Blues in the South: Reviews Page

The hard-copy of Blues In The South (BITS) carries regular reviews of CDs and other media. The following is a sample of reviews we have published.

ABIE BUDGEN - Weeping Willow Blues - Stella Records STCD 010 (stellarecords.net)/ PETE HARRIS AND HUGH BUDDEN - Blues From The Deep South - Self produced (peteharris.co.uk)/ BOB LONG AND KEITH MILLER - I Wonder To Myself - Self produced (Email long.boblong@gmail.com)
Just by chance, three acoustic CDs came through the letterbox almost at the same time, so here come the reviews all in one block. In the booklet bundled with the Abie Budgen CD, blues aficionado Michael Roach says “Here in Britain, there is a growing interest in pre-war American country blues”. It only needs me to add ‘and post-war acoustic blues’ and the fact that we have these three CDs all on the market at once, is evidence enough of that. Abie Budgen is a young lady on a mission. Here in a series of tracks laid down in June 2007, Abie, sometimes ably assisted by Michael Roach and harp man Johnny Mars, offers 12 tracks which resurrect (if it needs it) the traditions of country blues; fine lyrics, sensitive and skilled instrumental skills and that ‘je ne sais quoi’ which makes this stuff so fascinating to many of us. The songs range through originals from Big Bill Broonzy (2), through Mississippi John Hurt (3) to slightly more obscure artists like Geechie Willey and Henry Spaulding. These are not slavish copies, but come with interesting guitar arrangements and some nicely managed ‘adjusted’ lyrics to cope with gender differences. The overall effect is magical.
Pete Harris seems to have been around the Deep South of England for ever (30+ years) and has played with many, many big names. Hugh Budden, has a reputation as one of the best UK harp players and has a versatility and skill many would like to emulate. He performed with the now (sadly) defunct Producers and works with Pete in this acoustic set up and with Pete’s electric blues band. On this CD we are offered a wide range of music ranging from Rice Miller (SBII)’s ‘Cross Your Heart’ to Willie McTell’s ‘Statesborough Blues’. All the tracks were recorded live at either the Bent Brief in Sot’on or the Thomas Tripp in Christchurch, Dorset. They are delivered with skill and real feeling AND we get to hear Hugh sing on two tracks, Kim Wilson’s ‘Learn To Treat Me Right’ and the above mentioned SBII cut. This CD is strongly recommended.
A percentage of the proceeds of Bob Long’s disk is going to the Tommy Johnson Blues Foundation (see lead story page 1) and this CD sets out to capture the spirit of live sets delivered by the two artists. Keith Miller’s skills complement those of Bob Long to a T and despite the fact that although they live far apart and rarely play together, prove here that they can ‘do it’ when the need arises.
Bob says that the CD is “....a homage to the men and women who first shaped the blues and a journey through the country blues, vaudeville and jug band music of the 1920s and 1930s, to the post World War 2 electric blues of Chicago” and it sure does that. Fifteen tracks including the Memphis Jug Band’s ‘Stealing, Stealing’, two Tommy Johnson pieces, ‘Big Road Blues’ and (the title track) ‘I Wonder To Myself’, another jug band special, the Mississippi Sheiks’ ‘Going to German’ and Blake’s ‘Police Dog Blues’ delivered with conviction and gusto.
If were only for the ‘cause’ to which some of the returns will be donated, this would be a worthwhile effort, but when it comes with this level of passion then.......Go For It!
Ian McKenzie (May2008)

THE OKEH RHYTHM & BLUES STORY VOLUME TWO: 1949 – 1957 - Various Artists - SPV/Blue 42482 CD
Volume One was reviewed in last month’s BITS and I confess I wasn’t expecting this quite so hot on its heels. Listening to Jumpin’ Joe Williams’ storming slab of boozy R&B, it quickly becomes obvious that this is more of the same – which, given that that predecessor was just fine and dandy, is not bad thing at all! Many of the artists from the initial volume are reprised here – Larry Darnell, Bill Davis, Pinnochio James, an absolutely stunning Chuck Willis – with some new names like Big Maybelle (‘Gabbin’ Blues’ is a classic), Titus Turner, whose songwriting credits appeared on records by Ray Charles, Little Willie John and Louis Jordan, among many others, and The Treniers, who successfully made the transition into the rock and roll era. Pianist Hadda Brooks didn’t, though at this distance in time her boogying ‘Jump Back Honey’ sounds just fine, and if you want to hear a real groove, lend an ear to New Orleans’ Paul Gayten’s ‘It Ain’t Happening’. Better still, take a listen to the whole set and get a crash course in low-down, big voiced blues and up tempo rocking R&B. Roll on Volume 3!
Norman Darwen (May2008)

DOUG MACLEOD/ The Utrecht Sessions/ Black & Tan CD B&T 032
Recorded in Holland, this release finds American singer and guitarist Doug in top form. It is basically a solo set, though with occasional accompaniment by either Jasper Mortier on double bass or Arthur Bont on percussion. Doug’s guitar playing throughout the album is impressive, boogying away on ‘The Long Black Train’ (and throwing in some Elmore James styled slide), in deep Mississippi mode on several others, flowing Memphis styled finger-picking on ‘That Ain’t Right’, jazzy on ‘Coming Your Brand New Day’ or free-form Blind Willie Johnson fashion on ‘The Demon’s Moan’. Elsewhere, the music references the likes of John Lee Hooker, Arthur ‘Big Boy’ Crudup, and even, on ‘I Respectfully Decline’, southern soul.
That last comment reveals why this set is so successful – Doug’s vocals are the real standout. The material can be enigmatic sometimes, but several numbers voice concerns about growing old and dying, and his singing is heartfelt and yes, soulful. He gives notice of this early on, with a truly stunning, almost a cappella ‘This Old River’, a tribute to a friend dying of cancer, and leaves the listener suitably impressed with the closing ‘Where You’ll Find Me’, another primarily vocal performance.
Doug is always worth listening to, at the very least. This excellent album is much more than that.
Norman Darwen(May2008)

ERIC BIBB/ Get On Board/ Telarc Blues 83675
This latest CD from Eric is far less bland than the last effort I reviewed. If BITS gave stars, A Ship Called Love would have got 2 ½ to (just about 3) the principal problem being a lot of love (and soul) but not much blues. This one is very different. Eric describes his latest creation as follows “My new album Get Onboard is, without a doubt one of the most exciting projects of my career. It’s a further
exploration into the place where blues meets gospel and soul” and that is the righteous truth.
There are, IMHO, two outstanding tracks, ‘New Beale Street Blues’ with some really nice harp from Grant Dermody and the wonderful ‘Conversation’ a duet with Texan Ruthie Foster who is grounded in old-style gospel and blues. ‘If Our Hearts Ain’t In It’ features some nice slide from Bonnie Rait and the CD ends with an affecting civil rights/gospel piece ‘Stayed On Freedom’, re-arranged by Eric. Nice.
All in all, a definite improvement on the (much more) MOR path Eric was treading before this outing. This would get four stars - if we gave them.
Ian M (May2008)

LARRY MILLER - Outlaw Blues - (Big Guitar Records) (LMIL 05 CD)
Larry sets his stall out early with the heavy blues rock of ‘Shame On You’ through the infectious 12 bar stomp of ‘Writing’s On The Wall’ to get ‘Outlaw Blues’ off to a pulsating start. A slow blues is inevitable and the band duly obliges with Matt Empson’s organ chords accompanying Miller’s guitar arpeggios on ‘Calling All The Angels’ showing that Miller can play with subtlety as well as power.
The 12 bar joint jumpin’ boogie format makes a return on ‘Rebekah’ while on ‘Storm Comin’ we hear some splendid bottleneck for the first time (to reappear later on the albums’ solo closer ‘Klondike’) in a familiar Muddy Waters’ ‘Mannish Boy’ style with particularly fine bass playing from producer/ engineer Neil Sadler driven along by Scott Hunter’s incisive drumming.
I enjoyed the word play on ‘Professor Casanova’ with its slick piano/ guitar arrangement while ‘Only One Woman I Want’ could easily be the early Rolling Stones.
The title track is a Rory Gallagher infused blues rock extravaganza with searing guitar as Miller sneers his way through lyrics like ‘man on the edge, a real short fuse’. I thought of Peter Green’s Fleetwood Mac on ‘Blues Forever’.
To sum up, ‘Outlaw Blues’ is great blues rock with real attitude. Contact: www.larrymiller.co.uk
Phil Jackson (April 2008)

THE DIRTY ACES - One Good Reason
I remember being in a pub in St.Helier once with a fine tradition for jazz and blues. I wonder if this is one on the cover of Jersey band The Dirty Aces’ 5 track mini-album.
The band is about to embark on a tour including the UK and should wwll worth checking out. While capturing all the angst and pathos of the blues there is a definite ‘feel good’ factor about the band as they play their way through three originals and two interpretations of songs by Otis Spann and Rice Miller. There is also a touch of the Bo Diddley’s here and there.
The line-up is Giles Robson on ‘harp’ and vocals, Filip Kozlowski on guitar, Paul Bisson on bass and Tim Bryon on drums. Definitely ones to watch!
Contact: www.gfi-promotions.com
Phil Jackson (April 2008)

STOMPIN' DAVE'S ELECTRIC BAND - Original Blues; Stompin’ Dave Allen - Fake American Accent
Dave Allen’s spectacular talent leaves us less talented people open mouthed in amazement. These two CDs show the multi-faceted aspects of his work in all their glory. Fake American Accent is Dave in his (solo) bluegrass/ American roots music mode, with examples of his guitar, banjo and fiddle playing which, while they may sometimes come with a vocal in that bogus accent, (he hails from Bridport) loose absolutely nothing for that. Most of the music here is 19th and occasional 20th Century or older, stuff. The playing is exemplary and of course often comes with Dave’s skilled tap / flat-foot dancing/ clogging as part of the package. Once there was a show involving a ventriloquist on the radio (bet you can’t see my lips move!) and you might think that dancing on a CD is in the same category. But trust me, this really works adding a rhythmic dimension that is nothing short of magical.
The CD ‘Original Blues’ is pure 21st Century. With band, Dave Saunders on bass and Graham V. Bundy on drums, Allen here on guitar and vocals (and with a nice pic of his beloved white Washburn on the CD case) lays down some seriously modern grooves with feedback, stunning foot-pedal dynamics and so on. All original, as the title implies, the music ranges from a John Lee Hookerish ‘Boogie Town’ through the rocker ‘Survival’ to out-and-out lowdown blues like ‘Aint No Reason’ (Shades of EC and Freddie King) and ‘I Feel A Little Better Now'. Wonderful! (Info 01308 488387; davestomp@yahoo.co.uk)
Ian M (April 2008)

JEFF HEALEY “Mess of Blues” - Ruf Records (RUF 1126)
After a self imposed exile of 8 years from blues recordings, Jeff Healey is back in style with a ‘mess of blues’. The title song doesn’t appear until half way through the album and has a fantastic shuffle beat as you would expect from the Pomus/ Shuman/ Elvis Presley classic, the boogie-woogie piano break (Dave Murphy) and guitar appropriately concise. You can almost imagine The Jordanaires crooning in the background!
Jeff Healey says in his sleeve notes what a gem of a keyboard player he has in Murphy and he is proved right throughout the album from the organ on ‘Sugar Sweet’ to the fluid boogie piano breaks on his own composition ‘It’s Only Money’.
The album kicks off in high tempo with the live boogie blues ‘I’m Torn Down’ and there’s a faithful rendition of Robbie Robertson’s ‘The Weight’ but the biggest shock on this album of covers was to hear Neil Young’s ‘Like A Hurricane’, live, welcome though it was in providing a vehicle for Jeff Healey’s rich, intense soloing!
You’ve got to remember this is a collection of songs that get the greatest reaction when Jeff’s band becomes ‘the very best bar band’! In fact, four are recorded live. A sense of fun permeates the album and they’re sensible in varying the styles as it makes for a varied and entertaining listen.
Perhaps the most stunning interpretation is of ‘Sitting On Top of the World’ (live) graced by more articulate piano breaks (A great idea to let the piano do so much of the talking before Healey gets going!) while ‘Shake, Rattle and Roll’ is a fun way to round off a great album.
Jeff Healey has the touch of a genius and his band are no slouches either- welcome back!
Contact: www.rufrecords.de
Phil Jackson (April 2008)

The Okeh Rhythm & Blues Story Volume One: 1949 – 1957 - Various Artists - SPV/Blue 42442 CD
Columbia Records revived the Okeh Label in June 1951 to compete with the independent rhythm & blues labels that were having such success. The parent label reassigned some acts to the new imprint, hence that 1949 recording date. And just who was on the label? Try Irlton French, Earl Williams or the wonderfully named Pinnochio James – no, I’ve never heard of them either. Rhythm & Blues lovers might be aware of the likes of Mr. Google Eyes, Larry Darnell, organist Bill Davis, and The Ravens, whilst Rock & roll fans may recognise Chuck Willis’s name and will know Bea Baker better when they realise she became Laverne Baker. Jumpin’ Joe Williams did in fact attain international recognition as Count Basie’s singer later in the fifties.
The sound of this set is certainly jumping, rocking, boogying, hand-clapping blues, with the likes of Wynonie Harris and Louis Jordan the major influences. There are a few slower items but they are very much in the minority. There may be nothing startlingly original but there are no poor performances out of the 26 on this set – which means of course that it is recommended to all lovers of those brassy forties/ fifties r & b sounds.
Norman Darwen (April 2008)

Danny Bryant’s RedeyeBand - Black & White - Rounder CBHCD 2014
Danny Bryant has been on the cusp of being a top-flight blues act for some time now. This CD and his up-coming UK tour may well do the trick for him. A professional musician for 9 years, Danny and his band, which includes his dad Ken Bryant on bass and Trevor Barr on drums, have here produced a wonderful showcase of their talents. Actually this is a real family affair as Danny’s manager is his mum Heather and his wife Kirby is his guitar technician. Supervised by blues recording legend Dave Williams at the Grange Recording studios, the CD ranges from the laid back acoustic track after which the album is named - ‘Black And White’ - to stunning stadium rockers like ‘Last Goodye
There is no doubt that Danny has a ferocious talent neatly summed up by Walter Trout who said ‘This guy keeps the blues flame burning’; too right Walter! Danny has a style that reminds me of a kind of mix of Trout and Alvin Lee. Actually, that’s a bit unfair as what Danny has got is an amalgam of the best bits of other’s styles, one minute like Hendrix, ‘Tell Me’ (opener) through Billy Gibbons (‘Between The Lines’) or like a kind of cross between Buddy Guy and Albert Collins on ‘Lowdown Blues’.
The band are on tour in February, March and April to promote this new album. (See www.redeyeband.co.uk/News.htm for details.) So get out there and support them.
Ian M (April 2008)

Dani Wilde - Heal My Blues - (Ruf 1137)
Well, we promised you we’d do it as soon as possible, so here it is. This is Dani’s debut CD for Ruf Records and it was well worth waiting for. Dani has a fine bluesy voice with an occasional ‘country’ yodel (ie., a slip into what in a man would be falsetto) as well as a nice line in anguished/enthusiastic screaming. The band, occasionally assisted by axe man Ian Parker is excellent, with a medal of merit going to bass man Mike Girot who is also co-producer with Thomas Ruf. There’s some nice blues harp from Will Wilde too and some funky/swinging organ and piano work from ‘Morg’ Morgan. There is a terrific acoustic version of John Lee Hooker’s ‘I’m In The Mood’ (here called In The Mood) and an outstanding Wilde original in ‘Testify’. The ensemble parts drive along nicely and Dani’s vocals soar and sweep over them like those of a veteran. My single complaint is that sometimes Dani’s voice is just a bit too far back in the mix for me, but that is a minor complaint. The overall effect of the album is that it serves as an impressive indication of a growing and vibrant talent. Frankly, I can’t wait to see this young lady live.

Ian McKenzie (March 2008)

Devils Creek - Bullfrog Blues - (Top Of The Hill Records -TOTHCD 014)
Devils Creek are a Cornish band which might, under some circumstances be called a Rory Gallagher tribute band. However, if that was so, we would not be reviewing this CD in BITS. Although there are, a couple of tracks which come directly from the Rory Gallagher songbook (strangely ex- cluding Bullfrog Blues: but see below) a significant number of the cuts are originals, many written by the band’s guitarist Guy Rosewall. Covers include, ‘Messing With The Kid’, written by Mel London, and made famous by Buddy Guy and Junior Wells, and Dave Hole’s, ‘Demolition Man’.

One of the surprises in the album is the inclusion of James Taylor’s ‘Fire And Rain’, one not usually heard in this rock blues format but none the worse for all that. The band is driven beautifully by Terry Brown on drums and Tim Chapple on bass, the latter laying down a stomping beat on every number! I am told by the boys in the band that although they have a following in Cornwall, they are looking for new pastures. Well, on the showing of this album, I would strongly recommend them. Finally, what about the missing ‘Bullfrog Blues?’ Well, Tim Chapple told me that in typical rock’n’roll style the band selected the artwork, chose the title for the CD and so on and then went into the studio to record. The only track that turned out duff was Bullfrog! Worse things happen at sea - but not many. (http://www.myspace.com/devilscreek

Ian McKenzie (March 2008)

SHARRIE WILLIAMS – I’m Here To Stay (Crosscut CCD 11097)
Sharrie’s third release for Crosscut is also, surprisingly, her first in her native America (via Electro-Fi). From Saginaw, Michigan, Sharrie is billed as ’the Princess of rockin’ gospel blues’ and on this evidence that title is just about right. She has a big, big voice that can recall Etta James, Tina Turner (a particular favourite), or Koko Taylor with ease and her material includes plenty of blues and boogie, plus the occasional sweet soul ballad and out-and-out rocker. Her material is all original and frequently blurs the line between the secular and the sacred, often in the same song – try the opening ‘Fire’ for a good example, though she does also perform straight gospel (try the closer). Her band is undeniably contemporary, though steeped in the blues and soul traditions – check out guitarist Lars Kutschke in particular, though all the band members are extremely accomplished.
I was a little disappointed with Sharrie’s live DVD which was released last year, as it was unfocussed and ram- bling in places. I have no such problems with this excel- lent set, programmed like a live stage set and produced in such a way that you know Sharrie’s gigs will sound just like this. I definitely got to check her out!

Norman Darwen (March 2008)

THE BLIND BOYS OF ALABAMA - Down In New Orleans (Proper Records PRPCD033)
As Norman Darwen said in a recent edition of BITS, we don’t often have gospel stuff reviewed on our pages. BUT, if you only buy one gospel CD this year, make it this one. The Blind Boys have been around in one form or another for years, but surprisingly, this the first time they have recorded in The Crescent City and it was well worth the wait. Half a tribute to to N’awlins musicians such as Mahalia Jackson and Earl King and half a celebration of NO music with many contemporary local musicians (Alan Toussaint, The Hot & Brass Band and The Preservation Hall Jazz Band) providing backing on the tracks, the album is a wonderful swinging amalgam of New Orlinean syncopation with traditional gospel styles. The Boys are on tour in the UK shortly, but only in Liverpool and London (for info see
http://www.blindboys.com/shows.html) Wish I could go!
Ian M (February 2008)

POPPA CHUBBY - Deliveries After Dark (DixieFrog DFGCD 8635)
Well here’s a confession: I used to love (still do) the singing of Ian Gillan, Deep Purple’s front man and of course, the reason why I mention that is because Poppa Chubby’s vocals remind me so much of that voice. The music too is a reminder for me of Gillan’s period with the eponymous band Gillan. If you like your blues inflected rock with guts and panache, this is for you. On the other hand it’s not for the faint hearted. Poppa Chubby is a rebel. Real name Ted Horowitz, he has his soul deep in the blues but with a sharp cutting-edge. Not afraid of trashing the US government for its foreign policy, he gets up close and personal with tracks like ‘I’m Gonna Piss On Your Grave’ (not much air time for that one) and sings and plays his heart out on ‘2nd Avenue Shuffle’ (an instrumental), ‘Man Of The Blues’ and ‘Oh Rock and Roll You Heartless Bitch’. Listen http://www.myspace.com/deliveriesafterdark
IM (February 2008)

PATSY FULLER - Rhapsody To Revelation (Hatman Records HM004)
A mixture of old blues, jazz standards and gospel tracks as well as contemporary stuff written by Patsy herself this is a delightful gentle CD with some wonderful musicianship (axe man John McKinley is outstanding) and we are treated to some super sax work courtesy of Ronnie Taylor. Songs include ‘All Of Me’, John (or Jon) Hendrix (the James Joyce of Jive)’s ‘Moanin’’, ‘John The Revelator’ (Blind Willie Johnson/ Son House) ‘Wang Dang Doodle’ (Willie Dixon) and ‘One Fine Day’ (here attributed to John Estes and Hammie Nix, more usually known as Hammie Nixon). Some of the tracks include Dr Johnny (Middleton) on blues harp who was also co-producer with Patsy. Patsy seems to be more comfortable with the jazzy/ gospel stuff than with the blues but nonetheless, this is a very worthwhile effort. Nice, laid-back stuff.
IM (February 2008)

DION – Don’t Start Me Talkin’ (SPV/ Blue 42302 CD)
That’s right, the Italian-American rock and roll star, frontman of the Belmonts, and singer of ‘The Wanderer’. That last named - a very bluesy piece with a macho theme - gives a clue as to what he is doing here. Those who have heard his last couple of albums of acoustic blues covers and originals will not be too surprised either – but this release, subtitled ‘Columbia Recordings 1962 -1965’ will surprise many. It contains 17 titles, from composers such as Chuck Berry, Bo Diddley (a particular favourite of Dion’s, it seems), Big Joe Williams, Sleepy John Estes, and Sonny Boy Williamson’s title track, of course – plus songs associated with Muddy and The Wolf, and a couple of jazzier items such as ‘Fever’ and ‘Work Song’. Dion always had a good voice, but here his musical imagination is also at work, often with arrangements that are startlingly original for the time, and with such accompanists as sax and harp player Buddy Lucas, and veteran drummers Sticks Evans and Panama Francis – and note of course that many of these numbers predate the much touted ‘British invasion’. An intriguing CD all round…
Norman Darwen (February 2008)

STEVE ARVEY & BLUES MOVE – Live At The Blues Of The Month Club (Movinmusic MM002)
Well, folks here’s one at the rocky end of the blues spectrum and pretty good it is too. Steve Arvey is a super axe man with style and panache and here he is accompanied by his long time musician buddy Paul Hoekstra on occasional slide guitar (wonderful in the last track ‘Soul of a Man’), excellent harp and occasional vocals. The ‘rhythm section’ is the ubiquitous Blues Move, a bunch of guys from Cornwall, who are deserving of a far better collective title than the mundane ‘rhythm section’. Each of them is a consummate musician in his own right. They lay down a beat and give the set a punch that is far too often missing in UK music.
Both Arvey and the Blues Move bass man, Roger Innis are not averse to a bit of electronic foot pedal wizardry and the beat, fills and turnarounds offered by Innis, drummer Mike Hellier and keys man Jools Grudgings drive the music along with a vengeance. The outstanding track is sans doubt ‘Cold Wind From Chicago’ whilst the segue (improvised on the spot) called ‘Cleethorpian Sunset’ is magical (The Blues of the Month Club is in Cleethorps.) Check the gig guide for Steve’s appearance in March.
Ian M (February 2008)

THE SAN FRANCISCO GOSPEL SINGERS – Walk In The Light (Feelin’ Good 005)

Gospel music does not feature too often in BITS so this
latest release from this new Italian label is welcome.
Comprising six female singers from the San Francisco
Bay Area, each of whom sings lead and background,
with Cassandra Matthews also filling the role of arranger and pianist – the sole accompanist - the group presents something very familiar but also a little different. This is not the music of the contemporary Black churches, but a kind of ‘cultural’ experience. Some of these numbers – ‘When The Saints Go Marching In’, ‘He’s Got The Whole World In His Hands’ and ‘Amazing Grace’, to name just three, should be familiar to almost everyone, but the point of this group is that they present this material, sung powerfully and in true
gospel fashion, across the world to those who may not
already be au fait with this kind of music. A quick check of my collection reveals that I don’t actually have versions of some of these hackneyed songs – so if you want a very listenable introduction to some of this classic repertoire, this does the job very nicely.

Norman Darwen (January 2008)
www.feelingoodproductions.com

ANDY BROAD, MATT BECKWITH & ADAM FRANKLIN – Rocks And Gravel (ABBCD010)

Well folks, here’s a goody to spend your Christmas pressy money on. Ten tracks and not a duff one among them. Andy Broad (guitar and vocal), Matt Beckwith (harp and vocal) and Adam Franklin (Dobro and vocal). Nine of the ten tracks are covers of blues standards and contemporary stuff ranging
from Mance Lipscombe’s ‘Rocks And Gravel’, Little Walter’s ‘My Babe’ to more ‘modern’ old stuff like Junior Wells’ ‘Early In The Morning’ and Kenny Sultan and Tom Ball’s endorsement of high living ‘Filthy Rich’

The exception to the blues covers is a nice track written by Matt Beckwith with a cool dobro riff in the driving background; called ‘I Can’t Help Myself’ it is a really nice effort. More self penned stuff, please!

Two of the tracks are ‘Brownsville’ by Sleepy John Estes and ‘Minglewood Blues’ by Noah Lewis. Of course, Estes and Lewis were contemporaries and produced a special Tennessee blues sound. Over all the touch in the majority of these tracks reminds me very much of those wonderful sounds. Nice.....

My only criticism is that it would be helpful if the notes showed/told us who was/is singing the lead on each track, but that’s a very trivial matter.

Ian McKenzie (January 2008)
www.rocksandgravel.co.uk

BOB BROZMAN – Post-Industrial Blues (Ruf 1133)

Wow!! What a stunner this one is. Over the last few albums Bob has increasingly drifted towards the ‘world music’ that has for so long fascinated him. Here he (sort of) returns to his roots as most of the tracks here have at least one foot in the blues. We are treated, right from the word go with Bob’s usual virtuoso playing often with significant overdubbing, allowing him to fill out the music with two, or
more, instruments.

The opener ‘Follow The Money’ grabs you by the throat and you can’t break the grip. Some of the tracks, ‘Old Man’s Blues’ and ‘Strange Ukulele Blues’ were, in true blues tradition, improvised on the spot in the studio. Others
are strongly political in their impact. Try ‘Look At New Orleans’ (“I love this country but it seems like they’re bringing the poor people to their knees”). Stirring stuff!

The superb sound is enhanced by the addition of Jim Norris on drums and Stan Poplin on string bass.

This is wonderful stuff, and is certainly the best thing Bob has done in many a long year. Don’t miss this one!!

Ian M (January 2008)

CHAINSAW DUPONT – Ghost Kings Of Beale Street - Blues WarriorBLW003

What does Memphis mean to you? The Stax sound of Rufus Thomas, The Staple Singers, or Albert King maybe? Al
Green’s smoother Hi sound? Elvis and Sun records chugging rockabilly out of 706 Union Avenue? Howling Wolf in his
rawer, pre-Chicago phase – maybe even searing gospel sounds? You’ll find all this and more on this CD. Chainsaw Dupont is a young(ish) Chicago-based guitarist who also happens to be one of the most inventive and blues-educated of the ‘new generation’. Born in McComb, Mississippi in 1957 he has played jazz and reggae, worked as lead guitarist with
Junior Wells and backed a Black Elvis impersonator. This CD is his tribute to Memphis, with a tight and very flexible
band plus several guests adapting to all the above mentioned styles – and Chainsaw (or David to his family, I guess) has a first class soul voice, a top-notch blues
guitar style, and a talent for writing very fine original songs. He also is not afraid to take risks – witness this CD. It really
is creating something new within existing traditions, something that happens less and less frequently these days.
(www.chainsawdupont.com)

Norman Darwen (December 2007)

FROM NEW ORLEANS TO CHICAGO VIA MEMPHIS/ Various Artists/ SPV Blue 50912 CD // FROM LA TO NYC
VIA NASHVILLE/ Various Artists -SPV Blue50932 CD

Those titles indicate that these two CDs cover a wide range of blues – but despite covering the USA more or less from
bottom to top and side to side, they still don’t quite include everything here. Stylistically, the music ranges from solo
bluesmen to the pioneers of ‘traditional Americana’ Commander Cody & band and boogie revivalists Canned Heat, with plenty of rocking R&B and down-home
sounds in between. In terms of popularity, it runs from international figures such as BB King, Ray Charles, and Dr.
John to local acts like Jimmy Beck and an obscurity such as Rudy Greene. Time-wise, these sides date from the forties to the present day. Even geographically, there are sides recorded in Australia – how could Screamin’ Jay’s ‘Bushman
Tucker’ have been recorded anywhere else? Note too that Jimmy Witherspoon actually sings ‘Goin’ To Chicago’ rather
than his listed number. Of course, the 40 tracks under consideration are all from the SPV/ Blue catalogue, which is building a fair reputation for itself – so if you have yet to investigate the label’s delights, this is as good a place as any to start.

Norman Darwen (December 2007)

CHRIS BARBER/ HUMPHREY LYTTELTON/ KEN COLYER/ GREAT BRITISH JAZZ/ Just About As Good As It Gets - Smith & Co. SCCD 1140-1143

Not one, not two, not even three but four DOUBLE CDs offering the best of British traditional jazz from the late 1940s to the mid-1950s. Nearly 200 tracks (with only one or two duplicated on the last one (Great British Jazz). I will candidly admit that this was the music that brought me to the blues. When Barber and Colyer introduced us to skiffle (and started the solo career of Lonnie Donegan who took his first name from Lonnie Johnson) I was hooked.

All my vinyl LPs (now there’s an anachronism) have long gone to the great plastic dump in the sky, so it is a delight to be able to hear this stuff again.

Want blues? You’ve got it. Humph’s ‘Bad Penny Blues’ from which (allegedly) Paul McCartney nicked the piano intro for ‘Lady Madonna’; Barber’s ‘Chimes Blues’ and ‘Jail House Blues’ featuring Ottilie Patterson one of the very best home-grown blues ladies; Colyer’s ‘Blame It On The Blues’. The last CD contains music from Cy Laurie, Mick Mulligan, Alex Welsh and many more.

If you want to wallow in your youth, or you haven’t heard ANY of this stuff. Give it a try. You won’t regret it.

Ian McKenzie (December 2007)

THE CARL SONNY LEYLAND TRIO MEET NATHAN
JAMES & BEN HERNANDEZ/ Sacred Cat SC-0610

Whilst many of today's 'blues' releases sound more and more like heavy rock, this IS a blues album. Lasting for an incredible 73 minutes plus, and containing nineteen fantastic tracks, you cannot afford to pass this by.

The idea was to re-create that wonderful era of RCA BlueBird
records which were popular from 1935 - 1953 and, I'm more
than pleased to tell you that the assembled artists have more than succeeded, they've surpassed themselves! What's more, most of the tracks are originals. Even so, the spirit of people like Tampa Red, Big Maceo Merriwether and Ransom Knowling is all over this session.

Carl Sonny Leyland will be known to many of the 'older' BITS
readers having once lived and gigged in the Southampton area before moving to N'awlins and taking up U.S. citizenship. Nathan James is also known to me, however, this is the first time I've heard of Ben Hernandez and on this release, they all take turns at the vocal mic. Although all are excellent vocalists, Hernandez is outstanding.

Try to find a low spot, weak track etc; on this album - it's
impossible, 'cause there ain't one! Exchanging the bass for a
tuba on a few tracks is a stroke of genius and works a treat.
Everything here is much more than worth your attention, even the inner sleeve notes which are by the one and only James Harman no less. Should they have any thoughts about maybe putting out an old time 45rpm disc as extra promotion, my recommendation would be..... A side:- ‘Run Me Ragged’ and B side:- ‘Sending Up My Timber’.

Miss out on this release and you'll miss out on probably the
best blues album of 2007.

Bob Pearce (November 2007)

THE BARCODES LIVE! IN SESSION FOR THE BBC/
Note Records NCD 1013

This is the fourth CD produced by this superb bluesy/ jazzy
principally three but occasionally four piece band. The one, as the title implies, was recorded live at the Ipswich Jazz Club in the Manor Ballroom on the 17th of September 2006. The producer of the CD, Stephen Foster, is the host of a pro-
gramme on BBC Radio Suffolk, and what a great job he and the boys in the band have done! Now if you like your blues tradi-tional, or you're a fan of the stuff at the rock-blues end of the spectrum, this is not for you. On the other hand, if you're a fan of keyboard and jazzy guitar-led blues music with a tinge of after-hours sound and a laid-back smoky feel, then this is certainly up your street. Alan Glen is an accomplished guitar player with a nice, light, jazzy touch extended here (which I don't recall having heard before) with some exemplary slide playing. Bob Haddrell is a keyboard man par excellence who not only supports Glenn’s guitar, vocal and occasional harp playing with drive and verve but also manages, using bass pedals on his keyboard setup, to lay down a rhythmic bass accompaniment which is nothing short of terrific. Dino Coccia, drums and percussion lays down a steady beat with some lovely little rolls and turnarounds, and even gets a solo - well it
was a live gig! A word too about Nick Newall, who adds some tasty tenor and flute to some of the tracks; super! The music here includes a nice version of ‘Statesborough Blues’ (although I doubt that Blind Willie McTell would recognise it) through Willie Dixon’s '7th Son' and Jimmy Smith’s ‘Back At The Chicken Shack’ , to two pieces by Mose Allison whose work has clearly had an enormous influence on the band. Live albums are sometimes a dire substitute for the studio recorded stuff. Not so here. This one is strongly recommended and I for one who has still to hear the band in the flesh, can't wait to have that pleasure. Fifteen tracks all recorded live and not a duff one amongst them; don't come much better than that.

Ian McKenzie (November 2007)

BULLET RECORDS RHYTHM & BLUES/ Various Artists/
SPV 49982 CD

Beginning operations in 1945, Bullet was one of the earliest
post-war independent record companies, concentrating solely
on blues and hillbilly within a couple of years before finally
folding in 1952 The 25 tracks on offer here include four num-
bers from the great blues shouter Wynonie Harris (with, jazzers note, Sun Ra making his recording debut on piano) and two by Rufus Thomas singing with the Bobby Plater Orchestra. The other performers are more obscure, though several were journeymen performers who recorded for various small labels across the south: Max Bailey, Sherman Williams, Dusty Brooks, and the veteran Doc Wiley. Tuff Green was a Memphis bandleader who recorded with BB King – his solitary title was recorded at the same time as BB’s Bullet session. Tucker Coles and The Five Bars are biographical blanks – though this Ink Spots influenced group could be a better-known outfit under a pseudonym. However, that exception aside, all the music falls into the categories of either jumping r&b or rocking boogies, making for a vastly entertaining CD.

Norman Darwen (November 2007)

ERIC CLAPTON/ Clapton Is God! – The Cream Of Early Eric…/ Castle Music CMEDD 1531

Old Slowhand does seem to have been dividing blues fans for a few decades now, and despite the cheeky subtitle there is nothing here by Cream (or by Powerhouse for that matter). What you will find here among this double CD’s 40 tracks though are numbers he recorded with guitarist Jimmy Page for Immediate, numbers with John Mayall for Decca and Purdah (and a Brownie point to the compiler for including ‘Have You Heard’, in my humble opinion Clapton’s best ever blues guitar playing!), accompaniments to American
blues men Otis Spann and Champion Jack Dupree and rare titles with Martha Velez and the eccentric Viv Stanshall. Of course the Yardbirds are here – the first CD contains many of their first forays into the recording studio and some live tracks with poor sound quality but plenty of excitement from the Crawdaddy and Marquee Clubs, plus five titles with the band backing Sonny Boy Williamson. All this material has been out before but never gathered together like this. Blues fans will probably agree – at last – that for them at least these sixties titles do indeed represent the cream of early Eric.
Norman Darwen (October 2007)

THE CARVIN JONES BAND/ I’m What You
Need/ Self produced; see web site

Actually, although this comes to us as a new item it’s a re-release of the album of the same name from 2005. Carvin and the band are on tour in the UK in October, so it a timely reminder of Carvin’s skills. He and his band have been regular visitors to the UK at, for example, Colne International Blues Festival and the Skegness Rock & Blues
Festival, to say nothing of tours in Spain, Germany and Italy. He played at Mr Kyps, earlier this year. He works mighty hard!

Some of the stuff is a bit cliché filled and a tad rocky, for my taste (‘Lightning and Ice’ and ‘Born To Win’) but some of it is inspired. Try ‘Drowning On Dry Land’ and ‘Stuck In The Mud’; blues as they are meant to be. Check the BITS web
site for some of the dates in the UK (more at http://tinyurl.com/2gg37z). This and a number of other CDs are available from the same site. But......Go see him!!
Ian M (October 2007)

Dick Lovejoy Original Southside United/ Frontline Rhythm & Blues: Vol 1/ Ab-Fab ABCD007

This one has only just got to us despite the fact that it was released in 1999. Where you bin??? The album features Dick Lovejoy, Geraint Watkins, Jimmy Roche and Roger Sutton; the four original members of Southside. The band took their name from the area of London which they formed in. The recording has a live feel to it and displays a mix of music styles, including rhythm & blues, rock 'n' roll, jazz and reggae.

The original band is enhanced by a wide range of visiting musicians including piano man Diz Watson, Ian Ellis (guitar) and Stevie Smith (harp and vocal) Although this album was greeted with some enthusiasm by some people (see for ex-
ample http://tinyurl.com/3cdxdl) it is IMHO, a bit of a curate’s egg - that is, good in parts.

There are some great tracks, including the opener ‘Flip Flop & Fly’ and a nice version of Tampa Red’s ‘It Hurts Me Too’ but that stuff has to tempered by the reggae (‘Oh What A Price’ and ‘Softly, Softly’) which is just about tolerable and by a truly awful version of ‘Love Letters (In The Sand)’ (I won’t name the perpetrator as he is a revered music figure.) One song described on the box as an original is in fact a barely disguised version of Tampa Red’s ‘You Can't Get That Stuff No More’.

In short this is ‘an iffy set’ the whole summarised by the image on the front of the CD case which, if I am not mistaken is of a plant of the genus cannabis sativa. ‘Nuff said?
IM (October 2007)

JOHN LEE HOOKER– Don’t Look Back – SPV/ Blue 4921 2 CD

From the astonishing success of John Lee’s 1989 album ‘The Healer’ onwards, the ‘strictly blues’ quality of Hooker’s later discography became rather variable. Often he was surrounded by ‘celebrity’ guests and much depends on how sympathetic they were. This album was originally released in 1997 and opens with a storming version of ‘Dimples’ with John ‘Juke’ Logan’s wailing harp in support and backing courtesy of roots rockers Los Lobos. The main guest for the remainder of the set – making numerous contributions - is singer Van Morrison, a long-time friend of the Boogie Man. Van The Man also co-produced, which may explain why the focus of this generally laid-back set is Hooker the singer; in a move that once would have seemed totally implausible, he even emulates Charles Brown, the pre-eminent blues-balladeer, on a couple of tracks (and has Brown and his band along too). There is a bit of boogie and an early sixties Vee-Jay styled blues band number, but overall this does not figure too highly in the list of Hooker’s recommended purchases – unless you’re a Van Morrison fan too, I guess.
Norman Darwen (September 2007)

RICK PAYNE - Blue River Blues- Bennet House BHR123

Well, folks, what a delight this one is. Rick has been around for some time and there’s some background stuff in the article on the front page. Let’s concentrate on the music.

Rick is an accomplished acoustic guitar man with a beautiful light and clean touch. He is joined on some of the tracks here - Blind Blake’s ‘Ditty Wa Ditty’, and two Payne originals ‘Round And Round’ and ‘Blue Cafe’ by John Girton who has a similarly light and jazzy touch. Together they remind me of the wonderful music made by Eddie Lang and Lonnie Johnson, and it don’t come much better than that. Other tracks range from reinterpretations of old stuff - Police Dog Blues (strangely ascribed to Phelps (Arthur) who IS Blind Blake) - RJ’s ‘Walking Blues’ (here done on slide mandolin - of all things) and the Wolf/ Dixon classic ‘Little Red Rooster’ - to the Sidney Bailey song ‘Fool For A Cigarette’ once done by Ry Cooder (on ‘Paradise And Lunch’ which also had ‘Ditty Wa Ditty’ on it) to a delightful version of George Gershwin’s ‘Summer Time’. Wonderful. All in all a great CD. Go and see Rick and or get an album through <www.acousticguitarworkshop.com>
IM (September 2007)

BOB PEARCE - Making My Way Back Home - Fuzzy Pig FPCD011

Bob Pearce is well back in harness now. This is his second CD since his return to the fray and it’s a corker. Inspirational music with swing and fire and a nice touch of Bob’s impossible to quench, feel for the blues. Seven of the eleven songs on the CD were written by Bob and one (‘Standing At The Door To Your Heart’) by Bob’s co-axeman Dave Taylor. The other tracks include a borrowing from the Irish Duo, The Strats (‘I Won’t Survive’) and a nice version of Lenny LeBlanc’s ‘None Like You’. Bob is supported here by some of Soton’s best, including Ray Drury (who does an outstand-ing job on various keyboards); Chris Collins on guitar and backing vocals; Steve Stares (bass) Brian Wright (dms), Paul Fronda (g), and Jane Young and Sharon Cambridge (bk v). A special accolade also goes to Martin White for some magical and excellent trombone licks on the opener ‘That Was Then This Is Now’. Real shades of New Orlins here.

This is top quality inspirational music and surely, before too long some of Bob’s super compositions will be picked up and covered. Fingers crossed.

In short an excellent and strongly recommended outing. Bob and his band deserve all the support they get.

IM (September 2007)

OMAR KENT DYKES & JIMMY VAUGHAN - On The Jimmy Reed Highway - Ruf 1122

You only have to look at the list of guest performers on the cover of this CD to realise you are in for a treat: Kim Wilson; Delbert McClinton, James Cotton; Lou Ann Barton, Gary Clark Jr. These folks in various combinations, with Omar taking most of the vocals, and Jimmy Vaughan as the principal axeman on all but the final track, lay down a blues groove that is (to be quite honest) too often missing from Ruf’s contemporary catalogue. All the music except for the first and last tracks and one other, are forever associated the great Jimmy Reed; most written by him. They include ‘Hush Hush’; ‘Bright Lights, Big City’; ‘Big Boss Man’; and ‘Good Lover’ This is a tribute album of the first order, with some excellent singing and playing . Go for it!!!
IM (September 2007)

THE LOWFI-KINGS FEATURING ‘SIR’ OLIVER MALLY -A Hard Night’s Day - Stormy Monday Records M081204 (German catalogue)

The LFK are a very active blues band from Germany and with this release, they have produced a very, very fine album which features the highly gifted, ever busy Austrian bluesman ‘Sir’ Oliver Manly on lead guitar and vocals. Together they have created an album that is firmly rooted in the very best mellow jazz tinged blues of the mid –fifties.

The overall aural effect of this comfortingly honey sweet and warmly resonating sound is to simultaneously relax and invigorate the senses.

The most noticeable of the influences elicited from these highly pleasurable twelve numbers are Lazy Lester, Slim Harpo, T. Bone Walker and Goree Carter.

The LFK consists of Jan ‘Chuck’ Mohr; guitar, Martin ’RT’ Bohl; harp and vocals, Dirk Vollbrecht; bass and Bjorn Puls; drums. This album is a pleasure to the senses.

Brian Harman (Aug 2007)

THE SAM LAY BLUES BAND– Feelin’ Good – SPV/ Blue 49772 CD

Singer/ drummer Sam Lay has enjoyed a modest solo career since his debut album in 1969 - but he really should be better known. He recorded and worked the clubs with Muddy, Wolf and many other Chicago artists, played behind Bob Dylan at his infamous Newport Folk Festival appearance, and was a member of the Butterfield Blues Band back in the mid-sixties (one of the first integrated blues outfits). His voice is fine, strong, and deep – at least it was when he recorded live at the Boardwalk Café in Nashville, Tennessee in 1994. These are unreleased tracks from a show that resulted at the time in an album on Italian label Appaloosa – it must have been noteworthy as this CD is a wonderful Chicago blues styled set straight out of the old school. The accompanying band has sometime UK visitor Billy C. Farlow on excellent harp, Chris James on equally fine lead guitar, and producer Fred James on rhythm, with Patrick Rynn on bass. Most of the material is familiar (and comes from Sam’s many musical associations) but extremely well performed by guys who know what it needs. Not a priority purchase maybe but well worth a listen or three.

Norman Darwen (Aug 2007)

DAN KLARSKOV - Blues at Dexter - Clearwood Records Clear-061 <www..klarskov.net>

This live CD and DVD come from a concert featuring guitarist Dan Klarskov and his band, recorded on the 18th of February 2006 at the Jazzhus Dexter, Odense, Denmark. Throughout the ten numbers on the CD and the four live tracks and studio footage on the DVD, Dan and the band are visually and aurally just simply brimming the satisfying good time elements of jump, jive and swing.

A full-bodied, rich blues and boogie sound is created with the mixing together of tastefully blended saxophones and trombone which in turn are backed by a superbly mellow double bass, producing fluidly warm bass-lines. A sooth- ing guitar leads the way with a jazz tinged sound that can only be described as meltingly smooth, like rich dark chocolate cream.

Dan, who takes lead vocals and guitar, is more than ably assisted by Anders Gaardmand and Trond Clementsen on saxophones, Erling Kroner; trombone, Kjeld Lauritsen; organ, Hans Knudsen; piano, Hugo Rasmussen; double- bass and Peter Wittorff; drums.

I thoroughly enjoyed this CD & DVD, I think you will too!

Brian Harman (Aug 2007)

SCOTT McKEON - Can’t Take No More - Provogue PRD 72132

Scott, who hails from Bournemouth, gives us another of those rock albums that has (somewhere in it) a touch of blues. To be sure Scott, who is still only 20 plays up a guitar storm and is full of fire and technique. Trouble is, that what with the riffs and the flash there is a serious lack of soul. One of my all time favourite quotes comes from bluesman Albert King, who said, “See, if you overplay you get too loud and people are gonna mistake what you’re doin’ for a hole in the air”. Scott may not want to take any notice of that but would do well to remember that the real skill of guitar playing is to be able to play quiet and slow; listen to Albert. Wanna see Scott? Check the gig guide

Ian McKenzie (Aug 2007)

EDDIE VORTEX - Classic Vintage Vortex - EVOR 103

Eddie Vortex and his gang have been around for more than 25 years playing their old-style rock-and-roll in pubs and clubs along the south coast. When we are reviewed Eddie’ last album in BITS we gently chided him that there was very little original material in it. Well here’s one to poke us in the eye. Eddie has here produced what is often called a ‘two-fer’, that is, two albums for the price of one. Eddie and his mates have put together two of his past albums ‘Eddie Vortex and the Cupid Stunts’ (Sorry Mum, that’s what it says here!) and ‘Easy Street’. The first is a selection of mostly traditional rock-and-roll like, ‘My Baby Left Me’, ‘Broken Heart’, and ‘Honey Hush’ and is super. After the first 12 tracks from ‘Stunts’, come a further 14 (+ a bonus track) from the second album. All of these songs were written by Vortex himself, and are all well worth a listen to. The title track ‘Easy Street’ is excellent, and personally, I love, ‘Since I Lost You’, which for a rocker is the nearest Eddie gets to blues. All in all, a well worthwhile effort, get it at Eddie’s gigs or from Eddie at 01794 513136. Shades of Gene Vincent and Elvis!!

Ian M (July 2007)

JOHN LEE HOOKER/The Best Of Friends/ SPV/ Blue Label 49342 CD

Compiled by the Boogie Man himself in 1998 from his later recordings with a variety of guests (plus a couple of numbers which only appeared here), this is an excellent taster of the late John Lee’s output from 1989’s phenomenally successful ‘The Healer’ onwards, with the likes of Van Morrison, Carlos Santana, Robert Cray, Eric Clapton, Bonnie Raitt, Ben Harper, Ry Cooder, Jimmie Vaughn, Ike Turner, Charlie Musselwhite, Booker T. and Los Lobos all lending their talents. It is of course a cliché – though nonetheless true – to say that these sides, raw though they may seem to the uninitiated, do not compare with Hooker’s early recordings (although the solo ‘Tupelo’ does hark back to those times) these tracks reflect an era that would have been unthinkable when Hooker began recording in the forties - the blues is now (almost) part of mainstream American life and culture. What these collaborative recordings do very successfully is to bring new fans to the blues, and Hooker’s music in particular. And besides, this selection does indeed make for excellent listening!

Norman Darwen (June 2007)

SPOTLIGHT ON: ANDY COHEN Andy Cohen lives in Memphis, TN. A guitar man and singer who describes himself as a blues revivalist, Andy was a student of the Rev Gary Davis and is a master of Davis’ (complex) style. But he does not confine himself to that style; reprising Broonzy, RJ, Barbecue Bob, Memphis Minnie, Bukka White and many, many more.

Andy and his lady, Larkin Bryant Cohen (who is a beautiful singer and instrumentalist in her own right) run Riverlark Music in Memphis <www.riverlark.com> and carry a range of Andy’s CDs as well as a lot of interesting other stuff. (Hey buddy, wanna buy a dulcimer? This is the place for you!)

There is not enough space here to do reviews of all the CDs available so here’s some info on three of them:

Ridiculous Instrumentals:(RL 10108-2 CD)

Fourteen guitar pieces and a piano rag. This includes some exceedingly difficult Rev. Gary Davis and Big Bill Broonzy classics, to say nothing of the finger-breaking ‘High Society’, the only other version I have heard being the equally jaw-dropping outing by Snooks Eaglin.

Mississippi Heavy Water Blues: (RL104-CD)

A dozen of Memphis's best blues numbers covering the period from Victor's earliest Southern recordings to the early forties, with a couple of Andy and Larkin's original instrumentals thrown in for good measure. The title cut refers to Barbecue Bob's song about the 1927 flood.

Oh Glory, How Happy I Am - The Sacred Songs of Rev. Gary Davis: (RL102-CD)

Seventeen of the religious songs recorded by Rev Davis. They range from the throat busting ‘ I Will Do My Last Singing In This Land’, to the better known ‘Oh Glory, How Happy I Am’. Wonderful stuff.

Andy is both a blues scholar and regularly plays gigs all over the USA. He told BITS that he would love to come to the UK. Anyone out there wanna go out on a limb and arrange a UK tour? IM (May 2007)

SUE FOLEY/ DEBORAH COLEMAN/ ROXANNE POTVIN/ TIME BOMB/ RUF 1129.

Two years ago, Canadian blues artist Sue Foley put together a two-CD compilation for Ruf Records called Blues Guitar Women. The album featured over two dozen female artists playing both traditional and contemporary blues. The third edition of the popular BluesCaravan tour represents a logical next step. These three ladies are on tour in mainland Europe and North America ‘til August, then hopefully a visit to the UK.

This is excellent stuff, and unlike some of the material released by Ruf, there is no problem putting this into a box firmly marked blues. Here there are shades of Memphis Minnie and Koko Taylor as well as some excellent guitar work. This is mostly rocking blues - not blues tinged rock as seems to be the case with some of Ruf’s male stable.

Recommended

IM (May 2007)

BIG BILL BROONZY – Volume 1: The Pre-War Years (SPV/ Blue 95762 CD) / Volume 2: The Post-War Years (SPV/Blue 95772 CD)

These two cheaply priced CDs, in their slim-line digipacks with informative notes by blues authority Neil Slaven, are part of ‘The Essential Blue Archive’ – I won’t quibble with that. Bill may not be everyone’s first choice for favourite blues artist but he was a vastly important figure throughout his long career, and these two sets show just why. The first set chronicles Bill’s recordings from the Famous Hokum Boys ‘Saturday Night Rub’ of 1930, with its excellent guitar work, up to his urbane recordings at the end of 1941. It includes such well-known numbers as ‘Key To The Highway’ (with Jazz Gillum’s rural sounding harp), ‘Just A Dream’, ‘All By Myself’ and ‘I Feel So Good’, plus ‘CC Rider’, on which Broonzy plays violin! There is plenty of good-natured small band material, with supporting musicians including pianists Memphis Slim, Joshua Altheimer and Blind John Davis, and Washboard Sam on you-know what. The second volume covers 1945 to 1951 and opens with ‘Why Did You Do That To Me’, a fine jump blues recorded (as ‘Little Sam’) in the company of saxman Don Byas. More rather sophisticated recordings follow (including some with the wonderful Big Maceo as pianist), but towards the end Big Bill’s ‘folk-blues’ phase predominates, as he sought – and found - a new audience. Both these CDs are recommended, and together they offer a nicely varied but representative introduction to Big Bill’s considerable talents.

Norman Darwen (April 2007)

DR. JOHN – Trader John’s Crawfish Soiree (SPV/ Blue 95852 2CD)

Mac Rebennack a.k.a. Dr. John had established himself as a New Orleans session guitarist and pianist and was beginning his solo career when he left the Crescent City in 1963. In Los Angeles in 1967, he hit pay dirt with ‘Gris Gris’, a celebration of Louisiana voodoo which just happened to be bang in tune with the burgeoning psychedelic movement. What happened in between? Well, these recordings for a start… Dating from 1965/6, these tracks - blues, boogie, rhythm ‘n’ blues, soul, even a little pop and country - presage the good doctor’s recordings from the mid-seventies onwards. Strongly rooted in the rollicking music of his birthplace, he references everyone from Professor Longhair onwards (there are credible versions of ‘Tipitina’, ‘In The Night’ and ‘Baldhead’), and although the production is not always the greatest, it is worth considering buying this double CD if you don’t already have many tracks (this material has been reissued before, though not generally in a coherent fashion). Dr. John’s voodoo per-sona was no put-on either; he’d experienced it first-hand, and here ‘Zu Zu Man’ gives a taste of what was to come in ‘67. Doctor John is always worth hearing and although these recordings may not be his best known, they also merit that description. Norman Darwen (March 2007)

JJ CALE & ERIC CLAPTON – The Road To Escondido (Reprise 9362-44418-2) EC has, over the years covered a number of JJ Cale’s songs not least of which was the huge hit ‘Cocaine’ and the perennial ‘After Midnight’. Clapton has voiced his debt to JJ on many occasions and the truly surprising thing is how long we have had to wait for this collaboration. The good news is that the wait has been WELL worth it. In 2004 Clapton organised the 3-day ‘Crossroads’ festival in Dallas. Clapton booked Cale and to the surprise of the audience joined Cale on stage, unannounced, for the entire set as a member of Cale’s band .

Cale and Clapton jointly produced and recorded this 14 track album. Cale wrote 11 of the songs, Clapton wrote one and John Mayer also penned one. There is one cover, the blues classic ‘Sporting Life Blues’ and it’s super. J.J. Cale’s touring band accompanies them on the album as well as guest musicians including, Taj Mahal, John Mayer, Derek Trucks, Doyle Bramhall II, Albert Lee, Nathan East, Willie Weeks and Steve Jordan. The late Billy Preston, played keyboards throughout the set and the album is dedicated to Preston and Clapton’s late friend Brian Roylance. The music is a mix of blues, folk, and country and all of it comes with the typical laid-back JJ Cale ethos. Here in The Shed we LOVE it. It’s in the CD player all the time!

IM (Feb 2007)

ALEXIS KORNER’S BLUES INCORPORATED – R&B From The Marquee (Castle CMRCD1371) An historic document this, being the first UK electric blues album, originally released on Decca’s Ace Of Clubs label in 1962. Guitarist and bandleader Alexis enjoys the company of harmonica legend Cyril Davies (who died tragically early in 1964, aged 32), famed saxman Dick Heckstall-Smith, singers Long John Baldry and African-American serviceman Ronnie Jones and several musicians from the jazz scene; oh, and this sometimes uncomfortable mix of Chicago blues and jazz styled originals was actually recorded in the Decca studio! This CD adds seven related bonus cuts to the original dozen, including two from a flexidisc, with one of those titles, ‘Blaydon Races’ by media personality Nancy Spain with the band, of historical interest maybe but I suspect few will play it often! Nowadays it is easy to be blasé about the importance of the recordings on this CD, but the raw and unsophisticated performances (largely) stand up in their own right and do deserve to be heard.

Norman Darwen (Feb 2007)

JACKIE EDWARDS/ ‘I Feel So Bad’/ Castle Music CMQCD1370

This twenty two track album focuses mainly on Jackie’s Soul and R’n’B recordings of the sixties (his reggae recordings are available on the Trojan label) which fully utilised the wide and varied possibilities of orchestral backing, which in lesser hands would otherwise sound bland, sickly sweet, string-ridden and directionless. Jackie’s smooth honey toned, gossamer-light vocals ensured that each number was raised, satisfyingly, to a higher emotional plane. In the early sixties Jackie moved from his home in Kingston, Jamaica to England to record and perform, at the invitation of Chris Blackwell; who at that time was creating his now famous Island label. His career also blossomed significantly as a writer when two of his numbers were recorded by The Spencer Davis Group; “Keep on Running” and “Somebody Help Me’. These two numbers are featured here as well as the Northern Soul classic “I Feel So Bad.” Writing collaborations with the legendary producer Jimmy Miller and Steve Winwood resulted in two more numbers for the Spencer Davis Group; “Back into My Life Again,” and “When I Come Home.” Sadly, Jackie died of a heart attack on the 15th of August, 1992 but his wonderful voice and music are here with us to enjoy, time and time again. A genuine gem of a soul collection! <sanctuaryrecordsgroup.co.uk> Brian Harman (Jan 2007)

TIM HAIN & SUNNYSIDE UP/ One Man Went To Mojo/ Note Records NCD 1009. Well, It took me a bit of time to get to this one. It’s been lying in the ‘must listen’ tray for a while now. What a boo-boo! I have missed out, for far too long, on listening to this great stuff. Don’t make the same mistake as me! Tim describes his music as Bleggae - a fusion of blues and reggae - and it really works. It’s almost as if these two types of music, forged in poverty and hardship and with - at their root - three basic chords, were never really separate at all. Like twins separated at birth, they come together again and become something special. Tim delivers some stunning stuff: Hendrix’s ‘Wind Cries Mary - reggaefied’; ‘That’s What The Blues Is All About’, a Tony Joe White song, given a new twist; a super new song by Tim and John Lee Hooker’s daughter Zakiya ‘An Old Bluesman Never Dies’ and so much more. Many of the original tracks on this CD will (mark my words) be covered by key artists ‘ere long. Go and get your copy now! You won’t regret it.. <timhain.com> IM

B.B. &THE BLUES SHACKS – “Live At Vier Linden” – Crosscut ccd 11088/ “Live At Vier Linden – Crosscut CVD 5001 This is the third album for Crosscut from this outfit and like its predecessors it proves once again that BB & Co are a classy, top-notch band. They can swing, rock, and jump. They can get low-down and dirty, tackle a smooth slowie like T-Bone Walker or come over as nervy and intense as Buddy Guy. Lead singer Michael Arlt even gets all soulful on ‘You Can Always Depend On Me’, and he also plays some fine, big-toned harp on about half of this set; his brother Andreas is responsible for the versatile axe-work throughout, whether throwing out jazzy licks or nagging West-side Chicago phrases. The DVD has twelve tracks as opposed to the CD’s eleven, though there are five duplications, offset by some nicely informal “Home Stories” as a bonus. Back with the show though, and throughout the atmosphere is electric and almost tangible – not surprising as this was recorded in October 2005 in front of the band’s home crowd. More surprising maybe, for the uninitiated, is that that home is not Los Angeles, California, but Hildesheim, Germany. You may not need both of these releases, but either one is certainly worthy of your consideration. <www.crosscut.de> Norman Darwen

BOO BOO DAVIS/ Drew, Mississippi/ Black & Tan CD B&T 029 Boo Boo is one of the last real down-home blues singers around, with a big, authentic voice akin to Howling Wolf or John Lee Hooker and a no-nonsense approach to his work. However, he is also aware that to survive, the blues needs to capture and keep the attention of a younger audience; hence he has tended occasionally towards hints of a contemporary R&B sound. For this set though, he has gone a lot further than that. He is supported (in the main) by UK outfit NuBlues, who make relevant blues for a generation that views the music as old-fashioned and the preserve of a bunch of aging white guys down the pub who still play their guitars in a style that was out of date thirty years ago!

Surprisingly maybe, I found this CD highly successful. Maybe it is because Nublues’ Ramon Goose exhibits a good understanding of the genre and he is able to adapt rhythms and arrangements to modern ears without sacrificing the integrity of the blues – or changing things for change’s sake. Maybe it is because Boo Boo is a strong enough leader to pull it off whatever is going on behind him. Whatever the reason is, if this CD succeeds in its aim – to any degree at all – it will have done its job. And for this listener at least it certainly does that. Norman Darwen <www.black-and-tan.com> DECEMBER 2006

MITCH WOODS / Big Easy Boogie/ Club 88 Records 8801 Like boogie? Well this one’s for you. Mitch Woods is a super 88s man and a pretty good singer too. Here his is accompanied by a big band, with a full four piece sax section (The Blue Monday Horns) as well as a trumpet - courtesy of Dave Bartholomew that N’awlins stalwart - and the regularly filled rhythm section which includes Earl Palmer on drums. The CD is produced by Woods and Bartholomew. The music dedicated to Fats Domino, is rockin’ fun. ‘I Thought I Hear Satchmo Say’ is a super piece with the rhumba rhythm common to Big Easy music, and check out the superb boogie piece called ‘Crescent City Flyer’. Here we’ve got 13 tracks with just over 46 minutes running time. BUT THAT’S NOT ALL. The package comes with a DVD ‘ Live In New Orleans’! More than 2hrs of playing time on the DVD with films of live performances at the 2002 New Orleans Jazz and Heritage Festival, stuff recorded in the studio as the CD was made, interviews with some of the musicians including Mitch himself as well as Earl Palmer. If you want to help with the Hurricane Katrina Relief Fund, a portion of the profits from this one go there. Check out mitchwoods.com> Apparently Mitch is on his way to the UK. More from us as soon as we know. IM DECEMBER 2006

BOB PEARCE/ Unchained/ FuzzyPig FCCD009

Well, what a delight this is. Bob Pearce, former Soton blues man and erstwhile Ed of BITS, has produced his first album in seven years. Let’s make no bones about it, this is ‘inspirational’ music of the first order. With some beautiful - gentle - arrangements, Bob and his friends (too many to list, but including Ray Drury, Chris Collins, Arnie Cotrell, Colm Murphy and Steve Stares) provide some wonderful music in the Gospel genre. The songs - all beautifully sung by Bob - range from the traditional (‘Call Him Up’ and ‘Let Your Light Shine On Me’) , through songs by contemporary musicians (Clapton’s ‘Presence Of The Lord’, Spencer Bohren’s, ‘Wings Of An Angel’) to two songs penned by Bob ‘Come On In’ and ‘Just To Think’; the latter of which, given enough exposure could be come a gospel standard. Don’t think, by the way, that this is turgid, holier- than-thou music. Just listen to the swing of ‘Don’t Turn Round’, which features Bob’s super harp playing. This is really, really good stuff. More please! IM To get a copy in a jewel case, with inserts, send £1 and YOUR ADDRESS to Bob Pearce, 39, Northold Gdns, Soton, SO16 8HA or download free from www.ebayrecords.co.uk/7.html IM (August 2006)

DR HARP’S MEDICINE BAND/ Doctor Write Me A Prescription For The Blues/ Birmingham Children’s Hospital (No Number)