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We're going to start this month's What's New section with reviews of albums from three very fine woman blues artists. Enjoy!

This one really knocked me out, in part because I had never before heard of Miss Robin Banks. A native of Ontario, Canada, Ms. Banks headed to the state of Texas, a place in which she spent some time earlier in her life, to record her latest album, Lost In Austin (Dallas Blues Society Records).

While in Austin she recruited long-time Texas blues buds Johnny Moeller (guitar), brother Jason Moeller (drums), and  Drew Allain (bass) to back her on all cuts. Also contributing their talents were Steve Marriner (harmonica), Roly Platt (harmonica), Bruce Bears (keyboards), and Dale Rivard (pedal steel).

For an album that reportedly was financed and pulled together on the fly, Banks and pals have produced a very fine, cohesive collection of 10 songs, eight originals and two well-chosen covers. Her pleasant voice is obvious and the listener can easily pick up on her confidence in the studio.

Banks shows us her feisty side on the opening cut, the up-tempo shuffling soulful blues, "Not Today," as she sings that she's going to get right into that man's face by telling him his wishes are NOT going to come true today. Bears gives us a nice piano solo and Johnny Moeller immediately shows his prodigious talents on guitar. That leads into an up-tempo blues rocker, "Supersonic Rocket Ship," highlighted by Moeller's jangly guitar work and a strong harmonica solo by one of our two harp contributors.

"It's My Time" has Banks proclaiming to all that she's going to sing what she wants to sing, with her vocal assertiveness coming on top of a mid-tempo blues shuffle beat. She gets topical on the up-tempo blues number, "Modern Man," as she laments about the state of our current civilization and wondering how we got where we're at now. Bears plays tasty organ throughout, including a killer solo.

Her worries are focused on her love life on "These Days," as she puts extra power into the vocals while starting to wonder whether things will be better when he's gone. Very nice chromatic harmonica work adds to this tune.

Adding Rivard on pedal steel turns the up-tempo "It's Too Late" into more of a western swing thing, continuing the theme from the previous cut as she tells the man that it's too late for him to love her. Moeller complements the pedal steel work with his own versatile guitar picking.

Banks gets defiant again on the next cut, as she defends the honor of her native country on the slow number, "Never 51/Maple Leave It Alone." Bears accentuates the message with a strong organ solo.

We get the first of two covers on the Freddie King funky blues, "Some Other Day Some Other Time," something she often hears whenever she's looking for love. Moeller lays down plenty of very fine guitar work, connecting often with Banks' vocals.

Another cover is the slow blues, "Cold Cold Feelin'," written by Jessie Mae Robinson and covered by blues icons T-Bone Walker, Albert Collins, and others. Banks sings forcefully from the heart here, with plenty of powerful emotion coming from her vocal cords.

Closing the album is the slow, funky blues, "Talk Dirty To Ya," Banks' own old-school double-entendre instant classic. I love it!

That last statement sums up how I feel about all ten cuts on Lost In Austin. I hope it's not long before Banks makes another trip to the Lone Star capital to record even more outstanding blues.

--- Bill Mitchell

In the July issue of Blues Bytes we reviewed a very fine album from Florida group The Shaelyn Band. It turns out there's a connection between that band and our next group to feature, Kat Riggins and her Blues Reviival. We've been aware of Ms. Riggins for quite some time, as her powerful vocals have made her a favorite with Blues Bytes readers and listeners.

Everyday Is Saturday (House Of Berry Productions) is produced by Tim Mulberry, a producer and key member for The Shaelyn Band, and he also plays many of the instruments behind Ms. Riggins.

But make no mistake, Everyday Is Saturday is Kat's show all the way, with her powerfully sassy vocals highlighting each of the 10 cuts. She's a dynamic performer, both live and in the studio, and her music goes right to the soul of each listener.

Riggins goes totally slamma jamma on us to start the album (that's one of my expressions when watching basketball, but it seems to fit here, too), with the up-tempo shuffle "Heads Are Gonna Roll." Her voice gets stronger as the song goes on, complemented by the very fine guitar work Erik Guess. The energy continues on the funky "Do My Thang," as Riggins frequently repeats the main theme of "...I can't stop my feet, and my hips aren't far behind ..."

The pace continues on the up-tempo blues stomper "I Say So," with Guess' nimble guitar gymnastics dominating throughout the song. Riggins eminds us very clearly who she is, singing "...I'm a god-made, bonafide, one of a kind ..." We finally get to catch a breath on the slow motivational number, "Ain't Goin' Down," with more solid blues guitar work from Guess.

Riggins aims her criticism at someone carrying a gun for nefarious purposes on the mid-tempo funky blues, "Tears Life Gasoline," with Shaelyn Mulberry contributing backing vocals. It's off to that backwoods church on "Holy Water," with Riggins repeating the line "...holy water, make me over ...," accentuated by eerie slide guitar from Guess and backing vocals from both Mulberrys.

Riggins tells us that she's got dreams that she can make come true on the inspirational "Fear Slayer," a mid-tempo blues that again brings in the Mulberrys on backing and harmony vocals. It gets funky on "Til the Lights Come On," which is how Riggins and friends are going to be dancing to every song. She sings that they are putting the boogie in the woogie and the rock in the roll. Just a fun tune that captures the theme of the album title. The tempo slows towards the end, because quite frankly, those dancers are getting tired.

"Hunger Games" has a bit of a reggae beat as she portrays her own relationships as personal hunger games, reminding that you lose more than you win. The song ends with Riggins' frantic cry of "... hunger games! ..."

Riggins closes with another powerfully inspirational song, "Live In Peace," with organ and backing singers helping her take it to church to deliver this very important message.

Everyday Is Saturday is another winner for the charismatic and very talented Kat Riggins. Her music is comfort food for the soul. You'll love it. Take my word for it.

--- Bill Mitchell

Brigitte Purdy is a very fine singer/songwriter from Los Angeles, whose 2018 album, Still I Rise, was reviewed in Blues Bytes back then, as well as a single, "Stylin'," covered on these pages in 2021. We missed reviewing her outstanding 2022 single, a breathy version of "I Just Want To Make Love To You."

Purdy hasn't been a stranger to the pages of Blues Bytes, and we're glad to make you aware of her latest LP, Mother of the Crossroads.(Dirtshack Records). It's an excellent addition to her discography.

Purdy's regular musical partner, Dave Osti, produced the album and played many of the instruments backing her powerful, melodic voice. It's a mix of blues, blues/rock, jazz, soul and a lot of other influences shining through.

Up first is "Sugar Fried Candy," a mid-tempo blues/rock number, introduced first by Osti's piano before he comes in with strong guitar. "Blues Collar Woman" starts with some snaky chords before turning into a funky blues, with Purdy's voice getting stronger as the song progresses.

My favorite cut, "Memphis Hotline," starts with tasty blues guitar before the pace picks up and turns the song into a rockin' blues shuffle. Osti turns in a wonderful organ solo halfway through the song.

The title cut is jazzy and funky, with Purdy's scatting vocals giving the song a mysterious vibe. Osti switches to more of an acoustic sound on guitar, with an especially tasteful slide solo, on "Losin' Time For Love," as Purdy sings that we're gambling on our future and running out of time for love.

Purdy's soul side comes out on the inspirational "Make Love Higher," with Drake Shining accompanying on churchy-sounding organ while Osti settles into the background with acoustic piano. Her voice gets more powerful as the song goes on, accentuated by a killer slide guitar solo. This one's another keeper.

We move more to the country side on "Too Full Of You," as Purdy sings "... you can't have me when you're too full of you ...," with Osti using his slide to great effect. "Come To Mama" is not the Koko Taylor song by the same name, but instead Purdy's own up-tempo blues rocker, with heavy guitar from Osti and harmonica from guest Michael Fell.

Closing the album is a mid-tempo blues/rock, "Rise Like The Water," with outstanding organ accompaniment from Shining. This powerful song comes to an end with a stirring crescendo of background vocals provided by Purdy, Osti, and Shining, repetitively singing "...rise like the water, gotta let it breathe..." A strong ending to a short but memorable album.

If this is your introduction to the music of Brigitte Purdy, Mother of the Crossroads is a good pace to start but with plenty of music from her past also available.

--- Bill Mitchell

All Before Yesterday (New Folk Records) is a two-disc, career-spanning retrospective of slide guitarist extraordinaire P.K. Mayo. Mayo had played for a huge number of blues, rock, and jazz artists, the blues artists including Jonny Lang, Tracy Nelson, Shannon Curfman, Terry Evans, Big Walter Smith, Bernard Allison, and Mark Naftalin.

Most recently, he's been the slide guitarist behind two-time Grammy winner Dante Bowe. He's also released multiple albums (some under his real name, Paul Mayasich) since around 2000.

This collection captures 23 tracks from Mayo's previous releases. There's no session information about when each song was recorded, and musicians are listed as a group in the liner notes. The group is a pretty impressive lot, some of the names familiar to blues fans include Jimi “Primetime” Smith, Leland Sklar, and Sam Bush. Producers include Mayo, Bowe, and Jim Gaines.

Although the songs were recorded at different times with different personnel, listeners won't even notice any difference in quality at all.

Disc one opens with an up-tempo take on K.C. Douglas' “Mercury Blues,” where Mayo provides percussive acoustic guitar work that reminded me a bit of Bukka White's early recordings and a bit of an eastern vibe in the melody. The soulful “Tell Me” is a funky blues with fine slide guitar from Mayo, and “Prisoner” continues the funk with more of a rock edge in the guitar work.

“Be An Angel” is an acoustic ballad (that plugs in during the final third) with spooky slide guitar and piano and drum accompaniment. “Too Gone” is a rootsy slow burner with Americana-flavor and clean slide guitar, while the amusing “Jelly Smackin' Mama” is an old fashioned country blues with steel guitar and piano.

“Love For Money” is a loose-limbed blues tune with a funky rhythm and strong fret work and “Texas Toast” is a briskly-paced, roadhouse rocking tune that serves as a cousin of sorts to the classic “High Heel Sneakers.”

“Somewhere In The Night” is a smoky, urban blues ballad loaded with splendid guitar work from Mayo, “That Man” is a soul burner with a greasy Memphis feel, thanks to the greasy B3and jangly rhythm guitar, powered by Mayo's superb slide guitar runs, and “The Road Behind” is a reflective country-styled ballad.

The first disc concludes with a masterful slide guitar-driven instrumental version of “Amazing Grace.”

Disc two opens with “Black Coffee,” a moody blues piece with great soaring slide guitar that could go on forever – it's a shame that this one had to end. “Good Man Blues” follows, a gritty blues shuffle, then the acoustic country blues “BBQ Mama,” which has a real vintage feel.

“Fishin' Fool” is a cool swamp blues in the Slim Harpo tradition at its heart with updated instrumentation and spacey guitar work from Mayo. “Vidalia, Georgia” is a sweet country ballad that tells the tale of a young girl leaving home to go cross-country looking for love.

“Campaign Road” is a lovely instrumental with beautiful guitar work, another track that you hate to hear come to a conclusion. “Gimme A Break (Bartender)” is a jaunty rocker with dazzling piano work and horns that finds Mayo trying to make his move on a potential overnight spouse before it's too late.

“Devil's Face” is a haunting blues rocker with distorted guitar and vocals that covers a traditional blues topic with chilling effect. “Watch Out Boy” and “Road Of Love” are both country-flavored ballads that provide a nice showcase for Mayo's vocals and songwriting.

Disc two concludes with “Arms Of The Blues,” a slow burning blues that stretches out over nine and a half minutes, offering ample time for Mayo's excellent guitar work and vocals.

All Before Yesterday is loaded with powerful music that should definitely be heard by blues fans, especially slide guitar fans. P.K. Mayo is the real deal as a guitarist, singer, interpreter, and songwriter.

This wonderful collection is a perfect way to get on board with this talented artist.

--- Graham Clarke

Monterey, California-based singer/guitarist Brad “Guitar” Wilson recently issued Boundless (Cali Bee Records), containing a whopping 16 tracks, 12 written by Wilson with four intriguing cover tunes. Wilson handles all guitar (after all, “Guitar” is his middle name) and vocals, and is backed by drummers Toto Poznantek, Chris Ross, or Adam Gust, keyboardist Chris Rhyne, Luca Catalfamo, or Frankie Vriens, bassists Hal Cragin, Brian Beal, or Fabrizo Erba, Francis Buckley on synth bass and percussion, and backing vocalists Paulina Campos and Valerie Chanelle.

The opener is the B.B. King standard “The Thrill is Gone,” and it's a bit slicker than the original, which is not really a bad thing because Wilson offers clean, precise fretwork and a smooth vocal that work well. The first original follows, “More of You,” which has a catchy pop feel with catchy lyrics and a solid groove.

“Hit The Road Jack,” the Percy Mayfield classic, gets an interesting interpretation, a funky, swinging rhythm with vocals to match by Wilson, supported by Campos and Chanelle. “Gonna Stay or Go” is a high-powered, soulful rocker.

“Living Underground” was inspired by the war in Ukraine, capturing the feeling of fear and loss that's a regular part of life for the people in that country, and the cover of Tears For Fears' “Everybody Wants to Rule the World” is well-done and about as bluesy as it could possibly get with Wilson's guitar work.

“Let's Dance Tonight” is a lively rock 'n' roller with crisp fretwork and dazzling work on the ivories, “Wild and Free” is a nice Southern rocker, and “Home” is an upbeat acoustic number that leans toward folk.

“Time Was” is an easygoing, reflective tune recalling simpler times, and “San Francisco Nights” is a soulful jazz number with sweet background vocals. “Sundown and the Cowboy” recalls the country-rock hits of the '70s.

“Sky Full of Rain” is a great blues-based ballad with strong vocals and guitar from Wilson, “Between the Hours” has a vintage British blues rock vibe, and “Blues Magic” is a mid-tempo blues track with a smooth rhythm and sharp fret work.

The album closer is a fine cover of the pop classic “Cry Me a River,” again with stellar vocals and guitar from Wilson.

Boundless is another impressive release from Brad “Guitar” Wilson that demonstrates his talent and ability to excel in a variety of styles while managing to keep one foot in the blues.

--- Graham Clarke

We've known about Blues Now (New West Records) by GA-20 with Charlie Musselwhite for several months, with multiple singles being released in advance of the album. But now the whole package is here, and the wait was well worth it.

You've likely heard from GA-20 before, those hardcore New England blues cats a true blues power trio, led by guitarist and founder Matthew Stubbs, . Recent additions to the band are vocalist/guitarist Cody Nilsen and drummer Joshua Kiggans.

But the best addition for this album is honored guest and legendary harmonica player Charlie Musselwhite, with whom Stubbs toured for a decade or so, making for an even more cohesive sound due to their familiarity with each other. A genius concept for GA-20's latest album.

Launching this album of wild Southside Chicago blues is the Willie Dixon composition "Crazy Love," with Nilsen introducing the set by singing that we're going to have a crazy time with crazy music for you. Stubbs first lays down a smokin' guitar solo followed by Musselwhite with a soaring harmonica solo. Whew! The cat can still blow the blues harp. Up next is another Dixon number, "Talk To Me Baby," this time with Musselwhite taking the vocals and Stubbs doing his best Elmore James impression on slide guitar.

"I'll Change My Style" is a complete turnaround for this band, with Musselwhite tastefully sending out wonderful harmonica solos on this Jimmy Reed number. It's a slow blues that has a bigger dose of soul than the original, thanks in part to Nilsen's tender vocals. The two singers join together on the slow Tampa Red blues, "Big Stars Falling," with Musselwhite's vocals and harmonica both standing out.

"Universal Rock" takes us back to early '60s Chicago blues, a frantic instrumental done back in the day by Earl Hooker and Junior Wells. Musselwhite lays down one of his best harp solos followed by a breathtakingly rapid guitar solo from Stubbs. Our big star is back on vocals on the Otis Spann slow blues, "Blues Will Never Die," a song absolutely packed with emotion. This comment is redundant, but of course there's more sterling harmonica playing from Musselwhite.

Charlie shows off his songwriting chops on "Strange Land," one that he first recorded nearly 60 years ago, an up-tempo blues that allow him to show his familiarity with the tune on both vocals and harmonica. That's followed by an Eddie Taylor song, "Stroll Out West," a mid-tempo blues shuffle showing Nilsen's ability on vocals.

"Short Dress Woman" is an up-tempo blues classic that we've all heard many times by Muddy Waters, written by Lafayette Leake. Stubbs lays down top-notch, fast-paced slider guitar while Musselwhite shouts out the vocals about the woman whose dress comes way up above her knees.

Blues Now wraps up with a song done frequently by Musselwhite, the harmonica instrumental "Cristo Redentor," written many years ago by Duke Pearson and a 1964 hit for Donald Byrd. The original was inspired by the Christ the Redeemer statue in Rio de Janeiro, and over the years the song's been connected to Musselwhite more than anyone else. He's recorded it both under the "Cristo Redentor" title as well as "Christo Redemptor." Regardless, it's an extremely stirring and intense harmonica showcase. A fantastic ending to this potentially award-winning album.

This one's a keeper. Get it now and play it often.

--- Bill Mitchell

Souvenirs (Fort Sumner Music, LLC) is the latest release from Doug Duffey and BADD. As on his previous releases, Duffey's musical approach incorporates Louisiana and delta blues with soul and swampy funk (he describes it as “Swampadelic”).

Duffey (vocals/keyboards), Dan Sumner (guitars/bass/vocals/percussion), Adam Ryland (drums/percussion), and Benjamin Ford (bass) are joined on selected tracks by Matt Morgan (mandolin), Mason Howard (accordion), Bob Dowell (trombone), Bert Windham and Cody Heath (trumpets), Nate Johnson (tenor sax), Wes Rougeou (sousaphone), and backing vocalists Betsy Shirley and Naomi Holder.

Duffey and Sumner wrote all nine of the track on Souvenirs. The opening track, “Broken Heart and Empty Hand,” is a relaxed blues with a bit of a swing to the rhythm and fine fretwork from Sumner as Duffey laments one that got away, feeling responsibility for the end.

The funky “Bad Luck” takes on a familiar blues topic but adds a fresh tact to the subject, and “Better By Me” is an interesting blues rocker that works around Sumner's crisp guitar line, Ford's driving bass line, and Duffey's B3.

“Delta Melody” is a beautiful ballad with a soulful vocal from Duffey that would have been a snug fit on '70s radio. “Axe Jes Rite” is a sweaty piece of swamp blues that takes its time and settles into a greasy, gritty groove.

“Sinking Into the Blues” is a sharp blues shuffle with jaunty barrelhouse piano from Duffey. Meanwhile, “Love Song” is an upbeat old school rocker that praises the power of love.

The title track is a gentle Americana track, with Morgan's mandolin figuring prominently, as the lyrics describes leaving the past behind when it's your time to move on at the end.

The closer, “Don't Let The Darkness In,” starts with a gently strummed guitar before the horns come in. Duffey fights to keep the dark things back in his soul as the horns drive the track to a rousing conclusion.

Doug Duffey and BADD (the band name is taken from the first name of each of the band members) always provide a great set of Louisiana-based blues and roots that is “Swampadelic” indeed. Souvenirs is highly recommended to fans of Gulf Coast blues and soul.

--- Graham Clarke

I was a bit of a late arrival to the music of the Grateful Dead, arriving about the time that “Touch of Grey” was on the radio and the record charts. At the time, I didn't dig much deeper than their In The Dark album (which I did enjoy), intimidated by the mass quantity of Dead recordings to choose from.

But about ten years ago, I decided to take a dive and really came to appreciate the band's mix of blues, soul, jazz, country, bluegrass, folk, rock, and just about every other genre of music, all fused with psychedelia.

Guitarist J.P Reali was hooked after hearing his babysitter's copy of Shakedown Street when he was a kid and attending numerous Dead concerts as an aspiring musician and audio engineering student.

His parents were also Grateful Dead fans, with Reali growing up listening to a record collection that included Chuck Berry, Johnny Cash, and a mess of blues, so the attraction to the Dead made sense if you think about it.

Reali recently released Grateful Blues (Reali Records), a six-song EP collecting a couple of fan favorites and a few deep cuts, all firmly rooted in the blues.

Robert Hunter and Ron “Pigpen” McKernan's “East Wind” opens the disc, from 1970's Workingman's Dead, and it swings a bit more than the Dead's version with nice contributions on keyboards from Rich Budesa and sharp fretwork from Reali.

Hunter and Jerry Garcia's “Loose Lucy” is one of the Dead's lesser-known tunes, from 1974's From the Mars Hotel album, Reali's version plays closely to the original, not quite as funky but more of a blues rock style, with Trina Meade filling for Donna Jean Godchaux on backing vocals and Budesa giving it his all on the ivories.

Hunter and Garcia's “West L.A. Fade Away” was one of my favorite tracks on 1987's In The Dark, and Reali really brings out the blues shadings on his version, providing crisp guitar throughout.

Bob Weir and longtime collaborator John Perry Barlow's “I Need a Miracle,” from 1978's Shakedown Street, gets a Texas roadhouse shuffle treatment, with Reali's vocal a pretty close match for Weir's. This song gives a nod to “Bertha” as it wraps, similar to many of the Dead's shows of the '70s.

“Mr. Charlie,” written by Hunter and McKernan and first heard on the Dead's live Europe '72 set, really gets down into the blues with terrific, gritty slide guitar and a Delta blues-based arrangement that pays tribute to Robert Johnson.

The closer, Hunter and Garcia's “Tennessee Jed,” also first appeared on Europe '72, with Reali's version taking a jaunty, acoustic Piedmont blues approach that works very well.

J.P. Reali brings out the blues on these six Grateful Dead tunes, making Grateful Blues a release that could possibly send blues fans digging into the Dead's vast archive of recordings, an endeavor that most listeners would find rewarding.

--- Graham Clarke

The musical duo Lance and Lea crossed paths in Nashville, with Lance (Kotara) a Texas guitarist raised on the blues and rock 'n' roll and Lea (Kaufman) from Colorado with roots in the church and steeped in country and Americana. Their music is a combination of blues and roots.

They have received the New Artist of the Year at the iHeart Radio RMCMA's and were in the semi-finals of the 2022 American Songwriter Song Contest, while releasing three fan-funded albums that were well-received and having one song featured in the TV series The Rainmaker on the USA Network.

Their most recent release is Blues For Breakfast, an EP that features five tracks written by the duo. Lance and producer Evan Sieling handle the acoustic and electric guitars, with backing from Peter Wilson (drums/percussion), Christian Harger (bass), Kiran Gupta (B3). Sieling also contributes keyboards, lap steel, and percussion. All vocals are provided by Lance and Lea.

The title track opens the set, a hard rocking blues shuffle that serves as a musical mission statement of sorts for the duo. “Salt and Pepper” is a slow burner that's a little bit blues, a little bit country, and a little bit soul that really highlights their vocal harmonies and Lance's sharp guitar work.

The rip-roaring “Blues Man” is a tough rocker that's as much rock as blues, but gets the job done. “Let It Burn” is a mid-tempo blues rocker that really cooks, and the wonderful closer, “True To These Roots,” is an autobiographical track that combines rock, country, blues, and soul seamlessly.

Blues fans will enjoy Lance and Lea's take on the blues, as well as modern country and Americana fans. They might even be led to check out their previous releases. Congratulations to the couple on welcoming a daughter to the world on July 27th.

--- Graham Clarke

Longtime Blues Bytes readers should be familiar with Tim Lothar. The Danish musician has developed into an excellent blues singer, songwriter, and guitarist, with several of his releases still favorites.

In 2012, Lothar performed at a festival in Szolnok, Hungary, where he encountered Hungarian harmonica ace Tamás Szabó on stage and the two became fast friends. Lothar toured with Szabo and his band, the Mojo, and eventually released a live album called Traveling Blues Nights in 2016, followed by 2019's Old Cinema Session, recorded live in an abandoned cinema in Budapest.

Along the way, Danish songwriter/singer/guitarist Jesper Theis joined, and the ensemble, called Traveling Blues Nights, has toured Denmark several times since 2018 and built quite a European following.

Their newest release, Crossing Borders, captures memorable moments from a Danish performance in February, 2024, plus one song recorded during a 2021 concert in Szolnok.

The band consists of Lothar (vocal/resonator guitar), Theis (vocal/accoustic guitar), Szabó (vocals/harmonica), János Mazura (tuba), István Mezöfi (drums), János Horvath (vocal/acoustic guitar), and Olivér Imre Honfi (vocal/electric guitars/diddley bow/electric mandolin).

The opener, Lothar's “Love Song,” is the track that was recorded in Hungary. It's a warm and gentle track featuring Lothar on guitar and Szabó on harmonica. Next is a rousing take on Gus Cannon and his Jug Stompers' “Bring It With You When You Come” that features the entire band. The gritty “Going To The Rathole”  is a Theis original track with interesting instrumental work that includes a tuba solo from Mazura.

The upbeat shuffle “Hey Little Lee” was originally recorded by Slim Harpo in 1968 as the B side to “Tip On In,” and the band's lively version likely had the audience dancing in the aisles. “The Tide Will Turn Again” is another Theis original with an old time folk feel, and Lothar's exuberant “Coffee & Wine,” which appeared on his 2018 release More Stories, is a cheerful tune that works well with a full band (the original was acoustic).

Szabó and Honfi collaborated on the “Old Train Song/Friend Of The Devil” medley, with the harmonica wizard emulating a train during the first two and a half minutes of the song before launching into the fiery second half of the song with plenty of lively guitar work joining the harp to really drive the song along.

“Closing Time Blues,” from Theis, is a laid-back track with Lothar on resonator that initially sounds like it could have been a pre-war blues recording, but jumps into an electric blues workout that had to have been a crowd pleaser. I love how they manage to fit another tuba solo in as well.

The closer, “Lonesome House,” was written by Swiss bass/piano player Daniel Gugolz. It wraps up the disc in fine fashion, allowing the musicians a few moments in the spotlight.

Crossing Borders is a very enjoyable release by a group of Danish and Hungarian musicians who really know their way around the blues. The Traveling Blues Nights project does a wonderful job with their originals and cover tunes, displaying marvelous musicianship, creativity, and a great rapport with their audience.

--- Graham Clarke

Since he was 15 years old, Michael Rubin has been playing the harmonica. That's 41 years, and he's performed in multiple genres, from blues to opera, even being featured in the Tony-nominated The Civil War musical.

Now based in Austin, he's played with artists Ruthie Foster, Cyril Neville, and others and counts Gary Primich, Paul Butterfield, Rice Miller, and James Cotton as influences. It was the late Primich who inspired Rubin to become a songwriter, and he's released two albums of his own material, the first being I'll Worry If I Wanna in 2022.

Rubin's second release, 5 Minutes of Passion (Many Hats Records) features 11 originals with Rubin joined by musicians Greg Izor (harmonica), Guy Forsyth (banjo), Cesar Crespo, Josh Fulero, and Matthew Smith (guitars), Jason Corbiere (drums), Michael Archer (bass), Emily Gimble (keys), Sweet Gary Newcomb (pedal steel), Paulo Santos (saxes, clarinet), and Patrick Harwell (trumpet, trombone). The McMercy Family provides backing vocals on selected tracks.

Rubin's songwriting is a bit different from standard blues fare and the album is all the more fun for it. The opening track is “Dirty Words,” featuring Forsyth on banjo along with the McMercys (Lindsey Verrill, Dan Grissom, Ted Hadji, Ryan Conlin, and Wilson Marks), whose vocals open the song, sounding like a classic Dixieland jazz number. Rubin's vocals are a sing/talk combination that remind me a bit of Lou Reed's delivery and they work well with his lyrics.

“Doo Doo Daa” is an impressive instrumental that really gives Rubin a chance to put his harp chops on full display, along with Crespo on guitar. The rhumba “Big If” ponders what could and couldn't be. and features a nice sax solo from Santos along with more sharp harp from Rubin.

“Alien in a Chair” is a spacey, rocking shuffle that includes other-worldly slide guitar from Fulero backed by Crespo,. The humorous title track offers slightly spicy advice on seducing a woman, while “Dig That Ditch” really swings with nice West Coast-flavored guitar from Crespo supporting Rubin's fine harp playing.

“Little Circus Town” is a somber tune that leans more toward the rootsy side of blues, but the amusing blues shuffle “Gravity” picks up the pace with its political commentary. The rocking blues track “Nap” discusses a subject that I've become more interested in pursuing in recent years.

“Propaganda” is a mostly-instrumental number with Izor playing chromatic harp and Rubin playing diatonic harp around a fuzzy two-line lyric, and “Grudge,” the closer, is a tasty shuffle with angry but funny lyrics about not letting go of any wrongs previously inflicted.

Michael Rubin is a harmonica master for sure, but he's also a great songwriter that gives us several memorable tracks on 5 Minutes of Passion. This is an album that any blues fan should enjoy.

--- Graham Clarke

Savoy Brown was a blues-rock powerhouse from 1965 until founder Kim Simmonds passed away in 2022, having released over 40 albums and touring pretty much non-stop for six decades. Simmonds was the only constant in the band, and he really seldom shifted away from their potent mix of blues and rock.

It would be quite a challenge to craft a collection of the band's high points over 57 years and 40 albums, but the recently reissued Too Much of a Good Thing: The Savoy Brown Collection 1992-2007 (Panache Records) selects 14 stellar tracks from that 15-year period.

The tracks are not in chronological order, but are arranged according to feel, similar to the format of a regular album or a live performance. There are three tracks selected from 1992's Let It Ride and three Simmonds originals, the instrumental “Flat Out,” the mid-tempo “Yesterday's Blues,” and “Feel Like Crying,” a slow blues instrumental. On these tracks, Simmonds is backed by Pete McMahon (harp/vocals), Andy Ramirez (bass), Joe Pierleoni (drums), and Rick Jewett (keyboards).

From 1995's Bring It Home, there's a swampy cover of John Lee Hooker's “Little Wheel,” with Simmonds providing gritty fretwork backed by McMahon on harp and vocals, Jim Heyl on bass, and Dave Olson on drums.

1999's The Blues Keep Me Holding On delivers five tracks: “Going Down To Mobile,” a Delta-flavored blues written by Simmonds and bassist/vocalist Nathaniel Peterson, Willie Dixon's “That's All I Want Baby,” which has the feel of a '60s British blues rocker, the title track, also written by Simmonds and Peterson, a rocking cover of Lowell Fulson's “Monday Morning Blues,” and “She's Leaving,” written by Simmonds.

At the time of this release, Savoy Brown consisted of Simmonds (guitar), Peterson (bass/vocals), and Tom Compton (drums). Guest artists on these tracks are Duke Robillard (guitar), Leo Lyons (bass), Paul Oscher (harmonica) and Dave Maxwell (piano).

Two tracks come from Savoy Brown's 2003 Blind Pig release Strange Dreams: the mellow blues “Keep On Rolling” and the funky rocker “When It Rains,” both written by Simmonds, who takes the vocals on both of these tracks. He's backed by Gerry Sorrentino (bass), Dennis Cotton (drums/percussion) and David Malachowski (rhythm guitar).

The same lineup is present for “Where Has Your Heart Gone,” a live slow burner from the band's 2004 release, You Should Have Been There, that features some fine Simmonds guitar work.

2007's Steel offers two tracks, and both are hard-edged rockers: the Simmonds-penned “I Don't Remember You” and a wild cover of Lowell Fulson's “Monday Morning Blues.” Simmonds again handle vocals and guitar, with Sorrentino and Cotton returning on bass and drums, respectively.

The title track is a swinging blues shuffle, previously unreleased, that was recorded live at the House of Blues in Boston in July of 2000 with Simmonds on guitar, Peterson on bass and vocals and “T” Xiques on drums.

The final incarnation of Savoy Brown, (Simmonds, bassist Pat DeSalvo and drummer Garnet Grimm) lasted from around 2011 until Simmonds' death. DeSalvo and Grimm toured with singer/guitarist Sean Chambers and cut an album in 2025.

Kim Simmonds did his part to help keep the blues alive for almost 60 years, continuing to release recordings on a consistent basis the entire time. For Savoy Brown fans who may have drifted away after their early releases, they will find that Too Much of a Good Thing proves the legendary guitarist continued to produce great rock-based blues well into the 21st century.

--- Graham Clarke

Who says you can't have a summer blues anthem? Allow me to present “Cape Cod Girl,” from Alan Arena (Alan Arena Records), a sun kissed blues burner that's bound to have beach dwellers doing the Watusi in the sand.

Arena is joined by Monster Mike Welch, who provides outstanding guitar throughout, Brad Hallen (bass), Marty Richards (drums), Brooks Milgate (piano) and “Sax” Gordon Beadle (baritone and tenor sax), along with vocals from Joe Russo. It's a rollicking good time that reminds you of all those great summer tunes that used to hit the radio every year.

Nathan Bryce and Loaded Dice recently issued the single “Gone Since Texas,” a potent mix of blues, soul, and Southern rock that's based on an actual occurrence in Bryce's life that he relayed to songwriter Candace Crockett. It's a sad tale of the end of a relationship that takes place later for one than the other.

Bryce's emotional vocal threads the needle between rock, country, and the blues and his guitar work punctuates the pain he's experiencing. This is a strong track that should appeal to listeners across several genres.

--- Graham Clarke

The Delmark Records folks made a very interesting discovery while attending the 2026 International Blues Challenge in Memphis when they heard the amazing voice of blues storyteller EJ Mathews. They quickly signed the East Texas native and got him into the studio with harmonica ace Steve Bell.

The result is an astoundingly good single, the slow blues "Waking Down This Road," a song that will immediately endear the listener to this man's raw, rugged voice.

We need to hear more from EJ Mathews, so hopefully a full album will be in our hands real soon.

Another very nice single out recently comes from California blues man Greg Nagy, with a slow, bluesy cover of the iconic song "Georgia On My Mind." Many will wonder why still another version of this tune is needed, but that thought will immediately leave your mind as soon as you hear Nagy singing those familiar words.

I hesitate to compare Nagy's rendition to that of Ray Charles, but I can't help but hear the same emotion and phrasing. It's worth multiple listens.

--- Bill Mitchell