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Bob Margolin has established his place as
one of the most prolific disciples of
the old school type of blues through
countless recordings and his support of younger
artists. From his early years with the Muddy
Waters Band through the last 40-plus years, Margolin has respectfully eased into the role of
treasured blues royalty.
While he's been preserving the early Chicago
sound and idownhome blues, Margolin has never
been a slave to that side of the blues. He
doesn't hesitate to work a rock 'n' roll
classic or a soulful Motown tune into the
repertoire, giving each song his own unique
twist. We hear more of that diversity on
Margolin's latest self-titled CD
on Vizztone.
Calling the disc Bob
Margolin is so appropriate because Margolin does everything on the album's 15 cuts
--- he sang every note, played every
instrumental part, wrote the liner notes,
produced the CD, and did the studio mix. (I
don't think he designed the album cover, pressed
the discs or inserted each one into its slot
.... but, then again, you never know!). All 15
songs on this CD are great, six original numbers
and nine loving tributes to blues artists who
have inspired him, and he carefully documents the background of each
tune in the liner notes.
Opening the disc is "One More Day," a creative
topical song about the ominous news we face
constantly and the pressures of our day-to-day
life, telling us how he just wants one more day. Good guitar
with foot-tapping keeping the beat. Up next is a
stripped
down version of The Band's "I Shall Be
Released," with a dirge-like tempo that conveys the
emotion of the song and the pain of the man
being condemned for a crime he didn't commit.
"Detroit" is Margolin's
instrumental tribute to the sounds of Motown,
with his wonderful slide guitar playing leading
a steady bass beat. More exquisite
slide can be heard on the original number, "Best
I Can Do," with Margolin sharing with the
listener his method for coping with the troubles of
the world today. ".... Is there still hope for
you and me? ...," he asks while making his
guitar sound pretty angry.
"Blues Before Sunrise" is one of my favorites
with Margolin packing a lot of emotion into his vocals
to go with his tasteful guitar picking on this old Leroy Carr song that was a favorite
of Muddy Waters. Next we hear Margolin playing the slide
on the acoustic guitar on the Johnny Winter
song, "Dallas." The Leroy Carr classic, "How
Long, How Long Blues," gets the slow blues
treatment from Margolin until he counters the
tempo with more energetic jazzy guitar
chords.
"Peace of Mind" is a Snooky Pryor number that
gives Margolin a chance to stretch
out on a guitar solo, giving this mid-tempo
shuffle a boost of adrenaline as he sings, "If
you don't like my peaches, please don't shake my
tree." Picking up the tempo on the Muddy song,
"She's So Pretty," Margolin adds a rhythmic
percussion beat leading the way before ending
the song
abruptly, just like Mr. Waters did on the original
just to throw off the dancers during his live
gigs. That's
followed by another McKinley Morganfield
composition, "Look What You Done," one that the
Rolling Stones covered about ten years after
Muddy's original.
"Head Held High" is a mid-tempo foot-tapper, an
original composition about a woman that Margolin
encountered on the highway on one of his many
drives from gig to gig. While he couldn't figure out what was
going on inside the woman's mind, he sings that
he felt her blues. "Goin' Away Baby" is his
tribute to Jimmy Rogers, with the common
blues line, "... I ain't never loved but four
women in my life ... that' s my mother, my
sister, my sweetheart and my wife ..."
"My
Road" was supposed to be the title cut of
Margolin's previous album but the song wasn't ready
in time to make it on that disc. He now gets the chance to
tell us all about the road he's traveled, while also
throwing down some
killer slide guitar licks.
Concluding the album
is "One More Mile," a song that Margolin says was
his first excursion into real deep blues
back in the day. Previous versions were done by
both Muddy and James Cotton, the latter
credited as the songwriter. Yeah, this one gets
pretty deep, and Margolin takes us to the depths
of despair with his slide guitar playing. It's
just one more reminder how talented and
expressive Margolin is on the guitar.
If
you're looking for a Bob Margolin set with full
band accompaniment (piano, drums, harmonica, etc.),
this isn't it. Instead, Bob Margolin is a
full album of Margolin pouring his heart into
every song and paying tribute to the people who
have influenced him most.
--- Bill Mitchell
 Our
Surprise pick this month features a CD on
VizzTone from a smokin' guitarist from Florida
in David Julia, but he's not the only stellar
instrumentalist from the Sunshine State that the
label recorded recently. Josh Smith has a
few years of age and experience on the younger
Julia, and we hear his latest gem in Burn To
Grow. Backed by a strong band, Smith leans
heavily on the soul and jazz influences to his
blues on 11 solid original numbers.
First up on this disc is "Half Blues," starting
with a slow blues beat before the soulful horn
section ups the tempo in support of Smith's
stinging guitar notes. It's followed by a jazzy,
soulful number, "Through The Night," that has
Smith putting out more subdued but tasteful
guitar licks.
One
of the highlights of Burn To Grow is the
vocal accompaniment of renowned backup singer
Monét Owens, with her soulful voice providing a
contrast to Smith's raspier vocals on "Watching
You Go" and Smith playing a heavier,
rock-influenced guitar here. Owens steps to the
front of the stage with lead vocals on the
soul/R&B number "Your Love (Is Making Me
Whole)," with her voice soaring through the
octaves. It's not surprising that Ms. Owens has
a couple of Grammy awards on her résumé. Another
number with her fine backing vocals is the
bluesy "Look No Further."
Smith is a strong vocalist in his own right and
he shows it on the mid-tempo blues, "Let Me Take
Care Of You," along with some heavy guitar licks
and nice horn accompaniment over the top of
everything. For my money the best number here is
the slow blues, "What We Need," which starts
with a hot guitar solo before Smith lays down
more intricate notes. It's his best guitar work
on the album. Not to outdo himself, Smith comes
right back with nice guitar licks on the
mid-tempo blues shuffle, "You Never Knew."
Burn To Grow was my introduction to the
artist known as Josh Smith. He's got a couple of
other albums, so I'll be exploring the rest of
his discography soon.
--- Bill Mitchell
Eden Brent
met her future husband, London
trombonist/arranger Bob Dowell, on the 2008
Blues Cruise. Every year since they met, the
pair have spent Christmas together in Brent’s
hometown, Greenville, Mississippi, and recently
celebrated their third wedding anniversary.
Brent decided to release her very first
Christmas album, An Eden Brent Christmas
(Yellow Dog Records), a wonderful collection of
her holiday favorites produced and arranged by
Dowell with a host of Memphis’ finest musicians
providing support.
“Boogie Woogie
Santa Claus” kicks off the disc and it shouldn’t
be a surprise to anyone familiar with Brent’s
background, or her nickname “Little Boogaloo.”
This one will send you back to the ’40s, when
the folks really knew how to swing. Eartha
Kitt’s “Santa Baby” is also here, as is the
wistful standard “Have Yourself A Merry Little
Christmas,” one of Brent’s favorite Christmas
songs, and the classic blues “Merry Christmas
Baby,” done in terrific slow burning fashion.
The festivities
continue with the “Let It Snow! Let It Snow! Let
It Snow!” (though a white Christmas in
Mississippi is a rare thing), and in a cool
twist, Brent sings both the verses and chorus of
“Santa Claus Is Comin’ To Town,” while Dowell’s
arrangement gives the tune a real Crescent City
feel. “That’s What I Want For Christmas” is
another old favorite, getting a lush jazz ballad
treatment with a trombone solo from Dowell, and
Elvis’ “Blue Christmas” revisits the Pelican
State with a relaxed groove à la Fats Domino.
The swinging
“Winter Wonderland” has a marvelous
free-wheeling big band arrangement, “The
Christmas Waltz” is soulfully done and a perfect
tune for sitting in front of a warm fireplace
watching it snow outside, and Dowell joins Brent
on vocals for a flirtatious reading of “Baby,
It’s Cold Outside.”
The disc
concludes with a magnificent version of “The
Christmas Song” that revitalizes the familiar
tune.
Brent is in great
voice, as always, and plays piano on four tracks
with Alvie Givhan ably manning the keyboard for
the remaining eight songs. The rest of the
ensemble includes Dowell (trombone), Marc
Franklin (trumpet/flugelhorn), Art Edmaiston
(tenor sax), Kirk Smothers (baritone sax/alto
sax/flute), John Bass (guitar), Tim Goodwin
(bass), and Earl Lowe or James Sexton (drums).
Any music lover
in a Yuletide mood who digs the blues or jazz
will love to have a copy of An Eden Brent
Christmas. It’s a disc they’ll be enjoying
for years to come.
--- Graham Clarke
 It’s December,
which means ‘tis the season for Christmas album
releases. It’s always cool to get a holiday
release from a blues artist, and the new album
from Erin Harpe and the Delta Swingers is
no exception. The Christmas Swing (Juicy
Juju/VizzTone Music Group) is a charming
ten-track set of Yuletide blues that features
the singer/guitarist and band (Jim Countryman –
bass/percussion, Matt “Charles” Prozialeck –
harmonica, Chris Anzalone – drums/percussion)
with guests John Juxo on piano and Richard
Rosenblatt (VizzTone chief executive) on
harmonica appearing on selected tracks.
The opener is a loping countrified take on a
Christmas favorite, “Jingle Bell Blues,” where
Harpe plays guitar and Prozialeck provides
strong backing on harp. Lightnin’ Hopkins’
“Merry Christmas” features fierce fretwork from
Ms. Harpe, and she and Prozialeck take us on a
funky romp through another favorite, “The Night
Before Christmas.” “At The Christmas Ball,”
originally sung by Bessie Smith, is presented as
an acoustic duet with Harpe (on guitar and
kazoo!) and pianist Juxo. The hard-rocking
blues “Merry Christmas (Here I Come),” penned by
UK roots-rocker Lil’ Lost Lou, is a blast as
well.
The title track is actually a reworking of the
group’s 2014 favorite, “The Delta Swing,”
including co-writer Rosenblatt on harmonica. The
jumping “Christmas Is A-Comin’” is a song
previously recorded by Lead Belly, and the band
has a good time with it. Bo Carter’s “Drink and
Get Drunk” is not necessarily a Christmas tune,
but it definitely sets a festive tone with Harpe
again
breaking out the kazoo, and Chuck Berry’s
“Run Run Rudolph” is always a blast to hear. The
album closes with an a capella version of “Auld
Lang Syne,” closing with Harpe’s kazoo.
The Christmas Swing is a lot of fun. I really
like the fact that the band included several
old, less familiar Christmas songs in this set
(If I hear “Rockin’ Around The Christmas Tree”
one more time, I may wander out into traffic),
and the more familiar tunes are presented in a
fresh way, too. This album will be a treat for
blues fans who like Christmas music as well as
those who don’t usually care for it. Give it a
spin this holiday season.
--- Graham Clarke
 “The Reigning Queen of Beale Street,”
Barbara
Blue, never ceases to amaze and her latest
release, Fish In Dirty H2O (Big Blue Records),
is her best effort to date. Blue has assembled
an awe-inspiring cast of musicians around her,
including drummer Bernard Purdie, guitarists
Will McFarlane, Johnny Lee Schell, Michael Tols,
and Scott Sherrard, keyboardist Lester Snell,
Rick Steff, and Mark Namone, bassist Dave Smith,
and a horn section consisting of Lonnie McMillan
(sax/charts), Marc Franklin (trumpet), Jim Spake
(baritone sax), and Steve Graham (trombone).
Blue also co-produced the disc with Jim Gaines,
and co-wrote five of the songs with Narmore and
Sandy Carroll. The opener, “My Heart Belongs To
The Blues,” is a sweet slow burner that could be
classified as Blue’s “Mission Statement,” and
features a great solo from McFarlane. The rock
n’ roller “Johnny Lee” appropriately includes
Schell on guitar, and it’s a swinging adaptation
of Scott Sherrard’s “Angeline” from his recent
album. Speaking of Mr. Sharrard, his exquisite
slide guitar is a highlight on the driving
boogie “Accidental Theft,” and “Dr. Jesus” is a
gospel/R&B raver (with sweet backing vocals from
Sweet Nectar – Maureen Smith and Lynette “Sue”
McCracklin, and Lorina McMinn and Candace Mache)
that will make an unbeliever get up and testify.
If the powers that be in the
city of Memphis
have any clue at all, they should make Blue’s
version of Eric Hughes’ “Meet Me In Memphis” the
official song of the city. She sings the praises
of the Bluff City with passion and verve. The
moody title track, an old Koko Taylor “B’ side,
features rapper Al Kapone with Blue and her
reimagining of the song gives the disc a modern
touch. “Walk Away,” co-written by Blue and Narmore, sounds like a long-lost Malaco soul
blues ballad. “BBQ Man” is a…well….saucy and
spicy track, and “Wild Women” is a simmering
slice of funky R&B.
“Gravy Train” is a swinging shuffle with
horn-fueled backing and Blue encouraging all to
live every day like it’s your last. “That’s
Working For Me” has a jazzy feel, compliments of
McMillan’s tenor sax and Blue’s smoky vocal, and
“Slow Burn” is exactly that, an extended slow
burner where Blue takes her sweet time
delivering one of her most nuanced performances.
The album closer is an impressive reading of
Robert Johnson’s “Come On In My Kitchen,” one of
the best interpretations of this song that I’ve
heard.
A superb mix of blues and R&B and traditional
and contemporary, Fish In Dirty H2O is Barbara
Blue at her very best. I’ve been listening to
her 2002 release Sell My Jewelry, and it’s been
a lot of fun watching her career grow and
develop. The talent has always been there, and
it’s good to see that the audience is finally
catching up.
--- Graham Clarke
 Scott Sharrard is probably best known for his
near-decade as musical director and guitarist
for the Gregg Allman Band, co-writing with
Allman and playing on his final album, Southern
Blood. His fifth solo album, Saving Grace (We
Save Music), pays tribute to Allman and The
Allman Brothers Band’s legacy. It’s a wonderful
set of blues, roots, soul, rock, and R&B
recorded in Memphis (with the Hi Rhythm Section
– Howard Grimes, Reverend Charles Hodges, and
Leroy Hodges) and at Fame Studios in Muscle
Shoals (with David Hood, Spooner Oldham and Chad
Gamble, aka The Swampers).
Sharrard is an excellent guitarist, both lead
and slide, and a strong vocalist in a variety of
styles. Like the Allmans, his style is a
seamless blend of blues, rock, and soul
influences. The opener, “High Cost of Loving
You,” is a great piece of Memphis R&B, with
horns and backing vocals and that irresistible
Memphis rhythm. Terry Reid’s “Faith To Arise”
features Sharrard’s soaring slide guitar in an
acoustic setting, and the title track is a
soulful blues ballad where Sharrard turns in a
powerful vocal performance and searing lead
guitar.
“Everything A Good Man Needs,” believed to be
Allman’s last original (co-written with Sharrard)
is a good ‘un, a fine blues with Sharrard’s
slide guitar backing up guest vocalist Taj Mahal
(Bernard Purdie also guests on drums). The
retro-soul of “Angeline” is one of those
timeless works that would have been played
endlessly on the radio back in the day, and the
R&B ballad “Words Can’t Say” would have probably
been there too, with its lush orchestration and
Sharrard’s heartfelt vocal. Meanwhile, “She
Can’t Wait” offers a poignant look at infidelity
that belies the buoyant musical backdrop.
The upbeat shuffle “Sweet Compromise” has a
gospel feel and some dynamic B3 from Eric
Finland, and the R&B/soul track “Tell The Truth”
includes a fine guitar solo from Sharrard. “Keep
Me In Your Heart” is a tender country ballad
with more superlative slide from Sharrard, and
the closer “Sentimental Fool” really captures
the Memphis/Stax style perfectly.
Something tells me that Gregg Allman would be
pleased with Saving Grace. It’s an album that
deserves to be heard, and will hopefully lead to
more great releases from Scott Sharrard.
--- Graham Clarke
 Singer Frank Bey has battled kidney failure for
several years, but as the title of his new album
would indicate, he’s Back In Business with a new
record label (Nola Blue Records). Tom Hambridge
is in the producer’s chair for this fine
soul blues set recorded in Nashville with
Hambridge manning the drums and contributions
from a stellar cast of the Music City’s best
(Rob McNelly – guitar, Marty Sammon – keys,
Tommy MacDonald or Adam Nitti – bass). The
11-song set consists of six songs written by Hambridge and his regular collaborator Richard
Fleming, along with four from Bey’s regular
guitarist Jeff Monjack, bassist Kevin Frieson,
and Tanya Henry, and a Mighty Sam McClain cover.
Bey gets right to it with the fiery opener, a
busy Chicago shuffle that serves notice that
even though he’s been gone for a bit, he’s back
to it with a vengeance. He sounds as strong as
ever, so there’s little reason to doubt his
claim. The funky tale of a “Gun Toting Preacher”
(with a cool twist near the end) is next as sax
(Max Abrams) and trumpet (Julio) join the
proceedings. The atmospheric ballad “Take It
Back To Georgia,” written by Hambridge and
Fleming, tells of Bey’s return to his native
state after initial frustration with the music
business and his subsequent restart of his
career.
“Cookie Jar,” written by Monjack and Frieson,
picks up the pace with a heavy dose of funk and
horns, while “The Half Of It” is a great
slow-burning ballad that wouldn’t have been out
of place during the hey day of ’60s southern
soul and Bey does a marvelous job with it, as he
does on his stylish take on McClain’s “Where You
Been So Long,” really bringing out the blues
undertones of this underrated tune. “Better Look
Out” swings along with Sammon’s piano driving
things along, and the romantic ballad “Ain’t No
Reason” flirts with pop.
“Blame Mother Nature” is a smooth R&B tune from
Hambridge and Fleming, with Bey providing a tasty
blend of silk and grit in his vocal delivery.
“Give It To Get It” is a fine mid-tempo blues and
one of several songs that feature Wendy Moten’s
excellent backing vocals. “Yesterday’s
Dreams” is a splendid slow blues that showcases Bey as he reflects on the past and future, with McNelly providing tasty lead guitar and fills.
It’s good to hear that Frank Bey is indeed
Back
In Business. Hopefully for soul blues fans,
he’s back to stay for awhile.
--- Graham Clarke
 The Dennis Jones Band
has grabbed me pretty much ever since I heard
their album Pleasure and
Pain back in 2009. To these ears Jones is the
total package for any modern blues fan --- a
killer guitarist that can play the blues and
rock things out when the need arises, a
strong vocalist and a talented songwriter.
Based on what can be heard from Jones’ latest
release, We3 Live (Blue Rock Records), he’s a
dynamite live performer as well.
This ferocious live set, captured at the Beaver
Creek Brewery in Wibaux, Montana, finds Jones
fronting his explosive trio (Sam Correa –
bass/background vocals, Raymond Johnson – drums)
and ripping through 14 songs taken from all of
the band’s previous five releases, plus an
excellent cover of Albert King’s “Born Under a Bad Sign”
(via Booker T. Jones and William Bell) that closes the set.
“Blue Over You” opens the set. It’s a funky
contemporary urban blues that includes a pair of
lively solos from Jones. The driving
Texas-styled shuffle “When I Die” is next,
followed by “Passion For The Blues,” where Jones
acknowledges a host of blues legends and
influences, and “Stray Bullet,” a midtempo blues
about a man down on his luck in love. The
amusing “Hot Sauce” is a salacious
country-flavored rocker (complete with “Third
Stone From The Sun” reference, as heard
previously on Pleasure and Pain), and “Don’t
Worry About Me” is R&B with a rock edge.
“Super Deluxe” is a swinging shuffle where Jones
compares the girl of his dreams to his dream
car, and “Enjoy The Ride” is a good-natured
warning to not let life pass one by. The
Latin-styled “You Don’t Know A Thing About Love”
is a smooth change of pace that mixes samba with
soul, while “Kill The Pain,” is a nasty grinding
shuffle about drug and alcohol abuse. “Big Black
Cat” nimbly mixes jazz, funk, and Hendrix, while
“Devil’s Nightmare” has a bit of a Caribbean
flair and some great guitar work from Jones, and
the roadhouse rocker “I’m Good” closes the
regular set.
The cover of “Born Under a Bad Sign” was the
band’s encore track and the trio really leaves
everything on the playing field with this
effort, particularly Jones with an incredible
run of guitar solos.
We3 Live is a masterful set of blues rock from
one of the premier bands of the genre. If you
haven’t tuned in to the Dennis Jones Band
previously, this is a great place to get
started.
--- Graham Clarke
 Brigitte Purdy has one of those voices that you
could listen to all day long. A graduate of the
Dorothy Chandler Conservatory, Ms. Purdy can
sing it all --- blues, rock, funk, jazz, soul, and
classical --- while pouring her heart and soul into
every performance. Her latest release is the
marvelous Still I Rise (Dirtshack Records), ten
original tracks co-written with Dave Osti which
beg the question: “Is she at her best as a blues
singer, a soul singer, or an R&B singer?” The
answer is “YES!”
The winning opener, “Hoodoo,” is a swampy blues
shuffle with Purdy providing a feisty vocal
while backed by Kenny Neal on harmonica and
Sugaray Rayford keyboardist Drake Shining on B3,
who also makes his mark on the inspirational “Be
The Light,” where Purdy implores her listeners
to be true to themselves and love one another.
“Home Is In My Heart” is full of Texas roadhouse
grit and Purdy gets an assist from guitarist
Osti, who also produced the album, playing
drums, bass and piano on most tracks. “My Kinda
Blues” is a southern-styled blues rocker with
harp from Michael Fell and fiery fretwork from
Osti.
The ballad “Last Time” is a fabulous slice of
goosebump-inducing soul that features one of
Purdy’s best performances. The sassy funk
workout “Get It Understood” is a keeper, too,
and nimbly rolls into the old school R&B of “If
I Could.” Purdy wrote “Lucille Don’t You Weep”
with Osti and Shining. It’s a loving tribute to B.B. King and his guitar that references several
of the King’s classic tunes both lyrically and
musically and features a heartfelt vocal from
Purdy and a sizzling solo from Osti. The
timeless R&B of “Blues Angel” would be a great
fit on the charts today and features Donnell
Spencer, Jr. on drums.
The title track closes this excellent album.
Purdy pours so much of herself into this track
that the lyrics have to be autobiographical.
And
then, that’s it. This one could have gone on
much longer. Remember what I said in the first
sentence? Listeners will be begging to hear more
from this fine new artist on the blues scene,
and are encouraged to put Still I Rise on their
“must hear” list.
--- Graham Clarke
 It’s been a while since we’ve heard anything
from Hadden Sayers, with 2013’s Rolling Soul
being his
most recent release. However, the Texas-based
singer/songwriter/guitarist has more than made
up for lost time with his most recent project,
Dopamine Machine. This excellent 11-song set
was recorded in Nashville with session musicians
Greg Morrow (drums/percussion), Rusty McFarland
(bass / percussion / acoustic guitar / producer), and
Johnny Neel (organ). Sayers wrote all 11
songs and there are all top notch, mixing blues
with rock and soul and plenty of swagger. To
these ears, he’s never sounded better.
In the liner notes, Sayers states that the
opening track, “Unsatisfied,” was a country song
in its original form, but he reimagined it as a
rocker. It’s hard to argue with his decision,
because the rock version has the feel of a ZZ
Top tune with the hard-charging guitar and the
occasional blips and whistles that are
interspersed --- a great way to kick things off. “I
Feel Love” is a very different love song, mixing
Americana with a blazing rock attack, “Hit The
Road” is a driving rocker story with a clever
twist, and the reflective ballad “Blood Red
Coupe Deville” just drips with soul.
Sayers plays guitar in Ruthie Foster’s band, and
she joins Sayers on the gentle “Waiting
Wanting,” providing harmony vocals. Anyone who
has ever fallen in love at first sight can
relate to this song. “Good Good Girl” also
started out as a country song, but morphed into
a catchy pop rocker with a dash of funk. The
funk and pop flavor carries over to the next
tune, “Learning To Disappear,” but with the
frenzied “Peppermint Patty” Sayers returns to
the hard-driving rock that started the album
off.
The title track started out as a song about
Sayers’ addiction to his iPhone, but the lyrics
are such that it could apply to anything that
one might be addicted to. “Gravity” is a tune about
growing older, and certainly one that strikes a
chord for me and should for anyone else who’s
firmly ensconced in middle age.
The disc closes
with the explosive rocker “Backbreaker.” Sayers
strikes a perfect balance between rock, soul,
and the blues on Dopamine Machine, with some of
the best songs he’s ever created.
 Sayers also recorded the entire album as a solo
acoustic set, Acoustic Dopamine, in his bedroom
with a 1954 Gibson acoustic. The acoustic
setting allows listeners to focus more on
Sayers’ songwriting.
Despite the spare setting
(or maybe because of it), the unplugged approach
adds layers and textures to the songs. Each
song takes on a different intensity than with
the electric set, such as “Dopamine Machine” and
“Learning To Disappear,” both of which has a bit
rougher edge, and “Learning To Disappear.”
As much as I loved “Waiting Wanting” on the
electric album, this album’s version (again with
Foster on harmony vocals) is spellbinding, and
“Good Good Girl” and “Pepperming Patty” are fun.
“Blood Red Coupe Deville” is a winner in either
fomat. “Hit The Road” is a churning blues, and
“Unsatisfied” works very well in its original
country format. “Backbreaker” and “Gravity” are
both presented in a country blues setting and
these versions really click as well.
If Hadden Sayers continues to make music this
good, I’m willing to wait a little bit longer
for it. If you’re not on board with his music at
this point, either set is a great place to
start but you’ll want both of them after
hearing one of them.
--- Graham Clarke
 If you’re late to the game with guitarist
extraordinaire Alastair Greene, then his most
recent effort, Live From The 805 (RipCat
Records), will certainly get you into said game
in a big way. A whopping 20-track, two-CD set that
provides an excellent overview of his solo
recording career to date with songs culled
from his previous five releases, as well as an
awesome display of his musical talents. Greene
recorded this rousing set in front of a hometown
crowd in Santa Barbara, California, backed by Jim Rankin
(bass) and Austin Beede (drums) with a guest lead
vocal from Chris Chalk.
The set blasts off with “The Sweetest Honey,” a
searing blues rocker from Greene’s 2014
powerhouse Trouble At Your Door, highlighted by some rock-fueled lead guitar. The
boogie shuffle “Big Bad Wolf” is from last
year’s breakthrough album, Dream Train.
The
soaring title track from Trouble At Your Door is
next, followed by “3 Bullets,” a cool blues
shuffle from Greene’s A Little Wiser release
from the early 2000’s. “Red Wine Woman”
originally featured Greene on National Steel on
Trouble At Your Door, but works very well as an
amped-up Delta burner on this set.
“Say What You Want,” from the 2009 release,
Walking In Circles, is a funky slide fest with a Diddley beat, while “Love So Strong” is an
Albert King cut from his Stax days, the
first of four cover tunes (Greene originally
covered it on A Little Wiser). “Down To
Memphis” was one of the many highlights of Dream
Train, as it is here. Junior Wells’ standard,
“Lawdy Mama,” gets an energetic reading,
followed by “Lucky 13,” a jazzy, up-tempo track
from Dream Train that closes the first disc.
“Dream Train” kicks off
disc two, maintaining the
flashy, fiery ’70s feel of the studio version,
followed by the rumbling shuffle “Back Where I
Belong” and the psychedelic rocker “T’other Way”
(from 2011’s Through The Rain). “Last Train
Around The Sun” mixes blues, rock, and funk,
while “Love You So Bad” blends blues with a
country-styled beat. “Rain Stomp” is
a, well, stomping North Mississippi blues with
scorching slide guitar.
Greene picks up the pace and gets funky with an
extended take on Jimmy Reed’s classic, “Big Boss
Man.” He’s then joined by Chalk, who provides
lead vocals on “First Born Son,” a driving
rocker that wouldn’t have been out of place in
the mid ’70s. The final cover tune is Albert
Collins’ “Shoe On The Other Foot,” with Greene
capturing the good-natured funkiness of Collins’
original reading. Disc two concludes with
“Walking In Circles,” showcasing some tasty
Elmore James-styled slide guitar.
At 90-plus
minutes, the obviously engaged audience
certainly got their money’s worth from Greene
and band as will anyone who decides to
pick up this great live set. Any release from
Alastair Greene is a treat, and Live From The
805 is no exception.
--- Graham Clarke
 Guitarist/singer/songwriter
Damon Fowler has
enjoyed a two-decade career that has encompassed
blues, soul, gospel, rock, reggae, and jazz. In
addition to a solo career, he’s played with
blues-rock ensembles such as Southern
Hospitality (with JP Soars and Victor
Wainwright) and Butch Trucks’ Freight Train
Band, along with his current gig as guitarist
for the Dickey Betts Band.
Shortly after Trucks’
tragic death, Fowler recorded The Whiskey Bayou
Session (Whiskey Bayou Records) at Tab Benoit’s
studio in Houma, Louisiana. Benoit plays rhythm
guitar on two tracks, acoustic on another, while
the remaining eight tracks feature a line-up of
Fowler (vocals, guitar, lap steel), Tod Edmunds
(bass), and Justin Headley (drums).
I really like the swampy funk of the opener “It
Came Out of Nowhere.” Fowler sings with a a lot
of soul, while Benoit, Edmunds, and Headley lock
into a slippery groove right off the bat.
“Fairweather Friend” continues the funky vibe
but with more of a blues-rock edge, thanks to
Fowler’s tasty guitar work, and the groove is
still tight. The swinging cover of Johnny Nash’s
“Hold Me Tight” is a real winner
too, transformed into a really cool and catchy
shuffle that stays with you. Little Walter’s “Up
The Line” is given a facelift as well, taking on
a driving Southern rock rhythm that’s a great
fit.
“Ain’t Gonna Rock With You No More” is a
straight-forward blues rocker with Fowler on
slide guitar, and is followed by an nicely
understated countrified gospel reading of “Just
A Closer Walk With Thee,” which features more
slide. “Pour Me” takes the vibe back to the
swamp with clever lyrics added to the funk
(Benoit plays rhythm guitar on this track, too),
and on the rocking “Holiday,” which should be
the anthem for overworked, overwrought folks
everywhere, Fowler ponders getting away from the
stress and strain of everyday life.
On an album with plenty of funk thrown into the
mix, “Running Out of Time” got more than a
regular serving. This track is one that
listeners will remember for awhile, thanks to
the sing-along chorus and overall carefree vibe.
The acoustic ballad “Candy” is a most impressive
track as well, with Benoit playing guitar and
Fowler really pouring his heart into the
heartfelt, highly personal lyrics. Closing out
the disc is “Florida Baby,” a dreamy shuffle
with Fowler on lap steel.
The Whiskey Bayou Session is an album that will
appeal to any music fan who digs the blues,
southern rock, soul, or R&B. It has a warm,
engaging quality that will almost sneak up on
you and will make it difficult to stop
listening. Hopefully, Fowler and Benoit will
collaborate again soon, because this one is a lot
of fun.
--- Graham Clarke
 Gina Sicilia has been recording for over ten
years and it’s been a pleasure to watch her
develop and gain confidence as a performer and
songwriter. Her smoky, sensual vocals are potent
enough, but her songwriting continues to impress
almost as much. Her eighth album, Heard The Lie
(Blue Elan Records), features eight of her own
compositions including a couple co-written by
producer Dave Darling. Sicilia is joined by a
crack studio band (Josh Smith – guitar, Herman
Matthews – drums, Davey Faragher – bass, Carl
Sealove – acoustic bass, Doug Livingston – dobro,
Arlan Oscar – keyboards, and Darling –
guitar/backing vocals) and a host of backing
vocalists.
This time around Sicilia is still signing the
blues, but she’s also expanding into country and
Americana, evident on the title track,
which opens the disc. Smith’s guitar work is
appropriately twangy and the brisk pace makes
this one a toe-tapper. “How Many Times” ventures
into Memphis soul territory, with Sicilia pouring
every ounce into her vocal. Next is a cover of
Bad Company’s “Ready For Love,” which she gives
a funky R&B reworking, followed by “Brighter Day,” an upbeat
slice of mellow blues on which Sicilia shares
lead vocals with co-writer Janiva Magness, and
Janey Street’s “Angels Watching,” a soaring mix
of blues and pop.
“Man In The Sky” is a gospel tune that has the
feel of a chain gang song with the clapping
percussion and the “Gang vocals” backing
Sicilia’s somber voice. The country-ish romp
“Sugar” is as good as anything on the country
charts these days. The pop-flavored “Darling”
has a snappy Latin beat, as does “Light Me Up,”
which ups the tempo for dancers. “I Do Bad
Things” revisits the country/Americana side of
the aisle effectively, and the closer, “Growing
Dim,” is a moody gospel/soul ballad with spare
backing by Smith, Matthews, and Oscar.
Gina Sicilia continues to grow as a performer
and songwriter on Heard The Lie, expanding her
range of genres and mastering each with
seemingly little difficulty. It will be
interesting to watch this fine young performer’s
career develop.
--- Graham Clarke
 The young Croatian singer/guitarist
Vanja Sky is
the latest discovery by Ruf Records. The label
has already enjoyed remarkable success in
finding and launching the careers of female
blues artists Samantha Fish, Joanne Shaw Taylor,
Erja Lyytinen, and Ana Popovic. Ms. Sky has only
been playing guitar for five years but is
obviously a quick study, giving up her previous
job as a pastry chef to dedicate her life to
music.
Ruf Records recently released Sky’s debut
recording, Bad Penny, putting the lady in
excellent company. Grammy-winning producer
Jim Gaines served as engineer for several
tracks at his Bessie Blues Studios in Tennessee,
with guitarists Mike Zito and Bernard Allison
lending a hand as well. Zito plays rhythm guitar
on all tracks and co-produced the album with
Thomas Ruf.
Sky cites Stevie Ray Vaughan, Albert King, and
Rory Gallagher as influences on guitar, and her
fearless cover of Gallagher’s “Bad Penny” kicks
off the disc. She penned 10 of the 12
tracks on the set, including the funky rocking
shuffle “Hard Working Woman” and the mid-tempo
“Hit Me With The Blues,” which leans more toward
the pop side of the blues. “All Night” is a
straight-ahead contemporary blues rocker, and
the ballad “Inside Pain” finds Sky taking on a
bit of a Dire Straits vibe with a tender but
tough vocal and Knopfler-esque fretwork.
“Give Me Back My Soul” is a rugged roadhouse
workout with SRV overtones, while Sky takes her
sweet time on the sultry slow burner “Lost Love.”
“Do You Wanna” effectively mixes funk and pop with the blues, and “Married Man” is an excellent,
moody ballad with a fine vocal performance from
Sky that powerfully reflects sorrow and regret.
The incendiary “Don’t Forget To Rock n’ Roll”
should be a real crowd-pleaser, and the closer,
“Crossroads of Life,” marries the Delta blues
with a touch of Southern rock.
The album’s other cover is “Low Down and Dirty,”
written by Bernard Allison and best remembered as
the blistering opener of Allison’s dad’s final
studio release in 1997. Zito and Allison share
vocals and guitar duties with Sky on this track,
with all three delivering the goods. The trio is
also part of the 2018 edition of the Ruf Blues
Caravan, which is touring across Europe and
North America.
It looks like smooth sailing for Vanja Sky
based on this impressive debut release. She
proves herself to be a fine singer, songwriter,
and guitarist. Blues and blues rock fans should
stay tuned for future developments.
--- Graham Clarke
 Jeremiah Johnson returns with a new album and a
new record label. Straitjacket (Ruf Records) is
a sizzling set of blues rock from the St.
Louis-based singer/songwriter/guitarist and his
band (Frank Bauer – saxophone/vocals, Tom
Maloney – bass/slide guitar, and Benet Schaeffer
– drums). Produced by fellow St. Louis native
Mike Zito, who also contributes rhythm guitar,
this powerful disc includes a dozen tracks,
11 written by Johnson, that deftly mix
blues, rock, and soul.
The title track opens the album, a driving
rocker with a driving rhythm and Johnson’s
stinging lead guitar. His vocals are sometimes
reminiscent of Bad Company-era Paul Rodgers,
smooth with a bit of swagger. “Getting Tired”
speaks to the plight of growing old, benefiting
from Bauer’s wailing sax,. The soulful
ballad “Blues In Her Eyes” slows things down a
bit with a nice vocal turn from Johnson and
Bauer’s smoky sax solo. The boisterous shuffle
“Keep On Sailin’” has a country kick, and
“Believe In America” recounts the financial
struggles of some citizens.
“King & Queen” is a splendid slow blues with
Johnson taking plenty of time to lay down some
sweet blues guitar, and “Dirty Mind” is a steamy
track about an adventure with an overnight
guest. The autobiographical “9th and Russell” is
an old-school Southern rocker that paints a
vivid picture of Johnson’s early days, and “Old
School” yearns for the days when minor disputes
were settled by fistfights instead of guns. The
instrumental “Bonneville Shuffle” is a cool
retro track that mixes film noir and surf music,
and the ballad “Hold My Hand” is a change of
pace with Johnson playing acoustic guitar.
Johnson closes things out with a fun-filled,
hard-rocking cover of the Ten Years After
classic “Rock n’ Roll Music To The World,”
featuring Zito and Johnson exchanging guitar
solos and vocals. A great way to conclude an
excellent release that should appeal to a wide
variety of music fans.
--- Graham Clarke
 Lawrence Lebo’s sixth album,
Old School Girl (On
The Air Records), couldn’t be more appropriately
titled. Ms. Lebo’s recording career started in
the late ’80s when she released her debut EP
from the kitchen of her tiny apartment, armed
with a typewriter and Rolodex. Now, that is old
school, but she’s been releasing her albums on
her own label since 1989, long before
self-released albums were a regular thing. She’s
also been writing and performing with her
husband, bassist Denny Croy, for over 30 years.
Lebo’s latest finds the talented singer mixing
the blues with the sounds of Memphis soul, à la Stax Records. There are seven new songs penned
by Lebo, with one song being presented in both
“explicit” form and “clean” form, and a
first-rate cover of T-Bone Walker’s standard
“Stormy Monday.” In additon to Croy on bass,
Lebo is joined by Tony Mandracchia
(guitar/banjo), Steve Mugalian (drums), Larry
David (keys, harmonica), Phil Parlapiano and
Sasha Smith (B3), Carl Byron (accordion), and Ed
Eblan (drums).
Lebo gets right down to business with the
opening track, pouring her heart out on the slow-burning “You’ve Got A Secret,” which also
features some tasty solo work from David on
organ and Mandracchia on guitar. The title track
is next, picking the tempo up a notch with Lebo
testifying that the old ways still are the way
to go while backed by more sweet guitar.
“Stormy Monday” follows, and it’s not your
customary “Stormy Monday” cover, with Lebo taking
her time with the opening verses, savoring every
moment, before the song picks up with a great
harmonica solo from David.
“Stop Shouting Your Business” takes it to Bayou
Country with some great second line rhythm and
accordion. It's a really fun track that is reprised at
the end of the disc in a “clean” version. There’s
one four-letter word in the “explicit” version,
so no one should be marked for life, and I
certainly didn’t mind hearing it twice.
“Give Me
A Try” is pure Memphis with greasy B3 from
Smith, nasty bass from Croy, and some fine
picking from Mandracchia, and “Bad To The Core”
is a feisty Texas roadhouse shuffle. “Happy
Anniversary” is a sweet soul ballad, followed by the second read of “Stop Shouting
Your Business.”
A most excellent set of blues and R&B,
Old
School Girl will certainly please fans of either
genre, and will definitely make you want to hear
more from Lawrence Lebo, proving to be as
good a songwriter as she is a vocalist.
--- Graham Clarke
 For her fourth release,
Doin’ Fine, the
Seattle-based singer Lady A returned to Jackson,
Mississippi where her previous release, Loved, Blessed,
& Blues, was recorded. Producers Joey Robinson
and Dexter Allen also return to co-produce, this
time at Allen’s studio, and provide the majority
of the musical backing. Allen plays
guitar and bass and provides backing vocals,
while Robinson
contirbutes keyboards and drums (along with
Christopher “Rattlesnake” Minter). Lady A penned
seven of the ten songs, with two being written
by her longtime collaborator, John Oliver III.
Though Lady A hails from the West Coast, the
sounds of Southern soul-blues courses through
her veins and it’s clear why she’s a favorite on
the Pacific Northwest blues scene. The title
track wouldn’t be a bad fit on a Bobby Rush
album with the lady giving a story of her
musical journey, fueled by Allen and Robinson’s
funky backbeat. “The Ride” is a mid-tempo
reflective look at the unpredictability of life,
while the standout “Next Time U C Me” is a
buoyant R&B track that owes a debt to the old
Junior Parker classic with a similar title.
The ruminative “Tryin’ To Get Over” has a slick,
almost jazz feel, thanks to the keyboards from
Paul Richardson who co-wrote the song with Lady
A, and the optimistic “Change The World” ventures toward gospel
with
backing vocals from Lady A and Allen and
Robinson’s keyboards taking listeners to the
church. “That Man” is a fine, well-crafted slice
of soul-blues, “Catch Me On The Low” mixes
blues, funk, and R&B, and “Throw Down” is a nod
to old school funk.
Oliver wrote the final two tracks on the disc.:
“Roof Ova My Head” is a song of thanksgiving as
Lady A counts her blessings for the many things
she’s been blessed with, and “Glad To Know You”
is a soulful ballad that flirts with jazz.
Lady A has a fine vocal style that can play it
tough or tender, and she’s found a pair of
musical soul mates with Robinson and Allen whose
production and musical support is first rate.
She is indeed Doin’ Fine, and her new album
deserves to be heard by blues and soul-blues
fans.
--- Graham Clarke
 L.A.-based singer/songwriter
Shari Puorto made a
lot of waves with her 2016 release, My
Obsession, which put her soulful vocals and
songwriting on full display. Recently, she
released Live at Bogie’s (Little Lightning
Productions), a stellar live set of blues,
roots, and blues-rock recorded in Westlake, California
with bandmates John DePatie (guitar), Frank
Scarpelli (bass), John Greathouse (keys,
vocals), and Mike Sauer (drums, vocals). The
12-song set includes eight originals
co-written by Puorto, plus four fine covers.
Those who enjoyed her previous release will be
happy to hear several songs from that most
excellent album: the R&B/funk of “It’s A
Damn Shame” and the humorous “My Obsession,” the
supremely soulful “Sugar Daddy” and “All About
You,” and the blues-rockers “Home of the Blues”
and “Six Months Sober.”
There are also a pair of
songs from earlier releases, the rocking “Outta
My Mind” from Down The Road, and the gritty
ballad “All I Want Is You,” from Real. These
songs were co-written by Puorto with Johnny
Hawthorn, Barry Goldberg, Alastair Greene, Tony
Braunagel, and Jimmy Vivino, and she shows an
ability to add a fresh touch to familiar blues
themes.
The covers include a tasty reading of Randy
Newman’s “Guilty," maybe the best
interpretation of this song I’ve heard. Candi
Staton’s “Evidence” gets a performance that
comes mighty close to the original, and her take
on Savoy Brown’s fiery rocker “I’m Tired” is a
lot of fun, too. Puorto closes the disc with an
exquisite version of Steve Winwood’s Blind Faith
classic “Can’t Find My Way Home.”
Puorto does a marvelous job with vocals on this
set and shows an easy rapport while engaging the
audience between songs. The band is first-rate
in support. If you’re not familiar with Shari
Puorto, please check out Live at Bogie’s. You’ll
definitely want to hear more.
--- Graham Clarke
 Keith Stone’s 2016 debut,
The Prodigal Son
Returns, paid tribute to his hometown of New
Orleans and was a nice reintroduction to the
singer/guitarist who grew up playing in the
French Quarter before leaving the Crescent City
to become an ordained minister in the mid-’90s.
He returned after Katrina and began playing
again a few years later. For his latest release,
Stone teams up with keyboardist Tom Worrell,
bassist Kennan Shaw, and drummer Eddie
Christmas, dubbed Red Gravy, along with slide
guitarist Brent Johnson and saxophonist Jimmy
Carpenter.
The new disc, Blues With A Taste of New Orleans,
kicks off with the straight-forward blues rocker
“Ain’t That The Blues,” which features Johnson
on slide guitar, and is followed by the funky
“Love Put Me Down” which really finds the band
in great form, particularly Worrell on keys, as
they lock into a groove that the Meters would be
proud of. “You Ain’t Got Nothing” is a cool
blues/funk mix, while the rollicking “Red Gravy”
really captures the essence of the city, both
the music and the cuisine for which the city is
noted, and Stone turns in an excellent vocal on
the after-hours ballad, “Crazy In Love With
You.”
“Don’t Count Me Out” is a smooth, stylish
shuffle, “Blue Eyed Angel” is a smoky,
jazz-flavored ballad, and “Time To Move On” hit
on the legendary second line rhythm backed by a
hot Carpenter sax break. The slow burner “Hard
To Have The Blues” boasts Stone’s best vocal and
guitar work on the disc. The closer,
“Something In The Water,” is worth the price of
the disc as Stone and the band really stretch
out as they pay tribute to the music of the city
and its residents, going into an extended jam
for the last half of the tune.
Listeners would be hard-pressed to find a more
fitting title for this fine album than Blues
With A Taste Of New Orleans. Keith Stone and Red
Gravy effortlessly capture the sounds of the city,
a delicious gumbo of blues and New Orleans R&B
that’s sure to please fans of the music of the
Crescent City.
--- Graham Clarke
 Michele D’Amour and the Love Dealers have made a
few changes since their 2017 release, Lost
Nights at the Leopard Lounge, beginning with the
addition of four new members to the
band in guitarist Jeff Cornell, drummer Dave Delzotto, keyboardist Brian Olendorf, and
saxophonist Noel Barnes. Bassist/trombonist
Patrick McDanel remains from the previous
lineup. Their new album, Wiggle Room, is their
first on the Seattle-based band’s own record
label, BluesKitty Records, and is produced by
D’Amour with renowned Washington blues guitarist
Mark Riley.
The new disc offers ten tracks written or
co-written with bandmates by D’Amour, and finds
the band venturing beyond their previous realm
of blues, funk, and soul, adding jazz, boogie,
swing, and a taste of country into their
repertoire. The opener “Falling Down” mixes
blues and funk and discusses continued efforts
to get one’s act together. “Sweet Lovin’ Man” is
a swinging stop-time blues that’s a showcase for
the band’s new expanded horn section, while the
title track is a wonderful jazzy lounge number
that’s an impressive vehicle for D’Amour’s vocal
talents, and “Honey On The Side” is a sassy
warning to a straying lover.
The jazz number “Nothing To No One” includes
excellent trumpet accompaniment from Greg Lyons,
with Olendork on piano and Barnes on sax,
describing a homeless man on the street as he’s
ignored by passersby. “Let It Slide” has a
definite Latin flavor and Cornell’s guitar work
does give a nod to Carlos Santana, but D’Amour’s
mellow vocal and the hypnotic rhythm with Angelo
Ortiz lending a hand on congas also help make
this one a keeper. “Been So Long” is a driving
blues rocker, and “Worthy” is a haunting ballad
about a battle with self-esteem after losing a
lover.
Olendorf’s deft piano playing is in the
spotlight on the raucous “He Can’t Be Wrong” and
again on the gospel-inflected closer, “Hard
Times,” which reflects on current happenings in
the world.
Several things stand out on
Wiggle Room. The
interplay of the Love Dealers is first-rate and
the addition of a fuller horn section really
adds to the band’s sound. As good a singer as D’Amour is, she’s on the same level as a
songwriter. There are some powerful songs on
this set. This is a great little album that
should be heard and appreciated by anybody who
digs blues or jazz.
--- Graham Clarke
 Johnny & The Headhunters is a formidable crew
led by guitarist/singer Johnny Ticktin, who
started playing guitar at age 6, but became
enthralled with the blues while in college. He
later became friends with harmonica player Larry
Wise, who introduced him to Louisiana Red. The
trio toured the U.S. and Canada as Nobody’s
Children. Ticktin also played with Sunnyland
Slim, Lurrie Bell, and in the groups Rockett 88
and the Philadelphia band The Excellos in the
early ’80s before moving back to his native
Washington D.C. to form The Headhunters, where
they’ve held court for three decades.
That’s All I Need is the band’s eighth release,
and it’s a ten-song set that covers blues,
swing, mambo. R&B, and surf music. It consists
of nine cover tunes that span rock, blues, R&B,
and even rockabilly. Ticktin is backed by
bassists Brian McGregor, Steve Shaw, Pete
Kanaras and Toro Gamble, drummers Clark
Matthews, Gamble and Robbie Magruder, with D.C.
legend Tam Sullivan on keyboards and Dru Lore
guesting on guitar for one track.
Some of these songs will be familiar to blues
fans. The band covers two Magic Sam tracks. The
title track kicks off the disc and gets a really
swampy blues treatment with Johnny’s tremolo
guitar, and “All My Whole Life” is a smooth West
Side shuffle. “Lead Me On” was a hit for Bobby
“Blue” Bland back in the day, with Johnny turning
in a fine vocal and tasty guitar work. The Doc Pomus/Dr. John tune “Body and Fender Man” gets a
rousing treatment. Johnny also owns JT Auto
Service in his day job, so the song has a double
meaning for him.
The band does a slick job on Dave Cash’s
rockabilly tune, “Chicken House,” and rock hard
on Lowell Fulson’s “Rock ‘Em Dead,” a driving
boogie shuffle. Johnny picks up the slide for a
sizzling, roof-raising take on Elmore James’
“Shake Your Moneymaker,” and cranks up the
reverb for a smoking read of Link Wray’s “Ace of
Spades.” He’s joined by singer Liz Springer (of
the D.C. band Build 4 Comfort) for a duet on
Donavan’s “Watch and Chain.” The closer is a
Ticktin original, “Collins Mambo,” that pays
tribute to Texas guitar slinger Albert Collins’
early recordings.
This was a very enjoyable album with a great
retro feel. Johnny is a talented guitarist and
vocalist, and I like the way he takes these cover
tunes and gives them a few interesting twists
and turns. Blues fans who dig old school guitar
will want to get their hands on That’s All I
Need.
--- Graham Clarke
 Singer Karen Lawrence has been performing since
she was a kid, fronting her first blues band at
13. She sang backup vocals on albums for
Aerosmith and Jeff Beck and has worked with
longtime friend guitarist Rick Dufay, who also
served as a guitarist for Aerosmith during the
’80s, and second guitarist Fred Hostetler as
part of the band Blue By Nature since the early
’90s. Recently, the band released Best of Live,
which collects and remasters eight popular songs
from their 1998 double CD set, Live By The Lake.
In addtion to Lawrence, Dufay, and Hostetler,
the band includes bassist Charlie Diaz and
drummer Dan Potruch.
The set list includes the opening shuffle “It’s
All About You,” “Another Day, Another Mile,” the
soulful ballad “Fun and Games,” the funky R&B
track “I Had It All Wrong,” the
southern-flavored blues rocker “You Got Me
Workin’,” “You Got A Way,” which has a Crescent
City R&B feel, the pop rocker “It’s Been So
Long,” and the roadhouse romp, “I’ll Get Along
Alright,” which concludes the disc. The songs
from Lawrence are a memorable lot, covering the
basic blues topics: love, loss, life, and
relationships from a female perspective.
Lawrence is also a powerhouse vocalist. She will
remind listeners of other vocalists. I heard
Janis Joplin’s name associated with her, which
is true, but I also hear Tina Turner and Bonnie Bramlett as well, and each have
influenced their share of Lawrence's vocals. However,
Lawrence brings her own game to the table as
well with her own unique style and you’ll want
to hear more from her after this sampling.
Dufay’s lead guitar is spot on as well, and he
also shines on slide guitar, too.
Fans of high energy blues rock will not want to
let this one slip by. Hopefully, Lawrence and
Blue By Nature will give blues fans an album of
new material in the near future.
--- Graham Clarke
 Jock’s Juke Joint, Volume 4 along with
the previous three albums in the series further
highlights the quality, richness and diversity
of contemporary blues in Scotland. Most of the
18 artists showcased here, whether relative
novices, veterans, or somewhere in between,
compare favorably with the finest blues
performers in Europe and beyond.
It is appropriate
that this compilation CD starts off with the
title track of Andy Gunn‘s ‘live in the studio’
album, Too Many Guitars To Give Up Now,
given that he is one of the most original and
inspirational UK bluesmen of his generation. As
a teenager, Andy found fame in 1993 with
Virgin’s Point Blank release of the sensational
debut CD, Shades Of Blue, and a tour of
Memphis with his band Jumpin’ The Gunn. Since
then, Andy has suffered from significant periods
of darkness as he battled with ill health and
adversity. Proof of recovery comes with the
upbeat, rock and roll “Too Many Guitars To Give
Up Now” with its nostalgic lyrics, intricate
guitar interludes, boogie-woogie piano and
searing harp solos.
Scotland’s latest
sensation, the dynamic, high energy five-piece
Redfish contribute an original blues masterpiece
“Immaterial Man” from their highly acclaimed
5x5 EP. Impassioned vocals from lead singer
Stumblin’ Harris are underpinned by the tightest
of rhythm sections which enable guitarist Martin
McDonald and keyboard player extraordinaire
Fraser Clark to demonstrate their creative
talents. Clark is both a showman and a genius,
his speed, dexterity and compositions
reminiscent of the best in the world, from Brian
Auger to Keith Emerson.
Melisa Kelly and
the Smokin’ Crows have just released their debut
full length album, Devil’s Luck, so it is
opportune to hear one of the tracks, “I’m The
Boss.” Kelly’s distinctive vocals are powerful
and soulful as she sings over a fluent and
dynamic group of stellar musicians including a
fearsome brass section. The Simon Kennedy Band
is a power trio comprising guitar, drums and
organ whose debut album, Make Up Your Mind,
garnered praise from UK blues legend Paul Jones.
“All Or Nothing” is the title track of Simon’s
next album due to be released early in 2019. If
this catchy, jaunty, beautifully written and
arranged song, with its glorious vocal
harmonies, sumptuous guitar work and Manzarek-inspired
keys, is typical of the forthcoming All Or
Nothing it will be some album.
Multi
instrumentalist, singer-songwriter and
troubadour Stoney Broke (aka Jake Scott) is a
relative newcomer as a blues-inspired solo
artist, with a rapidly growing reputation gained
from appearances across the UK. “Got It” is his
latest single and follow up to last year’s EP
release, If It Ain’t Broke. Although
semi-acoustic in parts, the addition of drums
and electric guitars give a further dimension to
the narrative of this intriguing song delivered
with a refreshing vocal style. US Blues Hall Of
Fame inductee Wily Bo Walker’s 2018 single,
“Velvet Windows (Treme Trippin’),” is a fast
moving, roaring, bawdy yarn following the path
that much of the blues originated from. This
unforgettable musical experience is created by
Walker’s hell-raising vocals complemented by
sizzling guitars, horny brass and mesmeric
percussion.
Lynsey Dolan’s
sultry, soulful, smoky tones have been compared
to Maggie Bell of Stone The Crows, but on “I
Won’t Bring You Down” Lynsey proves that her
vocal talent is unique as she steps even further
up to the mark. This begs the question as to why
a band that has backed luminaries such as Lulu
and Imelda May does not have a higher profile.
Hopefully, this will change with a new album,
Connection, and through continuing to build
up an appreciative and enthusiastic fan base.
Downhome blues is well represented by Al Brown
and The Blue Lighters, a popular band on the
Glasgow blues circuit. Al penned “Caller
Unknown,” a gentle, slow blues with mellifluous
vocals and exquisite double bass accompaniment.
The authentic blues theme continues with the
experienced and anything-but-middle-of-the-road
five-piece Mike Bowden and the A917 Band. Mike
wrote “Poor Man” a superbly arranged original
number with a compelling funky beat underpinning
Mike’s engaging, conversational vocal style.
Scottish-based
Australian chanteuse and her six-piece band,
Charlotte Marshall and the 45s, bring their
special blend of retro, smoky jazz and blues to
the mix. The quirky and carefully crafted
“Bootleg Liquor” features an exceptional sax and
trombone combo, technically brilliant drumming
and the most original vocals this side of the
Pond. Singer, songwriter and guitarist Andrew
Robert Eustace performs “Broken Down and Beat”
from his Stories album with true grit and
passion. The finger blurring fretwork and
nimble-fingered guitar picking are a revelation
as the consummate storyteller reaches the climax
of his narrative, sung with emotion and
intensity.
Andy ‘Honeyboy’
Smith is the harp playing/vocalist frontman of
the five-piece band Used Blues, and his
composition “Pebble By Pebble” epitomises the
spirit of a US juke joint establishment. His
killer harp playing generates a feelgood factor
which matches the occasion perfectly.
“Sidewinder Blues” might be the debut single
from Five Grain Whisky but the personnel are
anything but novices to the blues. Veteran
frontman and vocalist Alex More is as authentic
and charismatic as Seasick Steve, but with an
even stronger, ‘lived-in’, sandpaper-edged voice
which makes him sound inimitable. Marty Wade on
keys and guitarist Roger Gardner add pure malt
to the proceedings to make a perfect blend.
It is appropriate
that a capital performance is delivered by
Edinburgh-based Liz Jones & Broken Windows with
the beautiful, atmospheric rendition of her
ballad, “Broken Windows.” John Burgess excels on
saxophone with timely interludes whilst guitar
genius John Bruce delivers a solo of impeccable
taste and technicality. However, it is the
classy Liz Jones whose vocal clarity,
jazz-infused delivery and sincerity steal the
show. Her blues credentials are enhanced greatly
by this contribution from The Songs Of Liz
Jones album, a collection of genre-busting
original songs pointing the way to a great
future.
Blues-rockers
Chasin’ The Train are a high octane band led by
vocalist Tom Cuddihy with ‘Howlin’ Bob’ Clements
on harp. “Temporary Man” starts with a
slow-burning blues introduction before exploding
into a volcanic, harp-driven, hard-rocking
master class of energetic, creative
musicianship. Black Cat Bone are described as an
‘Alt Blues Rock Band' equipped with a pounding
rhythm section, layered vocals, fuzz bass, heavy
distortion and screaming harmonica.” “Morning
Light” certainly delivers on all these fronts.
Full Fat is another Alt Blues band, this time a
trio. “Temper Temper” with its clever rhythm
changes, beguiling lyrics and excellent
musicianship will tempt the listener to explore
further.
Guitarist,
composer and producer Neil Warden is one of the
world’s leading exponents of the Weissenborn lap
steel guitar. On his Adventures In
Weissenborn Land album he combines the blues
with Far Eastern nuances on this unique musical
journey. “The Alchemist” represents the climax
of this evocative excursion with atmospheric
bass and flute adding further layers and
textures behind the haunting strings.
Overall, this
sampler is a cornucopia of Scottish blues which
gives the listener the opportunity to delve deep
into the treasure chest through exploring the
links for each artist on music streams and
social media. Unlike many compilation albums
this one has a common thread --- the celebration
of Scottish blues at its very best. Much credit
goes to Duncan Beattie Chairman of the
award-winning Edinburgh Blues Club for steering
this ambitious project to fruition over the past
six years.
--- Dave Scott
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