana and country music. For 20 years he has fronted blues bands, mostly singing other people’s songs, but he is now being recognized as a formidable songwriter, earning a “One to Watch” songwriter award from the Nashville Songwriters Association in 2023.

Now fronting his band, the Tellers, Wyze recently released his debut album, Stuck In The Mud (Big Radio Record), which consists of 13 original songs, ten recorded in Muscle Shoals (with guitarist Eric Deaton and producer/co-songwriter Ralph Carter) and three in Clarksdale (with guitarist Cary Hudson).

Wyze’s storytelling approach is on full display with the opening cut, “Three Hours From Memphis,” a country-flavored autobiographical “road song” describing a hopeful musician just looking for a toehold in the music world. On the Hill Country title track, with help from Hudson on guitar and his own harmonica, Wyze voices his displeasure at his inability to catch a break. “Cotton Ain’t King” is a somber tune that states blues is now the king of the Delta, highlighted by Deaton’s slide guitar. “Soul On The Road” tells the tale of a lonesome truck driver who ponders what he’s missed because of his life on the road.

“Back To Clarksdale” is a solid blues rocker about returning to the only place he wants to be, and on the amusing shuffle “Money Spent Blues,” Wyze bemoans his lack of money and his obsession with spending it on the latest hot items he sees on commercials. “Caution To The Wind” adds a taste of funk and speaks to looking forward, not backward, and the gritty “Hard Work Don’t Pay” features Hudson’s slide guitar and Eli Hannon on the B3.

The sober “Life Behind Bars” is the story of those musicians who dreamed of playing in the big arenas and stages, but are now trapped playing bars for tips and tabs. The upbeat “Looking For My Baby” raises the mood considerably with Brad Guin on baritone sax and Brad Kuhn on piano, as Wyze searches for his long lost girl.

The spirited “Wake Up” implores all to get off their duff and get involved. “Good Friend Gone” is a Hill Country tune describing Wyze’s early life and the loss of one of his good friends at an young age, and the gentle closer, “Someday,” is a tale of big plans that just never pan out.

Christopher Wyze is a wonderful storyteller and songwriter who writes tunes that regular folks can relate to. His musical approach blends blues, country, and rock effortlessly. Stuck In The Mud is a fine debut effort, and it will be interesting to hear what’s next.

--- Graham Clarke

Derrick Dove and The Peacekeepers (Derrick Dove – guitar/vocals, Jamie Richardson – drums, Don Hill III – bass, Johnathan “JT” Thomas – keyboards) are a Georgia-based band that blend blues, southern rock, and a bit of outlaw country into their music. Their second album, Rough Time (Blue Voodoo Entertainment), offers ten original tracks penned by Dove, with guest appearances from Shane Cannon (harmonica), LaChelsea King (background vocals), Harry King (saxophone), and Chuck Hutcheson (trumpet/baritone sax).

The album opens with “Blindsided” a rumbling, rowdy blues rocker before moving to the title track, which has a deep soul feel thanks to Thomas’ keyboards and Dove’s tough but tender vocals. “You & My Guitar” is an upbeat, good-natured southern rocker about leaving all of your worries behind.

The gritty blues shuffle “Daddy Was A Bluesman” pays tribute to Dove’s late father. Dove played drums in his oldies band at the age of 10, with Cannon guesting on harmonica, and “Farm In Tennessee” finds the band venturing into country territory with satisfying results.

Dove breaks out the slide for “Life’s Games,” a southern rock ballad addressing a blues-related topic --- the frustration of everyday living --- and “Sweet Sadie Mae” is a terrific tune with a relentless beat, soaring guitar and soulful keyboards. “Sunday Coming Down” is a low-key ballad with Dove’s lyrics painting a vivid picture of the end of another relationship, and “Hard Rain” is a southern rocker with a bit of a pop feel.

The album closer, “When Did I Get Old,” is an acoustic ballad that presents the question that many of us ask at a certain point in our lives. A little different from the rest of the album, but it shows a different side of the band, and is a fine conclusion to this fine album.

They just don’t make ‘em like Rough Time anymore. Derrick Dove and The Peacekeepers are doing their part to keep this music alive.

--- Graham Clarke

Bill Wharton, a.k.a. the Sauce Boss, returns with The Sauce (Swampside Records), which consists of a dozen songs that run the gamut from traditional acoustic blues to spicy blues rock, all presented in his inimitable fashion. The set, eight songs written by Wharton plus four intriguing cover selections, is a mix of one-man blues tunes and an electric trio (Neal Goree – guitar, Brett Crook – drums) on several tracks, along with guest Damon Fowler sitting in on a couple of numbers.

The first half, or nearly first half of the disc, is the Sauce Boss playing in his one-man band format. The stirring, energetic “Little Rhythm and Blues” gets the album off to a rip-roaring start. “The Word” is the Lennon/McCartney track from The Beatles’ Rubber Soul album, though it’s barely recognizable with the funky delivery and Wharton’s laid-back delivery pleading for a little peace and love. It’s a cool reading of a song I’d never heard covered before.

“Delta 9 Blues” is a splendid slow blues with tasty slide guitar from the Sauce Boss as he sings the praises of a particular medicinal product. The instrumental interlude, “Space Ocean,” as you might expect, has an outer-worldly feeling as Wharton’s guitar meshes with the sounds of the waves on the shore. It leads into “Down By The Sea,” a soothing tune he plays on his 1933 National steel guitar, Hawaiian-style.

The band arrives with the next track, with Goree and Crook sitting in for a tough cover of Robert Johnson’s “Stop Breaking Down,” highlighted by more of the Sauce Boss’ unique slide guitar work. “Don’t Know How To Tell You” and “Lonely Crowd” are both gentle solo bluesy ballads, with the band returnings in-between those two tracks (with help from Fowler) for a fun cover of Jimmy Buffett’s “I Will Play For Gumbo,” a song Buffett wrote about the Sauce Boss in the late ’90s.

The fourth cover is Van Morrison’s “Gloria,” a spirited version which includes lap steel guitar from Fowler. A brief full band version of “Little Rhythm and Blues” revisits the opening track, before the album concludes with the ballad “Left Handed Smile,” with Fowler and the band joining in one last time.

Sadly, no pot of gumbo comes with The Sauce, though the Sauce Boss usually cooks a pot and feeds his live audiences during his shows. However, the music is plenty good and tasty, and an enjoyable time will be had listening this fine set, even if you have to cook your own gumbo.

--- Graham Clarke

Kelly’s Lot celebrates 30 years with their new release, The Blues Remind Me, which is their third release of all blues tunes, though all of their other albums (17 total) have always included a few blues tracks. Charismatic singer Kelly Z (Zirbes) is backed on this set by Matt McFadden (bass), Mike Sauer (drums), Perry Robertson (guitar) and Bill Johnston (sax), along with a host of musical guests chipping in. Kelly Z and Robertson penned all ten tracks, which touch on blues and the soul side of blues.

The opening track, “I Gotta Sing The Blues,” is a soulful piece that teams Kelly Z with Mo Beeks on vocals. Beeks also adds some fine B3 on this splendid slow burner that sets the table nicely for the rest of the album. “Boogie Bus” is a rollicking blues with harmonica contributions from Frank Hinojosa, and should get fans moving at the band’s live shows. “Mama’s Blues” is a heartfelt soul ballad with super backing from the horn section, with Kelly telling how her mother led her to the blues.

“It Ain’t Always” is an upbeat, swinging number driven by the horns and B3, and “Man In The Moon” has a real after-hours feel with Kelly Z’s supple vocal, Beeks’ piano, sax from Johnston, and flugelhorn from Gary Bivona. “Without You” adds a taste of funk to the mix, along with B3 and gritty guitar work, and the jazz/soul track “Just Tell Me The Truth” adds flute from Aviva Maloney and calls for honesty and hope in these current times.

“Blessings” is a tender ballad that showcased Kelly Z’s vocal versatility and Beeks’ B3. Tomislav Goluban’s harp blowing helps pick up the pace considerably with the upbeat “Aces,” about a desperate trip to the races and gambling tables in hopes of changing fortunes. The album wraps with “Love and Understanding,” a serene, downhome blues with a positive message that provides an appropriate conclusion to this entertaining album.

The Blues Reminds Me is a fine addition to the musical catalog of Kelly’s Lot, with its outstanding originals that touch on a wide variety of blues styles. Kelly Z is one of the best singers in the genre, also, with Robertson, a superb songwriter. This is a fine set that recommended to contemporary blues fans.

--- Graham Clarke

Jamiah Rogers has been fronting his own band in Chicago since he was 16. I’ve recently enjoyed some of the 29-year-old’s live shows on Rosa’s Lounge’s Facebook page and he is a riveting performer. Recently signing with Delmark Records, Rogers has issued his first single in advance of his upcoming full-length album, “Comin’ For Mine.” Rogers plays all guitars on the track, and is backed by Larry Williams (bass) and Tyvon “Tank” Rice (drums). A gripping mix of blues, soul, and funk, “Comin’ For Mine” bodes well for Rogers’ upcoming album. His vocals and guitar are both excellent, with Williams and Rice providing rock solid backing. Sounds like there will be great things ahead for Jamiah Rogers.

--- Graham Clarke

The Chicago-based band NuBlu is led by guitarist Marc Maddox, drummer Dan Henley, and vocalist Carlise Guy (daughter of Buddy Guy) with additional members Michael Sterling (bass), David Holloway (keys), Joe Rendon (congas), and Mike Wheeler (guitar) contributing. The band recently signed with Delmark Records, issuingd their first single for the label, “A New Day,” written by Guy and Maddox. The song is a beautiful blues ballad with a bit of Latin influence, thanks to Maddox’s warm guitar tones and Guy’s sweet and sensual vocal. The band performs a wide variety of genres besides blues, such as pop, R&B, and soul, so their first full-length release should be an interesting one.

--- Graham Clarke

Fred Hostetler’s latest single, “Reckless Independence” is an autobiographical song explaining the condition that led the Indiana-based singer/guitarist’s journey from childhood to his musical career, a rough and rocky path that eventually turned out well. It’s an entertaining track, thanks to Hostetler’s reflective lyrics, wry vocal delivery, and his musicianship (he played nearly all the instruments, other than keyboard contributions from Eric Troyer).

--- Graham Clarke

For whatever reason, an impressive number of young soulful singers are coming out of the Toronto area lately. Just in the last few months, I've been turned on to new favorites Blackburn Brothers, Ndidi O, Matthew Chaffey, and The Imagine If, among others, and let's not forget Bywater Call with outstanding Meghan Parnell, one of the best and most soulful singer on the scene today.

Here's another name to add to your list --- Marcus Trummer. His album, From The Start, is coming later this year on Gypsy Soul Records. Until then, we have this very fine single, "Waiting For Change," showing a young man with decades of soul packed into this youthful voice. At times, I hear  an Al Green influence to his vocal phrasing.

"Waiting For Change" is one of those songs that will have you hitting repeat on your listening device multiple times. It's pure soul, with a strong dose of blues coming from guitar solos throughout the cut. I'm eager to hear the rest of the album when it's available.

--- Bill Mitchell