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.

BUDDY GUY/ OTIS RUSH/ MAGIC SAM - 'Snakebite' (Retroworld FLOATD 6007)
This trio of electric guitarists were all youngsters on Chicago's West-side when they recorded, for Cobra and associated labels, the 49 titles that make up this double CD reissue set; Guy with 12 tracks, Rush with 17 and Magic Sam with the remaining 20. Most of the material dates from the late fifties, though some numbers were made in the following decade. These men's importance to the Blues has increased immensely over the last couple of decades; Guy and Rush have long been recognised, but 'Magic Sam' Maghett - who died tragically young in 1969 - has justifiably taken his place alongside them over the last couple of decades. Listing some of the titles here should demonstrate the influence this material has had: how about Rush's 'I Can't Quit You Baby' or 'All Your Love (I Miss Loving)', both most famously covered by John Mayall's Blues Breakers back in the mid-sixties? Buddy Guy's 'Too Many Cooks' inspired Robert Cray, and as for Magic Sam - well, his famous vibrato laden riffs are essential for any modern blues guitarist - but do take a listen to 'Easy Baby' if you are unfamiliar with the man himself. This material belongs in any blues collection worthy of the name.
Norman Darwen

THE JAY TAMKIN BAND - SORTED - Weinerworld Records WNRCCD5045
Still only 22 years old, Jay Tamkin has come a long way in a short time. Hailing from the west of England, Jay and the boys are spreading their wings and in a few short months have been booked to open for Ian Seigal, Sherman Robertson, Chris Farlowe, Popa Chubby and most recently Kim Wilson. The band is Jay Tamkin - Guitar, Vocals, keys, Pete Searle - Bass & Vocals and Nick Ramos Pinto - Drums. All the tracks on this CD were written by Jay. Rooted in traditional 12 bar blues with more than a touch of jazz, Jay manages to add a little something (often with a nod to Hendrix) special that takes the music into places other young guitarists could not, or cannot reach. This is blues rock - of course - not traditional blues, but it stays slightly more firmly on its base than do some of Jay’s contemporaries who are sold as ‘bringing the blues to young people’ but are really little more than self-indulgent egotists. Jay is more SRV than Bonamassa. Excellent.
Ian M

THE GROANBOX BOYS - Gran Bwa - Groanbox Records GBR 003
This is the third album by Cory Seznec and Michael Ward-Bergeman, the Groanbox Boys. Their last CD, Fences Come Down was greeted with delight and some amazement. The Guardian thought it was a mix of Uncle Dave Macon, Django Reinhardt and Clifton Chenier and ‘American UK’ called the boys live set, ‘the rootsiest Americana I’ve seen in a long time’.
Well this one is more of the same but the boys have upped the game a notch or two. Still that eclectic mix of accordion, acoustic guitar, banjo, harmonica, and percussion but here with an added dash (to follow The Guardian) of (laid back) JJ Cale.
Don’t even consider this is you want pure blues but if you want highest quality musicianship, excellent song writing and high quality sound recording, then go for it. My only (minor) complaint is that sometimes the vocals are a bit far back in the mix, but that’s JJ Cale for you!
Ian M

LOUISIANA RED AND LITTLE VICTOR’S JUKE JOINT Back to the Black Bayou (RUF 1149)
The brainchild of producer Little Victor, Iverson Minter’s songs are given a new immediacy that reflect a unique touch developed under the tutelage of Muddy Waters, Lightnin’ Hopkins, John Lee Hooker and Elmore James. You’ll hear the spirit of all of them here and also the unique voice of Minter AKA Louisiana Red backed by a stellar cast of backing musicians. Years later tunes like ‘I’m Louisiana Red’ would resurface as ‘Willie The Pimp’ etc. Elmore James’ influence can be heard on songs such as the stunning 12 bar ‘Crime in Motion’ with Minter playing the slide guitar. Added to the mix is some ‘feel good’ country blues ‘Ride On Red, Ride On’ with Little Victor on lead guitar and the slow Chicago blues ‘Sweet Leg Girl’. The melody to the swampy title track is borrowed from ‘Catfish Blues’ while the tune to ‘You Done Quit Me’ was picked up on by Cyril Davies on ‘Someday Baby’, a groove that may well have preceded and succeeded Louisiana Red!
Much care has gone into this project including the reconstruction of Minter’s songs with, in some cases, bass lines becoming guitar parts and the empathy shown by the musicians on upright bass, harp and piano makes ‘Back to the Black Bayou’ the most authentic and exciting blues adventure for a long time! There are too many high points to list but just a few more- the lyric of ‘Too Poor To Die’, the rockabilly ‘I Came From Louisiana’ with the Bo Diddley beat and the Muddy Waters tribute ‘At The Zanzibar’.
‘Back to the Black Bayou’ is absolutely indispensable for all lovers of the blues.
Phil Jackson

THE RADIO KINGS - The Radio Kings - (Cora Zong Records 255 117)
Lovers of the blues cannot fail to be impressed by the comeback of The Radio Kings after a 10 year hiatus. This Boston duo of singer/ harpist Brian Templeton and guitarist Michael Dinallo, backed by lap steel, bass and drums/ percussion/ clavinet, have written 7 new songs for the album encompassing many different styles including Memphis blues, country, blues-funk, dark ‘jungle’ blues (‘Evil Love’, one of many highlights) with varying tempos from upbeat (the ‘pop’ of ‘Donna’) to ballads such as ‘I’m Not Trippin’ that has been compared to Roy Orbison. All in all though popular opinion is that their sound seems closest to the Fabulous Thunderbirds, with a strong Nashville new country edge. They also rework a couple of ‘traditionals’- ‘Pallet on the Floor’ and ‘You Got To Die’ (both very convincing!) as well as Magic Sam’s ‘She Belongs To Me’ and the blues soul of O.V. Wright’s ‘You’re Gonna Make Me Cry’. The Radio Kings will be touring again this Autumn.
Phil Jackson

VARIOUS ARTISTS - “Roots Of Rhythm And Blues – A Tribute To The Robert Johnson Era” – SPV/ Blue 306722CD
In 1991, long-dead legendary Mississippi Delta bluesman Robert Johnson was BIG! His 'Complete Recordings' reissue set had just won a Grammy, sold an absolute bundle, and caused a lot of (largely incorrect) speculation about his life – much of which is still around today. In Washington DC, that year’s Smithsonian Folklife Festival commemorated him and this oddly titled set records the event. The main artists all knew Johnson – Robert Jr. Lockwood was his stepson, David 'Honeyboy' Edwards and Johnny 'Ned' Shines (as he is billed here) travelled with him, and Henry Townsend worked with him in Saint Louis. Additionally, the bill includes other Mississippi musicians such as Jessie Mae Hemphill and Lonnie Pitchford, and former Parchman Prison Farm inmate David Savage. Now, I'm not sure about Savage, but of all the others, only Honeyboy survives today! Other performers include guitar/ harp duo Cephas and Wiggins, guitarist Toshi Reagon, gospel harmonica veteran in Elder Roma Wilson, a gospel group and a railroad gang (and Kent DuChaine crops up behind Shines). The aim was to honour not only Johnson's music, but also the environment in which he lived and worked – hence the inclusion of work-songs, sacred numbers and even street vendor cries. This is a fascinating and historical document then, as well as thoroughly enjoyable listening.
Norman Darwen

DABY TOURÉ & SKIP MCDONALD: ‘Call My Name’ (Real WorldCDRW164)
Daby Touré is a singer/ guitarist/composer from Mauritania in West Africa who is popular in Paris; Skip McDonald is a veteran singer and guitarist from Dayton, Ohio who has been based in London for many years, working in the more experimental sides of Blues and reggae. The two men have previously jammed, but this six track 'mini-album' is their first recording together, and a fine set it is too. They find common ground in the Blues, with several tracks recalling the ‘desert-Blues' sound of the John Lee Hooker influenced Ali Farka Toure and others, sometimes bringing to mind Taj Mahal or Corey Harris's African recordings. Throughout the set other elements sometimes seep in, but the gentle music of the guitars and drums (the latter courtesy of Keith LeBlanc) flows quietly and smoothly, leaving the listener with a warm and satisfied feeling. <www.realworldrecords.com>
Norman Darwen 

JULIAN PIPER'S JELLY ROLL - Can I Play With Your Poodle - BSW 138

There is probably something deeply unethical about reviewing a CD from a guy who you share a radio programme (and occasionally a stage) with, but I’m gonna do it anyway.
Julian Piper has been a stalwart of the blues scene in the southwest of England for longer than he (and I) want to remember. For many years he has, with his excellent axe work, fronted his band Junkyard Angels (a four piece) playing what Julian would call ‘straight blues’ but here, his new band (a three piece) recognises an ele- ment of the blues that I am constantly harping on about - its strong and undeniable association with jazz. The band benefits from the inclusion of Craig Milverton a jazzy keyboard man with a keen sense of the ‘proper’ direction of improvisation. The drum chair is filled by Andy Mills a man with a gigging pedigree that covers the whole BITS area from Soton to Exeter. The music is nothing short of excellent with a full sound (some over- dubbing?) and a light ‘fun’ touch. Tracks range from Gatemouth Brown’s ‘Dirty Work At The Crossroads’, through N’Orlins fav ‘Cissy Strut’ and Ray Charles’, ‘Alright, OK, You Win’ to the Tampa Red song giving this CD its title (a song which is actually more feline than canine). Go for this one! (email julian@julianpiper.com)
IM

OMAR KENT DYKES - Big Town Playboy - Ruf 1142
Omar Dykes found himself a new direction when, two years ago, he produced the CD The Jimmy Reed Highway which featured Jimmy Vaughn and concentrated on the work of bluesmeister Jimmy Reed. That 2007 work was very well accepted, and wisely Dykes has here gone - by and large - for more of the same. Using many of the same musicians including Vaughan, guitarist/producer Derek O'Brien and singer Lou Ann Barton, Omar has put them together on half of this twelve track CD with a pair of blues harp legends, Lazy Lester and James Cotton. The line-up, which includes Ronnie James and Wes Starr in the driving rhythm section, also cover tracks from John Lee Hooker, Ivory Joe Hunter and one from Eddie Taylor (the title track) Jimmy Reed’s often overlooked partner. This is tough and gritty music by a man who has one foot firmly planted in the mud of the Mississippi and the other in the rough terrain of Texas. Not to be missed.
Ian McKenzie

KELLY CARMICHAEL - “Queen Fareena” – Dog Street DOG 003
A sprightly version of Mississippi John Hurt’s ‘Richland Women Blues’ opens this CD and sets the tone for the whole album – ringing banjo, sweeping fiddle and bright accordion fills support Kelly’s warm vocals. Kelly was born in Murfreesboro, Tennes- see and started out as a hard-rock guitarist. He began perform- ing solo in 2002 and this set shows he is certainly suited to it – ‘She’s Funny That Way’ tends to twenties jazz, as do several other numbers (Scott Rich’s trumpet playing and John McVey’s trombone also help). Robert Johnson’s ‘Last Fair Deal Gone Down’ gets a hokum-ish treatment which is a refreshing anti- dote to too many over-reverential renderings. Elsewhere, standards such as ‘Salty Dog’ and the risqué ‘Terrible Opera- tion Blues’ are given different and unusual treatments (though ones which are certainly compatible with the material) whilst Sylvester Weaver’s venerable and much-covered slide guitar piece ‘Guitar Rag’ is approached from a western-swing angle, with a slight dash of Cajun spice. By the way, the title song is about a steamboat that doubled as a floating brothel. So, not one to take too seriously and all the better for it! Lovers of Americana will certainly go for this, and those familiar with the likes of thirties jazz-blues group The Harlem Hamfats or even Louis Armstrong’s bluesier recordings will find much to enjoy here. A real good-time set…(www.kellycarmichael.com)
Norman Darwen

JULIAN SAS - Wandering Between Worlds - Corazong CRZ 255111
Available as a 2 CD set or as a DVD/CD ‘Wandering Between Worlds’ demonstrates, if any proof were needed, that Sas has a real feel for blues rock, never turning back after being introduced by his Dad aged 16 to the music of Rory Gallagher. Since then Julian has played with members of Gallagher’s band and has also headlined the annual Rory Gallagher Festival in Ballyshannon. County Donegal. Gallagher is not the only influence on display as ‘Ain’t No Change’ illustrates, dipping more than a toe into Jimi Hendrix’s ‘Voodoo Chile’. OK there’s maybe not much here you haven’t heard before but Sas’ clean Gibson guitar sound and an empathic understanding with his rhythm section (Tenny Tahamata (ex bass in the late Curtis Knight’s band) and drummer Rob Heinje) will probably entrance you the way it did the enthusiastic crowd at the Zoetermeer venue in Julian’s native Holland. Whether it’s a hard rocker like ‘Resurrection’ or a slower ballad like ‘Sailin’ Into the Unknown’, Sas and his band have certainly got the blues and he has a soulful voice to go with it.
(The 14 track concert on DVD unearths 4 new songs while the accompanying CD has acoustic versions of 4 familiar songs and one new one making a generous package of 19 songs in all).
Phil Jackson

MAJOR LANCE - “Um, Um, Um, Um, Um, Um” - SPV/ Blue 306392 CD
Major Lance – his real name – was born in Winterville, Mississippi in 1939 and raised in Chicago – but it was the soul sound rather than the Blues that attracted him. That might be unsurprising though, as Curtis Mayfield was a close school-friend; so too was Jerry Butler, but Curtis was more important to Lance. There are six Mayfield compositions on this album of early- to mid-sixties Chicago soul (or maybe you prefer to call it 'rhythm & blues', it is certainly applicable here), a sound that draws from its gospel and blues roots, but which also has a strongly melodic pop sensibility - a grittier Sam Cooke is not too far-fetched a comparison. The CD's playing time runs to only 23 minutes – very sixties! - as each track is single length. If you are a little unsure, try his storming cover of the New Orleans number 'Land Of A Thousand Dances' or the strutting 'Gotta Get Away' (which hints at just why he was popular enough on the Northern Soul scene to move over here in the seventies). The notes say that 'Watusi' starts like a novelty track and “ends up being an excellent showcase for the Major's fantastic vocal range and versatility” - but those last two qualities are on show throughout the album.
Norman Darwen

AYNSLEY LISTER - Equilibrium - Manhaton Records. Hatman 2024
There is no doubt about it, the things they say about Aynsley’s guitar work are fully justified and this CD will do no harm at all to his standing in that quarter. He has sold over 75,000 records and now headlines many of the major festivals throughout Europe where he has played alongside blues legends such as Buddy Guy, John Mayall, and Robert Cray as well as big name pop artists such as Bryan Adams and Fun Lovin’ Criminals. Aynsley’s last album ‘Upside Down’ was all self-composed songs and bar one, this one is too. The songs are clever and sometimes down right funny: try ‘Sugar Low’; ‘It don’t add up, I should be 20 stone’ and as usual, the axe work is of the highest quality. There is a nice riffy feel to ‘Time’s Up’ and some excellent resonator and acoustic work on ‘Crazy’. But, IMHO this not blues and is barely blues rock. Far too many of the tracks sound to me like the rocky end of ‘new country’ music (eg., ‘What’s It All About’; ‘Running On Empty’) with close harmony choruses and a Nashville tone to the guitar(s). I am left wondering if this is an effort to break into the US market. If so, it is the right path but may be the wrong direction.
Ian M

SONNY RHODES - I’m Back Again - Feelin’ Good 007
Good news for all the blues lovers in the house! The biography of this California-out-of-Texas blues singer/ guitarist is carefully detailed on the sleeve by BITS contributor Brian Harman, so suffice it to write that gritty-voiced Sonny has brought along both his regular and lap steel guitars (and the latter gets frequent airings), a bunch of excellent songs – mostly original – and a cooking little Italian band. In addition, there are storming guest appearances from internationally renowned blues harpmen R.J. Mischo, Jumpin’ Johnny Sansone, and Brian Templeton. Sonny references his fertile period at King Snake Records with a cover of Kenny Neal’s ‘The Truth Hurts’ (Kenny was on the label at the same time), harks back to his earliest days with a beautifully down-home autobiographical number, ‘Smithville Texas’, and shows he is bang up-to-date with current blues tastes by covering Slim Harpo’s very popular ‘Shake Your Hips’. He hits a similar boogie groove on ‘Can’t Dance Boogie’ and slows things down for a vocal ballad showcase with the doo-wopper ‘Tell Me The Truth’. Sonny is always worth a listen, but this CD is much more than that – definitely recommended.
Norman Darwen

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SAFFIRE -THE UPPITY BLUES WOMEN - Havin’ the Last Word - Alligator
These three wonderfully irrepressible ladies have created a passionate rollicking swan song of an album, using all their skills and knowledge gained from their own unique experiences and of playing together for what is now their twenty–fifth year. All sixteen numbers on the album are full to the brim with wonderfully infectious and boisterous music using a combination of honky-tonk led piano that is seamlessly backed with foot-tapping mandolin and fiddle combined with frisky upright bass and harmonica; also, you will find in amongst all the jollity, that there are one or two thought provoking and emotional numbers.
These ladies continue to include enough single and double entendres to fill a small house, a delightfully non- p.c. performance delivering advice and suggestions that are ribald raunchy and saucy to say the least.
They and their numbers are fierce advocates of independence and of growing old distinctly disgracefully; exploring fully the mature woman’s right to experience their lasciviously luscious and lustrous dark side. Thoughts on all manner of subjects are thoroughly explored the vocals and music are superb the verve and vigour of each of the irresistible numbers encourage you to tap and sing along with glee.
Undoubtedly, A fizzing and whizzing end to a sparkling career!
Brian Harman

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RED JACKSON - Walkin’ After Midnight - Self produced available from <www.redjackson.com>
Walkin’ After Midnight is a song recorded and made a huge hit by Country music star Patsy Cline reaching number two on the country charts and number twelve on the pop charts. But don’t let the label ‘Country Music’ put you off. Red Jackson are a band of three guys, deeply rooted in the blues, who are given to playing gigs in regular venues in the BITS area but also state on their web site: “We are regular Street Performers and proud of it.” So keep your eyes peeled – you may find then ANYWHERE. This is their second CD and in one sense, it is more of the same. That is, mostly covers (albeit excellent ones) of other people’s work. Here you will find music originally performed by the likes of Fred McDowell, Jimmy Reed, Carl Perkins, Jerry McCain, Billy Boy Arnold, Robert Johnson, Bessie Smith and of course Patsy Cline.
But, don’t expect clones of the originals; these are individual, sometimes quirky, but always fiery interpretations with real guts. However, only two of the twelve tracks are Red Jackson originals and I for one would like to hear some more of their own stuff.
This is a first class addition to the band’s catalogue and is highly recommended.
IM

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DAVE ARCARI-Got Me Electric- Buzz Records BRS0022009
Continuing the Scottish theme (see below in the Joanne Shaw Taylor review) here is Dave spreading his wings a bit and (occasionally) abandoning his National for a Telecaster and a regular acoustic guitar. Dave is on tour in the UK in early 2009 (see BITS gig guide and http://www.davearcari.com/) and he really deserves to be checked out in person. A kind of mix of blues, punk and rock he is a ‘hard edged’ player of his instruments and has a voice that matches.
There’s not much space for fine detail but some of the stuff here is super: check out his version of Blind Willie Johnson’s ‘Soul Of A Man’ and a terrific version of the ubiquitous ‘Walkin’ Blues’. In his adventurous mode and to celebrate the 250th Anniversary of the the birth of Robbie Burns - which fall this year - Dave has set one of Burns’ poems ‘Parcel Of Rogues’ to music and it is surprisingly effective.
Don’t make any mistake though this is in general seriously forceful stuff well worth a listen. Dave’s tour eventually takes in main-land Europe, Canada and the USA, so catch him while he’s here.
Ian McKenzie

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RICK VITO - "Lucky In Love" Hypertension HYP9268
Up until his recent tour as guitarist and frontman for The Mick Fleetwood Blues Band, American Rick Vito was not that well-known to followers of the Blues in Britain, despite having some excellent solo albums. It is slightly ironic though, given that Rick was a member of the million-selling Fleetwood Mac of the late eighties, and before you dismiss that, be aware that Rick is perhaps the man who these days has nailed that vintage Peter Green sound – whilst also building on it and developing his own style. Perhaps this is unsurprising though, as he has also worked with the likes of John Mayall, Tina Turner, and many, many others…
This CD covers the years from 1992 to the present, and is a real treat for the modern blues lover. There are remakes of sixties’ Mac material, there’s a little bit of eighties big production blues-rock (with Stevie Nicks), there’s an ace cover of John Lee Hooker’s ‘Mr. Lucky’, a spooky instrumental, some rock ‘n’ roll, jump-blues, even acoustic based blues. Rick convinces whatever style he adopts, and although there are a few blues-based artists around these days who could claim the same, few do it with the sense of class and level of accomplishment and enthusiasm that Rick has. You may have gathered I like this a LOT. If nothing else,, try the stunning ‘A Change Is Gonna Come’.
Norman Darwen

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JOANNE SHAW TAYLOR - “White Sugar” - (RUF 1147)
How do Ruf keep doing it? Yet another blues sister joins the fold and quite possibly the best yet. Joanne has thrown down the gauntlet with this recording and achieves a consistency that her stable mates (Sue Foley et al) would find it hard to emulate. I love the mixture of swampy heavy blues rock riffs of ‘Going Home’ and ‘Bones’ (an absolute standout) with the sensitivity of ‘Just Another World’. Joanne teases a tantalisingly clean and pure sound from her Telecaster and her touch is angelic. I am still reeling from the realisation that someone so young could produce something so beyond her years. (Apparently no less than Dave Stewart has come toa similar conclusion). She even has the sultry voice to go with her formidable blues licks. The words are good too! Things get really heavy on ‘Who Do You Want Me To Be’ proving that Joanne can mix it with the best of them. The slow walking blues of ‘Time Has Come’ is also a treat and Joanne’s guitar fills are a joy to the ear. Let’s not understate this- the playing is nothing short of phenomenal and every bit as good on the audacious instrumental title track. The arrangements are also superb no better illustrated than on ‘Kiss The Ground Goodbye’. (Jim Gaines the producer’s pedigree is the likes of Santana, Stevie Ray Vaughan and Albert Collins). ‘Heavy Heart’ verges on reggae and further emphasises the tightness of the rhythm section of David Smith and Steve Potts. The band fire on all cylinders on ‘Watch ‘Em Burn’ and the album ends with another slow blues with the yearning in Joanne’s voice of an intensity seldom heard since the days of Janis Joplin.Although the press release tells us that Jo cut her teeth in the UK from age 14 (!) the Tennessee blues never sounded so good (for that was where ‘White Sugar’ was recorded). Jo really does let her guitar do the talking. I have only one question- when is Joanne Shaw Taylor coming to Scotland? Definitely my blues album of the year!
‘White Sugar’ is released in January, 2009 so it could be my blues album of next year as well!
Phil Jackson

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ARTHUR LOUIS - “Black Cat” - Black Cat Records CD 002
It’s difficult to know what to say about Arthur Louis’ music. Some of it I really liked- for example his take on a fluid instrumental a la Gary Moore’s ‘Parisian Walkways’ in ‘Turning Point’ which showed great subtlety and poignancy with piano arpeggios, horns and of course Louis’ evocative guitar lines. Elsewhere I found the mix of soul, blues and reggae and Arthur’s plaintive vocals not entirely to my taste, although I have to admit that, despite initial concerns, the reggae take on ‘Knockin’ on Heaven’s Door’ works quite well. Not so, ‘Birthday’- i am always suspicious when anyone writes songs about ‘radio’ or ‘birthdays’ and perhaps the latter should be left to Stevie Wonder (an obvious influence on this song!) and The Beatles more corrosive delivery.
Louis’ forté is in storytelling as on the closing salutary tale. Rose A London’ with its smooth ‘big brass’ arrangement sounding vaguely Steely Dan-ish. The album starts so promisingly, again in true biographical blues style with slide guitar and cold blasts of brass, simmering organ and a riveting sax break on ‘Born to Sing The Blues’. The title track is in reggae style with a bit of ‘hip hop’ and the mix of Louis’ voice with female backing works well. ‘Rescue Me’ follows the BB King line of succession through Robert Cray et al with a ‘born under a bid sign’ lyrical theme while, in contrast ‘Fast Car’ is the heaviest piece on the album starting like ZZ Top and revealing itself as yet another variation on a 12 bar. That doesn’t really suit Arthur’s style but the next one does and Jimmy Cliff springs to mind on ‘Too Many Lies’ with its light reggae beat. On ‘Turning Point’ I could picture Curtis Mayfield and hear some of Arthur’s best guitar playing.
Overall, I liked this album, a kind of ‘best of’ with some new songs,, not unreservedly but certainly enough to want to go see Arthur Louis, if he ever comes my way. Contact: www.arthurlouis.co.uk
Phil Jackson
(January 2009)

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MATT ANDERSEN - Something In Between - Anderson 008
Matt Andersen’s last CD ‘Second Time Around’ showed that, when he wants to, Andersen can produce some seriously bluesy blues mixed with some blues inflected pop music. This new CD is more of the same, but with a big dollop of country music in the mix too.
Now, don’t misunderstand me, ‘cause there’s a tad of country in it, that is (IMHO) no bad thing. As before all of the tracks except two were written by Matt, the exceptions being John Fogerty’s ‘I Wrote A Song For Everyone’ and ‘Bold And Beaten’ by Ross Neilson. The rest of the tracks include some rocky blues (as opposed to blues rock) like ‘Working Man Blues’ and some laid back (almost JJ Cale like) workouts with some excellent controlled axe work. ‘Lonesome Road’ is a driving (no pun intended) piece brining to mind EC in his post-Cream days (round the time of 461 Ocean Boulevard).
Quite apart from Andersen’s song writing and guitar playing skills the album boasts a bonus in that the rhythm support for all the tracks ‘cept one (‘Stay With Me’) is Dave Markee (b), Henri (sic) Spinetti (dms), Dan Cutrona (kbds) and Norman Barret (g). The publicity material describes this bunch of musicians as Clapton’s post-Cream band, but that I think (according to my increasingly defective memory) is only partly true. Nevertheless, the skills of Markee and Spinetti (who were with EC) may account for some Claptonesque tinges to the music.
All in all this CD is just what it says on the tin; Not straight blues, not straight country, not straight pop, but ‘Something In Between’ and pretty darned good too.
Andersen is on tour in the UK in early 2009.
Ian McKenzie
(January 2009)

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TOM DOUGHTY - 'Have A Taste Of This' Corker Records
Unique is a much overused and misused word when describing a musician’s playing style, but in the case of Tom Doughty it is exactly the right word. This album of tunes is all that fans of Tom Doughty have come to expect. There is a word that readers of BITS may be unfamiliar with; it is a word in common usage up in the Black Country, up through the Potteries and into Tom’s home county of Cheshire. 'Stonking'. Roughly translated it means pretty wonderful in every way. The album is comprised mostly of tunes from Tom’s own creativity, influenced on occasion by the blues greats of the past such as Charlie Patton, Sleepy John Estes and Ishman Bracey. Exploiting overtones that many lap style guitarists try hard to suppress, Tom delivers a musical complexity, depth of tone and raw emotion that lesser mortals merely dream of. There are covers of Dylan’s 'Spanish Harlem Incident', Billy Holiday’s 'One For My Baby' and a reworking of the country blues standard 'Delia' which when Tom sings 'Nothing left for me to do than sing my lonesome song' I am transported into reverie with tears in my eyes. Tom’s last album was dedicated to his old collie bitch who finally succumbed to the ravages of time. This latest album features 'Hound Dog Blues' which tells us that now there is another sabre toothed mouse hound sleeping at Tom’s fire side. Like many of us who grew up through post WW2 austerity, and then the apparent riches that followed, Tom grew up an angry young man. Listen to Zimbabwe blues, and you will hear that Tom Doughty is angry again. There is a competition of sorts between Tom Doughty and fellow bluesman Jim Crawford in the baking of meat pies. ‘Maggie’s Pies’ is an instrumental piece that implies Jim’s success may be part way due to his wife’s pastry baking skills. I know Jim Crawford to be a man of integrity, so I couldn’t possibly comment. If you want a pie, you will have to bake your own, but 'Have A Taste Of This' is available from www.TomDoughty.com Thirteen songs and instrumentals with some of the best lap slide guitar in the country. It’s a stonker!
Clive Sheard
(January 2009)

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ETTA JAMES/ Mystery Lady - Songs Of Billie Holiday/ SPV/ Blue 305812 CD
Billie Holiday is sometimes classed as a blues singer, though usually by jazz critics - but she has been an influence on both jazz and blues singers since her heyday in the thirties and forties. That includes veteran blues and soul singer Etta James - maybe you’re familiar with her 'I'd Rather Go Blind', or know her from 'I Just Wanna Make Love To You', featured in Coca-Cola adverts a while back - and her early life had some unfortunate parallels with Billie's, so this set is really quite a natural tribute. It won her a Grammy for Best Jazz Vocal when originally released by Private Music in 1994 (shortly after she had been inducted into the Rock 'n' Roll Hall Of Fame). It was deserved too, as Etta keeps her blues/ soul approach but is respectful towards the originals, keeping the style appropriate to the forties small group sound. This is helped by the sparse arrangements of pianist Cedar Walton and his seven piece band, which also includes excellent sax man Red Holloway. Don't use this CD to make Etta's acquaintance, as this fine and mellow set is in no way typical of her output, but if you are already familiar with her, then you will probably want it anyway!
Norman Darwen
(January 2009)

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DAVE LENNOX/ Before Beyond & Blue / Note Music NCD 1019
We don’t get too many CDs these days with just a band and no singer(s) but here’s one and it’s excellent! From the always reliable Note Music stable, Dave Lennox and a bunch of super musicians give us some seriously laid back and sometimes funky stuff; just the thing to kick back in your armchair, plug in the headphones and chill to.
I suppose that Hammond Organ lead blues and jazz are not to every ones taste, but if you are inclined to a session with some outstanding melodies and accomplished musicianship without any of those pesky vocal to mess with your head, this one is for you. Dave’s last CD ‘Lufthalle’ was a sound picture of a departure terminal at an airport (in Germany?) and was a tad pretentious for my taste. But, none of that here, just swinging tributes to the likes of Jimmy McGriff, Jimmy Smith and Jack McDuff. Check it out! You won’t regret it.
Ian McKenzie
(January 2009)

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MAHALIA JACKSON/ “Intégrale Volume 6 1955 - 1956”/ Frémeaux FA 1316
This is part of a series documenting gospel great Mahalia’s complete output, and this release is certainly timely – the first ten tracks (out of 20) formed Mahalia’s 1955 Christmas album for Columbia. OK, I admit that at most times of the year you’re not going to want to listen to her truly magnificent voice tackling the likes of ‘White Christmas’, ‘Silent Night’ or ‘O Come All Ye Faithful’, but you’d have to be a pre-conversion Scrooge not to want to hear them at the moment. The arrangements are more than a little cheesy, I admit, as Columbia throw in strings, chimes, vibes (by Lionel Hampton!), choirs - most definitely not gospel choirs - and the works, though regular pianist Mildred Falls tries to keep things in check and there is nothing whatsoever wrong with the excellent ‘Go Tell It On The Mountain’. The remaining ten tracks on the CD are not seasonally related but most are unfortunately just as dated, with arrangements that sound a little Disney-ish in places, though ‘’Round The Rainbow’ is a pop styled Civil Rights number (‘There is no colour line round the rainbow’). Only get this for the Christmas material then! (www.fremeaux.com)
Norman Darwen (December 2008)

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CHRIS JAMES AND PATRICK RYNN/ “Stop And Think About It”/ Earwig CD4957
I knew this would be a good one when I saw the dedication to Dave Myers, Willie Kent, Robert Lockwood Jr. and others. Chris and Patrick have played together since 1990 and it shows. They now play regularly at Bob Corritore’s Rhythm Room gig in Phoenix, Arizona (Bob repays them by blowing some excellent harmonica on five tracks) but an early gig was with veteran drummer/ singer Sam Lay, who also guests here. Patrick plays bass and supplies second vocal, Chris is lead guitarist and singer, and the set is straight-ahead Chicago blues in the classic style, all crashing slide, riffing horns, wailing harp, insistent rhythms, and sometimes bragging lyrics (try ‘Mister Coffee’, “the man that grinds so fine” – also check out Lay’s work here). Even Jay McShann’s Kansas City classic ‘Confessin The Blues’ gets a relaxed Windy City club treatment, but for the most part, this is music in the tradition of Magic Sam, Muddy Waters, Elmore James, Snooky Pryor and Bo Diddley – those last three also supply songs, four of them in Elmore’s case. How could I not recommend it? (www.earwigmusic.com)
Norman Darwen (December 2008)

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ERJA LYYTINEN - Grip of the Blues - Ruf Records
I very much enjoyed Erja’s ‘Dreamland Blues’ and was looking forward to hearing further recordings. Well, at last it has arrived and, to be honest, I have mixed feelings. This is due I think to the contrast in styles from song to song which can be disconcerting in places, for example when the sultry Prince like funk of ‘Wanna Get Closer’ turns into the swampy grit of ‘Dissatisfaction’.
Leading off with an instrumental loosener that owes something to Joe South’s ‘Games People Play’, Erja is in finest voice and, guitar wise, is at her most expressionistic, on the title track. However, the covers of Tony Joe White’s ‘Steamy Windows’ and the standard ‘Rollin’ & Tumblin’ didn’t do a lot for me, although the former does provide a vehicle for Erja’s slide guitar.
For me there are two outstanding songs on this album ‘Unreachable’ (like the best of Bonnie Raitt) and ‘Voyager’s Tale’, a moving ballad that is quite unlike anything else I’ve heard her do before . For me Erja has found her niche in these two pieces of magic although it has to be said they are not, in purist’s terms, the blues.
So, a perplexing album showcasing part of the set of a Finnish band that perhaps doesn’t hang so well together in the studio. Nevertheless ‘Grip of the Blues’ has a great sound and, at its best, reveals the extraordinary talent of Erja Lyytinen and her musicians. The best is yet to come perhaps. Contact: www.erjalyytinen.com
Phil Jackson (November 2008)

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JOHNNY WINTER/ Scorchin’ Blues/ SPV/ Blue 42902 CD // SONNY LANDRETH/ Outward Bound/ South Of I-10/ SPV/ Blue 42932 CD
These two singer/ guitarist/ bandleaders have a lot in common. Both have Mississippi roots but both also spent their early musical careers as session players for small labels – Landreth in Louisiana, Winter just over the border in Texas, and both have crossover appeal for a rock audience. Johnny’s set is in what was Columbia’s ‘Roots ‘N’ Blues’ series, and contains some straight blues playing – some with the Muddy Waters Band, and harmonica ace Walter Horton also guests. Of course, there is also plenty of scorchin’ blues-rock from the seventies. If you’re looking for an introduction to Mr. Winter, this fits the bill perfectly.
Sonny Landreth is a slide guitar ace and these are his first two major albums, from 1992 and 1995 respectively. He’s now billed as the ‘King of Slydeco’ and his years in cajun country and work with Zydeco maestro Clifton Chenier have certainly left their mark. He can replicate the phrasing of the accordion or draw on cajun melodies whilst keeping the attention of those who ordinarily would not touch the purist stuff. Of course, he can also rock out, play the blues, or go for the sensitive ballad. ‘South Of I-I0’ has guests such as Dire Straits’ Mark Knopfler and New Orleans legend Allen Toussaint. The results are actually pretty wonderful!
Norman Darwen (November 2008)

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ROADHOUSE/ Sea Of Souls/ (BRMCD20082)
Roadhouse is a straight ahead London blues rock band who pull no punches. The title track may not be the most original song you’ve ever heard but it does hit the spot helped by a manic guitar solo by principal song writer Gary Boner. Three female vocalists contribute hugely to the Roadhouse sound and the 5:43 of ‘Lights on the Water’ has a distinctly Pink Floyd feel to it.
Songs like ‘The Answer’ hanker back to a previous era where bands weren’t afraid to stretch out a little and it offers up 6:18 of well crafted blues, flirting with prog rock.
‘Voodoo Dance’ starts with a Bo Diddley rhythm although some of the rhyming (‘dance, chance, romance’) for instance is not convincing. Things do pick up again on a solid version of ‘House of the Rising Sun’ and an original 12 bar blues ‘The Lying Game’.
The country jangle referred to in the press release is evident on ‘Dark River’ and, indeed the band delve into Americana in a dark kind of way with ‘Tumbling Down’ another heavy and powerful statement with some great slide guitar and frenetic cymbals..
Two more to go and it’s the gravel larynx of Gary Boner that’s back on lead vocals with superb support once again from Mandie, Suzie and Kelly Marie on ‘The Dark of the Sun’, another thought provoking song with an infectious chorus. The album concludes with some more memorable electric guitar arpeggios, a heavy slice of brooding rock which runs away at the end (Classic concert ending I would imagine!) with a dark side to the lyrics “There’s nothing as ugly as the truth” (Mmm!)
The standard of song writer, playing production is consistently high throughout a marvellous 50 minutes or so of music. It’s nice to hear a UK band that can come up with something that’s the same and yet so different! Contact: www.roadhousegb.co.uk
Phil Jackson (November 2008)

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HENRY BUTLER/ “PiaNOLA Live”/ Basin Street BSR 0803 2
Jelly Roll Morton, Tuts Washington, Professor Longhair, James Booker, Allen Toussaint – and Henry Butler. New Orleans has a long piano tradition, and Henry has that little something extra that puts him amongst such esteemed company. He embraces jazz, blues, boogie-woogie, classical and R&B with equal aplomb, in keeping with the Crescent City lineage; he’s a fine singer too. Thankfully for us, he has been in the habit of recording his live performances over the years, and amazingly enough, the tapes managed to survive Katrina’s disastrous inundation. Together with co-producer George Winston, he has selected the eleven songs that comprise this set. The choices range in time from the eighties to 2007, in style from ragtime to soul to Thelonius Monk, and composer-wise from Henry himself through Billy Preston, Allen Toussaint and Professor Longhair to the likes of Jerome Kern. And just like all those illustrious piano professors who have preceded him, Henry has his own style and approach to his music. Anyone who cares about the Crescent City owes it to themselves to take a listen to this solo set. Frequently complex and equally dazzling, this may require some effort to ‘get it’, but it is worth the effort.
Norman Darwen (October 2008)

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THE GROANBOX BOYS/ Fences Come Down/ <http://cdbaby.com/cd/groanboxboys2>
Every now and then, a musical experience comes your way that makes you sit up and listen and do a sort of aural double-take, like the sort of thing you used to see in those old cartoons; a real ‘huh!!” experience. This CD is one of those. Not blues, not folk, not even really any specific kind of American roots music, more like all of the above and then some.
The Groanbox Boys are Cory Seznec and Michael Ward-Bergman. Both are American and play roots music on accordion, acoustic guitar, banjo, piano, harmonica, shackles, and their self-made Freedom Boot , a long stick covered in bells and rattles. They come with a special kind of magic, adding new life to some old genres. Most of the songs are self-penned by one or other of the boys and the lyrics are gentle, fun and sometimes just plain delightful.
I have to admit that I am usually no fan of accordions (‘cept in Cajun music and Zydeco) but here the instrument adds, with some funky sounds, real depth and rhythm to the music. Magic!
The boys are on tour in the UK during September and October (check the BITS gig guide). Now the fences are down, let’s keep it that way!
Ian M (October 2008)

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HANS THEESSINK AND TERRY EVANS/ Visions/ (Blue Groove 1720)
Despite his reputation as 'Europe's #1 blues export', my own introduction to Hans Theessink's music had to wait until last year's 'Slow Train'. (My review is on the Zeitgeist site). On 'Visions', Hans is joined by Terry Evans and these two gentleman combine with some other notable musicians to produce a different kind of album to 'Slow Train; as Hans says in his liner notes, 'a stripped down recording- just 2 voices and 2 guitars recorded in 2 days with only rarely 2 takes on songs'.
The collection of songs works well from the first bars of Theessink's original 'Going Back Home' and the idea of combining interpretations of blues classics such as J.B. Lenoir's 'Talk To Your Daughter' in varying styles and tempos with numbers co-written by Terry Evans ('Got To Keep Moving' and 'Come To The River') ensures a flow to the music. Richard Thompson adds his guitar to Chapman/ Simpkins salutary tale of 'Mother Earth' and also to the equally striking up tempo cover of 'Let the Four Winds Blow'. Phil Bloch also adds percussion to the majority of the songs.The guys get into a great groove on Willie Dixon's 'You Can't Judge a Book By Its Cover' with appreciative comments by Bo Diddley (RIP) in the background.
I've enjoyed listening to this album on my summer vacation and, while there is always a serious edge to Theessink's music, there are also many light hearted moments such as an exuberant 'Glory of Love' which shows what fun they must have had making 'Visions'. Praise also for the sonic quality of the recording and for producing an album you could play in any company!
Highly recommended.
Contacts: www.theessink.com www.terryevansmusic.com
Philip Jackson (September 2008)

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CECIL GANT/ Bullet Boogie (SPV/ Blue 92912 CD)// VARIOUS ARTISTS/ Bullet Records Gospel (SPV/ Blue 92902 CD)
Bullet Records was formed in Nashville, Tennessee in 1945, issuing blues, jazz, pop, country, and gospel intermittently over many years. It released the debut recordings of both BB King and Chet Atkins, but the very first R&B disc the company made was ‘Nashville Jumps’ by singer/ pianist Cecil Gant in 1946, a big seller as were all Gant’s Bullet releases. Gant had enjoyed a huge hit with the ballad ‘I Wonder’ two years previously, but the 23 tracks here are solid, if sometimes smooth, blues and pulsating boogies. It is strange that such a popular artist as Cecil is often overlooked these days and hopefully this release will redress the balance.
The gospel set includes such premier league outfits as The Fairfield Four and The Dixie Travelers plus more obscure acts, and these titles range from the forties to the sixties – it would be nice to have a specific date for ‘We Need Jesus’, which is partially similar to the Temptations’ ‘My Girl’ (which I suspect is the earlier). For those coming from the secular side, there is some bluesy guitar present on several titles, notably those by The Sacred Four and Willie Gunn. Although the sound quality is not always pristine, anyone with an interest in classic gospel music should investigate.
Norman Darwen (September 2008)

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BIG MAMMA’S DOOR/ Open For Business/ Self produced (myspace.com/bigmammasdoor)
Fiona McElroy, who by her own admission has been singing in public since she was a child, has been a vocalist with a range of rock/blues bands including Roadhouse and is now fronting this excellent band. Her smoky/laid-back voice does the risqué blues-with-soul stuff with a vengeance (check out ‘Don’t You Feel My Leg’ and Ruth Brown’s ‘Daddy, Daddy’ on the Myspace site) and she is wonderfully supported by Mal Barclay (g/v) a man with a life-long passion for the blues and a fiery axeman with the capacity for some laid back stuff too. Joe Glossop (kbds) has been gigging with blues bands for many years and knows his stuff too. Andy Roberts (b) lays down a steady beat, ably assisted by Rob Pokorny (dms) a combination that drives the band along nicely. The music? Imagine a kind of mixture of Ruth Brown and Dana Gillespie with touches of Aretha, all filled out with some seriously good arrangements and fills (special mention here for the keys work of Joe Glossop). Just moved from Ireland to London, Fiona and the band are getting a good number of gigs around the London area and are in the line-up for the Tenby Blues Fest in November. Great Stuff!
Ian M (September 2008)

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WILLIE "BIG EYES" SMITH - Born In Arkansas - Big Eye Records, Inc.
It’s quite possible that you may never had heard of Mr Smith, but don’t let that situation exist any longer. As the album title suggests Willie was indeed born in Helena., Arkansas in 1936. Early on he developed a love of what he calls “The Music”. The harmonica became his instrument and he plays with a verve and skill that is right up there with the harp greats. There is a touch of SB#2 in his playing and something of Sam Hopkins in his singing. Al of the material on this CD is self-penned, and if you like your blues traditional and in-your face with no blues-rock influences this is a must for you.
Willie is joined on bass by the excellent Bob Stroger who has played (among many others) with Otis Rush and Eddie Taylor and on piano by Barelhouse Chuck. Guitar duties fall to Billy Flynn and ‘Little’ Frank Krakowski who has played with Willie since they were teenagers. Driving drumming is provided by Kenny ‘Beedy Eyes’ Smith, Willie’s son. This is strongly recommended. See: <williebigeyessmith.com> for more.
Ian M (August 2008)

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JOE BONAMASSA - Live From No Where In Particular - Provogue PRO 7248 2
Quite a marked contrast between this and the CD reviewed on the left. Bonamassa needs no introduction and as you surely know, fits in at the ‘stadium’ blues-rock end of the spectrum. This double CD (unlike too many of Joe’s previous issues) does include some blues. Check out ‘Walk In My Shadow’, ‘So Many Roads’ and ‘Another Kind Of Love’; blues rock in all it’s glory; power chords, flashy axe licks and all. Unfortunately that does have to be seen in the context of a self-indulgent, 10 mins plus track (‘India/ Mountain Time’) which takes all that time to go precisely nowhere.
One of the strengths of Joe’s music though, is the way that he can take an oldie like Patton’s ‘High Water Every Where’ and turn it into something that might attract young people to the ‘real’ blues. Go for that one Joe! Hey, Hey BITS is alright! Don’t follow? Check out the story on page 1.
This is a curate’s egg of a CD - good in parts - but with more good bits than bad. It is certainly much better than Joe’s last effort ‘Sloe Gin’ . But what do I know? I hated that one (by and large) but it’s been in the Billboard Blues Chart for MONTHS! Joe’s On Tour later this year.
Ian M (August 2008)

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THE YARDBIRDS/ The Best of … - Repertoire REP 5086 (www.repertoire.de)
Though still touring with a couple of original members, sixties band The Yardbirds are probably best remembered these days for their three main guitarists: Jimmy Page, Jeff Beck, and of course, Eric Clapton. Old Slowhand famously quit the band in 1965 because he felt they were going in too commercial a direction for his blues purist sensibilities, and this CD certainly bears him out. About a third of the 28 titles here – the earliest recordings, unsurprisingly, mostly from ’64 or ‘65 - fall into a blues or R’n’B bag, with many of them featuring singer Keith Relf’s wailing blues harmonica, and some bluesy originals that stack nicely alongside covers from the likes of Billy Boy Arnold, Bo Diddley, Mose Allison, John Lee Hooker and Ernie K-Doe. The remainder of the set – with either Page or Beck on axe duties – consists of experimental sixties pop, nascent late sixties rock, or psychedelic sounds (some predating 1967). For some readers this will be a fine nostalgia trip, for the music historian this is invaluable, Led Zeppelin fans should definitely be interested, and for the blues purist… well, it’s worth a listen if you go for the British blues sound and don’t have too much already.
Norman Darwen (August 2008)

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LOVE SCULPTURE - “Blues Helping” Esoteric Recordings ECLEC 2015
Reading Mark Powell’s informative sleeve notes, it quickly becomes evident that Dave Edmunds was not naturally inclined towards the blues so he must have been a pretty fast learner if the first two tracks of ‘Blues Helping’ are anything to go by. That is not to say they’re particularly convincing- there were so many bands working along similar lines and you can’t help comparing Love Sculpture with John Mayall’s Bluesbreakers. Indeed, Edmunds admits he ‘nicked as many licks as (he) could off Eric Clapton’!
However, Edmund’s own technical skills have to be admired in the opening number, an interpretation of Freddie King’s ‘Stumble’ in what is essentially an album of cover versions.
B.B. King’s ‘3 O’Clock Blues’ was perhaps an unwise choice given the legendary status of the originator, but the band make a reasonable, if rather leaden, fist of it and taking on Ray Charles’ ‘I Believe to My Soul’ was probably even greater folly with Edmunds on piano as well as guitar and Bob ‘Congo’ Jones on vocals in a rather charmless version of the classic song. (as opposed to, say Procol Harum’s Gary Brooker who took a strong Ray Charles influence in a new direction with some original early songs).
It’s a brave man that takes on Elmore James but, with his rendition of a lesser known James’ number ‘So Unkind’, Edmunds just about pulls it off.
Gershwin/ Hayward’s ‘Summertime’ is given a surprise makeover with Jones’ putting in a good performance on vocals and a great ‘scat’ interplay between his voice and Edmund’s guitar.
Side one ends with ‘On The Road Again’, popularised by Canned Heat- interesting to compare the two versions!
Edmunds adds some organ chords to the opening song of side two, Jimmy Johnson’s slow blues ‘Don’t Answer the Door’ while bass guitarist John Williams sings on a cover of the much imitated and transmuted ‘Wang Dang Doodle’ by Willie Dixon. Listening to this version makes you realise where the riff in ‘Willie The Pimp’ came from!
Another Ray Charles number ‘Come Back Baby’ is covered with Edmunds again on piano while the boogie shuffle of ‘’Shake Your Hips’ sounds retrogressive and verging on anachronism. (Remember that this recording was released more than a year after Sergeant Pepper’s and on the same label!). An instrumental jam concludes the album.
There are four bonus tracks: a rather undistinguished and truncated version of Tim Roses’ ‘Morning Dew’/ bw ‘It’s A Wonder’ released by earlier incarnation The Human Beans in July, 1967. There’s also the psychedelic Beatlish ‘River to Another Day’ b/w ‘Brand New Woman’ (a honky tonk blues), the A and B side of a Parlophone single released in February, 1968.
It’s hard not to compare ‘Blue Helping’ with Jeff Beck’s ‘Truth’ released in the summer of 1968 and to conclude that Beck’s album was a lot more forward looking. There is nothing approaching ‘Beck’s Bolero’ on Dave Edmunds’ album. What we have here is a burgeoning guitar talent trying to find a direction. This would quickly materialise on ‘Forms and Feelings’, a quite different story altogether.
Contact: www.cherryred.co.uk
Phil Jackson (July 2008)

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SCREAMING JAY HAWKINS: ‘Cow Fingers And Mosquito Pie’ (SPV/ Blue 91662) (www.spv.de)
Moans, groans, grunts; snuffles, shrieks, shouts, and screeches; songs about voodoo, hoodoo and madness, sung by a wide-eyed Black man emerging from a coffin and holding a cigarette smoking skull called Henry. He (that’s Jay, not Henry) could have sung opera; instead he brutally dismembered innocent standards such as ‘You Made Me Love You (I Didn’t Want To Do It)’ and ‘I Love Paris’. Most of the other tracks here though almost approximate blues and R&B; no wonder they called it ‘the Devil’s music’.
Back in the mid-fifties when Screamin’ Jay first stalked the music charts, he must have seemed like the American nightmare brought to life – even now he can still sound pretty off-the-wall. I mean, in 1956, smack in the middle of the rock ‘n’ roll revolution, ‘I Put A Spell On You’ features, besides those already mentioned suspect noises, a banjo in waltz time – who dreamed that up?
Jay was a one-off. This is an expanded version of his first album, recorded for Okeh and originally titled ‘At Home With Screaming Jay Hawkins’ (“I am Jalacy, I bid you…velcome”?). Buy it – or the bogey man will get you.
Norman Darwen (July 2008)

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BEN WATERS/ Hurricane/ Hypertension HYP 8260
Ben Waters is a young guy playing boogie and rock ‘n’ roll piano – an endangered species then! He is a well-known name, having played with the likes of Robert Plant, Chris Jagger, Shakin’ Stevens and Florida harp ace Rock Bottom, and this CD should spread his name even further. It is a blasting set from the outset, with Ben on vocals, piano and organ fronting a combo consisting of co-writer, guitarist and bassist Richard Hymas, drummer Ady Milward, and Clive Ashley on sax, plus a few guests including the under-rated Ed Deane on guitar. Older hands will appreciate the likes of the storming ‘Helicon Boogie’ (lots of dirty sax), and the following track, a jumping version of Amos Milburn’s ‘Roomin’ House Boogie’, which continues the vintage groove. Ben is not a straight blues/ Rock ‘n’ roll pianist though; his vocals and songs are undeniably modern, even his tribute to James Booker - there are some rock elements on this set. But everything on this highly entertaining and sometimes thought-provoking CD is at least blues based, though mostly with a little different slant. If it brings a younger audience to the music, that’s all to the good.
Norman Darwen (July 2008)
(www.hypertension-music.de)

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THE OKEH RHYTHM & BLUES STORY VOLUME THREE: 1949 – 1957 - Various Artists - SPV/Blue 42532 CD
“Roll on Volume 3”, I wrote last month, and that’s just what it does – in addition to swinging, jumping, rocking, and generally having a good time. The final release in the series contains the usual suspects such as Annie Laurie, The Treniers, Big Maybelle, Titus Turner, Paul Gayten (’Creole Alley’ features Fats Domino sax man Lee Allen) and Chuck Willis, plus ‘newcomers’ such as Screamin’ Jay Hawkins – including the all-time classic ‘I Put A Spell On You’ – Billy Stewart and even Marvin Gaye; the latter’s track, in reality a release by The Marquees of which he was a member, also features a low-key Bo Diddley guitar break. The sound may be just a little bit smoother (please note - this term is relative), but most tracks come replete with booting horns, jive-y lyrics, frequently humorous lyrics, and a sassy attitude. Even Chicago blues fans get a look in as Hurricane Harry’s ‘’The Last Meal’ was reworked by Jimmy Rogers for his well-known ‘My Last Meal’.
Once again, this is an excellent set of fifties rhythm & blues, perhaps a little more restrained than its predecessors, but once again, that’s relative. If you have the first two, then do get this.
Norman Darwen (June 2008)

RIVERSIDE BLUES BAND: Great Big Mystery - Tar Barrel Records (www.riversidebluesband.co.uk)
Well folks, it seems to have taken a long time to arrive but at long last we have a CD from these guys who are based in the New Forest. The band was formed in 2004 evolving from family connections and local jamming and currently fields a four-piece band for gigs. The band consists of Stan Cockeram, vocals and guitar - Gordon Stimson, drums - Helen Cockeram, bass and has a choice of two harp players Paul Vause and Dennis Rigg - both are featured on the CD, sometimes both on the same cut. The music? Well, the tracks were laid down at Shelter Studios in Southampton in 2008 and the tracks range from an outstanding version of SRV’s ‘Texas Flood’ (check out the shimmering chorus/vibrato on Stan’s guitar part) to ‘She’s Tuff’’ a super (Jerry McCain written) harp-based piece which, if my ear serves me right, features both harpmen. Super! All the band members are over 40 so no youthful all-flash-no-substance stuff here.
The band is tight and nicely driven along by the two piece rhythm section. Overall, this is a super debut CD, well worth getting hold of. Keep on keeping-on folks!
Ian M (June 2008)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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

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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

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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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)

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Norman Darwen (Feb 2007)

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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)

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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

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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

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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

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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

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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)

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Dr Johnny, aka, Dr John Middleton, is a Blues harmonica player and is Director of Public Health for Sandwell in the West Midlands. This album features Birmingham blues and jazz scene regulars John McKinley, Patsy Fuller, Dr Johnny and Matt Foundling, and Southampton blues legends and BITS faves, Magic John Wands and Ronnie Taylor. Dr Harp’s music is driven by Steve Gibbons Band and 44s rhythm section- Howard Smith on drums and Bob Boucher on bass. The CD also features Big Man Clayton and King Pleasure. The music is SUPER, from Leadbelly, through Tampa Red, Willie Dixon, to Muddy and many more. Fifteen tracks and more than an hour of playing time, all £10 of the purchase price goes to the Birmingham Children’s Hospital charity.

To buy your copy of this pioneering CD, contact Karen Holden 0121 333 8511 or email karen.holdenATbch.nhs.uk (Change the AT to an @"). IM (August 2006)

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OMAR & THE HOWLERS/ Bamboozled: Live in Germany / Rufrecords RUF1115

Omar Dykes and his band (Jon Hahn, dms & Barry Bihm, bass) recorded this album live at the Musa in Gottingen, Germany in October 2005. The CD consists of 15 tracks with a playing time of 1hr and 14 minutes - which by today’s standards is magnificent. The music? Well, like a lot of Ruf’s output this is firmly at the rocky end of blues. Omar sings like a cross between Tony Joe White and Billy Gibbons and the small band makes a BIG, BIG sound. The stuff has its fair share of foot-stomping tracks and the title track 'Bamboozled' is no exception. Omar plays some funky stuff with a more than adequate support by his band.

Fittingly - as the album is dedicated to Omar's late wife Lynette Lee Dykes, who passed away only recently - all the tracks, with one exception are penned by Omar. 'East Side Blues' and 'South Congress Blues' are as good as any slow blues you are gonna hear this year. The exception to the self-penned stuff is harp maestro Jerry McCain's 'Rock n' Roll Ball' a boogie blues with a rock and roll beat - yeah! As Muddy once put it, "The Blues Had A Baby And They Called It Rock And Roll". IM (August 2006)

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After thirty-four albums in a forty year career Charlie has released this CD (or so it seems) as a marker and signpost to the way forward; a reminder for us not to linger too much in the past, but to go forward, for the blues are an ever evolving entity; forever with us!

Recording with his touring band is a stoke of pure genius; because all that energy, interlocking skill, intuitive playing and bespoke touring sound can now be heard and appreciated by all of us; a little slice of that live music pie!

We are treated to a moving, grooving swampy, treacle-thick sound which is a cross between Credence Clearwater Revival and Doctor Feelgood (the English R&B/ blues band) plus the bonus of Charlie’s delightful melt-the-brain harp!

Creating this musical feast are; Charlie; vocals, harmonica and guitar on ‘Town to Town’, Chris ‘Kid’ Andersen; on guitars, Randy Bermudes; bass and June Core; drums and percussion.

There are ten numbers on this album, of which three are covers; Walter ‘Billy Boy’ Arnold’s ‘Gone Too Long’, and Walter ‘Little Walter’ Jacobs’. ‘One of These Mornings’ and ‘Just a Feeling’. The rest are Charlie originals, some of which are extremely topical.

A highly enjoyable, somewhat (at times) thought provoking, blast-er! Put it on the essential list I think! <realworldrecords.com/musselwhite>

Brian Harman (July 2006)

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BERNARD ALLISON/ Energised/ Ruff Records 1113

This is a double CD (for the price of one) consisting of tracks laid down in 2005 at a live event in Germany during Bernard’s European tour. Well the title says it all. This is energetic, in your face, electric blues of the first order. Right from the first shout or “Are You Ready!!” and the opening instrumental, ‘Another Ride To The City’, Bernard and his band (Mike Viahakis (kbds), Jassen Wilber (b) and Andrew Blaze Thomas (dms) give of their all. Check out the thirteen minutes of ‘ Bad Love’ with Bernard’s axe singing like there’s no tomorrow. Check out also the instrumental on the second CD called ‘ Talking Guitar’ which is a super slide-version of that old jazz standard ‘The Saints’ with Bernard using his guitar (just like Albert Collins used to do) to emulate a human voice. Wonderful!! IM (JULY 2006)

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PHILIP FANKHAUSER/ Watching From The Safe Side/ Funk House 9210600002

Here in The Shed we love this man’s music. This, his 10th album, is nothing short of stunning. With a band including a stormin’ horn section Philipp shows his debt to Johnny Clyde Copeland from whom he learned a great deal. Skillful singing and controlled and inventive axe work, make this an outstanding album. The opener ‘It’s Over Now Baby’ is the one for air play - and the title track is a stomper too. Dont miss out on ‘If You Aint Been To Texas’ and ‘The Blues Don’t Like A Crowd’ both of which are so good they make the hair on the back of my neck stand on end. This man live and works in Switzerland and most of his gigs are in mainland Europe. I say it again, someone must get this guy to the UK. <phillippfankhauser.com> IM (June 2006)

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Wow! This is a stonker. If you like your blues at the rock end of the genre and with sassy, sexy vocals, this is for you. Sue - a Canadian- is a fine axe-woman and is here accompanied by a tight bunch of musicians, Mike Guest (kbds), Mike Turenne (b) Tom Bona (d) and Corey MacFadyen (perc). The winner already of nu-merous awards and nominations, Sue is headed for great things. Let’s hope some enterprising promoter gets her to the UK before too long. <suefoley.com> (June 2006) IM

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GUY DAVIS/ Skunkmello/ Red House RHR CD 192

Guy’s latest for Red House shows no deviation from the high standard of his previous seven releases. It successfully mixes rural and urban blues, from solo pieces with banjo to (almost) blues-rock. Guy has a strong sense of African-American tradition, both old and new, a warm, organic sound, and he often draws on his own family background. Try ‘Skunkmello’s Dance Of The Chickens’ or ‘Hooking Bull At The Landing’ for strong examples – Guy explains those connections in the admirably lavish booklet.       Among the backing musicians are several with whom Guy has recorded previously:guitarist/ producer John Platania, banjo-player/ accordionist/ organist T-Bone Wolk and guitarist Nerack Roth Patterson. They are joined by Gary Hurke (drums) and Mark Murphy (bass), plus Walt Michael on mandolin and resonator guitar. Veteran Mark Naftalin – ex Butterfield Blues Band, though he has since worked with virtually everyone – supplies piano and organ, whilst Guy himself handles vocals, 6 and 12 string guitars, 5 and 4 string banjo and harmonica, plus writing 11 of the 14 tracks. Think Taj Mahal at his best and bluesiest and you have some idea of the quality and content of this recommended CD. <www.redhouserecords.com> Norman Darwen (June 2006)

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JOE BONAMASSA/ You And Me/ Provogue Records PRV7185 2

Still only 29 years old, Bonamassa has been playing guitar since he was 4 and, almost unbelievably, was a support act for BB King when he was 12. This is Joe’s sixth album (he has a number of DVDs too) and it is super. Like fellow younger contemporary blues artists such as Robert Randolph, Jonny Lang and Derek Trucks, Joe is is of a generation to which teenage students can relate and his avowed intent is to introduce young people to the blues. Of course that means that this stuff is at the rock end of blues, but it also means that Bonamassa mixes his interpretations of music by core bluesmen (here Charlie Patton, Sonny Boy Williamson) with other more contemporary artists (Ry Cooder, Jimmy Page) and tops it all off with some of his own stuff. Although Joe’s far from original nickname is ‘Smokin’’, you can see why. I guess that many young people, impressed by his technique and passion, will be motivated to examine the roots of his music; no bad thing. Check this one out, you won’t regret it. Joe is touring in the UK in September and October. <www.joebonamassa.com>. IM (June 2006)

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ROADHOUSE/ Broken Land/ BRMCD20061

Roadhouse is a six piece band consisting of Garry Boner (g,v), Drew Barron (g), Bill Hobley (b), Roger Hunt (d, perc) and two vocalists, Mandie G, and Fiona McElroy; on a couple of tracks the band is joined by Fred Schmid (as). The music is an interesting mix of pretty raw rocky stuff and strongly blues-inflected music, which ranges through songs by Bob Dylan (2 tracks) and U2 to (mostly) their own stuff (8 tracks). One of the temptations for a band doing a cover of 'All Along The Watchtower', one of the two Dylan songs, is to do it like Jimmi Hendrix. Here the band (and Boner) avoid that cliche and produce a thoughtful and articulate interpretation of a classic. Nice. The second Dylan is 'Knocking On Heaven's Door' and in MHO, it does not work quite so well. Nevertheless, the self penned tracks are excellent and in some cases brilliant. Check out 'Broken Land' the title track and, in particular, 'The Big Easy' an ode to N'awlins. The opening guitar duet on the latter is super (reminds me a bit of Thin Lizzy) as is the singing of Fiona McElroy and the riff driven main theme is British Blues inflected music at its very best. One small quibble; why only sets lyrics for 4 of 11 songs in the booklet? Frustrating. But, that small thing aside, Go For It. <www.roadhousegb.co.uk> IM

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Sherman Robertson & BluesMove/ ‘Guitar Man - Live’/ MovinMusic Records MM001 Sherman Robertson was born in Beaux Bridge, Louisiana and raised in Houston, Texas. He rates among his musical influences, early exposure to both zydeco and Texas blues. Robertson's first solo recording, 1993's I'm The Man (Atlantic 1994), was nominated for a W.C. Handy Award. This one, which I really hope has been nominated by MovinMusic for consideration in the 2005/6 award-round, was recorded live at the Kwandandamme Blues Festival, Holland on May 14, 2005 and it is simply wonderful fun and great listening. Eight tracks and close to an hour of wonderfully exciting and beautifully performed music. Not too much space here for analysis of all the tracks, so just a few comments. 'Long Way From Home' is a rocking-blues, delivered with virtuoso guitar licks with just a tad of distortion, and stunningly good vocals. Sherman sings like a cross between Taj Mahal in his 'blues shouter' mode and Robert Cray in his less genteel moments. The rhythm section (BluesMove) are both driving and restrained and provide a wonderful support for Sherman's inventive and fluid guitar chops, which owe some debt to Billy Gibbons without being in any sense derivative. The title track, penned by Sherman, is a straight forward twelve-bar blues with super-lyrics and again some stunning guitar. 'Dust My Broom (Voodo Dust)' is kind of combination of the RJ original, and Muddy's ‘Louisiana Blues' and it is music of the first order. This stuff could raise the dead. If you want your blues delivered with panache and feeling, and you want that approach to be supported by an ass-kicking rhythm-section, this is for you. Don't miss it. Ian McKenzie (January 2005)

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Ian Briggs is one of the great unsung heroes of British Blues. There is no-one in the UK who comes anywhere near him for delivering blistering harp solos and fills, with a fire and technique that places him with the masters. This set is a living example of Ian’s live gigs and is a ‘master class’ must for any aspiring harp players out there. Accompanied by his band ‘The Supervampers’, augmented by a tight little horn section, Ian delivers a few covers (Rice Miller’s ‘Pontiac’; Walter Horton’s ‘Easy’) but mostly it’s music written by him and/or his guitar man Andy Christie and (sometimes) other members of the band. Christie is a super axe man with a nice easy and inventive technique who is able to turn his hand to practically any style in the genre. Bass player Chris Harris is outstanding too. But - stop press - check out Ian’s singing. Although I suspect he may not like his own vocals too much, his singing is always laid back and easy and is simply stunning on ‘Broken Heart’, a Christie original. Some big record company MUST sign Ian and SOON.

Ian McKenzie (November 2005)

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GIG REVIEW: Joe Louis Walker, The Brook, Southampton, 13 May 2005

Joe Louis Walker always has been a superb guitarist, singer and songwriter (and one of this writer's favourites) but one who unfortunately has been a rare visitor to these shores. This was not an opportunity to be missed, seeing this top class blues performer especially as he was playing in my own back yard, so to speak.    Appearing in trio format with his own US bass player and drummer, he signaled his intentions and laid out his credentials from the off with an easy-going mid-tempo Texas shuffle instrumental, displaying superb sharp sound, slightly reverbed, as you come to expect from top US blues guitarists. In fact the sound was excellent all evening, so a vote of thanks also has to go to the sound-man at The Brook for helping to achieve that. From that first number, Joe had obviously hit the right note (ouch!) and had the audience with him all the way through his non-stop near two-hour show. The fact that he quickly established a rapport with his audience from the word go obviously worked as a two-way process as he and his band seemed to thrive on the atmosphere and really pulled out all the stops, whilst never resorting to flashy tricks or musical clichés.     Most of the material Joe performed was his own well-crafted compositions, which featured intelligent lyrics on traditional yet modern-oriented themes rarely resorting to tired retreads from the past. He played a wide variety of numbers from his own repertoire as well as some quite unusual covers such as the storming version of the late Arthur Conley's "Sweet Soul Music", which suited Joe's soulful vocal style down to the ground. Mid-way through the set he sent his band to the bar for a break and he held the entire audience in thrall with a few gospel numbers. These included "Where Jesus Leads", from his 2002 album "In The Morning" on Telarc, where the audience clapped out the rhythm behind his terrific voice and guitar accompaniment.     During one of his chats to the audience he remarked that he had been asked recently by a journalist from a blues magazine about his apparent absence from the international scene, where he had been the last few years and what had happened to him, "Life, that's what happened. I just put three kids through college!" came the reply. That anecdote and his intelligent and sometimes humorous lyrics put me in mind of another blues performer who has been absent from the these shores in recent years, Larry Garner. He too had a similar reality check and wrote the amusing "Four Cars Running" a modern take on the blues that can affect the family man where the kids grow up yet dad is still expected to finance their cars - sound familiar, anyone?     Not all the evening was devoted to song-based material; Joe cut loose on a few occasions with some blistering guitar work, on slide as well as plectrum, complete with a few pedal effects just to keep the guitar fetishists happy. Taken as a whole the performance that night was an object lesson in class, whether in songwriting, vocal delivery or guitar work especially within a tight band format, and there is no substitute for that. Blues, funk, soul and gospel, Joe Louis Walker is the real deal. Get out and see him when you can, or failing that invest in some of his excellent CD back catalogue.

Phil Aldridge (August 2005)

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Paddy Milner/ Walking on Egg Shells/ Bronze Records GBRCD1001 This is the follow up to ‘21st Century Boogie’, Paddy’s self produced debut album and – let’s not mince words – it’s a stunner. Paddy is well known in the South of England, particularly around Dorchester way. This is his gateway to the world.    A virtuoso pianist, Milner can also sing too and here we have got a wonderful mix of both. This is not a boogie based album, although there are touches of boogie in it (listen to the opening of ‘Beware Of The Groove’). No – again no word-mincing – this is not boogie or blues, it is piano jazz at its best.     In a world occupied by the so-called-jazz of the likes of Jamie Cullum (who always seem to me to be a bit heavy handed and far from adventurous in his improvisation) this is the real deal. Many of the tracks here were penned by Milner and they share with the ones that weren’t written by him, a penchant, which I love, for exploring unusual (they were once called avant-garde) time signatures. Dave Brubeck’s ‘Unsquare Dance’ (in 7/4 time for the technically minded) is a good example here, but we are treated to any number of other time signatures too, as well as more standard fare. Listen to ‘Lazy Monday’, one of two truly blues based tunes in common time (4/4) with a beautiful ‘stridey’ style to it and to ‘Rollin’ And Tumblin’,about which Muddy Waters, the alleged composer, might have harsh words to say, but which is, in reality, a thoughtful and thought-provoking reassessment of that well known song: Mississippi meets West Coast jazz.     Throughout the album Milner is accompanied by a bunch of fine musicians and back-up singers in various combinations, all of whom provide an almost flawless support. Spectacular!
Ian McKenzie (June 2005)

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DABLUES – Did you Ever? DAB 01

This is the debut CD from blues trio Dablues. It clocks in at just over 54 minutes with 11 self penned tracks written by David Allen, who also provides vocals, lead guitar and, on one track, harmonica. The other two members of the band, Ian Osbourne (bass, guitar and vocals) and Matthew Hodgins (drums), contribute to some very tight ensemble playing. The recording is very clear and well-balanced which gives it an accessible, live feel.     Track one kicks off with an extended musical introduction leading you to assume it’s an instrumental track before the vocals begin. An interesting way to start the album. The next two tracks are riff-based, medium paced blues, followed by a slower track – ‘House of Doom’ – with a wailing wah-wah guitar sound over a striding bass line. The next two tracks return to a more familiar blues trio sound before going into an acoustic guitar led track. Compared to the electric guitar tracks this is a less successful venture though it does help to change the pace and provide contrast. The following tracks return to the electric trio line-up one of which is enhanced by the addition of some harmonica and slide playing.     Overall, for long-term fans of the blues, the material and playing treads fairly predictable territory. In a crowded blues market you need to be very distinctive to make an impact. Nonetheless, on the evidence of this CD the band should be well worth seeing live. Alan Hooper (May 2005)

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Richie Milton and the Lowdown/ Bluesique/ Note Records NCD1006-2

My Oh My, what an eye-opener this is! I have to admit I have not heard of Richie and his band before, but once heard never forgotten. This is the real deal! Without exception, the fourteen tracks on this album are ass-kicking, soul-tinged, funky R&B of the highest quality. Richie Milton (v,g), and the Lowdown (Steve King (ts, as, bs, p, org), Dick Hanson (t), Phil Lucas (b), Dave Lennox (org), Paul Atkinson (d) and vocalist Linda Hall) are tight-as-tight and swing like nobody’s business. This all comes with horn arrangements that would not shame the boys from Muscle Shoals or The Room Full of Blues Horns and some original songs with juicy lyrics. All the tracks, with two exceptions were penned by Richie; and even one of those two was co-written by him. Linda Hall, the backing singer on most of the tracks, is also given a chance to show her solo skill (and very good it is too). Frankly I can’t wait to hear this band live.     This is Richie’s first album for Note Records but it must not be the last. Why are you still sitting there? Go and get a copy of this one straight away you will never regret it. Check out http://www.note-music.co.uk/RichieMiltonCD.html Ian McKenzie (March 2005)

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Doug MacLeod/ “DUBB”/ Black & Tan B&T022

As with the support of new, vibrant, emerging talent Black & Tan equally continue to showcase more established artists, with this acoustic release from Doug MacLeod, who; with Denny Croy; acoustic bass, acoustic bass guitar, Dave Kida; drums & percussion and Carl Sonny Leyland: piano.     They together present to all, the wonderfully evocative country blues sound, that which existed well before everything went electric. Dougs’ skilful manipulation, of his National Resophonic, in conjunction with, his fellow players, produce mellow atmospheric toe-tappers in the tradition of the finest country blues playing. Whatever the subject matter is politics, women, weather, or wine. The dusty rustic rural feeling hangs in the air.    Ooooh, I feel so mellow!    For more information go to www.doug-macleod.com Brian Harman (Feb 2005)

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Yellow Moon/ Across The Border/ Moon Sound Records 1315-1514-1

The strap-line for BITS has for many years included the words Cajun and Zydeco, but there’s generally precious little of that sort of stuff to review. I am delighted to report that Yellow Moon are a German band, based in Hamburg, who specialise in music with a strong Bayou tinge. The band consists of Kai Deorenkanp (Accordion/ Vocals), Angela Altieri (Vocals/ Washboard), Helmut Busch (Vocals/ Guitar), Claus Dixi Diercks (Vocals/ Harp/ Guitar), Gunter Glatz (Banjo/ Mandolin) Florian Ihle (Bass/ Vocals) and Martin Röttger (Percussion). The Music ranges from Buddy Guy’s 'Man of Many Words”, through Michelle Shocked’s "At the Greener Side" to Mose Allison’s "Parchman Farm" and the traditional song "Frankie and Johnny". There’s even a Bruce Springsteen song here("Across the Border"). All the tracks have a nice swing to them and the playing is competent if not sensational. If you want to have a good time listening to some good-time music, this is for you. www.yellow-moon.de Ian McKenzie (January 2005)

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ERNIE PAYNE/ ‘COERCION STREET’/ Black & Tan B&T019 www.black-and-tan.com There seems to be little hard information available about Ernie Payne other than that he is Louisiana born but there is plenty that can be added to that after listening to this CD. For starters, he is an accomplished songwriter with a bluesy, rootsy style; further, he is a fine singer and accomplished guitarist also utilising a banjo-like style on dulcimer (!) at times, and although he works largely in an acoustic vein, he can also rock out when he feels the need – as he obviously does on ‘Nothing Wrong With Texas (That Leaving Won’t Fix)’. The opening ‘Curse Of Hamm’ immediately establishes Payne’s Afro-centric world view, which runs like a subtle thread throughout – this is not the traditional blues (though ‘Mother’s Uncle’ has strong echoes of Blind Willie Johnson – don’t let’s be pedantic) but mostly music just one step removed, often with a spacious rural sound. Rob Zucca offers excellent support on a variety of string instruments, and six of the eleven tracks have a regular rhythm section. Those with a taste for the likes of Eric Bibb, Alvin ‘Youngblood’ Hart, and Taj Mahal will go for this. Norman Darwen

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EB Davis and the Superband/ Live at Yorckschosschen Vol 2,7 November 2000./Tone 1058-08: Kat Baloun, Nina T Davis & The Alley Cat/ Live at Yorckschosschen Vol 19 November 2003./Tone(no number) www.ebdavis.com

There are a number of reasons why these two live albums are being reviewed in tandem. Firstly, they both arrived together in the post; secondly they were both recorded at the same venue - The Yorckschosschen, Blues Club, Berlin-Kruzberg, Germany; thirdly, EB Davis (vocals) and Nina T. Davis (keyboards and percussion) guest on each others albums.

Originating from the Arkansas Delta, EB’s family moved to Memphis, Tennessee, where he spent his childhood years listening to such luminaries as; Bobby Bland, BB King and Albert King, as well as many others. In the Sixties he formed the ‘Soul Groovers’ and toured extensively supporting artists like Rufus Thomas, Wilson Picket and Isaac Hayes. Whilst touring in Europe as one of the ‘Drifters’, EB was invited to front ‘The Bayou Blues Band’ in Germany. EB relocated to Berlin after forming ‘The Superband’.

Unfortunately, I have no background knowledge about Kat Baloun and Nina T. Davis (Nina’s EB’s partner. Ed), but that does not stop me from telling you that their album is a very lively piano/harp-led, finger-tapping mover, backed with husky sounding vocals from Kat and Nina. This enjoyable set has a fine mixtureof old and new numbers, such as Robert Johnson’s, ‘Walking Blues’; Hank Williams’, ‘Jambalaya’, which are coupled with the Rolling Stones’, ‘Honky-tonk Woman’ and an impressive piano/vocal version of U2’s ‘Still Haven’t Found’.

By contrast, EB’s set has a far more traditional feel to it. You can imagine yourself sitting in a club in Chicago for New Orleans, absorbing the atmosphere as it washes over you. Numbers such as; Roosevelt Sykes’ ‘Drivin’ Wheel’; Ray Charles’ ‘Mary Ann’ and Hoagy Carmichael’s, ‘Georgia On My Mind’, display EB’s creamy, relaxing vocals. The band is right behind EB, with a crisp, clear, punchy sound, ensuring that a good time is had by all. EB’s powerful stage presence is evident throughout, particularly on the call and response number, ‘Howling’.

Judging by the audience response on both these albums, a good time was had by all: and by me too. Splendid! Brian Harman

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Hans Theessink Band/ Bridges/ Blue Groove, BG1520 www.theessink.com Hans Theessink (pronounced Tay-sink) is getting quite a reputation in the folk and blues clubs around the UK. Dutch by birth, Hans has traveled the world delighting audiences with his brand of self-accompanied blues, ragtime and ‘songster’ music. Hans is a fine guitar player with a light ‘raggy’ touch and he has a magnificent bass-baritone voice which is a pleasure to listen to. Bridges is his twelfth album (all for Blue Groove) and is a significant departure from those that precede it. Here Hans is far from solo. Having wanted for some time to record in an environment ‘with great acoustics’, the album was recorded in an old church, now a cultural centre in Monte Antico, Tuscany. Thomas Löffler, Theessink's technician and recording manager, set up a truckload of technical equipment and turned the church into a huge recording studio. Hans' new band, Harry Stampfer, drums and several percussion instruments; Roland Guggenbichler, piano, Wurlitzer Electric Piano, accordion, and classical Hammond B3 organ; Erich Buchebner, electric and upright bass settled into the groove. They were joined by the Zimbabwean vocal group, Isingizi. The result? Well imagine something like, Ladysmith Black Mambazo meets Alvin Youngblood Hart. Many of Hans’ own songs, Odyssey, What will the children play? (‘Living is dangerous - a country ruled by the gun...’) Rain, Little Girl, Running Home, some of which have a nice bluesy feel are mixed with songs like Curtis Mayfield’s People Get Ready and traditional songs like Moses and Mbube (better known by its English title, The Lion Sleeps Tonight). Although very far from what you will hear in one of Hans’ club gigs, this is a delightful digression and should be in your collection. Ian McKenzie