|
 The
Atlanta-based blues and soul man Eddie 9V
recently released his new studio album,
Saratoga (Ruf Records). This new effort
showcases his love for the blues and, more
specifically, southern soul, throwing in healthy
doses of rock, pop, funk, and even a bit of
Americana. He co-wrote 11 of the 12tracks with
his brother, Lane Kelly (who produced the
album), and they manage to combine the best
aspects of classic and modern soul and blues to
craft an album that will please old and new fans
alike.
The
title track opens the disc, and it’s a
marvelous, rich mix of soul and rock with a
modern feel. Acoustic guitars introduce “Halo”
and it quickly locks into a deep funky B3-driven
groove with horns,. The dreamy “Love Moves Slow”
sounds like a long-lost Hi Records track, and
“Tides” is also a soul and rock mix but with
more of an emphasis on the former with edgier
fretwork.
“Cry
Like A River” is a tremendous soul ballad with a
strong, heartfelt vocal from Eddie and
gospel-flavored background vocals. “Red River”
marries blues, soul, and funk with a
contemporary backbeat, and the catchy “Delta”
continues in the same vein in tasty fashion. If
you live in the south, you will understand the
term “Wasp Weather,” and this playful track is
highlighted by interesting instrumentation and
spacey lyrics.
The
acoustic “Truckee” has a real Americana/Southern
rock vibe, punctuated by deft slide guitar.
“Love You All The Way Down” is another terrific
soul ballad, and “Chamber of Reflection,” the
album’s lone cover (from Mac DeMarco) is more
down-to-earth soulful than the original with
Eddie adding horns to great effect.
The
album closer, “The Road To Nowhere,” is a
haunting countrified ballad that sounds like a
bit of ’50s nostalgia and a really cool
conclusion to the album.
I
first heard Eddie 9V on his amazing Left My
Soul in Memphis release, and wondered which
direction this talented artist would take his
music. He obviously loves the blues and soul,
both traditional and contemporary styles, and he
puts a fresh coat of paint on his
interpretations of those styles.
Saratoga adds a few more musical genres to
the mix and the final results are fascinating.
--- Graham Clarke
 Marcus Trummer is a relatively new name
on the blues scene but he's off to an extremely
good start in the blues biz with his debut
album, From The Start (Gypsy Soul
Records) an extremely impressive set of music.
The Calgary, Alberta native possesses a very
soulful voice, with influences from Al Green and
Bill Withers. That's the soul side of his
persona, with his B.B. King style of guitar
playing representing the blues side. It all
comes together with a tasty mix that belies his
youthfulness.
We've been teased with the intermittent release
of singles, so I knew what to expect from the
other six songs making up one of the surprise
albums of the year. Oh yeah, not only is the
dude a good singer and guitarist, but he wrote
all ten songs on From The Start. Trummer
is backed by the other two members of his normal
three-piece band, bassist Stacey Shopsowitz and
drummer Silas Trummer, and then an array of
special guests show up throughout.
Opening the album is a mid-tempo soul, "Holding
Out For You," with a steady blues beat,
strong keyboard accompaniment from Miles Evans-Branagh,
normally a member of The Commoners, and backing
vocals from fellow Gypsy Soul recording artist
Nicky Lawrence. The mid-tempo "Let You Down"
opens with a lilting rhythm with more of a jazzy
feel throughout the song, including Trummer's
guitar work when his fingers nimbly roam around
the fretboard. His voice expresses plenty of
emotion as he tells that special someone that he
won't let her down.
"Hard Time" is a slow blues as Trummer
projects his inner Al Green with very
emotional, soulful vocals, asking that woman
to give love a try since it's a good
time for loving, while also laying down plenty
of nice blues guitar licks. Evans-Branagh frames
each poignant vocal line with tasteful piano.
The tempo remains on the slower side with
"Waiting For Change," one of the
previously-released singles, with Trummer's
impassioned vocals being echoed from the
background by Lawrence. Another good mix of his
soul vocals with really strong blues guitar, and
this is one of the best cuts on the album. The
same formula continues on the slow blues, "The
Only Thing," as Trummer pleads with that woman
not to leave. Nice keyboard work here from
Evans-Branagh.
"From The Start" packs plenty of soul, not just
from Trummer's voice but also from the horns
(Tom Moffett and Andrew Moljgun) and keyboards
(Evans-Branagh), and Lawrence returns on backing
vocals. "Break My Fall" is another slow number
that mixes soul and blues quite well, with Trummer
singing about how he's waiting for a good day to
call as the person he's reaching out to is the
only one capable of breaking his fall.
We
hear bigger sound on the mid-tempo "Not The
Same," especially as it builds to a crescendo near the end. Trummer
injects even
more power into his vocals, with the horns
providing that extra boost and Lawrence shouting
out her vocals in support. After that energy
boost, "Ready To Go" brings down the tempo and
volume with a slow and funky soul sound. As
expected, Trummer comes in later with a very
nice subtle guitar solo to give the song its
injection of blues.
Ending the album is a song that's a contrast to
everything else here, the hard-edged, up-tempo
rocker, "Let The Devil Win," with polyrhythmic
drumming from Silas Trummer before the song
concludes with a very hot blues/rock guitar solo
from the star of the show.
Marcus Trummer is a name to remember. He's still
very young so we can expect more growth in his
blues and soul tools. He's already relatively
well-known among the Canadian blues scene,
having drawn recognition at the Maple Blues
Awards in Toronto and at Calgary's YYC Music
Awards. Next up will hopefully be a tour of the
States.
From The Start is a great start to his
recording career, with a promising future ahead
for Trummer.
---
Bill Mitchell
 Kenny “Blues Boss” Wayne turned 80 in
November and continues to turn out compelling
music on a regular basis that mixes the best
qualities of the blues, boogie woogie, and jazz,
with a few surprises always thrown in for good
measure.
His
latest effort, Ooh Yeah! (Stony Plain
Records), is his 12th solo release in a 60-plus
year career. Wayne produced the disc, penned all
12 tunes, and is fine form throughout, as are a
host of musicians in support.
The
exuberant title track kicks off the disc, a
rollicking boogie-woogie tune that’s guaranteed
to get people moving. For the funky “Whatcha
Gonna Do Now?,” Jimmy Bowskill’s banjo adds a
little kick, and the lively “Baby, I’m Your Man”
is one of several tunes that adds a terrific
three-piece horn section. “Sailing With The
Sunset” has a sparkling Crescent City feel.
The
Latin-flavored “My Point Of View” features James
Anthony’s nimble fretwork, and “Try It Out”
combines soul, funk, gospel, and country, with
Bowskill returning on banjo, resulting in
exciting results. “Wishing Well” is a fine
R&B/blues ballad, which Wayne updates from its
original, slightly dated version featured on his
2005 release, Let It Loose. In the liner
notes, Wayne states that he likes to include a
“rockin’ piano song” on each release, and
“Honey, Honey, Honey” certainly fits the bill.
“Blacklist” is a funky blues tale, with Wayne on
electric keyboards, lamenting his romantic
partner’s reluctance to return his affections.
The poignant “I Wish Things Were Different,”
written for Wayne’s wife (currently in a care
home) reflects on how things don’t always go as
planned in a relationship.
The
wistful “Rain Pouring Down” has a deep Southern
soul vibe that fits the mood of the song, and
the closer, “That Crazy Monkey,” wraps the album
on a fun and upbeat note.
Blues fans can’t go wrong with any of Kenny
“Blues Boss” Wayne’s releases if they’re looking
for a fun and entertaining listen. Ooh Yeah!
is another great and energetic album that shows
the piano master still has plenty of gas in the
tank and plenty more to say to his appreciative
fans.
--- Graham Clarke
 Playing Out The String (Aquinnah Records) is
guitar legend Arlen Roth’s 20th solo
album, his fifth acoustic recording. A mostly
solo effort (Alex Salzman adds bass and
keyboards where heard), Roth covers several of
his favorite musical genres, 11 tracks ranging
from blues, folk, rock, and pop, playing
acoustic guitar, slide guitar, and mandolin.
Roth and Salzman produced the album, which has a
warm, intimate feel, like they’re playing on the
couch in your living room.
Blues fans will dig Roth’s readings of Brownie
McGhee’s “Gonna Move Across The River,” Willie
Dixon and Bo Diddley’s “Diddy Wah Diddy,” and
Louis Jordan’s “You Can’t Get That Stuff No
More,” for sure. However, there is much to
appreciate in the other tunes, including the
jaunty cover of the Gus Cannon standard, “Walk
Right In,” which has been covered in multiple
genres, as well as two Norman Blake songs
(“Church Street Blues” and “Randall Collins”)
that fit easily into several different musical
styles.
Roy
Orbison’s “Blue Bayou” has always had a touch of
the blues within it, and Arlen’s haunting
instrumental version will cause chill bumps.
Townes Van Zandt’s “Pancho and Lefty,” made
famous by Willie Nelson and Merle Haggard is
done beautifully, as is his wonderful cover of
Harry Nilsson’s “Everybody’s Talkin’.” The Allen
Toussaint classic “Java” (Al Hirt’s version was
one of my earliest music memories) is also a
delight.
Roth
sings on just a few of these tracks, and his
warm and relaxed vocals really contribute to the
laid-back setting of the album. His title track
closes the disc, a nimble tune which perfectly
sums up all that preceded it on the album.
For
any music fan, blues or otherwise, with an
appreciation for acoustic guitar, Playing Out
The String is highly recommended listening,
as is any Arlen Roth recording you happen to
find.
--- Graham Clarke
 The Real You is the latest release from
Michigan singer/songwriter/guitarist Greg
Nagy, his first album since Stranded
in 2015. Like its predecessor, the new recording
deftly mixes blues, R&B, and soul on 11 tracks
divided between originals and a varied set of
covers, with Nagy backed by a core band of Josh
Ford (guitar), Dale Grisa (keyboards), John
Barron (bass) and Todd Glass (drums), plus a
guest list of musicians that include guitarists
Larry McCray, Bobby Murray, along with guest
vocalist Thornetta Davis.
The
soulful track kicks off the disc, the stellar
horn section giving the track a real Memphis
feel. The traditional country blues “Mississippi
Blues” follows, with Ray Goodman on dobro and
Peter Mudcat Ruth on harmonica. Nagy’s version
of the Gnarls Barkley hit “Crazy” strips away
the modern bells and whistles and gives the tune
a relaxed retro R&B vibe that works very well.
McCray contributes lead guitar on the dazzling
“Never Mine,” a crisp mix of rock and soul. The
cover of “Come To Poppa” offers the same
combination, adding horns to the mix along with
a tasty guitar solo from Nagy. Ms. Davis teams
with Nagy on vocals for a terrific reading of
The Beatles’ “Something,” which leads into the
swinging blues instrumental “Cornell Ala King,”
which really cooks.
The
memorable “Baby, What Took Your Love Away From
Me” combines R&B with a bit of pop flavoring
that gives it the feel of a radio hit. “Where Do
We” is a robust blues tune featuring Murray’s
contributions on lead guitar, and “All I Need
(Is You)” is a tender acoustic blues.
Nagy
closes the album with a cover of Brandi
Carlile’s “The Joke,” and his sensitive vocal
offers the same encouragement offered by the
Grammy-winning original version.
Greg
Nagy is most effective combining his brand of
blues with R&B, rock, soul, and pop. The
additional elements strengthen, but never
overpower, the blues roots of his musical
palette. The Real You is another fine
addition to Nagy’s growing body of work.
--- Graham Clarke
 Dennis Herrera’s latest album, Four
(Deep Groove Records), is a collection of
original tunes that seamlessly mix a variety of
blues styles from Texas, Chicago, and the West
Coast. The ten-song set is augmented by a pair
of remixed tunes, one featuring Anson
Funderburgh on guitar. Herrera is backed on the
main set by Lee Campbell (drums), Rich Wenzel
(keys), Bill Stuve (bass), Jeff Jorgenson (sax),
Bill Bates (guitar), Gordon Peeke (percussion),
and Tony Jones and Nina Mac (backing vocals).
The
opening track is “Can You Feel It,” an
instrumental that grooves right along with
Herrera stinging guitar leads, Jorgenson on sax,
and Wenzel on B3 backed by Stuve and Campbell’s
rhythm work. “All Said And Done” is a easygoing,
swinging blues and the shuffle “Long Time Comin’”
has a Windy City vibe. “Blues And Roll” is a
rocking Hookeresque boogie blues, while
“Tenderness I See” is a smooth slow burner.
“Insta Groove” is a fast-paced, jazzy
instrumental with Herrera, Jorgenson, and Wenzel
all taking solos. “It’s All Too Much” is a
catchy blues with a bit of a pop flavor, and
“Lazy!” is a sturdy rocker. “All This Time” is
another mellow slow blues with stellar work from
the band and a strong vocal from Herrera, with
“Preskitt” locking into a funky groove and never
letting go.
The
two bonus tracks are remixed versions from
previous Herrera albums. The aptly-titled “Mean
Ole Texas Shuffle” is from 2015’s Livin’ Life
Not Worryin’, featuring Funderburgh on
guitar, and “You Stole My Heart” is the rockin’
‘n rollin’ title track from Herrera’s 2018
release, dedicated to his wife, Denise.
There’s nothing particularly fancy here, but
what is here is incredibly well done. The band
is rock solid from start to finish, and Dennis
Herrera is a fine guitarist and good-natured
vocalist whose lyrics and music stay with you
after listening. Four is another strong
set of contemporary blues with a traditional
twist.
--- Graham Clarke
 Don
Leady of The Tail Gators has returned
with a new volume of live recordings from the
legendary Texas band’s heyday. The Tail
Gators Live ’84 – 90 Volume 2 (LeRay
Records) is as potent a collection as Leady’s
previous two live releases, with a mix of songs
that will be familiar to fans and a few
surprises.
Leady (guitar/vocals), Keith Ferguson (bass) and
Gary “Mudcat” Smith (drums/backing vocals) are
in fine form on this 13-song set that is a
seamless blend of swamp blues, swamp rock, R&B,
hillbilly, and surf music.
The
album opens with a bang, via “Ballad Of A
Teenage Delinquent,” a 1960 release from Phil
Johns & The Lonely Ones on River Records that
was covered by The LeRoi Brothers (Leady’s band
prior to The Tail Gators) on their first album
in 1983. There are five Leady originals on this
set, beginning with the rousing swamp rocker
“Mumbo Jumbo,” the title track of The Tail
Gators’ 1986 release.
Huey
P. Meaux’s “Cajun Honey” was recorded by Cajun
artist Jimmy C. Newman and New Orleans R&B
artist Clarence “Frogman” Henry, and the Tail
Gators’ rousing version (originally on their
Swamp Rock album) has qualities heard in
both versions. Leady’s “Little Girl Blue” was
another great track on Mumbo Jumbo, and
this version really pops, as does their
marvelous take on Lawrence Walker’s “Allons Rock
& Roll,” featured on their Tore Up
collection from 1987.
The
second “new” Tail Gators track on the disc is a
cover of “Just One More Time,” a 1956 hit for
Billy Gayles with Ike Turner’s Kings of Rhythm
(written by Turner) on Federal Records in 1956.
The lovely instrumental “Maria Elena,” written
by Lorenzo Barcelata in 1932, was also on
Mumbo Jumbo, deftly combining surf and Latin
flavors, one that seemed to be a crowd favorite
during this particular performance.
“No
One Else Will Do” was a hit for the San
Antonio-based Sunny & the Sunglows in 1966, and
The Tail Gators’ version appeared on Swamp
Rock back in the day, while their stirring
read of Hank Ballard’s “Sexy Ways” was showcased
on 1988’s Ok Let’s Go!.
Leady’s rough and rowdy “Long Tall Young Boy”
appeared on 1990’s Hide Your Eyes. Two
more Leady originals, the mid-tempo swamp rocker
“Carolee” and the hard-charging “Till It’s Too
Late,” were both standout tracks on Ok Let’s
Go!
The
final tune is an exciting rockabilly medley of
Hank Snow’s “Movin’ On” and Sonny Fisher’s
“Rockin’ Daddy,” two more “new” Tail Gators
tracks that close the set on an entertaining
note.
For
longtime Tail Gators fans (like yours truly),
these recent live releases have been like manna
from Heaven. These two sets, plus the Live in
’85 collection released last year, as well
as any of their previous studio releases, should
be required listening for any music fan,
especially fans of the genres cited above. This
set (and several other Tail Gators or Don Leady
releases) can be found at
Antone’s Record Shop.
--- Graham Clarke
 Chad Rupp and the Sugar Roots are based in
Portland, Oregon. Consisting of Rupp
(vocals/guitar), Ken Brewer (organ), Brady Goss
(piano), Jimi Bott (drums), Timmer Blakely
(bass), and background vocalists LaRhonda
Steele, Arietta Ward, and Ms. Vee, the band is
one of the shining lights of the Oregon blues
scene.
Gate C23 (Lightning In A Bottle Records) is
the band’s third release, and proudly showcasing
their mix of blues, rock, and soul. The 11 songs
on the album include eight originals from Rupp,
plus three covers.
“Fresh Suits” opens the disc, a funky blues
rocker with a ton of swagger. Next is a terrific
cover of Roland Stone’s soul ballad, “She Is The
One,” followed by “She’s Got That Business
Handled,” which has a smooth New Orleans R&B
feel. The title track is a slow blues recounting
Rupp’s harrowing experience being grounded at
DFW Airport on his way to the 2024 I.B.C.
Paul
DeLay’s “14 Dollars In The Bank” is a fine
choice for the band to cover, with Mitch Kashmar
sitting in on harmonica. The shuffle “Blues City
Café” is a cool tribute to the Memphis
restaurant, and Rupp cites a number of the tasty
dishes and famous musicians found there past and
present.
“Do
Whatcha’ Daddy Say” is a greasy urban blues with
a crisp guitar break, and “You’ll Be Singing My
Songs” is a slower, country-soul ballad with
Kashmar on harmonica, superb keyboard backing
and background vocals.
“Two
Inches Shy A Foot” is an entertaining West
Coast-styled blues that really swings and gives
the band room to stretch out. The humorous “Fat
Kid Boogie” features Kashmar’s harp, with Kenny
Blue Ray on guitar (he also plays on the title
track, “Blues City Café,” and “Do Whatcha’ Daddy
Say”).
The
closer is an extended version of the O.V. Wright
classic “Blind, Crippled, and Crazy.” Everyone
involved --- Rupp, the backup singers, and the
band --- do an outstanding job on this track.
Great tunes, outstanding vocals and musical
performances, and great taste in cover tunes all
make Gate C23 a must-listen for fans of
blues, rock, and soul. Chad Rupp and the Sugar
Roots are a band that deserves to be heard.
--- Graham Clarke
 FreeWorld is an institution on the Memphis
music scene, and has been for 37 years. Many
musicians have passed through this big band over the
years, with one of its two founders, bass player
Richard Cushing, still heading the group.
More Love (Select-O-Hits) is their eighth
album, a collection of multiple forms of music
all brought together in a Memphis style.
The
album kicks off in fine fashion, with the
up-tempo "Outta Sight" getting the adrenaline
moving early with the big sound of brassy soul.
The B3 organ of Cedric Taylor sets the mood and
tempo before the horns come in, and vocalist
Matt Tutor often repeats the key line, "...
we're tight, right, outta sight...," while sax
player Peter Climie kills it with a big-time solo.
The
band shows its Memphis blues side on the funky
mid-tempo number, "Give Until You Live," with
Chris Stephenson handling vocals, warning the
listener that if you don't go within then you
will go without. Great piano solo by Taylor.
"More Love" takes on a gospel feel, with the
backing singers opening the cut by taking it to
the church before singer
Jerome Chism urges the world to show more love
every day, reminding that the whole world is a
family. As on every cut, the horns provide the
soul backing with their big sound. I love this
song.
"Red
Moon" starts out slowly with a tasteful baritone
sax solo from Frank Paladino before the rest of
the band launches into a
funky soulful instrumental that features a
strong trumpet solo from Alex Schuetrumpf and a jazzy
guitar break from Clint Wagner.
Among the other notable numbers here are the
rapid-fire, funky instrumental "Rush Hour," with
a plethora of big horn sounds, the reggae-ish
"Heart On The Table," featuring
Cushing on vocals, and "Who Knew," a
horn-infused, funky instrumental with typical
Memphis guitar effects from Tutor.
Closing the album is the up-tempo funky soul,
"D-Up (Here's To Diversity)," a call to open our
minds with multiple singers coming in throughout
the song.
This
was the first album by FreeWorld that has come
my way, and I now need to meander through their
past discography. If you like big bands with
lots of horns and more, More Love will be
right up you alley.
--- Bill Mitchell
 Dick Earl’s Electric Witness is a Utah-based
blues band consisting of Dick Earl Ericksen
(guitar, banjo, harmonica, vocals), Isaac
Ericksen (bass, background vocals), Thomas
Anderson (guitar, kalimba, charringo, background
vocals), and Mari Ericksen (drums, percussion,
background vocals), with Alice Ericksen and Zoe
Erickson (background vocals). The band’s 2020
debut, a live effort, was well-received by blues
fans, and the group took home third place honors
at the 2023 I.B.C.
The
band’s sophomore effort, Get Up Off The Ground
(ABP Music Distro), is a studio album recorded
in Las Vegas. It offers 11 original tunes
written by the band, beginning with the title
track, a rugged tale of enduring through tough
times. The shuffle “Black Lines and White
Crosses” is an interesting story song with great
harmonica work from Dick Earl. “Eggs” is a funky
blues with more impressive harp, while “Sarah”
is a mid-tempo tune about a woman looking for
better things. Matt Green adds keyboards on this
and three other tracks.
“The
Vineyard” is a thundering blues rocker with a
bit of a Latin flair, and “I Hear You Callin’”
is a strong Western-flavored instrumental with
nice guitar work. The soulful “Once Again”
features a terrific horn section (Jimmy
Carpenter – sax, Jason Levi – trumpet, and
Jean-Francois Thibeault – trombone). “Wishin’”
is a fine blues ballad, with Dick Earl and the
background singers doing an excellent job, while
“On Her Heart” revisits the funky Latin theme.
“Left Standing” starts as a slow burner, but
moves to an exciting gospel-fueled stomper
around the midway point, with great backing
vocal support on this one as well). The closer,
“Into The Fire,” is a somber, slow blues backed
by Dick Earl’s harp.
The
songs on Get Up Off The Ground are
well-crafted, with the music combining blues,
rock, soul, gospel, and Latin influences quite
effectively. Dick Earl’s vocals are well-suited
to the material and the band provides first-rate
support. It’s apparent that Dick Earl’s Electric
Witness’ third place finish at the I.B.C.’s last
year was well-deserved.
--- Graham Clarke
 Calling Long Distance (Nerus Records) is the
ninth release from New York City’s The Hitman
Blues Band. Fronted by Russell “Hitman”
Alexander (who earned his nickname for his
ability to learn all the hit songs at the time
by ear, not for his assassin skills), the band
features Mike Katzman (keys), Mike Porter
(bass/backing vocals), Bob Stander (bass on two
tracks), Guy LaFountaine (drums), John Kelly
(alto sax), Tom Mineo (tenor sax), Eric Altarac
(trumpet), Al Alpert (trombone), and backup
singers Joanna Alexander and Nancy Hampton.
The
latest release offers a dozen tracks, eight
originals from Alexander and four well-chosen
covers. The spooky title track opens the set,
the call they have in mind is not made by
telephone, with the band really getting behind
Alexander in a big way. “Edge of the Bed” is a
humorous track about the eventual location of
most men at night, whether sleeping with spouse,
mate, pet, or child, and “Blood Alley” is a
standout retro-surf instrumental with thunderous
guitar, eerie keyboards, and wailing sax.
The
band always does a fine job in selecting cover
tunes. The first one on this album is Johnny
Cash’s “Folsom Prison Blues,” transformed here
into a mid-tempo, hard-driving blues that’s
quite different from the original, but no less
powerful.
“Side Pocket For A Toad” is an amusing blues
rocker, and “Foolish Pride” is a soulful blues
ballad. The good-time track “We’re Gonna Party
Tonight” is a horn-fueled break from the all the
hardships and shortcomings of the world.
The
traditional “I Know You Rider” gets a low down,
dirty arrangement from Alexander that gives the
old tune a fresh coat of paint. “Back To The
Blues” is a ballad about crashing back to earth
after living large for a time. The swinging call
and response, “Watch That Thing,” was written by
Stuart Maxwell. Kris Kristofferson’s “Sunday
Morning Coming Down” was recently covered in
similar fashion by the band on their previous
album, Hey, Can You Guys Play…. , and the
album closes with the swampy blues “Wide Old
River.”
Calling Long Distance is another superb
addition to The Hitman Blues Band’s impressive
music catalog. Blues and blues rock fans will
find a lot to enjoy with this set.
--- Graham Clarke
 The
best blues news in a while is that Tommy
Castro and the Painkillers will be releasing
a new album, Closer To The Bone, on
Alligator next February. Judging from the
advance copy that I've been able to preview,
it's going to be a frontrunner for best album of
2025, and perhaps Tommy's best in his long
career.
Now
that I've whetted your appetite, you can get at
least a taste of that upcoming collection of 14
very fine songs. For years I've been unabashedly
proclaiming Chris Cain's 1980s-era album Late
Night City Blues being one of my desert
island discs, with his "Wake Up and Smell the
Coffee" being one of the best cuts.
Castro now has his own version of the song,
putting the title in the past tense, "Woke Up
and Smelled the Coffee," the single from his
upcoming album. His version is just as strong as
the original, not surprising from these two
veterans of the Northern California blues scene.
The difference in mood between the two versions
is that Cain was expressing more relief that
he's out of that relationship while Castro is
jubilantly celebrating his breakaway.
The
entire band cooks, with Castro taking the guitar
leads, Mike Emerson shining on keyboards, and
Bowen Brown laying down the steady up-tempo
blues shuffle beat.
You'll want this single now, and will play it
over and over while counting the days until the
February release date of the full album.
--- Bill Mitchell
 Delmark
Records teased us with the release of a single
by Chicago singer Sheryl Youngblood in
the early part of the year (reviewed
here). I anticipated an album coming soon,
but it's not yet out. Instead, we have another
single, "Red Hot Women in Blues," recorded live
at a Delmark showcase for Chicago blues women.
It's an up-tempo funky blues with a driving
beat, featuring Ms. Youngblood's powerful vocals
and equally incendiary guitar from Joanna
Connor.
The
rest of the includes Sherri Weathersby on bass,
Pooky Styx on drums, and Chicago blues veteran
Roosevelt Purifoy on keyboards. Quite the
lineup, and all backing musicians get a chance
to solo.
Youngblood has been around the Chicago scene for
quite a few years, often playing drums behind
better known blues cats. It's a mystery why
she's never recorded an album in her own name. A
voice this wonderful needs to be heard, so one
again I'll say it --- let's get that full-length
album out SOON!
--- Bill Mitchell
Oh, man, I hadn't
heard anything from Billy Thompson in
more than 20 years, and we started reminiscing
about his days as one of the hottest bands in
San Diego and their frequent trips to Arizona. I
always liked his music and am glad that he's
still doing it. Most recently, was spending time
around New Orleans, playing in C.J. Chenier's
Red Hot Louisiana Band. That's a good gig.
Thompson has a
new album in the works that will be out this
year, but for the time being he's released a
very fine single, "Truth Come to Power," a call
for all of to do something to help the world.
It's a slow blues featuring Thompson's
impassioned vocals. He also plays plenty of hot
blues guitar, at times using a slide. Backing
Thompson on this cut is Martin Barard, formerly
of Dr. John's band, on bass, and Eddie Christmas
on drums.
Keep your radar
active to track down Thompson's album coming
next year, and in the meantime search out this
very fine single. "Red Hot Women in Blues,"
recorded live at a Delmark Women In Blues
showcase. It's another example
--- Bill Mitchell
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