Pick Hit What's New Surprise Flashback Feedback Back Issues Home

Kyle Rowland got his start in music at the age of 10. In 2024, he became the youngest member to be inducted into the Sacramento Blues Hall of Fame and he's advanced to the semi-finals in the International Blues Challenge in 2024 and 2025.

He's developed his own sound on harmonica with assistance from some of his heroes, most notably James Cotton, Lazy Lester, Charlie Musselwhite, and Billy Boy Arnold. He also counts Hubert Sumlin, Matt “Guitar” Murphy, and Henry Gray as influences. With his band, Rowland & Tumblin', he's played numerous blues festivals and clubs.

Rowland's latest release, Not Holding Back (Little Village Foundation), demonstrates his versatility, as he ably handles traditional, contemporary, and country blues, soul, funk, and a bit of pop. Rick Estrin and Kid Andersen produced the album (Andersen also plays guitar, B3, and bass on selected tracks) and a host of musicians contributed, including guitarists Johnny Burgin, Bob Welsh, Anson Funderburgh, Justin MacCarthy, Steve Gurr, and Kenny Marchese, keyboardist Jim Pugh and Welsh, bassists Ronnie James Weber and Randy Bermudes, drummers Paul Revelli, June Core, Myles Silveira, percussionist Coastin' Hank, and backing vocalists Dennis Dove, Lisa Andersen, and Marcel Smith.

The mid-tempo urban blues “Convict No. 1” opens the disc, with Rowland declaring himself a prisoner of his baby's love, backed by Burgin's guitar. Rowland wrote this tune and the next one, “Wishing You The Best,” a wonderful Memphis-based soul track with an emotional vocal and a nice harmonica break.

“I'll Take You Back,” co-written by Estrin with Donnie Woodruff, is a rock-solid West Side blues tune down to the Magic Sam riff that drives the song, and the upbeat “We're Still Friends,” written by Mighty Mike Schermer and Felice Garcia, is an old school ballad.

“Kissing at Midnight,” written by Billy Boy Arnold and Syl Johnson, is a nice, easygoing vehicle for Rowland, both vocally and on harmonica. Fillmore Slim's “You Got The Nerve Of A Brass Monkey” is a raucous rock n' roller with a torrid solo from Funderburgh and a ripping piano solo from Rowland, who plays guitar and harmonica on the gritty original “Gamblin' Blues.”

Rowland also penned “E.G.O.,” which has a classic soul feel right out of Memphis, with smooth backing vocals, Burgin's guitar, and Andersen's B3. St. Louis Jimmy Oden wrote “Complete This Order,” with Rowland delivering a fiery harmonica solo in between the unusual items requested from Rowland to his lady. “Coffee Man” is a gentle, lilting blues in the tradition of Mississippi John Hurt as Rowland accompanies himself on guitar and harp, with bass from Andersen.

“Stockton Boulevard” is a cool and funky instrumental with Rowland on harp, MacCarthy on guitar, Andersen on B3, and Silveira on drums. “Backtracking” is a classic blues tune written by Junior Parker, and Rowland pours his heart out vocally, backed by Burgin's stinging guitar work, also adding a tough harmonica solo.

Rowland wrote the next two tracks; the funky blues “Must've Been A Dream” and “The County Pen,” a country-flavored blues about meeting a feathered friend in prison.
“This Train” is an old tune that Alan Lomax put to paper in the early 1920s, and Rowland closes the disc with a stirring, swinging version of the spiritual with guitar assistance from MacCarthy and Andersen.

Not Holding Back collects everything that's great about the blues in one package. Kyle Rowland is a master craftsman, both instrumentally and vocally. This album is a thrill to listen to from start to finish.

--- Graham Clarke

When I first heard the 11 songs on the new album, Be About It! (Far-Tone Records) by harmonica ace Ryan Hartt, I assumed he was from the West Coast since his sound fit with the many other solid players and singers from the region. Instead, this cat is from Connecticut and has been around the New England blues scene for nearly 30 years.

Hartt packed the studio with some notable players for the session. Contributing to the big sound on Be About It! are Nick Toscano (drums), Jeff Berg (guitar/bass), Mike Law (bass), Brooks Milgate (piano), Nick Adams (guitar), Tom Ferraro (guitar), and Jad Tarig (guitar).

All 11 cuts on the album are strong blues tunes, starting with the mid-tempo blues "Breakin' Even," as Hartt tells about how he just can't get ahead with his finances. He then provides a very nice harp intro to the sorrowful but fun blues, "Queen of Everything," as he provides details about his relationship in which she's the queen of everything and he's the king of what's left over.

Jad Tariq is a Memphis guitarist who had his own thing released earlier this year and is a name to file away for future reference. He shares solos with Hartt on the up-tempo stomper "Old Habits Die Hard," and then again on the mostly instrumental jump blues, "All Night Long," with the only vocals being a chorus shouting out the song title after the guitar and harmonica riffs.

Slowing the tempo considerably is the pleasant, lilting love song, "Nothing Sweet As You," with Hartt complementing his tender vocals with the occasional harmonica break. Adams provides the guitar wizardry on the mid-tempo blues shuffle "I Wonder Why," with Hartt also coming in with sharp-sounding harmonica solos.

A rather unique sound comes from the instrumental "Hawaiian War Chant," with just rhythmic tribal drumming and harmonica throughout. It's a very cool tune, one of my favorites. Returning to a more traditional blues is the up-tempo shuffle, "That's Right, You're Wrong," with Adams putting out a very fine guitar solo while Hartt sings about sending that woman back to her other guy.

Another mood changer is the slow, late night blues, "Lonely Hour," an eight-minute song that entrances throughout, thanks to Hartt's tasteful harmonica work and entrancing piano solos from Milgate. The tempo goes to the other extreme on the jumpin' blues "I Can't Stop Loving You," with plenty of incendiary harp from Hartt.

Wrapping up this very tasty album is a slow instrumental, "You Belong To Me," which we all remember the Jo Stafford original from 1952. With Hartt's gentle harmonica playing substituting for the customary vocals, it's a nice, calming ending to an extremely fine album. 

Be About It! should be on every blues fan's shopping list. It's Hartt's first album in 13 years, so let's hope he gives us a follow-up before too long. Highly recommended.

--- Bill Mitchell

The Mike Bourne Band pays tribute to the music of Kansas City on his exciting new release, Kansas City O'Clock (Overton Music). Bourne has been singing and playing his brand of blues, jump blues, and roots music since 1998, inspired by Louis Jordan, T-Bone Walker, and others, and has played with artists like Otis Rush, Sam Lay, Barrelhouse Chuck, and many others.

For this latest effort, Bourne is joined by over 20 musicians, including Johnny Burgin, Dougan Smith, Steve Dougherty, Patrick Recob, Jim Beisman, and many others. The set features 14 tracks, 12 originals and two covers.

Kicking off the disc is “Can't Be Anybody But Myself,” a swinger highlighted by Bourne's vocal and guitar, Dougan Smith's sax, and Beisman's piano. The amusing “Beer In The Morning” follows, a hard-rocking blues with barrelhouse piano and Ryan Styles' sax, and “Too Old To Be Young” starts slow, but picks up the pace quickly into a swinging shuffle that really cooks.

Beisman channels Professor Longhair on the piano intro to “Caffiene Blues,” adding a bit of Crescent City spice to the proceedings. The title track pays tribute to the music of the city as the band really kicks into the groove with great solos from sax, piano, guitar that will have toes tapping and heads bobbing.

The instrumental “Kick'n A Deuce” is a fine showcase for Bourne's nimble fretwork, the lively “YOLO” revisits the New Orleans vibe and offers good advice for daily living. The band's clever, adult update of the nursery rhyme “Three Blind Mice” is a lot of fun.

“Really Nice Girl” is a slow blues about a gal who's maybe not what she appears to be, and a sparkling cover of John Hahn's“Dive Bar Romance” is first rate. The album's other cover follows, a dazzling version of Jay McShann's “Fore Day Rider,” with outstanding contributions on trumpet (Austin Barry), sax (Smith), and piano (Beisman).

“Truth Dressed Up Like A Lie” is a tough blues rocker driven by Smtih's sax. “Rather Be Happy Than Normal” gets downright funky, and the closer, “People Not Politics,” finds Bourne stressing the importance of people over politics, backed by a nice Burgin guitar solo.

Kansas City O'Clock is an exhilarating tribute to the music of one of America's most vibrant sources of music, courtesy of the Mike Bourne Band, one of the best purveyors of the sound currently practicing.

--- Graham Clarke

Singer Bev Conklin was born in New Orleans, but has spent over 30 years in Pennsylvania's Lehigh Valley, where she has tirelessly working to promote the blues via the Women's Blues Alliance, the Lehigh River Blues Jam, and the Roots Music Concerts series.

She also fronts The BC Combo (Wayne Smith – vocals/guitar/keyboards, Joe Mac – guitar, Glenn Spadone – drums, Mitch Shelly -bass). The band's latest release, Glass Half Full (MoMojo Records) was recorded live at the Godfrey Daniels listening room in Bethlehem, Pennsylvania last November. Smith produced the album and wrote all 12 tracks.

The uptempo blues, “That Would Be Us,” opens the set, with Conklin's voice backed by Smith's and Mac's guitar. “Hooked On A Long Chain” is a slower paced blues where she really stretches out on vocals. Both of these tracks have been issued as singles.

The title track has a cool R&B groove with nice fretwork from both guitarists, and the smooth R&B vibe continues on the soulful “A Little Too Blue,” where Conklin encourages us to step out of our shell and embrace happiness.

Smith takes lead vocals on the briskly-paced blues rocker, “Mr. Agent Man,” begging his promoter for more work. Conklin returns for the emotional “Love & Affection,” with superb backing from the guitarists and the rhythm section.

The somber “No Back Door” was written by Smith for his brother, who was lost to suicide, and Conklin's mannered vocal is a nice fit for the subject matter. Smith pays tribute to two others who left way too soon on “Janis & Jimi,” with an anguished vocal and guitar.

“It's A Small Club” is a funky R&B-based blues that lightens the mood a bit, and “We're Gonna Get Some” keeps the upbeat pace moving along as Smith doubles on organ from this track.

“Go Happy Go Lucky” is a light, happy song that probably made the audience feel pretty good. Smith sings the closer, “I'll Leave With A Song,” a mission statement of sorts for the artist, who probably left a lot on the stage that night, given the recent events he'd endured.

All in all, a very good release from Bev Conklin and The BC Combo. Glass Half Full is loaded with great songs and inspired performances.

--- Graham Clarke

The Lucky Losers' sixth release, Arrival (MoMojo Records), finds the group, led by vocalist Cathy Lemons and harp master/vocalist Phil Berkowitz, teaming up once again with Kid Andersen for a tough set of originals. In addition to Lemons and Berkowitz, the band consists of Chris Burns (keys), Simon Govan Smith (guitar), Edgar San Gabriel (bass), and Jon Otis (drums/percussion). There's also a bevy of guest artists (Danny Caron – guitar, Endre Tarczy – bass, Paul Revelli – drums, and Doug James – tenor sax, Mike Rinta – trombone, John Halbeib – trumpet) chipping in, plus Andersen, who adds guitar, bass, and keys on selected tracks.

“S-C-A-M” opens the disc, a funky take with vocals from Lemons on one of the plagues of modern technology for nearly everyone who has a phone or a computer. “Sunday Stroller” is a cool blues rocker with Berkowitz on vocals and harp, backed by Caron and Andersen on guitars and Burns on the keys, and “Pull On The Rope” finds Lemons paying tribute to Mavis Staples in a gospel-flavored call for unity.

The duo team up for the R&B romance tune “Play It From The Heart,” as Lemons backs Berkowitz's vocal. “I Believer Her (Because I Am Her”),” a gripping statement on childhood sexual abuse, was written by Lemons, who experienced it herself as a youth. The lyrics and her vocal performance are searing in their intensity.

Caron and Berkowitz wrote “Sorry Brother,” which borrows the funky New Orleans rhythms of Allen Toussaint's “Hercules,” spotlighting Berkowitz's vocals and harp. “My Father's Song” is a moving ballad with a soulful vocal from Berkowitz.

Lemons' “Pig Iron Tough” brings up the funk as she reflects on what it takes to survive relentless touring. The same thing that helped her survive 15 moves during the first 17 years of her life. She also penned “Don't Let It Slip Away,” four solid minutes of the sweetest soul music this side of Memphis, powered by one of her most captivating vocals, Caron's fretwork, and the three-piece horn section.

Berkowitz takes a look at his early years with the blues/R&B shuffle “Misfit Kids,” sharing vocals with Lemons as the tune moves to the present. The pair close the album with an amusing country blues duet, “Ain't The Marrying Kind,” as the duo rails against marriage to the point of talking themselves into it at the conclusion of the song.. It's a fun conclusion to this excellent disc.

Hopefully, Cathy Lemons and Phil Berkowitz can keep it together long enough to entertain blues fans with even more of their wonderful music. Arrival is their best effort, their most personal and their most entertaining, with stellar performances by all involved.

--- Graham Clarke

Manu Lanvin has developed into one of France's leading voices in the blues-rock genre. After recording three rock albums, the singer/songwriter/guitarist found his muse in the blues and never looked back after co-writing and producing troubled Texas roots and blues artist Calvin Russell's last album, Dawg Eat Dawg, in 2009.

His latest release, Man On A Mission (Gel Production), is a scrappy mix of blues, soul, rock, and pop that was recorded in Paris, Nashville, Montreal, Fort Lauderdale, and Sheffield, but has roots deep in the heart of Texas.

The opening cut, “Just Need Me,” is a gritty, driving blues rocker that showcases Lanvin's weathered vocals and tough guitar work, while the catchy “I Can't Get Enough Of You” adds a bit of soul and a taste of pop to the mix.

The upbeat “Did You See Judy?” is a frenzied search for a lost lover, as indicated by Lanvin's desperate vocal. Meanwhile, the soulful ballad “Change My Ways” finds Lanvin regretting the loss of a lover because of his unwillingness to change his bad habits, and his vocals and fretwork are even stronger on this track.

“I Got The Blues” brings the blues to the 21st century, with guitar, harmonica, and vinyl scratches as Lanvin laments over a woman breaking his heart, his car not running, Jehovah's Witnesses at his door, and his wi-fi not working.

“Savigny-Sur-Orge” is a somber ballad, based on personal memories, about tough times for Lanvin and his mother as he grew up,. The energetic “What's The Matter With U?” is a powerful track that seamlessly combines rock, soul, and blues.

The amusing mid-tempo rocker, “Saving Angel,” Lanvin advises an interested party that he may not be the one she's looking for. He shines vocally on “Don't Wanna Say Goodbye,” a soulful pop-flavored ballad with rocking guitar work, and “Could It Be Love.” which has an intriguing rhythmic pattern. “Make It Right” has a classic rock n' roll rhythm with rollicking piano and backing vocals (which are standout throughout the album).

The album concludes with the title track, a hypnotic blues rocker with modern flourishes that serves as Lanvin's musical statement as he roars through the lyrics with determination. The final track, “Une Nuit,” is a lilting melody with French lyrics that wraps up the disc nicely.

Having never heard Manu Lanvin before Man On A Mission, I have to say that he possesses the total package: excellent songwriting (he co-authored 12 of the 13 tracks), superb blues-influenced vocals and guitar work, and the ability to leave listeners humming his tunes or singing the lyrics after they're done listening. Blues fans should not miss this one.

--- Graham Clarke

Hudspeth & Taylor released one of my favorite albums of 2023, Ridin' The Blinds, so I've been looking forward to their next release, which has now arrived in the form of a live album, Kimuziki Live in Des Moines (Hudtone Records). The set was recorded live in February at the Central Iowa Blues Society's 30th annual Winter Blues Festival. Brandon Hudspeth's crisp guitar work serves as the perfect compliment to Jaisson Taylor's robust vocals on nine tracks, three written by Taylor, while the others are superb interpretations of blues standards.

Opening the set is a rousing take of Jimmy Reed's “Going To New York,” one of two Reed tunes represented, driven by Hudspeth's guitar and Taylor's percussion. Mance Lipscomb's “Run Sinner Run,” a standout from Ridin' The Blinds, follows, with marvelous interplay from the duo.

A tranquil reading of Muddy Waters' “Honey Bee” slows the pace a bit, with sound  so clear that one could hear a pin drop. Hudspeth's slide guitar playing is superb on this track. The second Reed track is a jaunty version of “Bright Lights, Big City.”

The lilting “Silly Billy,” written by Taylor for their debut release, Folie a Deux, finds Hudspeth channeling Django Reinhardt. The duo's cover of Jimmy Rogers' “Walking By Myself” has a more stripped-down feel than other tracks, with Hudspeth's electric guitar work backed by Taylor's percussion. You can't help but move when listening.

The next two tracks were written by Taylor for Folie a Deux: the rhythmic “Daddy Baby” and the ballad “I Think It's Going To Rain Again,” a splendid slow burner with plenty of Hudspeth's slide backing Taylor's soulful vocal.

Closing the set is a tasty version of “Spoonful,” wrapping up this outstanding performance about as well as could be done.

Hudspeth & Taylor have been working together for over two decades, and it shows in every note played and every note sung. Blues fans, both traditional and contemporary, definitely need to grab or download Kimuziki Live in Des Moines at their earliest convenience. You'll be glad you did.

--- Graham Clarke

I've been aware of the name Dave Keyes from previous albums, but he remained more of an obscure artist for me than a household name. That's a mistake on my part, and it's been rectified by his latest very fine album, Two Trains (MoMojo Records).

The appropriately named Keyes is a keyboard wizard, capable on both piano and the B-3. He and his songwriting partner, Mark Sameth, wrote eight of the ten cuts on Two Trains, with one instrumental credited just to Keyes and another song being a Big Bill Broonzy cover.

Let's kick off this show. "Blues Ain't Lookin' For You" is a mid-tempo blues shuffle, with Keyes' piano playing being complemented by persistent slide guitar from John Putnam and harmonica by Rob Paparozzi. Up next is a rollicking boogie woogie number, "Boogie Til The Cows Come Home," confirming our thoughts that the hands of Keyes can move rapidly around his piano keyboard.

The title cut, "Two Trains," is a real keeper, a mid-tempo funky blues telling about a pair of locomotives running on the same line as they head for a nasty collision. Keyes switches to the B-3 for "I'm Alright," giving this up-tempo shuffle a gospel vibe, especially with Alexis P. Suter and Vicki Bell adding backing vocals from the choir loft.

Keyes keeps it in the church with gospel piano on the slow blues "A Long Way From Right Right Now," with a mournful feel coming from Paparozzi's subtle harmonica playing. Keyes gives us rawer vocals on the very topical up-tempo number "What Just Happened," an indictment of our current environment of diminishing morals and poor treatment of each other. Putnam lays down a smokin' guitar break.

It's back to boogie woogie on the instrumental "Boogie For Patty," leading in to a mid-tempo funky number, "Trust in Love and Fate." This one features guest guitarist Chris Bergson, making heavy use of a slide on his solos.

"Worried In Mind Blues" goes in a different direction as more of an acoustic country blues, with special guest Woody Mann sharing vocals and nice guitar picking. It's just Keyes and Mann as the back porch duo handles this very pleasant number from Big Bill Broonzy. Closing the album is "Rest In Peace," a slow, gentle tune with just Keyes, his piano and a vocal mic, used as a tribute to all of those who have gone on before us.

Two Trains shows the versatility of Keyes as a singer, keyboardist, band leader and songwriter. It's a very fine album, and has me digging back into his discography to see what I've missed in the past.

--- Bill Mitchell

The late Sherman Robertson was born in Louisiana, but raised in nearby Houston, where he was inspired to play guitar after seeing Hank Williams on TV. He grew up near the famous Duke/Peacock Records studios, where he met many of the musicians who played on the recordings produced there, and was soon playing with a local band in the Fifth Ward neighborhood clubs.

Robertson was heard by Clifton Chenier in 1982, and was soon playing for the King of Zydeco. He appeared on Paul Simon's classic album Graceland and later hooked up with Terrance Simien after Chenier's passing before forming his own band in the early '90s.

Robertson released two albums in the mid '90s for the Atlantic Records subsidiary Code Blue,1994's I'm The Man and 1996's Here And Now, that mostly focused on contemporary blues and soul. A release for Audioquest in 1998, Going Back Home, mixed in some of the guitarist's zydeco roots, followed by a subsequent live release, 2006's Guitar Man Live on Crosscut Records.

Robertson was not really comfortable with the recording process, which explains the gap in recordings, but during a UK tour he was persuaded to go into the studio with his UK touring band to work on what was to be a new studio release. The band put together four rough tracks with plans to return later in the year to make revisions, but sadly, Robertson suffered a stroke during the tour and never recorded or performed again, passing away in 2022 at 72.

One More Time (Redline Music) has been posthumously released as a tribute to Robertson, the tracks left just as they were. Robertson (lead vocals and guitar), Gary Rackham (bass), Jools Grudgings (keys), and Jamie Little (drums) are joined by guitarist O. Pinnock on three tracks, Sam Rogers on sax for two tracks, Bryan Corbett on trumpet for two tracks, and Matt Hoy and Genevieve Sylva provide backing vocals on three of the four tracks.

“One More Time” opens the EP, a nice slow blues, one of two written by Marcus Malone, that spotlights Robertson's soulful vocals and his incisive fretwork. Robertson wrote the raw and funky “Texas Cutie,” and provides enthusiastic vocals.

“What About Me” is another deep soul ballad written by Malone, and the last tune is a stirring version of Rufus Thomas' “Memphis Train.”

Though the tracks have a bit of an incomplete feel to them, they work just fine because they capture Robertson's energy and exuberance on vocals and guitar. It really sounds like he'd gotten his recording mojo back. I enjoyed Robertson's two Code Blue recordings and these songs would have been a fine fit on either album.

It's a shame Robertson didn't get the opportunity to finish this proposed album, but anyone who enjoyed his work will be pleased with these tracks.

--- Graham Clarke

Minnesota-based singer, songwriter, and guitarist Mark Cameron has been making music for over 30 years, focusing on the blues for the past 15 or so of those years. I've enjoyed his entertaining and unique original songs on his previous releases, and such is the case on his latest effort, Blues Factory (Overton Music).

Cameron wrote all ten tracks and produced the disc, receiving strong musical support from Dan Schroeder (drums), Sheri Cameron (sax, flute, percussion), and Bill Keyes (harmonica, vocals), with additional contributions from bassists Steve Hansen, Nick Salisbury, and Josh Granowski, Shane Cox (trumpet, trombone), Zach Miller (tenor sax), Tommy Barbarella (keys), Greg Schutte (drums), and vocalists Sara Renner and Tonya Hughes.

“The Wrong Thing” opens the disc, a mid-tempo shuffle about a good person with bad luck driven by Cameron's slide guitar. There's more slide guitar and harp on the swinging “Too Hot To Boogie,” which is dubbed with crowd noise from a recent Cameron concert to demonstrate the reception the tune gets when performed live.

The title track is an interesting look at a promising relationship that gradually falls into an assembly line-like rut, complete with industrial percussion sounds, resonator guitar, and Ms. Cameron's flute providing background. “Drink On The Job” is a fun track, with four tales narrated by Cameron that demonstrates his clever wit to great effect.

“Sugar” has a real Memphis soul feel, thanks to the horns and background singers, and “Can't Stand Still” is a rocking boogie tune about a girl who loves to dance. On the slow burner “Change Your Ways,” Cameron tries to offer advice to a friend whose life is moving in a bad direction.

We've all had “Friends Like These,” who've sometimes steered us into mischief or misfortune. This is a humorous track that most listeners can probably relate to.
“Ain't No Way” is an interesting track on which two people have ended up as lovers despite their best efforts to do the opposite. The musical interplay is first-rate with the rhythm section locking in and Ms. Cameron's flute adding to the atmosphere.

The closer, “Below The Bottom,” is a down and dirty blues track about going down even lower than low.

Cameron's guitar work is pristine and his amiable vocals are a perfect fit for his always-compelling songs. The rhythm section is rock-solid and the supporting musicians are all top notch. Blues Factory is another fine release from Mark Cameron.

--- Graham Clarke

For his latest release, Know You From Old (Out of the Past Music), guitarist/singer Steve Howell has replaced his usual band of Mighty Men with one particular Mighty Man, multi-instrumentalist Fats Kaplin, who has worked with numerous artists such as Trisha Yearwood, John Prine, Roy Book Binder, Nanci Griffith, and The Tractors, to name a few. As with previous Howell releases, the duo go way back, exploring early American songs ranging from blues, gospel, ballads, and early jazz and deliver 13 tracks that pretty much define the roots of American music.

The opener, “Black Dog,” was first recorded in 1930 and later recorded by Book Binder and Kaplin in the mid '70s. Kaplin backs Howell on banjo on this lively version. “San Francisco Bay Blues” was recorded by Bay Area one-man-band Jesse Fuller in the mid '60s and Howell and Kaplin (on mandolin) give this tune a nice, warm feel.

“Buffalo Skinners” is a traditional American western folk song that tells the tale of a buffalo hunt in 1873. Howell takes a gentle approach to the story and Kaplin's violin adds heft to the story. The tale of “Bugger Burns” also dates back to the 1800s, about a policeman in Louisville who killed several men before being killed himself. Howell and Kaplin's jaunty version captures the barrelhouse feel of the original song.

The uplifting “Gospel Plow” is an African-American spiritual dating back to 1917, taken from Luke 9:61-62, and made popular by Mahalia Jackson. “The Cuckoo” is a cool English folk song that dates back to the 1200s, with Howell's guitar and Kaplin's violin giving the song a haunting backdrop.

“Blue Ridge Mountain Blues” is an early country music tune written by Riley Puckett of Gid Tanner and the Skillet Lickers, and it's given a reverential treatment from Howell and Kaplin, with a nod to Puckett and Doc Watson, who later covered it. The Scottish tune, “Cold Haily Windy Night,” dates back to the 1700's, a “night visiting” song. Howell effectively conveys the desire and the ultimate sadness of the story. “The Escape of Old John Webb” was made popular by Burl Ives, who said it was part of a 20-verse from the 1700's about the jailbreak of a captured counterfeiter.

Howell and Kaplin's gentle and somber version of Blind Lemon Jefferson's “One Kind Favor” is superb, with standout work from Howell on guitar and Kaplin' on mandolin. “Shawneetown” describes an early Ohio River settlement, and Howell and Kaplin paint a vivid picture of life from a couple of centuries back.

The final two tracks venture into early jazz territory, with a tender version of Ira Gershwin's “But Not For Me,” and Duke Ellington's “Mood Indigo,” a beautiful instrumental with Howell's guitar and Kaplin's violin.

Steve Howell has dug deeper than ever into the roots of American music, with the able assistance of Fats Kaplin. Know You From Old is another wonderful set of classic music that will have listeners going back to hear the older versions and learning a bit about the beginnings of the music that has helped shape their lives.

--- Graham Clarke

Randy Lee Riviere teams up with Tom Hambridge once again for Farmhand Blues (Wilderness Records), a hard-driving 15-track set of blues, rock, and roots recorded in Nashville with musical support from producer Hambridge (drums/percussion/backing vocals), Doug Lancio (guitar), Bob Britt (guitar), Michael Saint-Leon (guitar/harmonica), Mike Rojas (keys), and Robert Kearns (bass). Riviere wrote or co-wrote (with Hambridge) all 15 tracks.

“Downtown” opens the disc, a powerhouse blues rocker, and the gritty, down-and-dirty “Big On A Bender” follows. The title track looks at the plight of California farm workers, working long hours for little pay. “Bird Watching” is a lighter, country-flavored tune about, well, bird watching, appropriate since Riviere is a wildlife biologist by trade. “Alabama” leans more to the rock side of the blues/rock aisle, and “Linden Lane” has a more laid back '70s southern rock feel.

“Moonlight” is a blues/rock ballad about the one that got away, and the moody “Cynical” has a paranoid feel with the crunching guitar rhythms and Riviere's snarling vocal. The intriguing “If I Were King” is a change of pace, driven by piano at the beginning, starting somewhat reserved but picking up speed into a fiery slide guitar solo, then settling back to the piano.

“Mother Lee” opens with acoustic guitar, but plugs in pretty quickly and slowly builds in intensity. On the driving blues shuffle, “December 1980,” Riviere looks at what happened in his life on the day John Lennon was assassinated 45 years(!) ago. A day most music fans probably recall as well.

“You Ain't No Lovin' Woman” is a somber, subdued ballad about a woman who's not sticking around, and “Pecos” is a song about Riviere's horse, who's a lovable handful. “On My Way Down” is a sturdy blues rocker with a great guitar-driven rhythm, and “Dovetail Joints,” the closer, is a moving tribute to the working man.

Farmhand Blues is a gripping album of original blues rockers with outstanding guitars and great songs. Randy Lee Riviere's weathered vocals are a perfect fit for the material. Blues rockers who like a bit of roots and country flavoring in their music will be well satisfied with this album.

--- Graham Clarke

Chicago guitarist Paul Filipowicz has been toiling away on the Chicago blues scene for an amazing 54 years, working with and around all of the Windy City legends past and present. Breakwater (Big Jake Records) is his newest release, and it's packed with 12 tracks of Chicago blues originals, covers, and tributes to those who have passed.

Filipowicz sings and plays guitar and harmonica, and is backed by a hearty group of Chicago vets --- Martin Lang (harmonica), E.G. McDaniel (bass), Jimmy Voegeli (keys), Erik Beraud (saxes), and vocalist Maggie “Blues Chic” Aliotta.

“Tuff Girl” is the opening track, a rocking R&B track written by Syretta Dobyans, with Filipowicz turning in a robust vocal and screaming guitar work. Howlin' Wolf's “I'm Leaving You” follows, and it's a traditional Chicago blues boogie.

The title track is a cool slow blues instrumental with fine subtle guitar that speaks volumes, and “Sonny Boy” pays tribute to Rice Miller, one of Filipowicz's earliest influences. Lang's harmonica and Voegeli's piano work give this track a vintage feel.

“This Time I'm Gone For Good,” one of Bobby “Blue” Bland's biggest hits, is covered, with Filipowicz delivering an appropriately soulful vocal and tasty guitar, backed by Beraud's sax and Voegeli's piano. Another instrumental, “Lefty Phillips,” is a house-rocking tribute to two of Chicago's unsung heroes of the post-war era – Lefty Dizz and Brewer Phillips.

“Conversations with Jr” begins with an outstanding three-minute guitar intro before Filipowicz mixes in a couple of verses from the Junior Wells song list as the pace of the song picks up. “Ashes In The Wind” is a Filipowicz original, a slow blues that that has an enticing Hill Country drone in the guitar riff and the solos sprinkled throughout.

The guitarist pays tribute to yet another Windy City legend, J.B. Hutto, with a raucous cover of “That's The Truth” that the slide master would have certainly approved. Maggie “Blues Chic” Aliotta makes her recording debut with a nice cover of “That's Why I'm Crying,” written by Magic Sam, but her vocal closesly matches Koko Taylor's version from the early '70s.

“Poor Boy” is a funky blues with traditional blues themes that's highlighted by Filipowicz's raw vocal and guitar tone, and the album closer, “Rollcage,” is a great instrumental in the Freddie King/King Records tradition. Impressive guitar work on this track and the rest of the album, for that matter.

Breakwater is a wonderful expression of the Chicago blues sound, past and present, from beginning to end. Blues fans are fortunate that there are talented artists like Paul Filipowicz doing their part to keep this sound alive and vital for fans old and new.

--- Graham Clarke

Mercedes Nicole is a versatile vocalist whose previous work has encapsulated blues, jazz, soul, and gospel. Just in time for the holidays, she's released Fire & Solitude, a four-song EP of tunes that capture the Christmas spirit in a big way.

Ms. Nicole composed two of the tracks, the sultry jazz-flavored opener “Close” and the slow-burning blues closer “Read My Christmas List.” In between the two originals are two Christmas favorites, “Merry Christmas Baby” and “Please Come Home For Christmas.”

Ms. Nicole's two originals are top notch, and her interpretations of the two classics is also first rate as she nimbly moves from blues to jazz to soul on these four numbers. She gets outstanding support from Abel Boquerra, Jake Sele, and Delvon LaMarr (B3), Andrew Coutier, Brian Kirk, and Mark Ivester (drums), Scotty Harris, Evan Flory Barnes, and Wayne Bliss (bass), Rod Cook, Thaddeus Turner, and Rafael Tranquilino (guitar), and Max Rose, Alexey Nickolave, and Irv Kellenberger (tenor sax).

Fire & Solitude is a great disc to put on at the end of a hard day of shopping, wrapping gifts, cooking Christmas dinner, or just chilling out by the fire. Mercedes Nicole has a voice that you can get lost in pretty easily.

--- Graham Clarke

And now for a quick look at a whole bunch of singles that have been released .......

Kessey Monae's “Good Man Lovin'” (PKMG LLC) finds the young vocalist weary of the various two-timers and mistreaters that have crossed her path, so she decides to find a good lover who will treat her right. This is a nice soul blues track that is reminiscent of some of the '80s and '90s tracks that made the rounds on Malaco with a lot of success, so hopefully Ms. Monae will experience some of that success with this fine effort.

Harrell “Young Rell” Davenport has issued another single, “Fatherless Child” (Rell Tone Records). Davenport wrote the song and plays guitar, harmonica, and tambourine with percussion support from Kenny Smith. Young Rell sings of the pain and uncertainty of growing up without a father. It's a highly personal track as evidenced by his sincere and emotional vocal delivery. Davenport is rapidly developing into one of the most intriguing and exciting young voices on the current blues scene, and his dedication to the music shines through on every note played and sung.

The latest single from Delta Wires continues their tribute to Chess Records' 75th Anniversary. It's a fiery electric version of Skip James' “Devil Got My Woman,”  recorded by the band without their horn section (for the first time ever). The remaining five members (Ernie Pinata – vocal/harmonica, Richard Healy – guitar, Tom Gerrits – bass, Anthony Malfatti – piano, Tony Huszar – drums) are able to recapture the style of the earlier Chess recordings, with Pinata laying down a scorching harmonica solo. Their version of the classic James' tune really puts the song in a new perspective that's highly effective.

Stevie J Blues updates the 1998 J Blackfoot tune “Your Mouth Wrote A Check” (PKMG LLC), upping the funk ante and picking up the pace a bit. His vocals and guitar work is spot on, as always, and he brings the song to 2025 with a fresh new approach that should bring together fans of the older version and those who pick it up in this new version. This is another fine effort from the Jackson, Mississippi blues man.

--- Graham Clarke

A very intriguing single from Australian group Kaliopi & The Blues Messengers showcases the voice and guitar playing from this woman who has Greek heritage before winding up down under. She does a beautiful tribute to Maya Angelou on "How The Caged Bird Sings."

Sugaray Rayford, the Arizona singer with a big, big voice has a new album on the way, with the funky mid-tempo blues shuffle "How The Other Half Lives" giving us a preview of what to expect.

One of my favorite singers from the past few years is Teresa James and her band The Rhythm Tramps. "Show Biz" is an autobiographical thing that could apply to any musician starting out in a very tough business. As with any single being released, I sincerely hope that it's an indicator to an upcoming new album.

To go with his live album, Live at SPACE, released on Delmark this past summer, guitarist Dave Specter has given us another version of one of his often played instrumentals, this time calling it "New west Side Stroll."

I've been a big supporter of Canadian soul/blues singer Ndidi O ever since discovering her wonderful album from last year, Simple Songs For Complicated Times. Her new single is more of the same as she sings about the issues women face as they age on "Old Crone." If you aren't yet familiar with this marvelous singer, then I highly recommend you find the album I just mentioned and then download this new single.

--- Bill Mitchell