|
 Mississippi
MacDonald plays guitar like he's from
Chicago and sings like he's from the deep south,
with a soulful blues voice that matches the
first part of his stage name. But instead, he's
from London, England. Influenced first by the
British blues rockers of the 1960s and later
from listening to albums by Albert Collins, the
three Kings, O.V. Wright, Z.Z. Hill, and more.
This
dude learned his lessons well, as can be heard
on his latest album, I Got What You Need
(APM Records). This one's an absolute killer,
with all nine cuts being great examples of
Chicago blues and southern soul.
Backing MacDonald is his own band made up of
plenty of crack players: Eliott Boughen (bass),
Jim Kimberley (drums), Phil Dearing (guitar,
keyboards), and Lucy Randall (backing vocals).
The
Collins influence comes out on the first cut, as
he opens with stinging guitar licks on the
up-tempo shuffle, "I Got What You Need," a Sonny
Mack composition, before his raw vocals
aggressively shout out his talents that are
needed by that girl. What a great guitar solo
midway through, one that must have Albert
Collins smiling from wherever his spirit is
residing! The tempo comes down on the Little
Milton soul/blues classic "We're Gonna Make It,"
with MacDonald's voice pumping out emotional
vocals, changing volume as needed.
Up
next is the original "Stop! Think About It!," a
slow, scorching blues on which MacDonald puts
plenty of energy into his voice to warn that
woman that she shouldn't walk out on him. We get
another stinging blues guitar solo midway
through, and it's wonderful. "Hard Luck and
Trouble" was contributed by a former Malaco
songwriter, John Ward. It's a mid-tempo blues
that gives MacDonald plenty of time to stretch
out on guitar while putting a bit more power
into his voice.
Deering wrote the amazing gospel-flavored
"Sinking," also contributing piano and organ
support to MacDonald's vocals. Between his
guitar work and his voice, MacDonald takes this
one to another level during its nearly five
minute running time. If you need a
recommendation on one song ... just one song ...
to become a Mississippi MacDonald fan, this is
it. Or maybe instead it's MacDonald's rendition
of a gospel classic, "If I Could Hear My Mother
Pray Again," escorting all of us down to the
riverside, especially when Ms. Randall joins on
supporting vocals.
There are two really fine instrumentals here,
with "3:35 AM," a tribute to Freddie King, and
the funky Memphis-style soul number, "Soul City
One." Closing the album is a simple, pleasant
number, "Your Dreams," with limited
accompaniment, primarily Deering's subtle
gospel-style piano before an equally tasteful
guitar solo complements the piano.
I
Got What You Need is a good one. Trust me,
my friends. Mississippi MacDonald is a rising
star in the blues world. Listen to this album a
couple of times, and I'm sure you'll agree with
me.
--- Bill Mitchell
 Blues
People began its formation over 40 years ago
when lead singer/guitarist Kelton Cooper and
bassist Mike Griot met in Orange, New Jersey while
playing in rival bands. Over the next decades,
they separately toured, recorded, and
collaborated with many of the big names in music
(including Kool and the Gang, Lauryn Hill, Sue
Foley, Michael Hill’s Blues Mob, and Joanne Shaw
Taylor) before reuniting several years ago.
Drummer Gene Lake recommended that Cooper do an
original project. Cooper contacted Griot, and
the rest can be heard on their wonderful debut
recording, The Skin I’m In (PWI Entertainment).
The nine songs came together during the
pandemic, as the trio (with keyboardist Ron
Thompson) wrote and recorded, sharing stories of
their lives and struggles and the world around
them.
The opener, “Amnesia,” is a splendid slow burner
that showcases fierce fretwork from Cooper and
moody keyboards from Thompson,. The title
track really cooks with funk-laced contributions
from the rhythm section and more torrid guitar
work, while “Hey Joe (Revisited)” updates the
classic blues rocker associated with Hendrix
with lyrics reflecting modern issues.
“I Was Always There” is a straight-forward blues
with a funky bottom that leads into the somber
slow blues, “Troubled Times,” which ponders our
current state of affairs and reflects upon the
future. The atmospheric “Smoke & Mirrors” is a
raucous, gritty blues rocker, and “Nuthin’
Really” is a loose jam session that mixes funk,
blues, and rock. Closing the set is “Knee Off My
Neck,” which demands respect and an end to
senseless brutality.
The Skin I’m In is a powerful set of blues,
rock, soul, and funk that looks unblinkingly at
events that are currently shaping our country
and world. Superb songwriting and musicianship
make Blues People a group for blues fans to keep
on their radar.
--- Graham Clarke
 The Reverend Shawn Amos wasn’t planning to
release a live album off his recent Spanish
tour, but after the reception from fans, the
energy of the band, and the generally wonderful
experience, Amos decided to document this aspect
of his music for the first time. The result is
the digital release Vivir En España Immediate
Family Records), which was issued on September
13th, The Rev’s birthday. The high-energy set
features The Rev backed by JT Loux
(guitar/vocals), Ethan Pecha (bass/vocals), and
Zach McCoy (drums/vocals).
The 13-song set includes ten originals from Amos
or The Rev with Christopher Roberts, Brady
Blade, and Christopher Thomas, plus three
interesting covers. One of the new originals,
the funky blues “You’re Gonna Miss Me When I Get
Home” kicks off the set, followed by “Bastard
Wind,” from the Pre-Rev release In-Between from
2001), which has an Americana feel, and the
stirring “Days of Depression” (from The Rev’s
2015 debut, The Reverend Shawn Amos Loves You).
The guitar-fueled funk-blues track “Hammer,”
from the recent release Soul Brother No. 1 is a
real crowd pleaser, and the catchy “I Need To
Get Loving,” another new track, has an easygoing
vibe similar to his Kitchen Table series on
YouTube. The intense rocker “Hold Back”
clocks in at about 90 seconds, and The Rev’s
raucous take on “27 Dollars” (from 2021’s Blue
Sky) is a blues rocking good time, as is Memphis
Minnie’s “Joliet Bound,” a great, fast-moving
track.
The
second cover is Wilson Pickett’s “Ninety-Nine
And One Half (Won’t Do),” where The Rev captures the Wicked Pickett’s intensity
from a rock-edged standpoint. The powerful Ida
B. Wells tribute, “Weight Of The World,” released
as a single in 2022, inspires a singalong, and
“Everybody Wants To Be My Friend,” another new
original, has a soulful pop feel. Junior Wells’
“Hoodoo Man Blues” gets a scorching treatment
from The Rev, The band before the set closes
with the reflective “Sometimes I Wonder” (from
2014’s The Reverend Shawn Amos Tells It).
Vivir En España perfectly captures the live
energy of The Reverend Shawn Amos’ live
performance and also displays his ability to mix
blues, soul, rock, and funk in equal measures.
Fans will love this set, and it serves as a fine
introduction to the artist as well.
--- Graham Clarke
 In the Real World (Stony Plain Records)
continues the creative hot streak that Eric Bibb
has enjoyed over the last few years. 2021’s Dear
America, 2023’s Ridin’ (nominated for a Grammy),
and Live at the Scala Theatre (released earlier
this year) raised the bar even higher than
previously for Bibb with their serious subject
matter and the incorporation of various musical
styles into his already-potent mix of blues,
roots, and Americana. Bibb’s new album includes
15 original songs by Bibb or co-written
with Glen Scott, Chuck Anthony, or Gordon
Cyrus).
The opening track, “Take The Stage,” is a mix of
blues, gospel, and folk and is highlighted by
Robbie McIntosh’s ethereal slide guitar, and
layered backing vocals behind Bibb’s somber
vocal and delicate guitar work. “Walk Steady On”
continues the gospel feel backed by banjo,
guitar, and fiddle. The sparsely arranged
“Everybody’s Got A Right” pleads for racial
equality with more splendid slide guitar from
McIntosh and simple percussion and background
vocals.
“Best I Can” is a lovely acoustic ballad that
finds Bibb trying to hold true to himself no
matter the odds, and “Make A Change” offers wise
counsel for making a difference in the world,.
“.. make a change in you ...” and what you do. “This
River” induces chill bumps with its haunting
melody, backing vocals, and Esbjörn Hazelius’
fiddle, while “Stealin’ Home” tells the tale of
Jackie Robinson’s baseball life – his trials,
tribulations, told around the “safe at home”
call against the Yankees in the ’55 World
Series.
“Is There Any Rule” is a gentle Americana tune
encouraging all that love will prevail over
everything. McIntosh’s slide is breathtaking,
and “King of the Castle” is a brilliantly played
and narrated acoustic blues about a man at the
end of the line after a life of bad breaks,. “Neshoba County” is the story of James
Chaney, Michael Schwerner, and Andrew Goodman,
the three Civil Rights workers murdered in the
summer of 1964, and “Dear Mavis” is a loving
tribute to the legendary Mavis Staples.
“Roll On Buddy” is a brisk blues that sounds
traditional and modern at the same time,
“Judgement Day” is a delicate, somber treatise
addressing the way to peace, and “The Real
World” is a gentle track that mixes blues, R&B,
and roots seamlessly. The album closer (and
bonus track) is “Victory Voices,” an inspiring
duet with Lily James that has a soft pop feel.
The compelling In the Real World is another
winner from Eric Bibb, who continues to shine as
songwriter and a performer well into his sixth
decade as an artist.
--- Graham Clarke
 I
continue to be amazed with the quality of the
blues and soul recordings coming out of Canada
lately. Here's one more for the checklist.
Nowhere To Hide (Ollee Music Inc.) is the
latest album from Calgary blues/soul singer
Ollee Owens. Why this one isn't on one of
the big blues labels on either side of the
border is a mystery, because this album presents
a voice that needs to be heard.
Ms.
Owens was out of the business for many years to
raise her family, including a daughter with a
cognitive disability. Her time with her family
comes out in many of her songs, giving them each
a sincere emotional boost. Recorded at Gnome
Studios in Nashville and produced by Blazier,
she's backed by a solid group of session
musicians, including Muscle Shoals guitarist
Will McFarlane on eight of the 11 cuts.
McFarlane opens the first number, "Nowhere To
Hide," with snaky guitar leading into an
up-tempo soulful tune that also includes gospel-ish
piano from DeMarco Johnson and later a very
powerful blues guitar solo. Owens shows that
she's a strong singer, subtle when she needs to
be, but often feisty. "Solid Ground" is kind of
funky, a song of encouragement from Owens when
she sings lines like, "... you've got to find
some solid ground, because this old would can
get you down ..." Johnson returns with a
powerful organ solo, and we also hear tasty sax
work from Rahsaan Barber.
"Some Days" is another song of positivity,
opening slowly with Johnson's keyboards and
Chris Rodriguez's guitar before heading into a
mid-tempo blues, with Owens reminding us that
blue skies always come after the rain, and her
voice really soars when she proclaims that the
sun will rise again. "Roots" has a bit of a
backbeat to its slower tempo with Owens singing
about the roots that will weather the storm. The
up-tempo blues, "Love You Better," has McFarlane
back on guitar as Owens comes to the realization
that she could have loved that man better if she
had just been able to see how she was hurting
him.
Owens packs a huge amount of emotion into the
very slow "Still In Pieces" as she reminds her
man that his words hurt her. Johnson and
McFarlane are both back with very strong solos,
with the latter adding plenty of blues to
support the pain in Owens' voice. "Shivers And
Butterflies" is a mid-tempo love song propelled
by a steady drum beat from Blazier. Owens gets
another chance to pour out her soul to that
special someone on the mid-tempo blues, "My
Man," putting a lot of power into her voice.
Very similar feelings come from another blues,
"Love Hung Around," as Owens sings about that
love that survived many challenges. McFarlane
again flexes his blues guitar muscles.
We
end the album with a couple of very well-done
covers, starting with the Los Lobos tune, "The
Neighborhood," highlighted by muted trumpet from
Roland Barber as well as dueling blues guitar
solos from McFarlane and Phil Hughley.
Completing this masterpiece is a stunning cover
of Bob Dylan's "Lord Protect My Child," a tender
song of love that Owens makes her own, with
Johnson contributing very nice organ and piano
breaks. Rodriguez also returns with eerie,
bluesy guitar breaks. Bringing the song to a
strong conclusion is a choir of voices
supporting Owens' emotional pleas to protect her
child.
Nowhere To Hide was my introduction to this
wonderful singer, Ollee Owens. I can't wait to
hear more, but for now I can play this album
repeatedly.
--- Bill Mitchell
 Many of the memorable blues albums of the past
few years include the names “Greaseland,” with
Kid
Andersen, and Lisa “Little Baby” Andersen in
their credits. Over 150 albums have been
recorded at Greaseland USA in San Jose over the
past ten years, with Kid Andersen either
recording, producing, or playing guitar, and his
wife Lisa Andersen providing lead or backing
vocals. Somehow, between all of those
recordings, the couple has managed to record and
release a 2-CD set for Little Village
Foundation, one devoted to each.
Kid’s disc is called
Spirits, containing
nine tracks, seven written or co-written by
Andersen. There’s a huge roster of guest artists
who appear on both albums, really too many to
list. Spirits opens with the moody slow blues,
“This Civilized Life,” where Kid finds himself
having difficulties adjusting to normal everyday
existence. The funky “Scratch” describes Satan,
who just won’t get out of Kid’s house or his
head, and on the jazz-flavored cover of Blind
Willie Johnson’s “Nobody’s Fault But Mine,” the Andersens share lead vocals.
The jaunty “Hey, Mr. Reaper” is a Chicago-styled
shuffle that features Charlie Musselwhite and
Nic Clark on harmonica, while the energetic
“Give Me The Road” leans a bit toward a R&B/rock
feel,. The haunting title track ponders
whether those who have passed on still watch
over us, with multiple voices of those recently
departed, including Willie Walker, Les McCann,
Paul Oscher, Finis Tasby, Frank Bey, Henry Gray,
and Little Charlie Baty, among others are dubbed
onto the track.
“I Ain’t Right” is a swinging blues shuffle with
some fine fretwork from Kid as well as some
songwriting that’s likely inspired from his days
with Rick Estrin and the Nightcats. The second
cover is a fun romp of The Beatles’ “Day
Tripper,” one of the first songs Kid ever
learned to play. The Sons of the Soul Revivers
join in on vocals, with Sax Gordon Beadle chipping in
as well. Closing Kid’s disc is the atmospheric
“Ship Of Fools,” a groovy foray into soul/jazz
territory.
Ms. Andersen’s disc, Soul, features
13
tracks, a mix of originals and covers. She opens
with Mighty Mike Schermer’s “In My Mind,” giving
the track a retro R&B feel with her vocals and
the band’s support. She wrote the second tune,
the Latin-flavored “I Miss You,” with her
father, William Leuschner (who contributes
several tracks to both discs),. The late
Donnie Woodruff penned the soul ballad “I Won’t
Let That Happen To Me,” which provides a fine
vocal showcase for Lisa, as is “If You Could
Only See What I See,” written by Kid and Bill Troiani.
The rugged rocker “Rock Bottom,” co-written by
Elvin Bishop and Jo Baker, changes the pace
dramatically, with Ms. Andersen delivering a
powerhouse vocal performance. John Nemeth’s “Why
Not Me” is soul/blues at its finest, as is
“Slipped Through My Fingers,” on which Lisa shares
lead vocals with soul/blues legend Latimore, who
also plays keyboards.
Lisa also covers a pair of Stevie Wonder tunes,
the spirited “You Met Your Match” and a funky
reading of “Free.” Bassist Bobby Vega
co-wrote the ethereal ballad, “Flying,” with Lisa
and joins the Andersens on the song. William
Leuschner composed the sweet mid-tempo “You Took
Me All The Way” for Lisa’s mother, Edith, and
collaborated with the Andersens on “This Time.”
Soul closes with the lovely acoustic ballad,
“Family,” with Kid taking the last verse.
Both
Spirits and Soul display the vast musical
talents of Kid Andersen and Lisa Andersen as the
couple easily handles blues, rock, R&B, and
soul. It’s great to see and hear these usually
“supporting” players get their chance in the
spotlight.
--- Graham Clarke
 The
holiday season is upon us, and Ben Levin
Presents: A Holiday Blues Revue (VizzTone Label
Group) is a wonderful place to begin the next
couple of months of Christmas music from the
young Cincinnati-based piano player Ben Levin. The Blues
Music Award nominee offers ten songs, eight
originals. If you’ve enjoyed his previous VizzTone releases, and you’re not a Christmas
Scrooge, then you will absolutely love this
collection which includes guest vocalists Lil’
Ed Williams, Candice Ivory, Sonny Hill, and
frequent Levin collaborator Lil’ Jimmy Reed.
The backing band includes Levin’s father, Aron
Levin, on guitar for most of the tracks, and he
teams with Lil’ Ed on the opening track, “Candy
Cane.” Ed takes the vocals and adds his stirring
slide guitar to the festivities. Young Levin
takes the mic on the tranquil cover of Charles
Brown’s “It’s Christmas Time,” doubling on
Hammond organ and piano for the track with
subtle guitar backing from his dad.
Father and
son really swing on the rollicking “Elf Boogie,”
a tune that will get toes tapping and fingers
snapping.
The somber ballad, “Next Christmas,” features chitlin’
circuit veteran Sonny Hill on vocals,
and Candace Ivory joins Levin on vocals for the
lighthearted duet, “Christmas Mood,” also
featuring marvelous B3 and guitar work from the Levins.
The amusing “Forgot Mrs. Claus” is a
delightful jump blues that reminded me a lot of
Willie Mabon’s songbook, and “Regifted” is a
slow Christmas blues co-written by the Levins
with great piano and guitar work.
One of my favorite Christmas songs is “Skating,”
the Vince Guaraldi track featured on A Charlie
Brown Christmas TV show back in the mid ’60s.
Levin’s B3-driven cover is first-rate. Lil’
Jimmy Reed contributes vocals and guitar on the
terrific downhome blues, “Lump of Coal,” and the
final track, “Santa Con” is a whimsical track
that finds Santa surrounded by imposters.
I have to admit that sometimes I’m not the
biggest fan of Christmas music, but the prospect
of Ben Levin cutting a holiday disc really put a
hop in my step. Trust me, I was not
disappointed at all, and blues fans won’t be
either. A Holiday Blues Revue will put a smile
on even the Scroogiest Scrooge’s face.
--- Graham Clarke
 Live On Tour (Naked Records) is the third
live album that I’ve reviewed from The
BlueBones, and I think it’s the best one
I’ve heard so far. The Belgium-based band has
built a huge and loyal following around the
glove since their beginnings in 2011 with their
potent mix of blues, rock, soul, and funk. The
band (Nico De Cock – vocals, Stef Paglia –
guitar, Edwin Risbourg – keys, Geert Boeckx –
bass, Jens Roelandt – drums) has assembled a
powerful album taken from the spring and summer
tour of 2024.
The 13-song set, 11 originals, consists of seven
tunes from their 2023 studio release
Unchained (“Chain Gang,” “Changes,” “I Cry,”
“Time To Learn,” “Moving On,” “Talking To The
Lord,” “The Road Ahead”), two tracks originally
featured on the 2015 album Saved By The Blues
(“Find Me A Woman” and Matt Andersen and Mike
Stevens’ “Devil’s Bride”), two tracks from
2012’s Voodoo Guitar (Cedell Davis’
“She’s Got The Devil In Her” and “Believe Me”),
one from 2020’s Double Live (“No Good For
Me”), and one from 2013’s Live at De Bosuil
(“Broken Down Car”).
The tracks work together so seamlessly that
you’d never believe that the songs were captured
at various shows during their tour, with
excellent production. The pacing of the set and
the intensity of the performances never let up
at all during the 66-minute set. De Cock is a
gripping vocalist and charismatic front man,
while Paglia’s fretwork is always on the money,
Risbourg’s keyboards are gritty and greasy where
needed, and the hard-charging rhythm section is
first-rate.
The audience response is back in the mix for
most tunes, but I’m sure the response for these
songs was more than enthusiastic. Based on
Live On Tour and the band’s other live sets
that I’ve reviewed, I would have to say that
these guys deserve to be heard by a much wider
audience.
Those unfamiliar with The BluesBones should
definitely check out Live On Tour if
high-energy blues-rock and soul is in their
wheelhouse.
--- Graham Clarke
 New Orleans Sessions, the latest release
from the Canadian duo A.W. Cardinal
(guitar/vocals) and Jasmine Colette (upright
bass/vocals), a.k.a. Blue Moon Marquee,
was recorded in two sessions one year apart at
Bigtone Records. The pair are backed by B.C.
Coogan (piano), Danny Abrams (baritone sax), Jon
Atkinson (harmonica), and Nicholas Solnick or
Brett Gallo (drums) on this cool ten-song set,
split between originals and covers, which were
recorded live off the floor to tape with vintage
analogue equipment.
The
album opens with four of the five covers,
beginning with a rollicking take on Memphis
Minnie’s “Black Rat Swing,” highlighted by
Colette’s vocal, Coogan on piano, and Abrams’
baritone sax break. Next is a lively reading of
Leadbelly’s “Ain’t Goin’ Down” with the pair
taking call and response vocals, and Bo Carter’s
“Let’s Get Drunk Again,” where they share
raucous lead vocals with stellar backing from
the band on both tracks.
Their energetic version of Charlie Patton’s
“Shake It And Break It” is a lot of fun, and a
definite toe-tapper. “Trickster Coyote” is the
first original on the disc, a gritty, grungy
feel blending well with the classic tunes. “What
I Wouldn’t Do” is a fine after-hours blues with
great guitar work from Cardinal, and the funky
rocker “Red Dust Rising” has a Crescent City
vibe.
The
classic “St. James Infirmary” showcases
Cardinal’s gruff, weathered vocals and Coogan’s
excellent solo on piano, while “Some Ol’ Day”
sounds like a long-lost Windy City blues
classic. The closer, Lonnie Johnson’s “Got The
Blues So Bad,” offers crisp fretwork from
Cardinal and harmonica from Atkinson.
New Orleans Sessions is a superb set of
blues standards and originals that successfully
blend traditional and blues styles. Blue Moon
Marquee does this as well as any other blues
bands currently practicing.
--- Graham Clarke
 BT
(Nola Blue Records) is the latest from
octogenarian blues cat Benny Turner, who
really should be better known then he is at this
point in his career. I'll even admit that until
recently I didn't know that Turner was a younger
brother of blues legend Freddie King, and was
Freddie's bandleader for many years. He later
was the bandleader for 20 years for New Orleans
singer Marva Wright after his brother's death,
eventually settling in Chicago.
His
fifth album for Nola Blue, BT, has been
in the works since the last decade, and it's
worth the wait. Much of the session work was
done at the legendary FAME studios in Muscle
Shoals, and that facility's mystic vibe comes
through in the music. Despite his age, Turner is
still a very strong vocalist on the three
originals and various covers that represent
different eras of his career. In addition to
lead vocals, Turner plays bass, banjo, and
percussion, and Bobby Gentilo plays guitar
throughout, while also co-producing three of the
cuts.
Turner shows his boundless energy on the
up-tempo opener, "Bump Miss Susie," before
slowing the tempo on the blues classic, "Going
Down Slow, with a background chorus taking this
one to church. Another blues standard is Jimmy
McCracklin's "The Walk," with Sax Gordon
starring on, what else, the sax.
"When I Call On You" is another slow, gospel-ish
number with the backing chorus giving it the
proper vibe. Notable singers in the background
include Marva Wright and Warner Williams.
Another number right out of the choir loft is
the slow, dirge-like "Born In This Time," with
very strong vocals from Turner. The tempo
increases on the Hank Ballard classic, "Finger
Poppin' Time," with nice piano from Nate Young.
The
mood and style of music shift considerably on
the funky tribute to one of the best New
Orleans' Mardi Gras Indian tribe leaders, "Smoke
My Peace Pipe (Smoke It Right) aka A Tribute to
Big Chief Bo Dollis." a throwback to 1970s-era
Mardi Gras music. Harrell "Young Rell" Davenport
guests on harmonica on the mid-tempo blues
shuffle, "Drunk," which starts with strong
Elmore James-style guitar by Gentilo. We get
more good slide guitar from Gentilo on the slow
blues shuffle, "Sleepy Time in the Barnyard,"
with Young's piano work again in the spotlight.
Wrapping up this gem of an album is a Turner
original, "Who Sang It First," which appeared
previously as a single and on a Nola Blue
compilation. Turner gets very emotional with his
vocals as he pays tribute to the blue singers
who preceded everyone else. He's backed by a
solid group of female singers who give the song
a strong gospel feel.
If
BT is your introduction to the music of
Benny Turner, feel free to keep digging for more
stuff. It's all worthwhile. He's a treasure.
--- Bill Mitchell
 On
the heels of their irresistible debut album, the
appropriately titled Live & Loud, The
Zac Schulze Gang just issued the single
“Woman” (Flat Iron Records), a powerhouse track
that would have been an excellent fit on that
album. A rugged and raw blues rocker with a ’70s
classic feel that’s taken at a breakneck pace,
this tune is bound to be an easy fit into their
live performances.
Full
of energy and attitude, these guys have got it
going on, and I can’t wait to hear what’s coming
next from them.
--- Graham Clarke
 Written, produced, recorded and performed by
Fred Hostetler, with piano from Eric Troyer,
“Crazy Town” takes a bemused look at the world
we currently inhabit, with culture wars, social
media, click bait, and all the ever-changing
technological madness.
The
feelings of frustration, exasperation, and
overstimulation that ensues from Hostetler (and
the rest of us) comes through loud and clear,
with his humorous lyrics and wry delivery, as
well as the musical backing. Llisteners can’t
help to relate to what he’s saying.
--- Graham Clarke
 Australian singer/guitarist Orianthi
returns with another strong blues-rock single,
“Some Kind of Feeling” (Woodward Avenue
Records). She penned this dynamite track, which
mixes blues, rock, pop and funk together
seamlessly.
Orianthi’s vocals are more than a match for her
fretwork, and she’s backed by Justin Andres
(bass/background vocals), Nick Maybury (guitar),
Ed Roth (keys), Jimmy Paxson (drums), and Jade
MacRae (background vocals).
“Some Kind of Feeling” is another outstanding
track from this talented performer.
--- Graham Clarke
|
