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.

NEBOJŠA BUHIN NEBO / Six String Diary / Dallas 655
Many blues lovers appreciate the sound of an accomplished and classy guitarist, particularly when the player has audible blues inflections. So, electric guitar lovers should find plenty to enjoy on this album, although Nebo is not a blues player per se – mind you, this Croatian session man has worked with the likes of Johnny Winter, took part in 2010’s “International Blues Challenge” in Memphis, Tennessee, and has recorded blues in the past, and he does indeed include a couple on this album, partly recorded in Dallas, Texas. Besides the blues, Nebo flits across rock, pop and jazz, much of it with a strong 70s influence and occasionally a little too smoothly for my taste, but on the up tempo, descriptively-titled ‘Rollin’’, he has the support of the American guitarist Greg Koch, and Krešo Oremuš adds some fine harp blowing to the opening track, ‘My Own Texas’. Nebo’s influences seem to include Robben Ford, the Eric Clapton of the 70s onwards, a bit of Hank Marvin and Carlos Santana maybe, and definitely Larry Carlton and Michael Landau. An interesting release then, and, as I said, one for all the guitar lovers in the house…
Norman Darwen
(www.nebobuhin.com) (August, 2011)

GRADY CHAMPION – Dreamin’ (GSM 7500-11)
Canton, Mississippi’s king of the blues has a mightily impressive CD here. Young singer and harmonica player Grady has a crack band with him – including guitarists Zac Harmon and Gregg Wright, the latter a frequent visitor to Britain – and his material tends to be original and cliché-free, although he does sometimes reveal his roots in Rice “Sonny Boy Williamson No 2” Miller and Little Walter (for the latter, try ’Make That Monkey Jump’). He can rockaboogie away like crazy, as on ‘Same Train’, or get all soulful in a southern vein – ‘Weight Of The World’ is a beautiful, classic performance – but mostly he hits a mid-tempo blues groove, sings his meaningful lyrics in a very expressive voice and blows fine if un-flashy harp, whilst the band is right on the button behind him; he also makes intelligent use of the backing vocalists (take a listen to ‘Guilty As Charged’, for a good example). He closes out the set with a very 60s type number, a little in the vein of Slim Harpo’s ‘Baby Scratch My Back’, hitting a funky blues groove whilst Zac Harmon solemnly intones the spoken lyrics over the top. Yes, Grady also has a sense of humour – what is there to not like about this set? Nothing!
Norman Darwen
(www.gradychampion.com) (August, 2011)

BUDDY WHITTINGTON - Six String Svengali - Manhatton Records (http://www.buddywhittington.com/docs/svengali.html)
When Rolling Stone published list of the 100 Greatest Guitarists of all Time in 2003, Buddy Whittington was not in it despite more than 10 years of service with John Mayall’s Bluesbreakers and despite a description of Buddy by Mayall that the former was “probably the greatest Bluesbreaker of all time”; considering those who preceded him, quite an accolade.
Well, after this one, Buddy can be ignored no more.
All those years with Mayall coupled with his Fort Worth, Texas roots have given Mr Whittington some chops that make him not just an outstanding musician but one who, IMHO, currently stands head and shoulders above his peers. That mixture of blues styles and country music is one that is hard to ignore, coupled with the fact that all the songs on this CD are Whittington originals and come with the impish sense of humour which is part of Buddy’s personality. Check out, Ain’t Got The Scratch, Back When The Beano Was Boss and the delightful Texas Trios, which is a heartfelt acknowledgement of the pop, blues and rock trios in Texas, from ZZ Top through Buddy Holly and many, many more, that have gone before. Check out too Fender Champ; wonderful lyrics, exemplary musicianship
This Texas trio consists of Buddy with Wayne Six , bass and Mike Gage on drums. Long may they last.
This one is not out ‘till September, so you’ve got no excuse for not ordering it. HINT Check the BiTs gig guide too!!
Ian M (August, 2011)

THE 44s / Boogie Disease / Rip Cat TS1004
This Los Angeles-based four-piece is firmly in the Los Angeles blues tradition of James Harman, William Clarke and The Red Devils – no frills rocking blues, with tough harmonica sounds, a really rootsy approach, and just the right amount of seediness. Fabulous Thunderbirds guitarist Kid Ramos produced and plays on four tracks, and he certainly sounds like he is enjoying himself, but the focus is squarely on the band – Johnny Main supplies low-down, no-nonsense vocals and guitar work, whilst harpman Tex Nakamura demonstrates his mastery of the Little Walter derived West Coast style. The title tracks is a supercharged rendition of the old Doctor Ross classic, ‘Take It Easy’ references Magic Sam, ‘Blowin’ Like Hell’ is, of course, a tribute to the late William Clarke, and Willie Love’s ‘Automatic’ is just a joyous, raw, distorted blast from beginning to end! Then again, so is the entire album, for that matter… This is a CD that is definitely recommended to all lovers of the names mentioned above.
www.The44sBand.com
Norman Darwen (July 2011)

Mama Rosin With Hipbone Slim & The Kneetremblers: Louisiana Sun (Voodoo Rhythm VRCD65)
Swiss Cajun-punk meets London's off-the-wall Sir Bald Diddley and crew (surf, rockabilly, rhythm & blues or... whatever) and the results are loud and ill-mannered - oh, and great fun too. The two groups chop and change personnel on this London-recorded 12 track album, and although the results of this culture clash should be chaotic and shambolic, somehow it all hangs together. Wheezing cajun accordion - all right, it's actually a melodeon, Mr. Pedantic - adds a distinct flavour to the rock and roll numbers (if you remember the rough sound of vintage Goldband Records, this is similar), the aristocratic alopecia'd one turns in some lovely John Lee Hooker styled blues guitar on 'Killing Two Birds With One Stone', and romps ferociously through the rockabilly of 'The Cat Never Sleeps'. Surprisingly there are some almost traditional sounding cajun items (though do note the "almost"), the title track sounds as though it has come from a recently discovered vintage jukebox in Ville Platte, and on the closing ‘Paint The Town Red’, the whole caboodle of styles comes together and makes for a lovely finale. Purists will hate this release, but it may even bring a smile to their faces despite their instincts. Everyone else can just party along.
Norman Darwen (July 2011)

P-A-U-L - “Tales from the Gravel”
“Blues rock that’s a crossbreed of deep-seeded grooves, lightning riffs and soulful melodies”. Thus reads the introduction on the band’s website. The music is from one Paul Andrew Ulysses Lamb and his band, not to be confused with Paul Lamb and his Kingsnakes. The Independent newspaper once said “the big heavy blues of P-A-U-L could fill a container ship” which is a fair comment judging by the evidence on ‘Tales from the Gravel’. Paul’s deep throated singing (‘whisky soaked’ said the Classic Rock Society) and the muscular musical approach will be an acquired taste for some at first but, once your ears settle into the sheer power of the music, you begin to appreciate the melodic insistency within and the versatility of the musicians delivering it. Titles like ‘Pistol Whipped Again’ and ‘Ghost of Gun and Fist’ show you this is not a band to be ignored! Indeed, their upward spiral has propelled them to a support slot with the great Walter Trout and his band! There is also a guest appearance from Joanne Shaw Taylor (neat solo) on the 6½ minute long touching blues soul of ‘We Believe’, a quiet interlude led by piano (similarities to ‘Let It Be’) with bassist Joey Spina and drummer Layla Hall (and others) on backing vocals. Normal service is of course resumed on the Zep like riffing of ‘Preachin’ Fire’ and, on it goes, with fiery hard blues rock that really sets the pulse racing with a touch of Prince funk on songs like ‘Bite You’. The final track ‘Drinks Are On Me’ features some slide guitar and is definitely within ‘Blues in the South’ territory.
Contact www.p-a-u-lmusic.com
Phil Jackson (July 2011)

BILL STEWART - “On Top of the World”
One man and his guitar it’s amazing what can be achieved! Falling in a great tradition followed by the likes of Bert Jansch and John Renbourn, although it has to be said that Bill perhaps has a bit more of the blues, ‘On Top of the World’ wisely treads a course between originals and covers, between songs and instrumentals and does so with depth and subtlety. Bill’s own songs really come from the heart- for example ‘Who Do You Think You Are?’ written in anger after a visit to the Beamish pit and ’10,000 Men’ about the decline of the shipbuilding industry on Tyneside, a true protest singer! He picks a mean guitar as well and plays some nice slide on ‘Sittin’ On Top of the World’. Bill bravely attempts two other standards ‘Rollin’ & Tumblin’, Rory Gallagher style- ‘I could have had religion!’ and ‘Crossroads’, an intense, high tempo reading. Mark Knopfler is also an influence and he covers ‘Your Own Sweet Way’. The CD is consistently good right until the last note with harmonica introductions to the heartfelt ‘Northumberland’ and a stirring cover of Ira and Charlie Louvin’s ‘Weapon of Prayer’ rounding off a most enjoyable set. ‘On Top of the World’ is great country blues with a bit of Billy Bragg about it, highly recommended!
(RGF Records)
Phil Jackson (July 2011)

HOKIE JOINT - “The Music Starts To Play”
If raw, bordering on grungy blues is your bag then ‘The Music Starts To Play’ is essential. Taking us through a plethora of dirty and difficult subjects: addiction, mortality and ‘Watch What You Eat’ (the song title is self explanatory), Hokie Joint really does live up to its tag of ‘their own unique brand of dirty, roots based groove music’. This band does not tickle your comfort zones but you will be tapping your feet and maybe even singing along to tracks like ‘Watch What You Eat’ with its stop/start reggae rhythm. There are two lead instruments, guitar and harmonica (Joel Fisk and Giles King) giving the music a hard, guttural edge abetted by some throaty vocals from Jo-Jo Burgess. Also, some fascinating characters emerge in carefully crafted songs like the country folk tinged ‘Remington (listen to the ‘Girl can’t help it’ quote on harmonica) and ‘Jackie Boy’, one of those tunes you wish had gone on longer especially the instrumental groove. And yes there is slide guitar on the show stopping final number ‘Bang Bang’- great vocal performance and the guitar, ‘harp’ and rhythm also pull out all the stops in this one. Terrific stuff and highly recommended!
(Cool Buzz) (Contact: www.hokiejoint.co.uk)
Phil Jackson (July 2011)

SAMANTHA FISH/ CASSIE TAYLOR/ DANI WILDE/ “Girls With Guitars”/ RUF 1166
Just where do Ruf Records keep getting these young blues belles from. The music of Dani Wilde is well known to me but here she is joined by rhythm guitarist Fish and bass player Taylor and all three sing, heard to good effect on the opening track, a stomping rendition of The Stones’ ‘Bitch’. In fact cover versions bookend this album with ‘Jet Airliner’, immortalised by the Steve Miller Band, an odd choice for a blues album and although this is one of my all time Miller favourites the girls take a slightly different approach and get away with it! What of the originals? Well, the girls take the soul route with Dani’s ‘Mr Loving Man’- not bad, some nice guitar fills and a neat little solo. Fish’s ‘We Ain’t Gonna Get Out Alive’ features guest player Mike Zito on slide guitar while Dani goes it alone with dobro on with ‘Reason To Stay’, proving she can ‘holler’ with the best of them. ‘Get Back’ is not The Beatles song but a thoughtful reflection on the state of humankind (I liked this one!) Best of the lot though is ‘Leaving Chicago’, a funky little Taylor number with a wonderfully acerbic lyric.
Spare a thought for poor drummer Jamie Little surrounded by all these blues girls and, please, no more sleeves with a Danielle Steel book on it! ‘Girls with Guitars’ is hardly groundbreaking stuff but has enough interesting moments to satisfy all you blues addicts out there.
The blues caravan rolls on (www.bluescaravan.com)
Phil Jackson (June 2011)

HOT TUNA / First Pull Up Then Pull Down & Burgers / T-Bird TBIRD2 0041 CD
In the 60s and 70s, there were several books and articles examining the influence of the blues on pop music – I do recall reading in one such item that psychedelic rock band Jefferson Airplane had started out as a blues band, but that didn’t impress me overly. With Airplane off-shoot band Hot Tuna, things are far more interesting though. The two albums assembled on this double CD date from 1971 and 1972 respectively, and both feature extensively the veteran violinist Papa John Creach, alongside guitarist and singer Jorma Kaukonen, bassist Jack Casady and drummer Sammy Piazza. “First Pull Up…” also features harpman Will Scarlett and includes a couple of numbers drawn from Reverend Gary Davis plus ‘Come Back Baby’ from Lightnin’ Hopkins, whilst ‘”Burgers” has songs by Julius Daniels and Gary Davis again. Although the ambience is very much that of the early 70s and several tracks are best described as “West Coast rock”, there is some fine blues guitar picking on many numbers and several of the “original” compositions have traditional blues lyrics. Nowadays these two albums can be seen as rootsy sets that fall neatly into both the ‘Americana’ and blues-rock categories. (www.t-birdrecords.com)
Norman Darwen (June 2011)

VARIOUS ARTISTS/ Mistakes Were Made-A Broke and Hungry Records Retrospective
What a delight this CD is. Broke and Hungry Records are celebrating the first five years of their existence by bringing together a double CD of a selection of their roster each of whom is a purveyor of roots blues in the old style of the delta or the Mississippi hill country. The artists include the delightful Bill Able, an occasional visitor to the UK, who uses cigar-box guitars and a range of other instruments, including the parts of a drum kit you can play with your feet, to produce hypnotic music that still sounds like that made by people using a diddley-bow - often the first instrument used by some of the old delta blues men.
Mississippi hill country music is represented by Odell Harris, a 60+ year old, who delivers music in the style of R.L. Burnside with an added tinge of funk. Hill country music of a slightly different kind is provided by another one-man band Terry “Harmonica” Bean; about as far removed from our Mr Bean as you can possibly imagine.
Of course, the music of Jimmy “Duck” Holmes one of the artists recorded with much success by Broke and Hungry in the early days of the label, is well represented and some of the other artists hereon include, Terry ‘Big T’ Williams from Clarksdale and a 78 year old blues man known only as the Mississippi Marvel, a church man who like so many before him finds his blues soul in conflict with his religious soul. For that reason, he insists he must NEVER be identified. In short, a wonderful record that must be in your collection if you have any interest in the roots of the blues..
Ian McKenzie (June 2011)

P.P. ARNOLD / The Best Of P.P. Arnold / Repertoire REP5152
When Pat Arnold left the Ikettes to settle in swinging London in 1966, Rolling Stones and Hendrix photographer Gered Mankowitz suggested she change her stage name to “P.P. Arnold”, she was signed to Andrew Oldham’s Immediate label on Mick Jagger’s personal recommendation, and she was backed on tour by an outfit that soon became known as The Nice, a name suggested by PP but which the band misunderstood due to her American accent. Never mind – she went on to record the classic version of ‘The First Cut Is The Deepest’ and the nearly as anthemic ‘Angel Of The Morning’. Her soaring soul voice could recall her former employers Ike & Tina on the northern soul flavoured ‘Speak To Me’ and ‘Treat Me Like A Lady’; Dusty Springfield and Dionne Warwick come to mind on the uptown soul of ‘Born To Be Together’, whilst her version of The Bee Gees’ ‘To Love Somebody’ recalled James Carr’s cover. Some of the other material is more poppy, but those involved in this set include Steve Marriott, John Paul Jones, Ronnie Lane and Keith Emerson. This may be a slightly different take on 60s soul but it is certainly a very enjoyable and (if you were around back then) nostalgic set.
Norman Darwen (May 2011)

VARIOUS ARTISTS / Champion Records – The Singles Collection / SPV/ Blue 309192 3CD
Having initially started out as Calvert Records in 1956, this Nashville-based label became Champion a year later and closed down in 1959 after chief songwriter/ producer/ main R&B mover and shaker Ted Jarrett left. In its brief existence, the label presented the best of the Music City’s rhythm & blues talent, as this three CD box set demonstrates. Although it never had any smash hits, many of the artists had strong reputations – Earl Gaines, Larry Birdsong, Charles Walker, The Jimmy Beck Orchestra (whose line-up included Johnny Jones, who taught Jimi Hendrix a few things early on in his career), and some, like Christine Kittrell, Gene Allison, and rocker Baker Knight, who found success elsewhere. Gospel is represented by the still active and well-known group The Fairfield Four (whose ranks included later R&B singers Roscoe Shelton and Bobby Hebb), and with the time scale involved, it should surprise no-one that vintage rock and roll is well-represented – in fact, the opener by Little Ike sounds very close to Little Richard - as are rocking group sounds, jumping blues, blues-ballads, and even a touch of rockabilly. And just when I was thinking some of this material must have sounded a little old-fashioned in the late 50s, along comes Cliff Butler's 'Rent's Too High' recalls vintage Louis Jordan!
Those who have been following SPV/ Blue’s reissue programme of Nashville material over the last few years (or Ace's older 'Across The Tracks' albums) should be familiar with many (but not all) of these titles - but if you're not, this is a good place to check them out.
Norman Darwen (May 2011)

VARIOUS ARTISTS: Alligator Records 40th Anniversary Collection
In 1971, Bruce Iglauer, already a long time blues addict, decided that he’d had enough of being a shipping clerk for Bob Koester's Chicago-based Delmark Records, went out on his own. Iglauer wanted to release an album by his favourite band, Hound Dog Taylor & The HouseRockers. Koester had not been interested, so Iglauer did it for himself. The rest as they say is history.
With an impressive line-up of artists and a massive back catalogue, Iglauer and his colleagues have put together a two CD set of music from their archives, any and all tracks of which MUST be heard by anyone with an interest in the breadth and diversity of the blues.
Of course with Hound Dog Taylor included the set has raw and sometimes raucous Chi City blues from Koko Taylor, Son Seals, Lil' Ed & The Blues Imperials, Lonnie Brooks and Eddy Clearwater, harmonica virtuosi like Charlie Musselwhite, William Clarke, James Cotton and Rick Estrin, and fiery axe work from the likes of Guitar Shorty, Albert Collins, Johnny Winter, Michael "Iron Man" Burks and Tinsley Ellis and of course the contemporary roots-rock of JJ Grey & Mofro to say nothing of a little gospel from Mavis Staples.
Frankly this is a CD set that should grace the shelves of any one who calls themselves a blues fan.
Alligator laid down a pathway and followed it with almost religious faith. The label, still under the direction of Mr Iglauer continues to unearth and record new and exciting talent. Long may that continue.
Ian M (May 2011)

B.B. KING/ Makin’ Love Is Good For You / SuperBird SBIRD 0041 CD
More than 40 years after he made his first album, with this CD, recorded in 2000 and the follow-up to the big-selling ‘Riding With The King’, his collaboration with Eric Clapton, BB King proved that he does not need superstar guests or producers who want to “modernise” or “popularise” his sound. BB himself takes the producer’s chair and he is backed by his road band on the 15 tracks of this Louisiana-recorded release. The result is a BB King album that is packed full of big, sometimes brassy blues, with BB’s voice well to the fore (though on a couple of tracks he does sound as though he is straining), and Lucille taking a leading role. Original numbers are mixed in with material that King presumably picked himself: Buddy Johnson’s blues ballad ‘Since I Fell For You’, Barbara George’s energetic New Orleans staple ‘I Know’, a cover of ‘Don’t Go No Further’ that draws heavily on Muddy Waters, A.C. Reed’s ‘I’m In The Wrong Business’, and several others (oddly, the Tony Joe White-penned title track is one of the least impressive). Despite the minor criticisms, this is indeed a fine set that definitely deserves its place among BB’s better albums.
Norman Darwen April 2011

---

THE GEOFF EVERETT BAND: Adult Show: Self produced <www.thegeoffeverettband.co.uk
Every now and again something special comes through the letter box and this CD is one of those special things. I have to admit I had never heard of the Geoff Everett Band before, perhaps you haven’t either, but I really hope that is rectified by you ASAP.
Right from the first bent chord from Mr Everett’s telecaster, the music, bumps and grinds and swings and sways pretty much like the Adult Show it is.
The CD is a nice mix of covers and self-penned songs, the latter group including the cracking ‘Professor Honey Juice’ and the wonderful ‘Swine Fever Blues’.
The covers come from Muddy and Son House (or RJ if you will) but don’t expect them to sound anything like the originals.
In short a terrific outing by a band that deserves a MUCH larger audience.
Ian M (March 2011)

---

DAVE WELD & THE IMPERIAL FLAMES/ Burnin’ Love /Delmark DE 806 <www.delmark.com>
Born in Chicago in 1952, singer, guitarist and bandleader Dave Weld tried jazz out-west but he returned home in a hurry when he heard Hound Dog Taylor's first Alligator album. He then gigged around Chicago's west side, recorded behind drummer Chico Chism towards the end of the seventies, and learned from home-town slide guitar ace JB Hutto, who encouraged him to join his nephews Lil' Ed and James ‘Pookie’ Young in a band, now known of course as Lil' Ed & The Blues Imperials. With Ed's blessing, Dave has led his own outfit for many years now, making some very fine albums. This is Dave's first recording since 1996.
In one way the notes to this CD make a review redundant - they tell us that the band members’ collective experience ranges across Muddy Waters, Howling Wolf and Elmore James to The Rolling Stones, Ramsey Lewis, Art Hodes and Dave Hole; they also ask if you like rocking guitar and piano and “the best soulful vocals”. This is definitely not hype on the writer’s part.
Dave and his band get straight down to business with a rocking, low-down and dirty style, or an up tempo party blues approach. The guitar sounds are tough, the arrangements modern yet traditional, the vocals most definitely soulful. Surprisingly the only disappointment is from Lil' Ed, who sings on ‘Ed’s Boogie’, unfortunately as perfunctory as the title. No problem with the remainder though.
Norman Darwen (March 2011)

---

CATFISH KEITH: Live at the Half Moon Putney - Fish Tail Records - FTRCD011. <http://www.catfishkeith.com/>
Mr Keith Daniel Kozacik, to give him his real name, hails from East Chicago, Indiana. His musical roots lie in Delta blues and as he once told Norman Darwen, in jazz, like Louis Armstrong and Bix Beiderbeck.
There used to be electric axe men who were called Guitar Heroes. Mr Kozacik is an acoustic guitar hero.
This CD is a record of a live gig at the Half Moon, Putney, in south west London, a venue which, over the years has hosted the likes of Sonny Terry & Brownie McGhee, Champion Jack Dupree and Arthur Crudup, the Stones, John Mayall’s Bluesbreakers, Alexis Korner, The Yardbirds: the list goes on and on.
The CD is nothing short of magnificent. Keith is an accomplished player, getting sometimes quite amazing sounds from a baritone resonator and a custom made parlour guitar. The resonator medley of Blind Willie Johnson - Dark Was The Night, Cold Was The Ground / By And By I'm Going To See The King - is simply beautiful.
Blind Willie McTell’s Keep Your Lamp Trimmed and Burning comes with one of those moments where the audience is stunned to silence for a couple of micro-seconds after the music stops; always the proof of a masterful performance.
The sound is terrific, sounding more like a church than a concert hall. In short get this one at any cost. Even those who are addicted to electric sounds will enjoy it!
Ian McKenzie (March 2011)

---

---

VARIOUS ARTISTS/ “Jump, Blues & Ballads”/ SPV/Blue 308772 CD
Nashville’s Bullet Records was one of the earliest of the post-World War II independent record labels, having been started in 1945 by booking agent Jim Bulleit, musician Wally Fowler and business man C. V. Hitchcock. Despite numerous successes, the company folded in 1953 (though it was revived later towards the end of the 50s), but its legacy includes the first recordings by a young man called BB King, titles by Willie Dixon’s Big Three Trio, numbers by veteran pianist Walter Davis and best-selling items from big star Cecil Gant. They are all well-represented on this almost 70 minutes long CD, alongside more obscure names such as bandleader Tuff Green, who worked in Memphis with BB and has one title, Chuck Merrill (covering a couple of country numbers in fine R&B fashion – did somebody mention Rock and Roll?), Don Q., Tucker Coles, the accomplished blues shouter Max Bailey, Rudy Greene (sounding very like Wynonie Harris), Sherman Williams, and The Red Miller Trio. What does the music sound like? Well, the CD title says it all really – blasting horns, boogying piano, risqué vocals, solid blues or mournful, tender ballads.
Norman Darwen (January, 2011)

---

ANDREW JR. BOY JONES/ Gettin’ Real/ Electro-Fi 3415 www.electrofi.com.
Dallas, Texas guitarist Andrew ‘Jr. Boy’ Jones spent many years working his local blues and soul circuits after learning guitar from Freddie King. He then moved on to greater international acclaim, following recordings and tours with pianist Katie Webster and harmonica ace Charlie Musselwhite, and this is turn led to his own solo career starting in the 1990s, when he revealed himself as a relaxed but powerful singer to complement his already much admired guitar skills. Right from the outset, this album – Andrew’s fifth - is straight-ahead, no-nonsense blues from the Lone Star State, with virtually no rock influence at all. Instead, there are subtle flavours of Albert Collins, Cornell Dupree and Lowell Fulson in evidence as the leader fronts his regular road band through a top-notch programme of rolling Texas shuffles and slow blues in time-honoured fashion. Andrew is a real deal Texas bluesman, one who has paid his dues and is thankfully now beginning to receive his just rewards. This CD comes highly recommended, of course – well worth the effort of tracking it down.
Norman Darwen (January 2011)

---

THE JOHNNY MAX BAND/ It’s a Long Road. Poor Soul Records, JMB 0024
What a hotbed of blues music there is in Canada. Sue Foley, Matt Andersen, Jimmy Bowskill, Monkey Junk and the late Jeff Healey (to mention only a few) and right up there with the top guys is The Johnny Max Band. Johnny is a nominee for Entertainer of the Year in the 2011 Maple Blues Awards taking place at Koerner Hall on January 17th in Toronto and two of the band members are also nominated (Vince Maccarone dms and Johnny Johnson, horn).
Here, with the rest of the band (Wayne Deadder - bass, guitar, bg vocals, John Findlay - guitar, bg vocals, Jesse O'Brien - piano, wurlitzer, organ) Max produces a stormin’ set with powerful vocal parts, filled out with a BIG horn section and some excellent musicianship. Jesse O’Brian gives us some super keyboard licks on the opener ‘Daddy’s Little Girl’, while the horn section comes to the fore on ‘Heading Back To You’.
This CD is for any and all of you who enjoy riff driven, funky, gumbo flavoured r&b, with more than a hint of boogie woogie. This one comes strongly recommended.
www..johnnymaxband.com
Ian McKenzie (January 2011)

---

---

CHARLES WALKER/ Soul Stirring Thing CD/ SPV/ Blue 307242 // JAMES NIXON/ Live In Europe/ SPV/ Blue 308592CD www.spv.de
Nashville soul-blues singer Charles should be a familiar name through his reasonably frequent appearances in Britain and his excellent albums. Here’s another top-notch CD, recorded with Fred James in multi-instrumentalist mode – this is soul stirring stuff indeed, with a strong southern bias and more than a nod to the blues - try ‘Magic Man’, or the Stan Webb co-composition ‘The House That Love Lives In’ or the boogying ‘My Buddha’. Wholeheartedly recommended!
James Nixon’s set was recorded at the Blues Estafette in Holland, in 2001. Nixon, Johnny Jones and Jimi Hendrix were the leading guitarists on the Nashville R&B scene in the early 60s. Nixon is the most obscure to blues fans – probably because he was as happy with rock 'n' roll, R&B, soul, and gospel, which gave him his only hit, he tells us, introducing the wailing ‘Stand Up’; he also performs a fine version of the sublime ‘People Get Ready’. These are the last two tracks but they are preceded by nine excellent blues, with influences from T-Bone Walker and especially BB King – and James is a well above average singer. Backing is again by Fred James and the Amazing Rhythm Aces including Mary Ann Brandon (who provides some lovely harmonies). Their presence is usually a recommendation in itself, and with a front-man like James Nixon, the result is a lovely, enjoyable album of soulful blues guaranteed to please anyone who likes modern blues.
Norman Darwen (November 2010)

CHRIS BELL AND 100% BLUES/ The Devil, My Guitar and Me/ Silverbridge Records SBCD 007
Chris Bell is a road warrior. Born in Washington DC he now operates out of Las Vegas, Nevada, making road trips to gigs all over the west coast and with occasional forays into to Texas. Chris has roots deep in blues history and came to the music because of the influence of his parents,.lovers of blues, jazz, rhythm & blues, and gospel music.
This is Chris’ second CD and consists of 99.9% his own stuff. All of the songs (14 tracks on the CD) save one (which was written by Greg Allman) are his own work, and come with with some clever lyrics and well thought-out arrangements. Check out '’My Jimi Hendrix Stuff’, (“You can take what you want but don’t take my Jimi Hendrix stuff”). The delightful 'John Lee Hooker' and the homage to the Crossroads (the intersection of Highways 61 and 49 in Mississippi) in the title track 'The Devil, My Guitar and Me'.
Chris is a fine singer with a husky and readily identifiable voice and some super guitar chops without too much venturing in to blues rock posturing. The band, Chuck England (bass & vocals) and Bill Nuti (dms) are tight disciplined and filled with Chris’s fire.
This one is strongly recommended. Let’s get this young man to he UK. He deserves it.
Ian M (November 2010)
www.myspace.com/chrisbellblues

JOANNE SHAW TAYLOR/ Diamonds In The Dirt/ Ruf Records 1164
Second albums are said to be notoriously difficult, with many artists failing to live up to expectations. Well none of that here. This is simply put, a stunningly good CD with Joanne performing with maturity and skill and with a confidence in her ability seldom seen in one still so young. Joanne born in 1985, performs, and in particular sings, as though she has spend all her life in Memphis rather than Solihull (nr Birmingham (UK not Alabama)).
Joanne was recently awarded the accolade of Female Singer of the Year in the 2010 British Blues Awards and here her singing is simply magnificent. No histrionic screeching and screaming, just controlled vocals in a rich alto voice that has echoes of Aretha Franklin, Etta James and Mavis Staples.
The axe work is accomplished and all the songs were written by Joanne. The lyrics are filled with poetry and passion. Outstanding tracks include opener ‘Can’t Keep Living Like This’ (jaw dropping!) and the title track ‘Diamonds In The Dirt’, a loping broken-heart lyric delivered like a gospel song. Check out too ‘Lord Have Mercy’; powerful vocals with a guitar part Billy Gibbons would be proud of. Breathtaking! Let’s have some traditional gospel next time Joanne. You know you can do it!
Ian M (November 2010)

BEN PRESTAGE - Real Music - Nugene Records, NUG 1005
There are not too many one-man bands around these days. Following in the footsteps of Jukeboy Bonner and Jesse Fuller Ben Prestage who hails from the Sunshine State (Florida) Ben has mixed Mississippi country blues with southern swamp blues - described rather neatly by his publicity material as “Muddy Waters meets back-waters” and it really works.
Ben has performed as a street musician on Beale Street, Memphis playing guitar, bass and drums simultaneously. An accomplished multi-instrumentalist he also plays banjo, lap-steel fiddle and harmonica and has voice like Johnny Cash meets Seasick Steve.
This CD, a mix of his own songs and those of Blind Boy Fuller, Bukka White, Skip James and Gary Davis (to mention only a few) brings us a selection of delightful, stomping music which is well worth finding.
Ben is on tour in November supporting Ian Siegal (blues band of the year in the BBA - see page 1). Go see him!! He deserves his own tour. This one is STRONGLY recommended.
IAN M (November 2010)

T-BONE WALKER: Armadillo 2 (Retroworld FLOATD6060)
Older hands will already have this material, all recorded for Imperial Records between 1950 and 1954, but if you are still reading… T-Bone Walker was the founder of modern electric blues guitar playing. There’s not anyone else who even comes close – BB King? He’ll freely admit to being influenced by T-Bone. Texas-born Walker had recorded as Oak Cliff T-Bone in 1929, more or less as a country bluesman. By the time of the recordings on this double CD, his style had changed – and how! Big bands backing his suave vocals, and as for his guitar playing – well, take a listen to the second track on disc one here. It’s an up tempo instrumental called ‘Strollin’ With Bones’, and T-Bone’s playing is unstoppable. You can hear riffs that Chuck Berry pinched from him; you can hear where Duke Robillard’s style is from; you can hear where thousands of disciples took their inspiration – and that is just one of the 52 tracks on offer here, including several all-time classics. Recommended? What do you think...?
Norman Darwen (October 2010)

ERJA LYYTINEN - “Voracious Love” - (RUF 1161)
I was not completely convinced by Erja’s debut album ‘Dreamland Blues’ despite some great moments. However, a few years on she has produced a cracking album. It has the feel of a concept album and in a way it is containing ’13 love songs’ but don’t think for one minute there’s anything saccharine or shallow about this album, just some outstanding song writing and playing, the pace or quality not relenting from start to finish. The instrumentation works well with liberal doses of Erja’s slide guitar and staunch backing from keyboard player Harri Taittonen on Hammond organ and Fender Rhodes. When Erja sings about hunting down prey on the disco floor you get the sense she has a wisdom beyond her years and ‘Crowes At Your Door’ (with Matti Valius on double bass and Davide Floreno on acoustic guitar), the wistful ‘I Think Of You’ and ‘Bed of Roses’ with Marco Hietala of Nightwish sharing the vocals (and the backing of twin violins and cellos) are fine songs that would grace any artist. ‘Oil and Water (Don’t Mix’)’ is another gritty and exhilarating song on which Erja plays a wonderful sounding ‘supro 1952’ (Help, Ian!) Another thing I love about this album is the way it is mixed to give a real earthy sound, drums sometimes dampened and in the background (sonically) and this approach also suits the Hammond. The ballad ‘I Can’t Fall In Love’ shows what a good singer Erja is. ‘One Thing I Won’t Change’ brings a nice change of pace and another great chorus, perhaps not the most original song you’ll ever hear but so well done and the line ‘I change my religion to get the Lord’ shows again that coy maturity I was referring to earlier. An incendiary guitar break makes you feel, briefly, like you’re listening to ZZ Top on this one. There is one cover version, of Blind Willie Johnson’s ‘Soul of a Man’ with dobro, cello and piano that capture the song perfectly followed by an atmospheric instrumental demonstrating a precocious versatility that augers well for the future. The album ends with another very short piece, the acoustic country blues of ‘No Place Like A Home’, a slice of Finnish Americana I suppose!
‘Voracious Love’ is a giant leap forward for Erja Lyytinen and an outstanding album of which she should be very proud and one which this reviewer has already returned to many times and will continue to do so in the future. I just hope others share my enthusiasm for it.
Phil Jackson (October 2010)

DANI WILDE – Shine – Ruf 1163
As it says on the flier, Dani Wilde blends Chicago blues with contemporary soul sounds with a stellar cast of backing musicians including the Chaka Khan bass player Roger Innis and the legendary Pete Wingfield on piano. Add in two horn players from the Van Morrison Band (but only on ‘Miss You’) and two other guitarists including the winner of Total Guitar magazine’s ‘Guitar Wars’ competition, Ben Poole, and you have a potent concoction. Another very noticeable feature of this recording is the contributions of Dani’s brother Will on harmonica.
I have to say I enjoyed the second half of the album much better than the first which, to be honest, did little for me except in those incendiary moments like the two guitar solos of ‘Some Kinda Crazy’. Nine of the eleven songs are Wilde compositions but I don’t think Dani’s songwriting skills are sufficiently honed yet. One track that suffered from this was the 7:30 of ‘Abandoned Child’, a great idea inspired by her visits to the Toto Love Orphanage in Embu, Kenya, but let down by a rather innocuous and somewhat clichéd melody. Of the covers themselves there is a pretty straight version of The Stones’ ‘Miss You’ and a song co-written by Mike Vernon who also produces the album. There is a gospel tinge to ‘How Do You Do It?’ on which another Blues Caravan player Laura Chavez takes the guitar solo but what follows it ‘Red Blooded Woman’ is too overtly testosterone fuelled for my taste (‘I got no hidden agenda’- quite!). There is a serious artist waiting to emerge and I think this is shown on the concluding track ‘Big Brown Eyes’, also about Dani’s experiences in Kenya.
This album starts in earnest on track 6 ‘Don’t Give Up On Me’, an excellent heart felt vocal performance, a good lyric, some nicely judged acoustic guitar, an expressive electric solo and an empathic rhythm section. There’s more of the same on ‘I Don’t Even Care’, a good story well told with ‘B.B. King on my radio’ as the abused woman fights back to start a new life. Despite what I said about ‘Abandoned Child’ there’s some good playing on this slow blues. It’s just not that distinctive melodically. The strident Free like ‘Born To Love him’ is good fun while ‘Where Blues Begins’ is the better of the two covers and features a tenor sax solo from Martin Winning. If this was vinyl I’d definitely be playing side two which builds on the promise shown on Dani’s excellent debut ‘Heal My Blues’.
Phil Jackson (October 2010)

THE GRADY CHAMPION REVUE: Back in Mississippi Live At The 930 Blues Café (GSM7400)
There are some very, very nice down-home Mississippi blues on this set by singer and harmonica player Grady and his tight little band. Nothing too surprising there maybe, as Grady is Canton, Mississippi born and bred, recorded at the end of the nineties with Dennis Walker of Robert Cray, Phillip Walker and many others fame, and has loved music all his life. What might surprise some though is that Grady began his professional music career as MC Gold – yes, a rapper! There is precious little trace of Gold here though, but ‘Policeman Blues’ is a soul styled number with a rap from one Jacktown Swiff – it shouldn’t upset blues lovers too much though, nor should the gospel flavoured dedication to Grady’s mother or the rocky ‘Brother Brother’. Just in case though, you can turn to the remaining 11 numbers – and take a listen to ‘Lonesome Bedroom Blues’ where Eddie Cotton Jr’s wonderful electric guitar playing and Grady’s deep singing provide the perfect restorative. Grady’s youthful enthusiasm, excellent choice of material, and soulful vocals and harmonica playing are most highly recommended. And if you thought it might be difficult to track down, this is handled by big blues label Earwig.
Norman Darwen (September 2010)

STEPHEN DALE PETIT - The Crave - Universal Music/Absolute
This is a fascinating CD on several levels. First, Petit is no mean axe man and there is some excellent and inventive playing on almost all the tracks. Second, the real strength of the album is in the scoring: yep, that’s right scoring. No five-piece blues band here, but some BIG arrangements with string sounds and stuff and although at a gut level you feel it won’t, work it actually does.
Nowhere is this more obvious than on the reworking of Robert Johnson’s ‘Cross Road Blues’, 4 mins and 18 seconds of seriously spooky music. Opening with (synthed?) strings the piece takes a very different path to Clapton’s homage and it is simply superb.
The Crave follows Petit’s well-received debut Guitararama, which was nominated by Guitar Magazine’s Album of the Year in 2008 and IMHO beats it hollow.
There’s some new stuff alongside updated classics by Fleetwood Mac, Little Willie John and Albert King. The production by Ian Grimble and the folks at the Chapel Studios, Lincoln (the team behind Arctic Monkeys, the Editors and the Kaiser Chiefs) is flawless.
If you wanna get your ears round some contemporary blues based music, you could do much worse than this!
Ian M (September 2010)

Bob Corritore and Friends: Harmonica blues- Delta Groove Music DGPCD 139
www.bobcorritore.com www.deltagroovemusic.com
As a harmonica player Bob has supported and practically every top class blues musician and that you can think of. He has a back catalogue that anybody could be proud of and not surprisingly he wants to show it off. This CD is a selection of 16 tracks featuring his work with people like Koko Taylor, Little Milton, Louisiana Red, Pinetop Perkins, Honeyboy Edwards, and, as they say, many, many more.
You could write a good deal about every track on this CD but I shall have to be selective. For me, the outstanding track is Baby Don’t You Tear My Clothes, the old Smokey Hogg number, if only because of the wonderful bass baritone voice of Nappy Brown on vocals! Other outstanding tracks include a terrific version of Bumble Bee, the Memphis Minnie song, with Honeyboy Edwards doing the vocal and slide honours and with Chris James on guitar and Patrick Rynn on bass, to say nothing of the piano and vocal work of Pinetop Perkins (also with James and Rynn) on that wonderful old stalwart Big Fat Mama.
Frankly, there’s not a track on this CD is worth listening to and many of them are outstanding. Corritore is always an impressive player with a control and a fire that is often second to none. If you are interested in harmonica blues this is an essential purchase, and for those that are just lovers of the blues, this one should not be missed either. Go for it!
IM (September 2010)

GERRY LABONSKI AND THE ELECTRIC BAND - Fat Hippy Records
After extensive touring during which time a remarkable style, sound and level of musicianship has been developed, Gerry Labonski finally gets his band together to record a full length album. There’s a clever introduction to ‘Breaking The Stones’ (Don’t turn your speakers up too soon!) , a rousing Free like rail against exploitative work that in blues rock terms does pretty much what Philip Larkin did in poetic terms in his famous ‘Toads’.
Jerry is accompanied by a skilled harmonic player in Peter Narojczyk and they bounce ideas off each other well. It’s a pity organ isn’t employed more on the album to fill out the sound as ‘Cold Outside’ is a standout on the album, a 5 minutes plus slow blues soul with Gerry putting in an expressive and accomplished performance on guitar and vocals. A pretty solid rhythm section too of Grigor Leslie (Nice to hear a bass guitar so clearly in a recording and some deft playing on the funky ‘Crime of the Century’!) and David Innes on drums and percussion make this album without a title a joy to listen to. Listen to the way they combine on the guitar and harmonica solos on ‘Undercover’ for more proof!
I always think it’s a good idea for a relatively new recording artist (although Gerry has been around for a long time!) to do a couple of good covers on a debut album as it’s hard to churn out 9 originals as Gerry tries to do here. (Although did I detect a little bit of Alex Harvey humour in ‘Every Dog Has Its Day’?) Having said that, a couple of cuts aside I was impressed by the overall standard and thought ‘Blues Power’ was a terrific instrumental with some incendiary guitar and question and answer between guitar and harmonica. Recorded in Aberdeen, Gerry Jablonksi has produced a fine blues rock album with enough infectious hooks e.g. the joyous romp of ‘Undercover’ to please the most discerning of blues audiences. www.myspace.com/thegerryjablonski
Phil Jackson (August 2010)

CLARE FREE - Be Who You Are - http://www.clarefree.co.uk/musicbuy-cd/
Here comes another of the ‘girls-with-guitars’ and just like Dani Wilde and Laurie Morvan, Clare Free is well worth a listen. She has paid her dues working with a range of musicians and clearly has spent a great deal of time listening to some of the blues guitar greats with a nod to a wide range of rock, folk and country influences..
The band is: Clare Free, guitars and vocals, Hannah Cope, bass and backing vocals, Rhys Friery, keyboards and Pete Hedley, drums and the music is a nice mix of the influences noted above. Impressively, however, all the tracks on the CD are self penned, and although you should not expect straight blues, you can expect high quality axe work and sometimes exemplary and self-revelatory lyric writing.
The band lay down some powerful grooves ranging from some laid back rhythms to some sharp funk and all-in-all, this is an impressive first outing for Clare,
If there is a criticism, it is simply that as with far too many songwriters these days, there is an avoidance of producing anything that it is possible to label as a 12, or even 8, bar blues. Next time, Clare, grab the strat by the horns and do a strong, raw, B.L.U.E.S
Ian M (August 2010)

VARIOUS ARTISTS – “Hoss Allen’s 1966 Rhythm & Blues Revue ‘The !!!! Beat’” – SuperBird SBIRD 0025 CD

“The !!!! Beat” was the first syndicated Black music television programme in history, and featured a house band called The Beat Boys which included guitarists Clarence ‘Gatemouth’ Brown and Johnny Jones, and bassist Billy Cox, the latter later of Jimi Hendrix’s Band Of Gypsys fame. Disc jockey Hoss Allen presented the show, and as he also ran several labels in Nashville (as already documented by SuperBird), his artists were frequently represented. The programmes appeared on DVD a few years back, but they are extremely hard-to-find, and so this CD release fills the gap. Programmed to run like an old-fashioned R’n’B Revue, The Beat Boys fill in the gaps for setting up microphones etc. with several short instrumentals, whilst the vocal artists range from out-and-out blues singers (Gatemouth is still in his blues bag here) to exponents of the newly-arrived southern soul sound (take a listen to Earl Gaines) and classic sixties soul – current hits performed by chitlin circuit artists, for example, The Mighty Hannibal turns in an excellent version of Wilson Pickett’s ‘In the Midnight Hour’, and Rodge Martin ditto with Otis Redding’s ‘Respect’. Frogman Henry and Robert Parker are the New Orleans contingent, Lattimore Brown covers ‘blue-eyed soul singer’ Roy Head’s ‘Treat Her Right’, and even Mighty Joe Young crops up. Fascinating stuff all round…
Norman Darwen (August 2010)

VARIOUS ARTISTS – Sidewinder: The Jewel/ Paula Story (Retroworld FLOATD6052)
Record man Stan Lewis operated out of Shreveport, Louisiana, and, after encouragement from Leonard Chess (of Chess Records fame), ran his Jewel and later Paula labels, from 1963 onwards. This double CD collection contains material dating from between 1965 and 1989, including some titles that appeared on the Ronn label, and has a strong bias towards the blues, ranging from the down-home sound of Lightnin’ Hopkins’ two-part ‘Mr Charlie’, with its long spoken introduction, to the sophisticated soul-blues of Ted Taylor and the difficult to define sound of Bobby Rush (folk-funk-blues???), and on to southern soul and even a relatively smooth sound with The Montclairs’ single title. Stan recruited talent from all over – there are southern staple bluesmen such as Frank Frost and The Carter Brothers, Texas and West Coast artists (try Little Joe Blue or Lowell Fulson), excellent Chicago sounds from the likes of Big Mac and Buster Benton, members of the Saint Louis scene such as Fontella Bass, Barbara Carr and Ike & Tina, old-timers like Roosevelt Sykes and Memphis Slim, and younger hands in Cicero Blake and Ernie Johnson. As a round-up of the southern chitlin circuit blues and soul sound from the sixties and seventies, this is hard to beat!
Norman Darwen (August 2010)

EGYPT -“Blues Kerosene”- (Stable Records)
Bass player/ vocalist Alan Fish was in Terraplane with Tony McPhee in 1977 then in The Groundhogs line-up that recorded ‘Razor’s Edge’ in 1985. Apparently singer/ guitarist Eric Chipulina and drummer Peter Correa were also in The Groundhogs presumably as members of the touring band. So, of course there is that unmistakeable Hogs sound and even a solid cover of Tony McPhee’s superlative ‘Garden’. Also covered are Mississippi legend John Lee Hooker’s ‘Ride Till You Die’, the slow slide ‘Viola Lee Blues’ and a brilliantly restrained version of Robert Johnson’s ‘Walking Blues’, with more slide guitar-another Mississippi legend as it happens!
Some of the original songs are no slouches either. Listen to ‘Lazy Maisie’, easily mistaken for Led Zeppelin in their heyday. And how about this for a title- ‘Fu Man Chew’- a great little solo guitar instrumental? Then there’s the great wah wah driven rocker ‘Waiting for the 353’ putting the band firmly into the Cream, and later on Rory Gallagher, family of heavy blues rock. Perhaps the best of the lot though is ‘Bluesbelly’ which for some probably misguided reason reminded me of the great Frank Marino.
Contact: www.GFI-Promotions.com
Phil Jackson (August 2010)

ERROL DIXON – “Blues In The Pot/ That's How You Got Killed Before” - BGO CD919
Jamaican pianist Errol moved to England in 1957 and was resident here for many years. In the early to mid-sixties he recorded blues, R & B, Bluebeat and Ska, though his heart was really in the jumping sound of American rhythm and blues of the late forties and fifties, and by the time he recorded the two albums that make up this double CD, in 1968 and '69 respectively, he was an accomplished performer. The first album, produced by Mike Vernon, has Chicken Shack in a tightly-controlled role for the most part, plus some horn players, and it works very well, although its jump-blues sound was out of step with the tastes of the time – not so now though! The later LP has a slightly tougher, slightly more guitar-focussed sound, with accompanists other than guitarist Bruce Langsman all now unidentified.
Rounding out the original playing times are four soul-styled tracks that first appeared on Decca singles, and a further quartet of convincing Fats Domino covers released on a Mike Vernon produced EP in 1965. Errol gave up on playing in Britain many years ago, finding fame and popularity in Europe, though he is now apparently back in the Caribbean. This set shows what a big loss that is!
Norman Darwen
(www.bgo-records.com)
PS: A disclaimer – yes, I am mentioned a couple of times in the notes. I supplied some information. That didn't affect this review! (JULY 2010)

DAVE SUGARBEET & THE LAST GASP BLUES BAND - Meet The Beet - from gigs and website
Mr Sugarbeet is something of an unusual animal these days. There was a time in the 1930, especially around Memphis, when any self-respecting band had to have a guy who played the violin (fiddle) as one of its members. Dave is, of course a fiddle player and this (his second CD) is an exemplar of his work with a bunch of topflight musicians in tow.
Now, don’t expect he the un-tinkered with tones of the likes of Stephan Grapelly, or even of Mr Sugarbeet’s hero, Sugarcane Harris. Here, often using a Fender electric violin, the sound pallet draws on phasers and wah-wah effects much like a lead guitarist might do.
The Beet consists of Dave, axe man and singer Robin Bibbi, bass man (the late) Jim Riley, and drummer Hans Perrao. The ubiquitous Roger Cotton (Splinter Group) was the recording engineer with Mr Sugarbeet and was the vocalist on a couple of tracks. The whole thing is delivered with considerable panache and enthusiasm. Check out the delightful ‘Got My Mobile Working’, the reworking of RJ’s ‘When You’ve Got A Good Friend’, and the terrific ‘Baffled By The Blues’.
In short a super album by a man who should have a higher profile.
Go to http://www.davesugarbeet.co.uk/ to find out much more.
IM (JULY 2010)

ROCKY JACKSON - Testify - High Life Records 17151 (rockyjackson.com)
Ernest W. ‘Rocky’ Jackson is a Texan , now in his mid 60s. Initially playing bottle neck and lap steel under the influence of Houndog Taylor, Jackson moved to southern California where he developed his guitar chops in a more west-coast idiom. A member of the Magic Blues Band which backed a wide range of visiting blues men ranging from George ‘Harmonica’ Smith to Coco Montoya he has a wealth of live experience. It shows!
This CD is a nice mix of covers of pretty well known material, tributes (albeit original) and Jackson’s own songs. The covers include two of Muddy’s .songs, ‘Long Distance Call’ and (more accurately Willie Dixon’s) ‘ I Just Want To Make Love To You’, through to Jimmy Reed’s ‘Don’t Say Nothin’’. Tributes include a super ‘Like Magic’, a minor key piece, lauding Magic Sam.
Seven of the tracks were written by Jackson and he proves himself to be a strong songwriter with a powerful lyrical sense, and a nice turn of phrase Check out ‘Big Legs Don’t Mean Fat’ . There is a certain poignancy to ‘Shoulda Never Left Texas’ a slow blues featuring Hank Van Sickel (a member of John Mayall's Bluesbreakers from mid 2000 through the end of 2008) on bass. Throughout Jackson’s axe work is exemplary but nowhere better than on this track.
This one is strongly recommended.
Ian M (JULY 2010)

OLI BROWN - “Heads I Win, Tails You Lose’
The whirlwind start tells you everything you need to know about Oli Brown, guitar imitating vocal line, reverberating from the past (Robert Johnson) filtered through Eric Clapton but modernised, refurbished for an optimistic new dawn of first rate young blues musicians, many of whom just happen to be signed to Ruf Records. Indeed, I look forward immensely to seeing Oli play in the company of the equally talented Joanne Shaw Taylor on the New Generation Blues tour, more of which later. The ‘remake remodel’ of blues shifts effortlessly from ‘Evil Soul’ to ‘Makes Me Wonder’. Classic blues influences and references are littered throughout this recording but most of the compositions are original and the guitar soloing is stunning. The two covers, ‘Fever’ and ‘No Diggity’ work just fine. There is also a funk (‘Keeping My Options Open’ and the foot tapping Free like swagger of ‘I Can make Your Day’ ) and soul dimension to Oli’s music (the excellent ‘Speechless’). Dave Lennox’s keyboards add a nice backdrop to the soulful ballad ‘Not A Word To Say’ and are even better on the Booker T & The MG’s feel of ‘Real Good Time’. It’s always interesting listening to a blues player expanding into a space on a slow burning blues and there is one of them here called ‘Love’s Gone Cold’, all 7 minutes of it. Needless to say, Oli doesn’t disappoint on this one and produces an incendiary solo right on cue! Produced by Mike Vernon there is no doubt that, already, only two albums in, Oli Brown has the voice and the licks to become a standard bearer of the new blues generation. The only room for improvement as far as I can hear is in the lyrics which tend to be almost exclusively about relationships- fair enough but broadening the subject matter might propel this young artist to even greater heights. ‘I feel on top of the world’ sings Oli in the final track ‘Heads I Win, Tails You Lose’ is due for release on 26 April, 2010.
Contact: www.GFI-Promotions.com
Phil Jackson (June 2010)

THE JIMMY BOWSKILL BAND LIVE (RUF 1158)

Discovered by Jeff Healey at the age of 11 playing guitar outside of his club in Toronto, Jimmy Bowskill has opened for many top acts and. toured internationally .The Jimmy Bowskill Band live performance on this CD showcases Jimmy’s mastery of his guitar heroes on lead, rhythm and slide guitar and these include B.B. King, Jimi Hendrix (one of the songs is called ‘Drifting Haze’) and Paul Rodgers so it is a formidable list. Two Free songs are covered ‘Walk In My Shadows’ and ‘Ride A Pony’ both of which he pretty well nails. There are also first rate covers of Peter Green’s ‘Rattlesnake Shake’ from the early days of Fleetwood Mac and B.B.King’s magnificent slow blues ‘Three O’Clock in the Morning’. Bowskill’s own compositions are great as well (as is his voice) so the whole concert flows seamlessly more like the performance of a veteran although Bowskill is only 19 years old, another ‘new generation blues’ star for sure. One other interesting thing is the artwork on the cover by Bob Masse (who did posters for the Grateful Dead, Jefferson Airplane and Janis Joplin- you will recognize the style). This is a nice touch and different from the often predictable blues sleeves. This amazing young artist is also well served by a fantastic crisp sounding rhythm section of Dan Neill on drums (Yes, there is a solo on ‘Karadag’!) and Wayne Deadder on bass. Jimmy Bowskill shows a maturity well beyond his years, knows how long to hold a note for and how to hold it- just listen to the audience reaction to ‘Three O’Clock in the Morning’ where this extraordinarily accomplished artist holds the audience enraptured musically and vocally for a full 10 minutes
Contact www.rufrecords.de
Phil Jackson (June 2010)

TEN YEARS AFTER – “Live At Fiesta City” - LpEC Music & Video TYADVD001
“The Woodstock Legends are back!” it says at the start of this DVD – well, yes and no. Three of the four original members are here, but frontman Alvin Lee isn’t; his place is taken by young singer/ guitarist Joe Gooch. Now, when I was a callow, long-haired youth back in the late sixties and early seventies, I loved Ten Years After for a couple of years, but have never really heard them since – so can the famed UK blues-rockers still cut it? Well, yes, they can, and this set even made me forget Alvin and his red guitar, for the 78 minutes of the concert anyway (there are also bonus interviews with all present members). The presentation is very high quality, the repertoire mostly the classics, and the performances inspired - they boogie away like crazy on ‘King Of The Blues’, come on all heavy on ‘Hear Me Calling’ and ‘Good Morning Little Schoolgirl’, and get predictably – but deservedly – rapturous receptions for the big hit ‘Love Like A Man’ and Woodstock’s ‘I’m Going Home’. This is almost – almost! – as though the last four decades never happened. Where’s my faded denim jacket and will my hair grow back?
Norman Darwen
(www.tenyearsafternow.com) (June 2010)

VARIOUS ARTISTS – “Rare Blues & Soul From Nashville The 1960s Volume 2” - SuperBird SBIRD 0016 CD
This is the companion release to the excellent ‘Volume One’ reviewed in January’s BITS (which you can download from www.bluesinthesouth.com/myforms/htmlform_id4d3ace2ae0c0c/htmlform_id4d3ace2ae0c0c/htmlform.html(Ed)). The straight blues quotient is a little less this time around, but that is not to say that this follow-up is less worthwhile – it’s just different. There are plenty of early sixties rhythm & blues sounds, some quite poppy (Cornell Blakely’s opening five), others raw and gritty – Stonie Martin’s ‘Try Your Luck On My’ is a fine, up tempo Jimmy Reed styled blues and there are a couple of things like Bobby Hebb’s debut only likely to appeal to devoted fans. Label boss John R(ichbourg) has spoken versions of ‘Night Train’ and ‘Stagger Lee’ that are perhaps more amusing than anything else, Herbert Hunter has a monster northern soul track with ‘Push Away From The Table’, and Lucille & The Strangers remake Paul Gayten’s ‘For You My Love’ and somehow manage to keep a New Orleans flavour in the poppy soul arrangement. Clentt Gant (Cecil Gant's cousin) has two awful tracks, but they do serve a useful purpose in making Robert Garrett's two down-home blues numbers that close out the set sound even better than they are…
Norman Darwen (May 2010)

BOB PEARCE - Step By Step - Fuzzy Pig Records (www.crossrhythms.co.uk/direct)
Bob Pearce, longtime stalwart of the Southampton blues scene, continues his return to the music scene following his period of ‘time off’. He has returned refreshed and reinvigorated and with a message too. This is his third visit to the studio and follows the direction of his last ("Making My Way Back Home" (FPCD 009) however, interestingly, the distributors of the CD (see above) list it under blues and not gospel. Well, IMHO that is the right designation. To be sure there is some super ‘inspirational’ music here but all of it has a strong tinge of ‘the blues’ and some of that is noting short of inspirational in another sense of the word; an inspiration to anyone who loves and/or wants to play keyboards in a Nawlins style. I speak here of the track in which Bob’s vocal line is supported by the work of Sonny Carl Leyland, once a Bob Pearce Blues Band member now resident in the USA. The track ‘Don’t Trouble Trouble’ Is just wonderful. An original by Dave Taylor, a guitarist / vocalist friend who has kindly supplied Bob with songs dating back to the album he made in the U.S ("Homecooked Blues" - Havic Records from 1996). The song is one that ought to become a staple and the keyboard work is almost unbelievably skilled.
Bob and the band, featuring Chris Collins (guitar/vocals) and Ray Drury (various keyboards), Steve Stares (bass) and Brian Wright (drums) do full justice to songs like "Won't Go Back Again", "You Can Run You Can Run", "Now And Evermore" and "It Was You" . Worth mentioning that You Can Run, You Can Run is a re-working of Cross Road Blues (I went down to the cross and fell down on my knees). Check out ‘Denomination Blues’ too actually a gospelly song by old time zither playing Washington Phillips. Super stuff Bob, keep on keeping on!
Ian M (May 2010)

Robben Ford and Michael Landau –Renegade Creation – Provogue Records PRD. 73012
The name of Robben Ford is probably well known to most BITS readers, Michael Landau less so. Landau is a renowned session guitarist who has ben playing on albums since the early 1980s with artists such as Joni Mitchell, James Taylor and Miles Davis. Ford, of course, has been at the forefront of guitar artistry for a number of years, particularly with his previous CD release, “Tiger Walk”.
Here, together with bass player Jimmy Haslip and percussionist Gary Novak, the band offers 10 tracks, some of which come pretty close to being blues, others are which are simply middle of the road, BBC Radio 2 fare. There are eight vocal tracks and two instrumentals and a completely pointless introduction to one track (1 min, 25 secs), “Peace”. Perhaps, not surprisingly, the bluesiest tracks are those written and performed vocally by Ford, including, the delightfully named “God And Rock And Roll”.
By and large, this CD is a disappointment to me: too much M.O.R. not enough B.L.U.E.S.
Ian M (May 2010)

MAHALIA JACKSON – “The Essence Of…” SuperBird SBIRD 0008 CD
Mahalia Jackson (1911 – 1972) has long been recognised as one of the foremost African-American gospel artists of all time, but her discography can be frustrating sometimes. There is no problem with the earliest material she recorded but by the mid-fifties, and afterwards, the quality of the arrangements becomes variable (take a listen – once – to ‘Lift Up Your Heads’ on this CD, if you want evidence for this), though there is never any problem with her powerful and soulful voice. So, for those who wish only a sample of her talent, here is the near-perfect release. The tracks are – with that one aforementioned exception and the two following string-laden tracks - cherry-picked from between the years 1954 and 1965, and most have only a rhythm section backing her (frequently including both piano, usually played by Mahalia’s long-time accompanist Mildred Falls, and organ). A few numbers are very bluesy – try the Thomas Dorsey-penned ‘Walk Over God’s Heaven’ with its walking bass, or the doo-wop inflected ‘In The Upper Room’, which has Billy Preston on organ. This is however gospel music, and the power and conviction in Mahalia’s singing are what really matters – and there is no doubt whatsoever about that.
Norman Darwen (April 2010)

JOE BONNAMASSA - Black Rock - Provogue PRV 7300 2
Mr Bonnamassa often gets slagged-off by blues purists as ‘not playing blues’ - I’ve done it myself. There is no doubt at all that he is a sensationally fine guitarist and that he has a legion of dedicated fans. (Last year he sold out the Albert Hall in 24 hrs). Well, this album has made me think again.
Of course, as usual, Joe goes full pelt at some of his blues-rock, bass-riff, power-chord stuff, but there is more than a nod to the roots of the music that he clearly loves. In that vein, listen (if you listen to nothing else) to “Baby, You’d Better Change Your Mind”, a rendition of a Blind Boy Fuller number, which initially sounds much like the original until Joe opens up with some single string picking that sounds like Django meets Lonnie Johnson.
BB King joins Bonnamassa for a nice little workout on Willie Nelson’s ‘Night Life” and there’s a super version of Otis Rush’s ‘Three Times A Fool’ (reminds me of Freddie King) and some really nice self-penned stuff, like the resonator driven “Athens To Athens”.
This is a very nice step in the right direction. Recommended!!
Ian M (April 2010)

PAUL LAMB AND JOHNNY DICKINSON - Playin’ With The Blues- Self-produced (www.paullamb.com)
Johnny Dickinson used to work with Paul Lamb in his band the King Snakes back in the 1980s and nineties. After 15 years of ‘doing their own thing’ they have come together again as an acoustic duo, and this album recorded in 2008 is the fruit of their work. They are out on tour as I write.
Frankly, I think the CD is absolutely terrific and it is an enormous shame that material of this quality has to be produced and marketed privately by someone of Paul Lamb’s status. Paul Lamb’s qualifications are probably very well known to the vast majority of BITS readers. Front man for the King Snakes for many a long year, Paul is a champion harp player who plays everything with enormous killed and panache. Johnny Dickinson is less well known, but is nevertheless a consummate singer, songwriter and guitar player.
The CD consists of 12 tracks, most covers of classic blues items. “Don’t You Lie To Me”, by Tampa Red; ‘Train Rolled In The Station’ by T-Bone Walker, and ; ‘I Get The Blues When It Rains’ by Big Bill Broonzy are typical of the covers, and in addition to those, there are two originals by the CD artists.
The quality of the recording is extremely high, especially considering that was recorded by live: there is very little extraneous audience noise.
This one is very strongly recommended but it is an unfortunate fact of life, but the only place you can get it is from Paul Lamb’s website. Do it now!
Ian M (April 2010)

GARRY COGDELL WITH SHANNON HALE - I FOUND YOU - SELF PRODUCED - DELTABLUES@MSN.COM
Garry is one of the legions of talented players in the blues world who have tirelessly and studiously ‘toiled’ for their craft in their own particular blues furrow. He has been performing on the blues circuit in his native Delaware for a good number of years, without any particularly notable success. He nonetheless maintains a busy working schedule performing in clubs, pubs and at festivals.
At the age of nineteen he thought he was a pretty mean guitarist until he went to a Folk Festival in Washington D.C. in one particular blues workshop he witnessed for himself the immeasurable talent, skill and spellbinding storytelling abilities of ‘Sleepy’ John Estes; from that one performance he realised that if he wanted to aspire to play anything like ‘Sleepy’ John he had an awful lot to learn and and even more practice to put in.
Early in his career Garry studied under the watchful eye of Philadelphia Jerry Ricks; when asked about Garry’s ability as a guitarist Jerry once said, “He’s so good it’s scary.” Garry plays in a very fluid and flat manner excelling at finger picking, especially in the hammer stroke style.
Over the years Garry has released a steady flow of high quality self produced CD E.P.s which have contained excellent examples of his highly original material, which amply display his inspiring and dexterous guitar work.. He has yet to make any significant impact on the established major labels.
One fact that should be noted is that before George Thorogood hit the big time with his band the Destroyers he spent his formative years under the mentorship of Garry and in March of last year when George returned to Delaware to play there for the first time since 2003, he emotionally welcomed Garry onto the stage of the Delaware Grand Opera House in Wilmington with his band The Complainers to not only share the bill but also to join George for the second encore of the evening and the final guitar solo .
So although Garry may not be at the top of the tree his roots are deep and with this his latest E.P. A richly mixed piece of Americana, (which has a satisfying running time of over twenty five minutes) he shares vocal and writing credits with Shannon Hale, who co-wrote “Pow-Wow Trail.” Of the three other numbers; Garry wrote “I found you” and “Native American,” a profoundly moving and tersely melancholic statement on the treatment of the Native American and the land from the first settler to the present day. Last, but not least a rather splendid laconic slow burning cover of the classic “Route 66.”
Garry plays guitars and is backed by his band the Complainers, who are; John DiGiovanni; drums and Jerry Kirk; bass and Jimmy Crawford is guest drummer on “Pow-Wow Trail.”
This is a gem that should be sought out!
Recommended!
Brian Harman (March 2010)

COCO MONTOYA - I Want It All Back - Ruf 1153
Montoya is still best known for his ten year stint with John Mayall and for his axe duels with Walter Trout in that band. He learned his art at the knee of telecaster master Albert Collins and despite the fact that he plays his guitar left handed and upside down (like the other Albert, Albert King) manages to emulate the fire and attack that Collins was famous for.
This is the latest in a long line of albums by Coco since he left Mayall and it takes a very different track. The CD was produced by Keb Mo and Jeff Paris, both of whom play on the CD. The aim of the album is to focus on and highlight Montoya’s vocal skills. To that end, with a couple of exceptions there is little that could be called raw blues here. One exception is a terrific version of ‘Fannie Mae’ featuring Rod Piazza and Honey Alexander (Mrs Piazza). Other music ranges through soul and Motown like 'Forever' (originally done by the Marvelettes) and The One Who Really Loves You' (a Mary Wells' hit). Two outstanding songs are 'Cry Lonely,' and 'As Close As I Have Come,' both co-written by award-winning songwriter Gary Nicholson. The axe work is polished, but not fiery (save on Fannie Mae) and the vocals are fine, albeit that sometimes the phrasing does remind me of Keb Mo! I wonder why?
Ian M (March 2010)

LEVEE TOWN- LEVEE TOWN - LEVEE TOWN LT009004
w.w.w.leveetowm.com & myspace.com/leveetown
This is the third album from Levee Town and just like a gently well matured fine wine they have similarly gently matured over the years to become a well disciplined, cohesive and highly competent blues band. They individually and collectively possess the capability to fluidly switch from heartfelt blues and shuffles to honky tonk, manically racing rockabilly to R&B, jump & jive and back to slow burning blues. The band’s vitality, verve and shear unadulterated enthusiasm for the music, gives the fourteen original numbers on this album an irresistible instant, foot tapping appeal to all who hear it. The pace and movement of the numbers is breathtaking not a note or second is wasted; tight and precise is the order of the day here.
The band consists of Brandon Hudspeth; vocals, guitar and baritone, Jimmie Meade; harmonica and vocals, Jan Faircloth; drums, percussion and vocals and Jacque Garoutte; bass, guitar and vocals.
The enticingly fizzy and brightly optimistic driving guitar work of Brandon is superb but when Jimmie unleashes his riveting and stunningly feverish distorted harmonica it is scintillating, simply full steam ahead, with Jacque and Jan supplying the rock solid stalwart back beat throughout. The album is easily lifted out of the good blues album bracket into a feast of good rockin’ music.
This review may be short ‘n’ sweet but, the music is fat ’n’ juicy!
One for the collection!
Brian Harman. (March 2010)

CHARLES WALKER - "I’m Available" – SuperBird SBIRD 0004 CD/ SAM CARR’S DELTA JUKES – “Live In Europe” – SuperBird SBIRD 0005 CD
It’s good news that the Charles Walker set is available again. Singer Charles is based in Nashville, Tennessee and first recorded back in 1959; he is a wonderful blues and soul singer, as this comeback set, originally issued in 1999, proves. You want deep soul? Rocking blues? Sly double entendres? Modern blues, classic soul sounds, plenty of high octane (but always appropriate) guitar courtesy of Fred James, and sometimes the late Johnny Jones? It’s all here, plus for those who might already have the original release, four out-takes and a duet with Mr. Jones. This set is a real delight from beginning to end.
Drummer Sam Carr’s CD reaches back further to the classic Delta blues of the fifties, recalling Sam’s father Robert Nighthawk in some places, and Sam’s long-time accomplice Frank Frost in others. With fellow Mississippi bluesmen John Weston (vocal/ harmonica) and Dave Riley (vocal/ lead guitar) on board, alongside guitarist Fred James and Jeff Davis on bass, this previously unissued material was recorded in Switzerland in 2000. Weston dominates the proceedings (that’s a recommendation in itself), but with John’s death in 2005 and Sam’s passing last year, this kind of raw, straightforward, down-home blues has become even harder to find these days. The fact this performance is so good is just one more reason to buy this.
Norman Darwen (March 2010)

GREAT BRITISH SKIFFLE; Juat about as good as it gets. Vol 4 1950-1959. Smith and Co
It’s sometimes easy to forget that in many ways, British musicians sold American music back to Americans. When the Beatles first went to America they told everyone they wanted to see Muddy Waters and Bo Diddley; one reporter asked: 'Muddy Wa- ters … Where's that?' The Rolling Stones using the title of one of Muddy’s songs brought that giant of the blues to the atten- tion of the American public and the likes of Eric Burden and the Animals and The Pretty Things pushed things forward.

The hit parade at that time was filled with maudlin cr*p like Bobby Vinton with "Blue Velvet".about how beautiful his dead squeeze looks in her casket, dressed for her funeral in blue velvet. But the Beatles and the Stones were preceded by ‘stuff’ and here we have a wonderful selection of some of that ‘inspirational’ music. The skiffle craze, which swept the UK in the mid-late 1950s moved music from the hands of profession- al musicians to ‘ordinary people’. Many of these ordinary people went on to become ‘the new professionals’ (The Quarrymen (a skiffle group) morphed into The Beatles.)

Here we have stuff by the Vipers (not many people knew back then that a viper was jazz-speak for a cannabis user!), Chas McDevitt, Bob Courtt, Dickie Bishop, Alexis Korner, Johnny Duncan and, to my surprise, even Peter Sellers in a ‘Goons’ guize!

Don’t expect to much top quality axe work, just enjoy Brits having fun, fun fun, in those long hot summer days.
IAN M (February 2010)

DAVIS COEN - MAGNOLIA LAND -
Soundview Productions<www.myspace.com/daviscoen>
Now living in Memphis, Davis Coen was born andraised in South Carolina. Known for his piedmont style guitar work and his original music on the DVD release of Martin Scorsese's PBS special 'The Blues'; as well as a couple of performances on the DVD documentary about Hillcountry Blues and the music of the late-great Jesse Mae Hemphill, here Coen takes a slightly different direction. Recorded in early-2007 and mid-2008 at the Delta Recording Service in Como, Mississippi, this one is a nice mix of electric blues with some stunners like the opener Tired And Lonesome and a super version of Natchez Burning (about a fatal fire in that city) as well as a Muddyesque attack on You Gonna Miss Me. Excellent stuff. Strongly recommended Go for it. Someone get him to the UK!
Ian M (February 2010)

GARY US BONDS - "Let Them Talk" - Freeworld FREEM5018
My, but this is a cracking album! Gary US Bonds had some late rock and roll hits in the early sixties and enjoyed a brief resurgence in the eighties thanks to fellow New Jersey-ite Bruce Springsteen championing his cause. There is a rock edge to much of the material on offer here, but that is no bad thing in this case - Gary's voice and his intelligent material are more than a match for the big, frequently storming arrangements. He tackles blues - a very fine and funky 'I'm Gone' and a fairly straight 'Burden', sixties rhythm & blues, gritty rock (think Ike & Tina maybe) and soul – and do take a listen if possible to 'Have Mercy', a perfect blend of the latter two genres, though a couple of other tracks run it close. Also included are excellent and revealing covers of fifties rhythm & blues hits 'Let Them Talk' - a blues-ballad originally by Little Willie John - and 'Shake A Hand', an early gospel inflected piece by another New Jersey-ite, Faye Adams, from 1953. Both are very fine performances, and it is indeed difficult to believe that this joyously strutting, churning, rocking, percolating album is the product of a man in his seventies. One of the very best sets of 2009!
Norman Darwen (February 2010)

LUTHER ALLISON -“Songs From The Road”
(RUF 1157)
A poignant set from a man aged only 57 with only a month to live, ‘Songs From The Road’ captures
blues giant Luther Allison live at the Montreal Jazz Festival on 4 July, 1997. With a voice and guitar slickness to rival B.B. King, the Rough Guide to Blues gets it right when it says, “Considering the intensity of his singing and the swaggering virtuos- ity and powerful emotional impact of his guitar playing, Luther Allison should surely have been a far bigger star.” Just listen to the gut wrenching performance of ‘(Watching You) Cherry Red Wine’ if any proof were needed.
Backed by a stupendous band Luther romps through ten songs on the CD and seven on the DVD to an ecstatic audience. There are Allison/ Solberg (James, the other guitarist in his band) originals like the raucous ‘Cancel My Check’ and the heart- felt classic ‘Will It Ever Change?’ mixed with stand- ards like ‘It Hurts Me Too’ (featuring Luther on slide) and ‘Living in the House of the Blues’ (an album highlight) as well as a song by son Bernard Allison who also records on Ruf Records (‘Low Down and Dirty).
‘Songs From The Road’ is incendiary blues and unequivocally one of the best blues releases of this or any other year. It vividly makes you appreciate what a loss Luther Allison is to the world of blues.
Phil Jackson (February 2010)

MARCUS BONFANTI - What Good Am I To You - P3 Music
If you like your blues rock in-your-face, with guitar work that is of the highest quality, then this one is for you. Marcus Bonfanti is still only 27 years old but has a voice that sounds as lived-in as an old coat. The songs (plus one instrumental) are all by him, and his support band, which includes Paddy Milner from Dorchester, is tight and on-the-ball.
Bonfanti’s guitar work is sometimes amazing and always of the highest quality. He spent a couple of years at the Liverpool Institute for Performing Arts (LIPA); the ‘fame’ university. Only two because he failed to finish his course so he could go off gigging. Despite that ‘drop-out’, he managed to get himself invited back to perform at the end of course do!
Bonfanti cites as his influences old blues, old jazz, old folk and old soul and Prince and Sly...and it shows.
If you do nothing else, go to his Myspace site and check out the instrumental ‘Tweed Blazer’. Bet you get hooked.
Ian McKenzie (January 2010)

VARIOUS ARTISTS/ “Rare Blues & Soul From Nashville The 1960s”/ SuperBird SBIRD0003 CD
Nashville is still generally associated with country music but as several SPV/ Blue Label releases and now that label’s successor prove, there was a healthy blues and soul scene in the city too. Guitarist/ producer Fred James has been instrumental (pun intended) in researching and reactivating the music, and he supplies excellent notes to this collection of 25 vintage tracks of just what it says on the tin. Sam Baker opens with a number that recalls the blues intensity of Buddy Guy in the early sixties, follows it with a lovely slab of southern soul and the final number of his trio is an answer record to a Joe Tex hit. This kind of mixture of southern styles (and just a slight hint of James Brown styled funk) continues throughout the disc, with the guitar of the recently deceased Johnny Jones often to the fore. The vast majority of this material has never before been available on CD, but that is no reflection on the quality of tracks by the like of Earl Gaines, Gene Allison, Luvenia Lewis, Rudy Greene, The Mighty Men and others. As long as you appreciate some soul music alongside your blues, this is one to get.
Norman Darwen (January 2010)

Sean Costello/ Sean’s Blues/ Landslide Records LDCD-1036
For more information go to: www.landsliderecords.com
This retrospective of Sean’s all too brief life encompasses pretty much all of his musical high points. There are twenty numbers in all; eight are focused upon the five albums he released during his career before his untimely and tragic death in April two thousand- and eight The rest of them are previously unreleased studio numbers and three live recordings.
His highly individualistic style and approach refused to accept the conformities and traditional boundaries of the blues, for he was continually expanding and experimenting with his guitar playing and technique. He was a skilful interpreter of fifties blues and also played Jump and Swing with a sparkle in his manner, combining dark, chocolaty-rich mellow sounds. with fizzing and crackling shuffles.
Costello originated from Philadelphia but his family moved to Atlanta when he spent his childhood, his prodigious talent ensured his place in the North Atlanta School for the Performing Arts, by the age of fifteen he had been officially recognised by the Beale Street Blues Society. Two years later he had released his first album.
The twelve unreleased numbers include three marvellous and stirring live performances capturing the very essence of Sean’s raw and captivating guitar skills and commanding stage presence. The other nine demonstrate a musician who was unaffected by convention but was ever inventive, infectious and rip-roaring when away from the constraints of some of the normal studio requirements. Recommended!
Brian Harman. (January 2010)

Chuck Berry/ The Best of Chuck Berry/ NOT NOW MUSIC NOT2CD279
They say that familiarity breeds contempt, and whilst I would not say that it is the case with Chuck Berry releases over the years but a certain disconcerting air has definitely become apparent, for although you can readily buy any number of cheap compilations of his hits with the odd high quality Chess release also available, sadly, it is generally quite difficult to obtain any of his studio albums.
Happily with this double CD release you can obtain and enjoy two original albums; “After School Session” and “A Dozen Berrys.” (Also included are ten bonus tracks, giving you thirty-four numbers in total) Now, we can fully appreciate and enjoy the whole range of Chucks’ immense musical ability and wordplay which has been unfortunately hidden for quite some time.
Whether he is playing a cool slow Rumba infused number or a slow burning blues the subtle inflections in his effortless guitar work is astonishing. The re-mastering of these albums reveals clear cut clarity of sound throughout every number; the classic piano passages from Johnnie Johnson eloquently display his gentle stroking ability of the keyboards even on the more rocking numbers his precise and elegant style is still not diminished by any amount of speed,
In the past one has assumed that numbers such as; “School Days (Ring, Ring goes The Bell)” and “Reelin’and Rockin’” are played at breakneck speed but, when you actually listen to each number, the pace and flow of the music and words virtually waft over you. It is only when you feel you are a part of the number that it seems to take on that extra surge of speed.
This is a great addition to the collection of both the serious listener and the casual browser.
Brian Harman (December 2009)

MAHALIA JACKSON/ Complete Volume 7: 1956/ Frémeaux FA 1317
Widely recognised as “the greatest gospel singer in the world”, Mahalia Jackson was, in 1956, back somewhere near top form after being saddled with some rather disastrous accompaniments the previous year. Backed mostly by just her long-time pianist Mildred Falls, organist Ralph Jones and a rhythm section of jazzers Milt Hinton on bass and drummer Gus Johnson, she tackles the standard ‘Take My Hand Precious Lord’, traditional spirituals such as a very listenable ‘Down By The Riverside’, and a very bluesy ‘Trouble Of This World’. The last few numbers suffer from a fifties vocal chorus, which is probably more than just a little too smooth and effete for most modern listeners, though Mahalia’s voice is as powerful as ever – and yes, there are a couple of seasonal numbers here – ‘A Star Stood Still (Song Of The Nativity)’ and the well-known ‘Mary’s Little Boy Child’ (forget about Boney M!) may be cheesy, but Mahalia’s treatment may just win you over.
Norman Darwen (December, 2009)
www.fremeaux.com

GOV’T MULE/ By A Thread/ Evil Teen Records B002MBAJ4M
Well, if you like your blues rock with a big, big sound and with some guitar histrionics, they don’t come much better than this. The first album in three years that has been ‘studio recorded’ was made at Willie Nelson’s private recording studio in Pedernales, Texas and there is some super stuff here. Check out ‘Broke Down On The Brazos’ in which the band’s front man guitarist/vocalist Warren Haynes is joined by ZZ Top’s Billy Gibbons for a super jam. Haynes was nominated in Rolling Stone’s ‘Top 25 Guitarists of All Time’ list and you can see why. ‘Inside Outside Woman Blues #3’ is a 9+ minute workout with a song that sounds like Mule meets Jimi meets Isaac Hayes. I love it.
Although the front work by Haynes is outstanding, he is supported to the hilt by his co-band members.; Matt Abts (dms), Danny Louis (kbds), and Jorgen Carlsson (b). Good job guys!
Big Sound, big following, big, big recommendation.
Ian M (December 2009)

BILLY WALTON BAND/ Neon City
The press release doesn’t say an awful lot about the Billy Walton Band but then again the music speaks for itself. ‘Jaw dropping talent’ is an expression used to describe a musician and his band heavily influenced by the heavy blues rock of the likes of Clapton, Hendrix and Vaughan.
The mixture of moods and styles works a treat with lashings of soul funk (including a cover of ‘Papa Was A Rolling Stone’) and even a reggae beat on ‘Hypnotised’. ‘Neon City’ is not all about guitar, bass and drums though and Billy adds organ to the ballad ‘Soul Song’ and some very tasteful Hendrix style guitar licks. Praise also is due to the rhythm section of William Paris and Marcus Croan who not only keep the music burning with a red hot intensity but also contribute to the song writing especially the former, notably on the irresistibly catchy ‘Set Backs’. ‘Distorted Views’ is another thoughtful slow blues written exclusively by Paris for a band that impresses throughout the entirety of a 10 track album and reveals Walton as an accomplished singer as well as an explosive guitar player. All the material is original apart from a fine cover of the Head/ Kurtz song ‘Treat Her Right’.
‘Neon City’ will definitely go down as one of the best blues albums of 2009.
Contact: www.GFI-Promotions.com
Phil Jackson (November 2009)

BILL WYMAN’S RHYTHM KINGS/ “Best Of…”/ Repertoire REP 5148
Bill Wyman should need no introduction unless you have been marooned without a radio on a desert island for the last fifty years. Yes, it’s the bass player who was with The Rolling Stones until 1992; at that time he felt in need of a rest, but he soon formed another band, The Rhythm Kings, which has a fairly stable line-up but is flexible enough to include members who are friends of his from the sixties – Georgie Fame, Andy Fairweather-Low, Gary Brooker – and younger talents such as Beverley Skeete, Mike Sanchez and Axel Zwingenberger. The sound on these 21 tracks is always blues-based, but often includes elements such as rock ‘n’ roll, jazz, country-rock, soul, Cajun, rockabilly, gospel, ska, swing, and even, if you listen very carefully, English music hall. Bill has become something of a media celebrity over the last decade and a half, but he remains a true champion for the blues – just read his notes on the individual tracks - and the music on this CD is further proof of his commitment. Recommended…
www.repertoirerecords.com
Norman Darwen (November 2009)

THE PETE HARRIS BLUES BAND/ Goin’ Away (from band gigs or www.peteharrisblues.com)
Pete Harris has been at the gigging game for more than thirty years. Massive experience in the UK and in Europe, an album recorded on the Blue Horizon label when he was working with Bob Pearce, backing band for numerous visiting blues men and hundreds of local gigs both electric and acoustic, here Pete has his electric hat on and this one is terrific. Twelve tracks, all recorded live in Winchester, with Pete, Hugh Budden (harp/vocals), Bob Manley (bass) & Steve Groves (dms). Throughout the band swings away with some scintillating music. Tracks range from Slim Harpo’s ‘Scratch My Back’ (a song banned for being too sexy when it first came out) to Muddy’s ‘Nineteen Years Old’ and songs by Rice Miller and Jimmy Rogers, Billy Boy Arnold and more. It’s a wonderful trip from the delta to So’ton via the windy city and should not be missed. There is some outstanding axe and harp work by the ‘front-line’ and the ‘back-line’ push the whole thing along with verve and skill.
This is one I shall be playing for a long, long time and I shall feature it on my radio show whenever I can. The blues is alive and well and living in Hampshire. Don’t miss it.
Ian M (November 2009)

DENNIS JONES/ ‘Pleasure & Pain’/ Blue Rock
“A very special thanks to all the open-minded blues fans around the world that have allowed this great music to evolve and grow” writes Dennis on the inside sleeve, a strong indicator that he is unlikely to be caught playing ‘Sweet Home Chicago” or “Dust My Broom”. Mind you, Baltimore, Maryland-born Dennis takes his inspiration from British blues boom outfits as well as the American originators, and his music reflects his eclectic background. Having written that, some of the tracks here are what, back in the eighties went under the title of ‘high-energy blues’ rather than blues-rock per se – the difference may be a subtle one but it is certainly there. In places he reminds me a little of Chicago bluesman Son Seals, and there is inevitably some Hendrix influence (even, unlikely as it sounds, on a rockabilly-flavoured ‘Hot Sauce’); he can and does also produce super-charged down-home licks on the lurching ‘Kill The Pain’. Dennis does have an individual style and he does occasionally step outside the blues format – ‘Sunday Morning Rain’ is a fine, thoughtful number. Dennis has a fine, soulful voice - a legacy of his admiration for Al Green, maybe? All told, this CD is well worth the effort involved in tracking it down!
(www.dennisjonescentral.com)
Norman Darwen (November 2009)

Tommy Castro/ Hard Believer/ Alligator. www.tommycastro.com
Tommy has over the years paid his guitar dues by firstly playing in local San Francisco bay area blues and soul bands. During the late eighties he joined the hugely popular rocking soul band The Dynatones, he sharpened, honed and refined his musical edges over the course of two years with them by giving countless live performances as the band toured up and down the U.S.A. They also backed artists such as Carla Thomas and Albert King during that time. In nineteen ninety-one he created The Tommy Castro Band, gaining a number of awards over the years for his fine album releases and live performances. In the mid nineties he and his band became the featured band in the N.B.C. television programme “Comedy Showcase” gaining him nationwide exposure to a wider audience. In more recent years he has released more award winning albums which have gained him even greater recognition to the extent that in the years two thousand one and two, B.B. King invited Tommy to join him on tour.
Although this is Tommy’s twelfth album it is his first for the Alligator label and my what an album it is; Tommy plays with an exquisite ease of dexterity coupled with an unfettered enthusiasm, producing a riveting mixture of blues and soul that is liberally laced old time Rock & Roll, which he tops off with very fine soul marinated vocals which lift numbers such as the title “Hard Believer” above the standard genre level of blue-eyed soul. The overall impact of the sound crashing out from the speakers is simply big, bold and backed with scintillating horn blasting. Which is, right up, Tommy’s street! Backing Tommy is his tried and tested road band; Scott Sutherland; bass, Ronnie Smith; drums, Tony Stead; keyboards, Lennie Castro; percussion, Tal Morris; rhythm guitar; John Porter; rhythm and slide guitar horns are provided by; Keith Crossan and Tom Poole.
A quality performance!
Brian Harman (November 2009)

C.W. Stoneking/ Jungle Blues/ King Hokum Records KHR-02. www.cwstoneking.com
C.W. has made his home in Melbourne, Australia, although in the past he has lived in New Orleans for a number of years; it is this time spent living in the Big Easy which has become a significant factor in the music that C.W. creates. Consider a rich mix of early twenties hot jumping jazz, rural blues, calypso and a sweetly mournful brass band bringing up the rear, all presented in a unique atmosphere of vaudeville theatre and a travelling Medicine show; a heady aroma indeed.
This absorbing love of relaxed, no frills depression-era Americana music is presented by C.W. on guitar and banjo, backed by double bass sousaphone, trumpet, saxophone, coronet, trombone, clarinet, violins, fiddles and drums. His voice is a wonderfully strange and utterly compelling mixture of strangled warbling and gravelly growling, delivered in a completely deadpan and emotionally muted manner.
Throughout the album the sound is sparse and occasionally raw but you are drawn into the soul and being of the numbers, taken back in time to a simpler but, a far more harsher and dangerous way of life.
A marvellous and hugely enjoyable slice of the past made with respect and admiration for the artists of a bygone era!
Earlier in the year C.W. was featured in a concert at the Barbican, as part of the BBC Four “Folk Americana” series.
Brian Harman (November 2009)

DAVE RILEY AND BOB CORRITORE/ ‘Lucky To Be Living’/ Blue Witch BWR106
The second set from this top-notch duo of Mississippi singer and guitarist Dave Riley and long-time harmonica ace/producer/ tireless promoter/ label owner/ all-round blues good guy Bob Corritore is probably going to be one of my contenders for ‘Album Of The Year’. There is nothing flashy or spectacular about it, but Dave and Bob draw on their familiarity with Mississippi outfit The Jelly Roll Kings (with whom Dave began his blues career) for their inspiration. People like veteran pianist Henry Gray and guitarist Chris James help out with significant contributions, but the focus remains on Dave’s deep, rich vocals and rhythmic guitar work, backed by Bob’s Walter Horton styled harp blowing (Horton was one of Bob’s original mentors) and suitable rhythm accompaniments where appropriate. The material is a mixture of originals – interestingly with some subtle gospel influences in places - and borrowings from Frank Frost, John ‘So Blue’ Weston and a Fred James number Dave first recorded years ago, but everything combines to form a coherent, down-home Mississippi whole. Albums like this don’t come along often these days, and when they do, they’re not usually as good as this!
Norman Darwen

B B KING - L.A. Midnight-To Know You Is To Love You -
We have here two CDs for the price of one, unfortunately neither of them are new, but both have the advantage of having been re-mastered and digitized. The work has been well worth the effort.
To Know You Is To Love You was something of an experiment for King when he was persuaded to jump on the band-wagon of the Philadelphia sound and make an album featuring Philly musicians
L.A. Midnight is a 1972 electric blues album by B. B. King. The album features two extended guitar jams with fellow guitarists Jesse Ed Davis and Joe Walsh.
Although both a listenable, by and large IMHO the second is the better album, principally because the Philly thing does not really work and keeps King at arms length from his Mississippi roots. The other is BB at his best, jamming with small groups. It’s a great buy though
Ian M (October 2009)

JJ MILTEAU/ ‘Soul Conversation’/ DixieFrog DFGCD 8650
Jean-Jacques Milteau is one of Europe’s top harp players and makes fine blues records; this is his debut for Dixie- frog but he has been recording in his own right since 1989. For this set he chooses songs that wish “for brighter to- morrows” and, although there are four instrumentals, he has also looked at the interaction between the harp and
the human voice, drafting in American vocalists Michael
Robinson and Ron Smyth - both, on this evidence at least, good old-fashioned soul singers.
JJ has never been one to limit himself and included here is a fine cover of the Jagger/ Richards composition 'You Can't Always Get What You Want', David Crosby's 'Long
Time Gone', J.B. Lenoir's 'Down In Mississippi' (which
makes President Barack Obama's inauguration seem all the more amazing), Curtis Mayfield's always sublime 'People Get Ready', and the final number whose melody is based on the old folk-song ‘Wild Mountain Thyme’ (or maybe it’s The Byrds?). JJ plays behind the stupendous Smyth and Robin- son for these and for his own collaborative compositions, with long-time accomplice Manu Galvin supplying some love- ly guitar work and the tight rhythm section just right.
A black and white video clip running to five and a half minutes and featuring this line-up performing Stephen
Stills' 'For What It's Worth' in 2006 adds to the value of what is already a very, very fine and thought-provoking release.
Norman Darwen (September 2009)

ERNIE K-DOE - 'Here Come The Girls' (Evangeline ACAB 9004)
“Here come the girls!” went the advertisement for Boots chain store. The voice was that of New Orle- ans singer Ernie K-Doe, and his track went on to inspire contemporary girl group The Sugababes. Ernie K-Doe was a true character – in the nineties he billed himself as ‘The emperor of the universe’, and post–Katrina he was nominated for the mayor of the city (remember that Katrina was 2007 and Ernie died in 2001 – his name was not included on the ballot papers but his campaign raised enough to restore the club he’d owned!) Mr. Kador was a Crescent City veteran, having started out singing rock ‘n’ roll and hitting big with ‘Mother-In-Law’ in 1961; this set contains R’n’B and soul material from the seventies, recorded with another legend – Allen Toussaint. Some of it has that characteristic N’Awlins sound, a couple of tracks have the up tempo beat so beloved of Northern soul fans, some of it is more than a little funky, and quite a lot of it includes a very bluesy guitarist. Not essential listening maybe, but lovers of New Orleans music should waste no time in grabbing a copy.
Norman Darwen (September 2009)

CHRIS COLLINS AND BLUES ETC... - I Ain’t No Guitar Slinger - Fuzzy Pig Records FPCD 014
There must be something in the water in Southampton. There must be more blues men per square mile around there than practically any other city in the BITS area. That I suspect is partly because fans are well provided for by venues and bookers who are themselves blues fans. Anyway, whether its the water or not, there’s plenty of ‘em around and one of the best is Chris Collins.
Chris Collins has been playing "The Real Deal" since joining Southampton Blues Legend Bob Pearce in 1993. He has toured Europe and the UK with Bob and backed or supported numerous visiting American Blues Artists including Billy Boy Arnold, Sonny Rhodes, Magic Slim, John Primer and Koko Taylor.
Here we have fifteen tracks, all originals, ranging from the cajun tinged ‘Text Me’ (excellent atmospheric accordion from Ray Drury), through the soulful ‘Knock On My Door’ with a great and all too brief sax solo from Steve Taylor, to a nicely ironic song ‘Too Old To Cut The Mustard’ with a really Muddyesque slide part from Chris’ old boss, Bob Pearce. There’s a nice harp workout for Pete Welland on Cookin’ Up! and a slide workout for Chris on ‘5 Minute Job’. Chris has already had some of his stuff covered by other artists (ie., CJ Chenier) and some of the songs here deserve the same accolade.
All in all a really nice workout for Chris and the band (the instrumental ‘Walking with Hollywood’ is excellent again with some super sax work & excellent drumming (Steve Faithful) and bass work (Darren Stevens)). This one is strongly recommended.
IM (August 2009)

WALTER TROUT - Unspoiled By Progress: 20 Years of Hard Core Blues - WEA
Walter seems to have been out there for ever. - Trout's career began on the Jersey coast scene of the late 1960's and early 1970's. He then decided to relocate to Los Angeles where he became a sideman for such artists as Percy Mayfield and Deacon Jones. He also worked in the bands of John Lee Hooker and Joe Tex.
In 1981 be became the guitarist for blues/rock band Canned Heat. This led to an invitation to play in John Mayall's Bluesbreakers where he shared the stage with guitarist Coco Montoya. He left the Bluesbreakers in 1989 and formed the Walter Trout Band which developed a successful following in Europe.
This CD is a celebration of 20 years of the Walter Trout Band. By and large it is well worth getting hold of.. The album includes three brand-new songs – ‘They Call Us The Working Class,’ ‘Two Sides To Every Story’ and ‘So Afraid Of The Darkness’ – as well as a number of unreleased live and studio tracks drawn from across the two decades of the band’s existence.
‘Two Sides To Every Story’ is outstanding and is a kind of tribute to Lightnin’ Hopkins and has as a result, some degree of restraint in it against the raucous blues rock of the rest of the tracks. For me the CD is spoiled by the inclusion of of two ‘intro’ tracks with alleged jokes on them. Note to Walter: ‘in-jokes’ are not funny if you are not ‘in’. Nevertheless, when there is music, the music is excellent with some sometimes stunning axe work and, of course, Walter’s powerful singing.
Walter is out in the UK in October. I’ll be there!
IM (August 2009)

VARIOUS ARTISTS- The History of Rhythm and Blues 1942-52- (RANDBOO 3)
This generous 4 CD box set with informative booklet has been lauded as the most comprehensive and insightful compilation tracing the roots of R&B to date. So does it live up to the hype? Well, yes notwithstanding the usual debates about what should have been included and what might have been left out. There’s a lot to take in over 101 tracks of music ranging from the familiar- Arthur Crudup’s original 1946 ‘That’s Alright Mama’ later to become an early hit for Elvis Presley to more obscure artists and recordings like Louis Speiginer’s ‘Guitar Boogie’ which proves to be a highlight and another possible influence on Chuck Berry’s famous ‘Johnny B Goode’ riff. Pete Lewis’ guitar work on Johnny Otis’ ‘Midnight in the Barrelhouse’ is also noticeable and we are told that Arthur Smith’s Rambler Trio’s own hillbilly style guitar boogie is hailed as the first hit record to feature an electric guitar, selling over 1 million copies in 1948. A year earlier Lightning Hopkins shows how far ahead of his time he was and another ‘big hitter’ Hank Williams ‘Move It On Over’ is also included. There’s yet another boogie delivered by Sonny Boy Williamson this time mainly on piano and harmonica although there is, inevitably, a guitar solo as well.
There are lots of familiars throughout the collection: Muddy’s’ ‘I Can’t Be Satisfied’, John Lee’s ‘Boogie Chillen’ (Rory Gallagher anyone?) and T Bone’s ‘Stormy Monday’ but the allure of this collection is in the lesser known tracks whose significance is explained in the generous 64 page book included in the box. T Bone Walker also crops up with a boogie on CD1 while there is a liberal sprinkling of Louis Jordan throughout including a collaboration with Ella Fitzgerald on ‘Stone Cold Dead in the Market’. . There’s also some gospel from Rosetta Tharpe and Mary Deloatch whose ‘The Lord’s Gospel Train’ is, we are told, ‘the first gospel record with a rock beat’. There’s Amos Milburn’s ‘Chicken Shack’ that inspired the Blue Horizon band of the same name, Ike Turner, Howling Wolf’s ‘How Many More Years’, an inspiration for a fledgling Led Zeppelin, Nat Cole minus the ‘King’ with a sedate ‘Route 66’, later immortalised by The Stones. And on it goes: Big Joe Turner, Elmore James’ ‘Dust My Broom’ of course, the original of ‘Lawdy Miss Clawdy’by Lloyd Price with Fats Domino on piano and celebrity drummer Earl Palmer (Did you know he has played for The Monkees and Tom Waits to mention just two?) Blues Boy King is there along with a pre Bill Haley ‘Rock Around The Clock’ from Hal Singer and Ray Charles so there are no obvious omissions.
The artists I’ve mentioned is by no means a comprehensive list and the appendix to the book contains a useful timeline and examples of different rhythms- shuffle, swing, rhumba and so on with examples right up to the present day. From the opening Glen Miller swing era jazz to guitar blues and piano boogie to showtime music with orchestrations (‘The Honeydripper’ and ‘Who Threw The Whisky in the Well?’), pointing to pop (Julia Lee’s ‘Snatch and Grab It’)) this compilation traces a remarkable and at times incomprehensible path to the hybridisation of pop and rock that would come to dominate the planet. I do not claim to be an expert in this field and, in an odd moment of self doubt I wonder what the likes of Greil Marcus would think, but to this humble reviewer the second instalment of the history of rhythm and blues gives a direction of travel to fan and critics alike and, as such, comes highly recommended.
As a footnote, I smiled when I heard the piano vamp of Walter Davis’ ‘Please Remember Me’ and I was convinced I was listening to a precursor of The Free. Invest and enjoy!
Contact: www.rhythmandbluesrecords.co.uk
Phil Jackson (August 2009)

THE ROBIN HOARE BAND - “A Time and Place”
Sheffield’s Robin Hoare has a large supporting cast on this CD with trumpet, trombone, tenor sax, cello and violin used at various junctures on the album. The recording was part funded by a small grant fund and is an admirable effort from an aspiring blues artist without label backing. I did have a problem at times with Robin’s voice which I felt tried unsuccessfully to emulate B B King in places. However, Robin’s guitar playing is obviously heartfelt. The songs cover topical matters like ‘Living on the Easyplan’ and ‘Online Gambling Games’ but I felt the lyrics need some work. The production also disappointed with the backing vocalists failing to make the desired impact. The slow blues ‘A Tale to Tell’ worked quite well even although it suffered from the perennial problem- it’s difficult to play anything new in a blues format.
Overall, the music is not totally convincing although the commitment of the musicians cannot be questioned. Perhaps next time a little more time spent on production, lyrics and perhaps including a few covers to root the music and detract from the weakness of some of the original compositions would point Robin in the right direction. Contact: www.robinhoare,com
Phil Jackson (August 2009)

EDDIE VORTEX - Probably My Biggest Mistake - Purple Poo 003
There is not one month that passes without some gigs in the gig list by Eddie and he regularly releases CDs in his capacity as a band based rocker. This one is different, very different. Self-recorded - by Eddie’s own admission in his garden-shed studio - here we have VORTEX solo save for a couple of interventions by son Troy on mandolin and Mrs Vortex (aka, Tracey) on bass. Sixteen songs ranging from pure country, through Buddy Holly and rockabilly to a rockin’ version of ‘What A Wonderful World’. Despite the assertion in the liner notes that there are a lot of extraneous garden and home noises, the production is by and large terrific, with some very nicely done overdubs, both vocal and instrumental. Try an get a copy of this one even if you can’t get to an EV gig: email edvortex@tiscali.co.uk.
Ian M (August 2009)

P-A-U-L - Gunshot Lullaby - E&E Entertainment
The blurb for this CD says ‘P-A-U-L delivers Blues Rock that's a crossbreed of deep seeded grooves, lightning riffs, and soulful melodies. This combination leaves a backdrop for a heartfelt lyrical memoir of a life on the road. His main influences are reminiscent of Jimi Hendrix, Johnny Winter, and Johnny Cash’. Well maybe....perhaps on an off day...and after a night of indulgence.
P-A-U-L is I suspect, so called because there is another, and well established musician who shares his first and last names Paul Lamb. The CD says that P-A-U-L’s full name is Paul Andrew Ulysses Lamb a superannuated name that matches his overblown music; all bombast and flash and no substance, Hendrix and Cash had more soul in their little fingers than P-A-U-L has in the whole of his body and Winter, now 65 and unwell could still blow him off the stage.
P-A-U-L is opening for Walter Trout in his October UK tour. A-V-O-I-D.
IM (August 2009)

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 (July 2009)

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 (July 2009)

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 (July 2009)

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

---

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

---

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

---

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

---

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

---

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

---

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)

---

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)

---

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)

---

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)

---

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)

---

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)

---

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)

---

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)

---

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)

---

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)

---

---

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)

---

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)

---

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)

---

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)

---

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)

---

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)

---

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)

---

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)

---

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)

---

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)

---

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)

---

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)

---

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

---

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

---

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

---

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

---

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

---

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

---

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

---

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

---

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

---

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

---

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

Ian McKenzie (March 2008)

---

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

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

Ian McKenzie (March 2008)

---

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

Norman Darwen (March 2008)

---

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

---

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

---

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

---

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

---

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

---

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

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

Norman Darwen (January 2008)
www.feelingoodproductions.com

---

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

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

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

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

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

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

---

BOB BROZMAN – Post-Industrial Blues (Ruf 1133)

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

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

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

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

Ian M (January 2008)

---

CHAINSAW DUPONT – Ghost Kings Of Beale Street - Blues WarriorBLW003

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

Norman Darwen (December 2007)

---

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

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

Norman Darwen (December 2007)

---

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

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

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

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

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

Ian McKenzie (December 2007)

---

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

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

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

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

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

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

Bob Pearce (November 2007)

---

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

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

Ian McKenzie (November 2007)

---

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

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

Norman Darwen (November 2007)

---

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

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

---

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

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

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

---

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

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

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

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

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

---

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

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

---

RICK PAYNE - Blue River Blues- Bennet House BHR123

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

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

---

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

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

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

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

IM (September 2007)

---

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

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

---

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

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

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

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

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

Brian Harman (Aug 2007)

---

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

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

Norman Darwen (Aug 2007)

---

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

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

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

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

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

Brian Harman (Aug 2007)

---

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

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

Ian McKenzie (Aug 2007)

---

EDDIE VORTEX - Classic Vintage Vortex - EVOR 103

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

Ian M (July 2007)

---

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

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

Norman Darwen (June 2007)

---

 

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

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

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

Ridiculous Instrumentals:(RL 10108-2 CD)

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

Mississippi Heavy Water Blues: (RL104-CD)

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

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

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

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

---

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)

---

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)

---

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)

---

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)

---

Norman Darwen (Feb 2007)

---

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

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

---

 

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

---

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

---

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

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

---

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

---

BOB PEARCE/ Unchained/ FuzzyPig FCCD009

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

---

Dr 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)

---

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)

---

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)

---

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)

---

 

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)

---

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

---

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)

---

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)

---

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

---

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)

---

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)

---

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)

---

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)

---

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)

---

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)

---

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)

---

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)

---

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

---

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

---

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