I’ve not heard all of Sugar Blue’s recent recordings, but his latest, Colors (Beeble Music LLC) is as good, maybe better than Blue Blazes. It’s certainly a wider-ranging collection of songs as befits Sugar Blue’s restless musical approach. Songs from the album were recorded in Chicago, Shanghai, Milan, and Johannesburg, with a host of guest musicians from around the world sitting in.

The opener, “And The Devil Too,” pays tribute to Bo Diddley with that irresistible beat and a triple guitar attack from Rico McFarland and guests Nick Tremulis and Rick Barnes. Meanwhile, Blue’s harmonica weaves and screams in, out, and around.

“Bass Reeves” is an entertaining ballad about a liberated slave who became the first black Deputy U.S. Marshal in the Old West days (and who was reportedly the inspiration for the Lone Ranger character). The moving “We’ll Be Allright” is a message of hope that features a young choir from Soweto, South Africa, Afrika Riz, and deft keyboard accompaniment from Damiano Della Torre. If you’re a fan of the Stones, you’re probably familiar with The Beatles’ “Day Tripper,” but probably not so much with Sugar Blue’s impressive rendition, which picks up the pace considerably from the original and funks it up big time (thanks, in part, to Chicago bass-playing legend Johnny B. Gayden’s presence).

"Good Old Days” is an acoustic country blues where Blue points out that while those days might have been “good for you” they were “not for me and mine.” The gritty “Man Like Me” is a modern update on the traditional blues theme of advanced sexual skills, and “Dirty Ole Man” is a hilarious follow-up that brings the sexual prowess theme crashing back to earth. “Shanghai Sunrise” is a smooth and soulful, almost jazzy look at the city (Ling Bo guests on the sheng, an ancient Chinese reed instrument that was a precursor to the harmonica.

The cautionary tale, “Downhill,” simmers and percolates with funk (coinciding with another guest appearance from Mr. Gayden on bass), and the acoustic “Bonnie and Clyde” recounts the story of the legendary outlaw duo. The album closes with “Keep On,” a mellow tune promising better days ahead.

On second thought, maybe Colors is Sugar Blue’s best release to date. Certainly, it demonstrates his broad range of musical influences, as well as some first-rate songwriting, singing, and, of course, his masterful harmonica skills.

--- Graham Clarke

Frank Bey passed away in June after a long battle with kidney failure and other ailments, but with his final release, All My Dues Are Paid (Nola Blue Records), he left blues and soul fans with a real gem. Blessed with a distinctive and strong baritone voice that was a snug fit for blues, soul, gospel, and funk, Bey shines on these 11 surprisingly diverse selections, giving them his own unique spin in collaboration with producers Kid Andersen and Rick Estrin and a host of stellar musicians providing excellent support.

Bey opens with a blistering cover of Eddie Palmieri and Harlem River Drive’s “Idle Hands” that ably reflects his deep roots in funk (dating to the early ’70s with the band Moorish Vanguard). “One Of These Days” is a nice and easy slice of southern soul with a shot of B3 and Wurlitzer from Jim Pugh, and Estrin’s swinging “Calling All Fools” is a lot of fun, while Mighty Mike Schermer’s “It’s A Pleasure” is greasy R&B with The Sons Of The Soul Revivers adding gospel-flavored backing vocals. Meanwhile, the funky title track (co-written by Bey, Estrin, Andersen, and Kathy Murray) tells of Bey’s determination to overcome the numerous obstacles along the way during his life.

Bey nails the George Jones classic, “He Stopped Loving Her Today,” transforming it into a country soul masterpiece with his sincere, heartfelt vocal. Another Estrin cover, the smoky, after-hours “I’ll Bet I Never Cross Your Mind,” marries blues and jazz. The raucous “Never No More” is the first of two consecutive Percy Mayfield covers, with the second being the tasty “Ha Ha In The Daytime,” a relaxed track that certainly doesn’t deserve its relative obscurity. One of my favorite tracks on the disc is Bey’s marvelous reading of the late country soul master Arthur Alexander’s “If It’s Really Got To Be This Way,” one of my favorite tunes.

I was surprised to hear Bey’s cover of Lou Reed’s “Perfect Day," as it’s not often that one hears a Lou Reed song on a blues album. Bey’s treatment (with vocal assistance from Lisa Leuschner Andersen) is excellent. The gospel feel continues through the final two tracks, Schermer’s lively “One Thing Every Day,” which encourages everyone to maintain a positive outlook, and finally, John Lennon’s “Imagine.”

Happily, Frank Bey got to enjoy some of the accolades lavished upon All My Dues Are Paid before passing away. Also happily, he left us with his best recording before he departed this mortal coil.

--- Graham Clarke

Mark Hummel’s latest release is called Wayback Machine (Electro-Fi Records) for a good reason. The harmonica ace takes listeners way back beyond the heyday of Chicago blues (circa 1950s Chess/VeeJay Records) to the preceding era of ’30s/’40s Windy City blues, focusing on the Bluebird/RCA Victor label. That storied label recorded artists like Tampa Red, Big Bill Broonzy, Sonny Boy (John Lee) Williamson, Robert Nighthawk, Memphis Slim, and many others who paved the way for many of the later Chess recording artists.

Hummel (harmonica/lead vocals) is joined by the Deep Basement Shakers (Aaron Hammerman – piano/vocals and Dave Eagle – washboard/percussion) and guests R.W. Grigsby (bass), Kid Andersen (bass), Alex Pettersen (drums) and guitarist Joe Beard, Billy Flynn, and Rusty Zinn. The 16-song set list is made up of 13 tracks from the aforementioned era, plus three originals, two by Hummel (the autobiographical “Road Dog” and “Say You Will,” a solo acoustic piece sung by Beard) and one by Grigsby (the topical “Flim Flam,” which refers to Billy Boy Arnold’s “I Wish You Would”).

The covers include three tunes from John Lee Williamson (“Cut That Out,” “Good Gal,” and “Reefer Head Woman”), two songs from Tampa Red (“So Much Trouble,” “Play With Your Poodle”), two songs from Jazz Gillum (“Crazy About You” and “Gillum’s Windy City Blues”), along with songs from Baby Boy Warren (“Hello Stranger”), Nighthawk (“Pepper Mama”), Blind Boy Fuller (“Rag Mama Rag,” with vocal from Hammerman), and Rhythm Willie (“Breathtaking Blues”). Beard adds his guitar and vocal to the aforementioned “Say You Will,” plus Eddie Boyd’s “Five Long Years” and Big Boy Crudup’s “Mean Old Frisco.”

Hummel and company take these old, dusty blues classics and put a fresh coat of paint on them with their presentation, all the while managing to maintain that old traditional quality as well. Flynn, Zinn, and Beard provide impeccable guitar work in accompaniment, and Beard’s vocal performances are excellent as well.

Wayback Machine is required listening for fans of early Chicago blues, thanks to fine performances from Mark Hummel, the Deep Basement Shakers, and friends.

--- Graham Clarke

Matty T. Wall’s latest effort, Transpacific Blues Vol. 1 (Hipsterdumpster Records) is a firecracker of an album featuring the Australian guitarist’s take on eight blues classics. Wall and his band (Rick Whittle – drums, Stephen Walker – bass) are joined by five equally formidable guest guitarists from across the globe --- Dave Hole, Eric Gales, Kid Ramos, Walter Trout, and Kirk Fletcher. If that lineup doesn’t get blues fans hopping, then the paramedics need to be called in.

Wall and Hole join forces for the jet-fueled opener, John Lee Hooker’s “Boom Boom,” with Wall trading licks with Hole’s always-inspiring slide guitar, definitely a wonderful way to start this great album. Wall trades licks with Gales on a tasty, funky read of “Hi Heel Sneakers” that probably left jaws agape in the studio.

Next, Wall and Ramos blow Albert Collins’ “Quicksand” out of the water with a hard-rocking shuffle treatment, followed by a cool cover of Muddy Waters’ “She’s Into Something” that hews closely to Robert Cray’s mid-’80s treatment on the legendary Showdown! album. Trout joins Wall on this superlative effort.

Wall slows things down for a marvelous remake of “Stormy Monday,” that simmers and stews for over six minutes and simply sounds like no other previous versions to these ears. Fletcher joins Wall for a sizzling “Born Under A Bad Sign,” and the pair nearly blow the doors off the album with their fretwork. The last two tracks feature Wall and his band; Freddie King’s “I’m Tore Down,” a thumping shuffle that features some of Wall’s best guitar work, and Robert Johnson’s “Crossroads,” which gets a grungy, rocking treatment that works very well.

Matty T. Wall’s Transpacific Blues Vol. 1 is one heck of a blues party, albeit a short one at 35 minutes. That’s okay, because we have Vol. 2 to look forward to, hopefully very soon.

--- Graham Clarke

Griff Hamlin is a familiar name for music fans who have enjoyed his Blues Guitar Unleashed instructional website, which has attracted over 30,000 followers on Facebook and over 75,000 followers on YouTube. Hamlin hasn’t toured or recorded in a number of years, but he recently released I’ll Drink To That as Griff Hamlin and the Single Barrel Blues Band. This sparkling 10-song set features Hamlin (guitar/vocals) backed by Ty Bailie (keyboards), Mark Smith (bass), Chris Atchley (drums), Jonathan Bradley (trumpet), Eric Letta (saxes), Kevin Hicks (trombone), and Laura Hamlin (baritone sax/percussion).

“Almost Level To The Ground,” a muscular blues-rocker, opens the disc on a high note. No surprise at Hamlin’s guitar chops, but his vocals are on par with his fretwork. The horn section is a plus on this track as well. The thumping shuffle, “Same To You,” showcases keyboardist Bailie, and “Down And Out” is a rocking good time. “Someone” is a well-done traditional slow-burning blues ballad, and the catchy “Nothing Better” is an upbeat blues with a touch of rock and pop, while the funky “Louisiana Holiday” grooves to a tasty Second Line rhythm.

“Don’t Lie” is a Texas-styled roadhouse boogie with a creative nod to Stevie Ray Vaughan and Double Trouble. It’s followed by “Where Would I Begin,” a nicely-paced love ballad with a fine vocal from Hamlin. “Got To End” is a solid, mid-tempo rocker and provides a nice segue into the closer, “Bourbon And A Pistol,” which has a cool ’50s R&B feel, letting the band stretch out a bit before wrapping up.

Griff Hamlin provides a boatload of impressive guitar work and vocals on this winning set, and he couldn’t ask for better support from the Single Barrel Blues Band. Any blues fans who like their tunes on the rock side of the aisle will want to grab I’ll Drink To That.

--- Graham Clarke

Singer/songwriter/guitarist Jim Roberts, backed by The Resonants, dazzle with his latest release, A Month Of Sundays. A superb slide guitarist, Roberts (vocals/slide and cigar box guitars/mandolin) has cranked out two excellent releases in recent years, and this one makes three. The Resonants, a stellar set of L.A. studio musicians, include Rick Hollander (bass/mandolin/banjulele), Mike Harvey (drums/percussion), Michael Leasure (drums/percussion), Grant Cihlar (slide guitar), Joey Gomez (harmonica), Bobby Spencer (tenor sax), and Pat Zicari (tenor and alto saxes).

Roberts wrote or co-wrote (with Hollander or Cihlar) all 12 tracks, which run the gamut from blues to southern rock to Americana. The southern rock sounds arrive immediately with the funky, horn-fueled “Skeeters,” before venturing into the Mississippi Delta with the acoustic “What Her Evil Do.” Meanwhile, “Belle Of The Ball” has a country feel and Roberts lays down some splendid slide guitar, and the title track is smoky blues with a touch of jazz, while “Made A Promise” is a nice slow burner with a hint of old school pop in the lyrics.

“Long Haired Mississippi Hippie” reminded me of the brave new blues of the North Mississippi Allstars, and definitely in a good way. Definitely an album highlight. The moody “Miss Her Love” is another highlight, Roberts’ guitar work gives this one a haunting shimmer, and his slide guitar is pristine on the rocker “Pay The Price.” The droning “Moonshine Maiden” mixes the Delta with the swamp with satisfying results, and on “Miss Motor City 1963,” Roberts fondly remembers the days of his youth via a tale of unrequited love (with a calendar girl on his father’s wall).

“I’m Walkin’ On” has a little of everything --- funk, jazz, blues..Hollander’s bass line is superb, and this one really cooks. The album closer, “Steppin’ Out,” is a cool acoustic romp with slide from Roberts and banjolele from Hollander that’s just not long enough.

Listeners can always depend on a fine, high quality set of blues and roots music from Jim Roberts and The Resonants, and A Month Of Sundays certainly doesn’t disappoint.

--- Graham Clarke

Formed in 2004, the Tucson-based band Black Cat Bones boasts a robust blues, rock, and soul attack fronted by singer Charles Pitts with superlative backing from bassist/vocalist/guitarist Jeff Daniels, guitarists Richard Rivera and Gary David, and drummer Jerry Sommers. Over their 16 year history, they have played many festivals, clubs and other venues throughout the southwestern U.S. and the east coast, developing a nice following with their soulful vocals and twin guitar work. Their fourth album, Tattered & Torn, features a dozen tracks, all originals penned by various band members.

The opener, “Manslaughter,” is greasy blues rock that harkens back to the genre’s earliest days, and “When I Get That Feeling,” strikes a slinky, seductive R&B groove. The churning “Dead Broke Blues” rocks hard but retains its blues flavor, and “The Race” is a smooth slow blues that incorporates horns (Clay Brown and Amochip Dabney –sax, Carla Brownlee – baritone sax). “Led To Believe” is a mid-tempo, radio-ready track that should be a crowd pleaser, and “Lowdown” is a catchy rocker straight out of the roadhouse.

“Lone Lobo” is a pleasing ’70s rock-flavored ballad, and “Pay You Back With Interest” and “Just Around The Corners both keep that vibe rolling, albeit at more of a mid-tempo rhythm. “Laying In Wait” has a bit of a swampy vibe to it with the shimmering guitar work and laidback feel. I like the Windy City groove that drives “Not So Funny,” and the closer, “I Don’t Care,” reminded me a lot of the early ’70s Rolling Stones acoustic/country days, with very soulful vocals from Pitts and Daniels. They definitely saved the best for last with this track.

Tattered & Torn is a rock- solid blues release with emphasis on “rock.” Black Cat Bones sounds great, operating like a well-oiled machine from top to bottom, and Pitts’ vocals are first-rate throughout. This strong set will definitely please the blues rocker in your household.

--- Graham Clarke

Croatian harp master Tomislav Goluban paid tribute to the blues of the Windy City with his 2019 effort, Chicago Rambler. This time around he moves south for Memphis Light (Spona Records). There’s no better way to pay tribute to the Bluff City than to enlist some of the finest musicians from the area --- Jeff Jensen (guitar), Mark Johnson (slide guitar), Rick Steff (keys), Bill Ruffino (bass) and special guests Vince Johnson (harmonica/vocals) and backing vocalists Joseph Franher, Daunielle Hill, and Reba Russell. Goluban wrote nine of the ten tracks for this most impressive set.

The churning North Mississippi-charged “Hayloft Blues” opens the disc on a positive note. Next is “Fun Starts Here,” a cool slow burner that drips soul thanks to guest Vince Johnson, who contributes lead vocals, and guitarist Jensen. “Country Bag” is a rollicking instrumental shuffle that developed during a studio jam, and “Disappear For Good” is a moody rhumba with a touch of jazz that deals with the fear of losing a loved one. On the bittersweet title track, Goluban narrates a tribute to the city while lamenting the loss of a friend whose last wish was to visit Memphis.

The album’s lone cover is The Animals’ “House of the Rising Sun,” taken at a brisker, shuffling pace. Goluban’s laconic vocal and Mark Johnson’s slide guitar work make this version really pop. Meanwhile, the upbeat “Spirit Will Never Get Old” is a tribute to Goluban’s late grandfather, and the lighthearted “Party Time Blues” describes a wild and fun time and the day after that’s less so. On the urban blues “Woman Needs A Man,” Vince Johnson joins in on vocals once again, and the buoyant closer, “Can I Be What I Want,” describes the complicated nature of relationships.

Tomislav Goluban is a first-rate songwriter and performer --- a fine harmonica player, for sure. Memphis Light is a good reflection of his talents and his super backing band. A fun set of blues to kick back and relax with.

--- Graham Clarke

I've been a big fan of Johnny Rawls ever since I first saw him at a club in Phoenix about 20 years ago. The man is one of the best soulful blues singers around. That's why I was a little disappointed with his previous album, as I thought the production was somewhat overdone and didn't sound real. Thus, I was apprehensive when his latest disc, Where Have All The Soul Men Gone (Third Street Cigar Records), arrived in my mailbox.

Turns out my fears were ungrounded because his latest album of ten cuts is quite fine, a perfect representation of the soul/blues genre. Recorded in Denmark with a band consisting of some of that country's best studio musicians, the album got its final mix at Bigfoot Studios in Waterville, Ohio. Most importantly, The Waterville Horns (Travis Geiman - trombone, Mike Williams - alto sax) provided the icing on the cake with their accompaniment added to the recordings. Quite frankly, the addition of the horn section is what pushes this album over the top.

Rawls has consistently straddled that line between soul and blues. As the album title would indicate, the music here tilts heavily to the soul side. Opening is the title cut, a mid-tempo tune on which Rawls mentions the soul men of the past who have left us, especially his biggest influences in O.V. Wright and Otis Clay. Rawls has also been heavily influenced by gospel music, and while "Bottom To The Top" is from the secular side, it's a song that carries a big inspirational vibe.

I mentioned that the addition of the horn section made a good album even better, especially Geiman's trombone playing. He especially carries the load on the soulful "Can't Leave It Alone" (also very nice piano from Alberto Marsico) on the slow blues, "Time." Geiman also provides the intro to the mid-tempo blues shuffle, "Money," and the rollicking soul number, "Town Too Small." Quite frankly, it wouldn't have been out of place for Geiman to get second billing behind Rawls. He's that good.

Kenan Özdemir provides a strong guitar intro and a hot solo to the mid-tempo blues, "Baby, Baby, Baby," while Marsico just plan tears it up on the gospel stomper, "Calling On Jesus," with Rawls and the backing singers taking this one all the way down to the riverside. This last cut is a great way to end the album, likely leaving the listener with a good, good feeling.

Keep recording, Johnny Rawls. We love your music and your perpetual smile. Thank you, sir, for Where Have All The Soul Men Gone.

--- Bill Mitchell

If there's one pertinent statement to make about the music of singer/harmonica ace John Németh is that the cat is not afraid to go outside his comfort zone. He's done straight blues, soul and R&B, also blending in hip hop on one album. With a new band in tow (Jon Hay - guitar, Danny Banks - drums, Matt Wilson - bass), Németh heads into southern swamp territory on his newest disc, Stronger Than Strong (Nola Blue Records). The dozen cuts were recorded in Memphis under the production of Scott Bomar, and with more stripped down accompaniment it's a different direction from where he's taken his music on past recordings.

Opening this set of music is a mid-tempo country blues, "Come and Take It," with echo-y vocals from Németh and rhythmic guitar work from Hay. Bomar's mix gives "Fountain of a Man" a muddier, Hill Country sound as Németh comes in with a solid harmonica intro. alternating lines with his vocals. Hays gets to turn loose with a smokin' guitar solo, and on the up-tempo rocker, "Throw Me In The Water," he really puts down some hot licks.

If there's one thing this album accomplishes, it introduces the teen-aged Hays to a wider audience, especially blues guitar fans. His guitar solo on the mid-tempo blues shuffle, "Chain Breaker," may be the highlight of this disc. The dude's on fire here, as he also is with his playing on the slow number "Bars," on which Németh sings about all kinds of bars for some of his best vocal work --- "... Bars on the window to keep us safe, bars on the corner to help us erase, bars on the door until we do our time, stars and bars occupy our mind ..."

"I Can See Your Love Light Shine" is an up-tempo feelgood song with gospel overtones and a strong bass backbeat. Németh plays some of his best harmonica on the slow, funky blues, "Work for Love," spending more of his time on the higher notes. The band pays tribute to singer Jesse Belvin, covering his song "Guess Who," a slow ballad that goes on just a little too long for my tastes.

The best was saved for last, with the rollicking "Sweep the Shack" closing the album. It's been injected with a dose of soul, especially with the guitar work of Hays. This one's got more energy than all of the preceding cuts, leaving us with a blast of adrenaline to finish the day.

It took me a couple of listens to really get into this album, but I got there. I'm impressed with Németh's musical versatility. He continues to intrigue with Stronger Than Strong.

--- Bill Mitchell

A couple of Wolf Records associates made the trek from Austria to Mississippi two years ago looking to record the best Mississippi Delta musicians they could track down. They couldn't have found a better pair than guitarist Super Chikan and guitarist/harmonica player Terry "Harmonica" Bean, and lined them up to record individually, resulting in the album, From Hill Country Blues To Mississippi Delta Blues (Wolf Records). The performances and the song selection by both artists are all great.

Just one problem, however. The recordings apparently were not made in a studio, but regardless this is the 21st century and the technology exists to make these recordings sound just fine. Instead, the mix is often just not good, especially on Bean's vocals that are sometimes mixed too high and sometimes too low, and many of the songs lack warmth. I should be raving about this album because of the raw Delta music coming from both performers, but instead I feel like I'm missing what could have been an award-winning set of music.

The Super Chikan songs come across best, even the opening cut, "Tin Top Shak," with the Chikan playing some mean slide on his handmade guitar. His vocals are mixed too low but his guitar playing is still worth hearing. Another very fine number by Super Chikan, this one with better sound quality, is "'Sippi Seekan' Saw," an  up-tempo blues with really nice slide work. Chikan merges his thoughts about life in Mississippi, Tennessee and Arkansas into one state of mind. I can tell that the numbers by Bean are prime examples of Hill Country Blues, but every song is marred by a bad mix.

Like I said, there's plenty of good music on this album's 15 cuts. Whether you will be satisfied with the quality of the recordings remains to be seen. These gentlemen deserved better.

--- Bill Mitchell

Somebody Else (Pink Lane) is the follow-up single to the critically acclaimed debut, Sink Or Swim, rising UK star Ruth Patterson once again pushing the boundaries of her exceptional musicianship and songwriting acumen whilst unveiling her skills as a visual artist. On first listening, “Somebody Else,” with its mournful piano introduction appears to be a song in the blues tradition about love followed by betrayal and loss but more complex layers of meaning become increasingly evident. Patterson’s mastery of surrealistic imagery is reminiscent of early Dylan, her lyrical reflections evocative of Joni Mitchell’s reworking of folklore.

As Ruth explains: “In one sense the song could be about a breaking relationship but on a personal level, as someone happily married, it became more about my identity as a performer. My relationship with art and audience can feel like a stormy love affair. Touring with my band, Holy Moly & The Crackers, was a real whirlwind. It was great! But sometimes it felt like I was losing a sense of who I was and what I wanted to say. My identity as a performer was consuming my sense of individuality. I think it's why a lot of artists struggle with mental health. It can eat you up until there’s nothing left. I guess that’s what the chorus line “we flew so high that the fire went out” means to me. “

From the first verse, the sumptuous ascending acoustic strings of the Harborough Collective quartet complement Ruth’s introspective, almost trembling vocals as she sings, “... Like a ghost after death climbing out of his skin, Is a soul in flight such a terrible thing? ...,” highlighting an intriguing song that questions more than it answers. After these introductory diaphanous tones, the mood changes in the soaring, heart-breaking chorus, Patterson’s determination, acceptance and strength reflected in her incredible vocal range and versatility. A clever stylistic device is breaking the barrier between herself and the listener by addressing her audience directly and revealing the truth in her inimitable highly personal way.

The accompanying music video directed by Ruth indeed portrays a metamorphosing artist showing both her vulnerability and self-assurance, at ease with where she is and confident enough to convey her emotions with complete honesty and integrity. A strong symbiosis exists between the visual and lyrical imagery which reinforces the meaning. Check Ms. Patterson's website or YouTube for more info.

--- Dave Scott