Erja Lyytinen – Voracious Love (Ruf Records).

Finland is not the usual place that you’d look for the blues but slide guitarist Erja Lyytinen is turning a few eyes in that direction. The eponymous title track opens with a screech of feedback and she’s off and running on a soft rocker with a grinding riff. Don’t Let A Good Woman Down is blues at high speed with Erja’s slide guitar punctuating throughout. Crowes At Your Door is slowed right down. Is it The Black Crowes at your door? Overall, this bluesy rock upstart has an eerie feel and Bon Jovi comes to mind. Bed Of Roses is an acoustic ballad. It’s not spectacular and it’s a bit Eurovision in parts. Marco Hietala takes over vocals on part of the song, although some of the harmonies are a bit over the top, and there’s even some violin breaks. However, she’s back to form on Bird which has good rock beats and her slide guitar fits in perfectly. If it was a bit more emotive vocally it would be a top track. She does get there, but just not soon enough. Gilmore is another acoustic ballad with gentle guitar breaks in keeping with the overall feel.

I Think Of You has sultry, understated bass (Matti Vallius) and keyboards (Harri Taittonen) with snappy drums (Rami Eskelinen) supporting. This is late night, grown up music. Oil And Water is a rhythmic, upbeat middle of the road rocker with Erja using slide guitar often and always to good effect. Her accent comes through on this one and that’s no bad thing. Can’t Fall In Love is a rock ballad that follows the formula and as such, it’s nothing out of the ordinary. Her powerful vocal and obligatory guitar break are both fine. One Thing I Won’t Change has breakneck drumming and guitar. Good pumped up power pop and very nice guitar work. The very short Soul Of A Man has gentle sounds regressing almost into Folk and The Road Leading Home has an eerie opening with slide guitar and keyboard setting the scene. The only problem is that it doesn’t go anywhere as it is too short! The final track, No Place Like Home, is old style Americana/Folk and it’s another shortie, just Erja and guitar making for a pleasant finish.

http://www.rufrecords.de/
http://www.erjalyytinen.com/

David Blue.

24 Pesos – Busted, Broken & Blue (Ourgate Records)

Busted, Broken & Blue is the first album from up and coming British blues band, 24 Pesos. It’s an album full of original songs, all written by front man Julian Burdock, and played by a band that has a passion for the blues as well as funk and soul. The opener, Maxwell Street, has acoustic & electric dobro and a strident vocal from Burdock. The band delivers a contemporary blues with an ancient feel. Never Saw The Devil is a chunky song. Funky blues with a fat bass line from Silas Maitland and a full sound with Moz Gamble (organ) and guitar on form. Standing At The Station is bringing the blues into the 21st century. Just dobro, voice from Burdock and hi-hat from Mike Connolly before the full band joins in – top class. In The Summertime flirts with hip-hop in parts but this is still essentially a blues song. One thing that it does have is a great singalong chorus. Lowdown Sweet & Dirty confirms that the Burdock is the mainstay of the band and they could well struggle without him. This is a grinding rocker with rounded edges. Gamble also gets another chance to be in the spotlight.

Live My Life (Just To Sing The Blues) has that hip-hop feel to it again but the fuzzed harp and throbbing bass are the highlights. Mean What I Say is a funky blues and the band manages to capture their energy in the song. However, sometimes Burdock’s vocal just doesn’t go that extra yard to bring the song to its full potential. However, he does maintain his high standards on guitar. Still In Love With My Baby is the obligatory slow one and it’s a Bon Jovi track if I ever heard one. It’s not as good as them but it will have the crowd singing along to it. The eponymous title track comes late on in the album and it is worth waiting on. Burdock lets it all out on this swing blues rocker. Day Becomes Night is a slow blues with sultry night time sounds – all grown up stuff. Neckbones & Gumbo is a bit of a strange title and it is hard to pigeonhole this one. I’m getting hungry listening to it though. As with the rest of the album, it is Burdock on guitar that shines through.

http://www.24pesos.com/

David Blue.

JJ Grey & Mofro – Georgia Warhorse (Alligator Records).

Georgia Warhorse is JJ Grey’s fifth album and each has been full of original songs. He fits in those albums between his exhausting touring regime and the two pronged attack is bringing him to the notice of more and more people each year. Diyo Dayo is a throbbing grungy opener with baleful harmonica from Grey. King Hummingbird is a classy acoustic rock ballad with Grey’s mournful vocal. The horns make The Sweetest Thing into a cool R&B and the addition of Toots Hibbert on vocals is a master stroke as the band powers it out. All has strident drumming from Anthony Cole as the band stays in the R&B field. This is in your face, big time. The eponymous title track is about a kind of grasshopper, I believe, and JJ says that they are tough like an old Tonka toy and so at ease with the world – just like him, really. No matter what it’s about, this slow grinding blues has lung bursting harp to match the best and Grey also chips in with a lazy solo on slide.

Gotta Know is another rock ballad. This has a gritty vocal but there are many levels to his voice. The introduction of organ half way through gives it a Gospel feel. Another level is added with the horn section as the whole thing builds up towards the finish. Hide & Seek is vibrant and acoustic led. Andrew Trube, on bass, delivers the power this time but there’s an unexpected, slightly strange keyboard solo as well. Having said that, it does cut through the song pretty well. Co-written with Chuck Prophet and Angelo Petraglia (Kings of Leon), Beautiful World has relaxing acoustic tones and leans towards Country. Slow, Hot & Sweaty, you don’t get sweaty in a title very often, is funky and the kind of song that you’d expect from someone like Prince or Sly Stone – surprising. The Hottest Spot In Hell is a pounding R&B which showcases his deep baritone voice. The rhythm section excels and the horns (Art Edmaiston on trumpet and Dennis Marion on trumpet) make for a tight unit. He finishes off with Lullaby but, although hypnotic, this blues flecked offering won’t send you to sleep as the drummer and guest slide guitarist, Derek Trucks, are let loose.

http://www.jjgrey.com/
http://www.alligator.com/

David Blue.

Joe Bonamassa @ The Royal Concert Hall, Glasgow 18/10/2010.

Gone is the shy young man who I saw at The Ferry in Glasgow a few years ago. He walked through the crowd unnoticed before stepping onto the small stage and blowing everyone away with his playing. These days, Joe Bonamassa sports a sharp suit, has a light show and has arrived on the big stage.

He opened with a perennial favourite of his, Rory Gallagher’s Cradle Rock and peppered the evening with songs from his latest album, Black Rock, along with titles from his already burgeoning back catalogue. The new songs such as Steal Your Heart Away and Three Times A Fool sat very easily with older favourites Sloe Gin, The Ballad Of John Henry and If Heartaches Were Nickels. At times he was hunched over his guitar as if in his own little world only to throw his head back in the ecstasy of the vital note.

Joe’s Scottish girlfriend, Sandi Thom, came on for part of the well deserved encore and the two of them produced an excellent version of Bird On The Wire and different to the one on Black Rock.

So I’ve seen Joe Bonamassa go from a very small venue with less than 100 in the audience to a slightly larger hall with a slightly larger audience and on to the premiere venue in Glasgow with over 2,000 of a crowd. One thing has remained constant and that is his talent and when you go to one of his gigs you know you are in the presence of someone special.

David Blue.

Simon McBride – Since Then (Nugene Records).

Since Then is Northern Irishman Simon McBride’s second album, his first being the critically acclaimed Rich Man Falling in 2008. A winner of Guitarist Magazine’s Young Guitarist of the Year and endorsed by guitar builder Paul Reed Smith by the time he was 15, it was inevitable that he would go on to greater things. Stints in Sweet Savage (replacing Def Leppard guitarist Vivian Campbell) and Andrew Strong’s band led to him taking the solo plunge and the aforementioned debut album. The 14 self-penned tracks of Since Then open with Take My Hand, which is a full throttle opener with Adrian McIlduff’s drum kit at breaking point and electrifying slide guitar from McBride. Hell Waters Rising is a blues rock title if I’ve ever heard one and this pounding track is just the type of song to rock out to. Superb guitar from McBride and he definitely knows what buttons to press. Acoustic guitar makes an appearance on Save Me and McBride’s very good rock voice comes into its own. This is a grower, starting in ballad style and building up into a soft rocker. Down To The Wire is a high class slow blues. Joe Bonamassa must be an influence as I can hear him all over this. McBride is a new star is on the blues horizon. Be My Baby is Jimi Hendrix meets Kansas City blues -- oddly catchy with McBride’s guitar stinging you at every turn. From The Other Side is rhythmic blues rock and although there’s a lot of guys out there doing this kind of stuff McBride more than holds his own. It’s back to slide guitar with The Promise and to great effect too with the power chorus on this good time rocker reaching down your throat and playing with your insides.

Tear Down Your Soul is a funky rocker and I now feel that I’ve known Simon McBride forever. Dead Man Walking has a resonator in there somewhere but it gets dwarfed by McBride’s slashing electric guitar. However, it’s another high class blues rocker and he is a master of the chorus. Even though this one is simple it’s the power chords that do for you again. Dancing On The Sidewalk is a mid-paced rocker with a funky edge and Sweet Angel has shades of Gary Moore’s Still Got The Blues For You in its opening but it’s much more than that. McBride’s guitar goes straight to your heart. He has the Dobro out again for Coming Home but this time it gets a higher billing. This has intricate guitar work over a pounding beat. I know that I mentioned Mr Bonamassa before but McBride is so similar vocally on Devils Road it’s uncanny. This is a strange one with Paul Hamilton’s drums on the off beat and it may have been better with just voice and guitar -- a fast paced blues, country, hip hop crossover! He finishes with The Truth, a short instrumental lament with piercing guitar which draws out his Celtic origins.

Simon McBride has the class to challenge the might of the Provogue Records guitarist stable.

http://www.simonmcbride.net/
http://www.nugenerecords.com/

David Blue.

Walter Trout & Mitch Laddie @ The Ferry, Glasgow 08/10/2010.

It’s October so it must be Walter Trout in Glasgow. Walter and his superb band just keep coming back to Scotland and they sound better each year. This time he brought his Provogue stable mate Mitch Laddie with him and young Mitch opened up the evening superbly. Showcasing songs from his debut album, This Time Around, the 19 year old held the crowd in the palm of his hand at times and the future is bright for this young North Easterner.

Walter Trout arrived onstage to announce that we were honoured to have a local celebrity in the audience and proceeded to introduce Fat Bastard from the Austin Powers movies. Of course, this turned out to be larger than life drummer Michael Leasure. After a couple of impressions from the big man the band, with the ever-smiling Sammy Avila on keyboards, launched into the show with Walter bringing us a number of tracks from his latest album, Common Ground, as well as many from his extensive back catalogue. The new songs such as May Be A Fool, Common Ground and Wrapped Up In The Blues were all well received and when added to Walter’s wicked wit (sometimes at the expense of bass player Rick Knapp) it all added up to a great evening. Walter certainly knows how to play to a Scots crowd as when there was a problem with one of the speakers he announced “you may take our monitors but you’ll never take our freedom”. He added Loch Lomond and Scotland The Brave to his encore to finish off a show that was over two hours long. However, I think that Walter and the band could have played all night and you know what, I could have listened all night too.

David Blue.

B.B. & The Blues Shacks – London Days (Crosscut Records).

B.B. & The Blues Shacks are becoming a European institution with touring experience of over 20 years and an average of 150 gigs a year. Well known for their sound which is deeply rooted in 40s and 50s jump blues, this is their first release since 2008s Unique Style. London Days was, conveniently enough, recorded in London under the watchful eye of Liam Watson, he of White Stripes’ Elephant fame. The opener, Real Good Times, is a pacy R&B with a gritty Northern Soul feel to it and This Time Baby continues the R&B vibe. They are getting better vocally album by album although they always have been a tight band. High Class Lonely is a swinging R&B with Michael Arlt on harp, jagged guitar from Andreas Arlt and Hammond organ from special guest Raphael Wressnig and you have to be happy with that! Just You is slowed down and soulful before Between The Lines picks up the pace again and this strong R&B is a highlight. It Hurts So Good is good old fashioned Rock and Roll whereas Let Them Talk is a rolling R&B with a sharp vocal from Michael Arlt.

B.B. & The Blues Shacks are summed up by the next trio of songs -- My Baby’s Alright has classic R&B styling, How Low Can You Go is slow, brooding Soul and Fools Getting Stronger is a shuffling blues which is compact and beautifully formed. These show how adaptable the band can be. However, Miss Wrong is standard fare and fails to match the rest of the album. The only song not written by the Arlt boys, Once In A While (Is Better Than Never At All), harks back to the Rock and Roll era and leads into hardcore Soul. How Would You Like That is a mix of R&B, Soul and Doo-Wop, spoiled slightly by the spoken bridge. Despite that, these gentle sounds are most welcome. The final official track, Turnaround, has Chubby Checker style drums from Bernhard Egger and is very 60s influenced R&B/Soul with good energy. They close with a bonus track, Autumn Sunset but I wonder why this harmless lounge music was included at all.

http://www.crosscut.de/
http://www.bluesshacks.com/

David Blue.

Michael Landau, Robben Ford, Jimmy Haslip, Gary Novak – Renegade Creation (Provogue).

Renegade Creation brings together four diverse musicians and moulds them into a fusion of blues, rock and soul. The two headliners are Landau and Ford, the former a renowned session guitarist with credits on albums by Miles Davis, Michael Jackson and James Taylor, the latter being the legendary guitarist who has played alongside George Harrison and Greg Allman. Haslip and Novak are not un-notable however and have played with Bruce Hornsby, Donald Fagen, Chick Corea and Alanis Morissette. The opener, What’s Up, is a Mark Knopfler influenced rhythmic blues with Landau’s laconic vocal and the twin guitarists on top form. The follow up, Soft In Black Jeans, is more of a Robert Cray style smooth blues/rock and Robben takes on the vocal with aplomb. Destiny Over Me is slow, dreamy rock and is counterbalanced by the strong blues rock of God And Rock ‘N’ Roll. Landau and Ford let rip on their guitars on the latter with riffs aplenty, all ably backed by strong drumming of Novak. The Darkness is a classy slow blues with signature big guitar breaks from Ford.

Renegade Destruction is a driving rocker with Landau on from as vocalist. This is followed by Peace, which is split into two parts, the intro and the main song. The intro seems a bit pointless with trains, waves and birds in the background. The main track is a guitar instrumental that, whilst well played, is not a strong addition to the album. Who Do You Think You Are is a down and dirty blues with fluid guitar, perhaps the best playing so far. The penultimate track, Where The Wind Blows, is a grinding blues rocker, held together by the rhythm section but it is Robben’s guitar work that shines through. They finish off with Brothers, an instrumental that allows all four to showcase their skills.

http://www.provoguerecords.com/

David Blue.

Elvin Bishop – Red Dog Speaks (Delta Groove Music).

A founding member of The Paul Butterfield Blues Band, Elvin Bishop has been around long enough to be called a legend. Not that passage of time is the only qualification; Elvin Bishop is a true guitar great. This only his second release on Delta Groove Music (see my review of his first, The Blues Rolls On) but he has firmly established himself at home. The eponymous title track is a laid back blues about his 1959 (a great year) Gibson Cherry Red ES-345. Stinging slide guitar and barrelhouse piano makes for a great opener. Neighbor Neighbor is R&B, vocally excellent and that slide is sublime. Fat & Sassy does what it says on the tin and Barbeque Boogie is the kind of storming boogie where Bishop excels. Many Rivers To Cross is a strange inclusion. It’s hard to beat the Jimmy Cliff version but the inclusion of slide guitar is effective. However, I’d rather he hadn’t really bothered.

Blues Cruise has a Cajun feel, no surprise since it has the addition of Buckwheat Zydeco on accordion. The extra guitarists, such as Roy Gaines, Tommy Castro and Ronnie Baker Brooks make this, in effect, a jam session and a damn good one too. Doo-Wop Medley is mainly the classic Still Of The Night but I can’t make out where the medley comes in although this instrumental is well played on slide guitar. We get back to Elvin Bishop territory with Get Your Hand Out Of My Pocket, which is a good romp with boogie piano and rocking harmonica from Bob Welch and John Nemeth respectively. His Eye Is On The Sparrow is a strange title but this strolling blues instrumental with added horns is more than passable. The solo, Clean Livin’ has a spoken vocal and tells us all about what has happened to him health wise throughout his life and he wonders why he is still standing – a cautionary tale. Festivities are rounded off well with the laconic Midnight Hour Blues.

http://www.elvinbishop.com/
http://www.deltagroovemusic.com/

David Blue.

Colosseum – Live 05 (Ruf Records).

Colosseum has been going since 1968 (with a long hiatus between 1978 and 1994) in various incarnations and boasts some of the best musicians ever to have graced a stage in the UK. Vocalist Chris Farlowe, guitarist Clem Clempson, keyboards player Dave Greenslade, bassist Mark Clarke and drummer Jon Hiseman have been the mainstays and Hiseman’s wife, Barbara Thompson took over saxophone duties from founder member Dick Heckstall-Smith, who died in 2004. This 2 disc live album, recorded in Germany and Austria in 2005 covers a number of tracks from their 1971 Live album, which came out just before the original band broke up for the first time. The opener, Come Right Back is bluesy with big sounds from a tight band, as you would expect with their joint pedigrees. Theme For An Imaginary Western – this is my first real involvement with Colosseum but this prog rock with flecks of jazz is just what I expected, especially when it was written by Pete Brown and Jack Bruce. Good guitar from Clempson and a great rapport with the crowd. Rope Ladder To The Moon, another Brown/Bruce composition, is an English blues and this is more like it – over 8 minutes, an organ solo – true prog band form. The Valentyne Suite covers three tracks, January’s Search, which is an expansive instrumental covering jazz, prog rock & classical themes all backed with frenetic sax from Thompson and Farlowe, February’s Valentyne which also has sax to the fore and builds to the end and finally, The Grass Is Always Greener where Clempson’s guitar gets its chance in the slower passages.

The second disc opens with Those About To Die, a mix of rock (classic and prog) and jazz and is followed by the T-Bone Walker classic, Stormy Monday Blues. This has sharp guitar from Clempson who trades licks with Thompson on sax. The laconic drums of Hiseman and Clarke’s bass back things up very well with Chris Farlowe in his element with his vocal gymnastics. Dave Greenslade lifts the whole thing to a different level with his playing. No Pleasin’ is a straightforward rocker without too much interference and although there is no doubting the virtuosity of the musicians, it is Clempson’s guitar that shines through. This merges into Tomorrows Blues, a prog fest at over 11 minutes although not a blues as such. The penultimate track, Drum Into LA has a virtuoso performance from Hiseman on drums, although it is short for a drum solo at 2 minutes 56 seconds, before it leads into Lost Angeles, which at over16 minutes is a true prog/jazz epic. Greenslade is to the fore and Farlowe’s voice is still going strong although we could do without the scat.

This is a classic example of a Great British institution and as the sleeve notes say, “turn it down to deafening”.

http://www.rufrecords.de/

David Blue.

Walter Trout – Common Ground (Provogue Records).

Every time a Walter Trout album lands on my desk I feel the excitement in the air and this one does not disappoint. Common Ground is Walter Trout’s 20th album and it is testament to his talent that it sounds just as fresh as his solo debut in 1990. Walter has raised the bar immediately with the acoustic slide based opener May Be A Fool. This pounding blues rocker builds and builds as he introduces the band and finally his electric guitar to the mix. Acoustic guitar starts Open Book too. This is a standard rock ballad, if anything by Walter Trout is standard, but it is lifted from the pack by his superb guitar playing. The notes just fall from his guitar. There’s a theme running here as Her Other Man also starts acoustically. Trout’s voice is on top form and the guitar interludes are just what you expect from a master of the fret board. The eponymous title track has a spiritual feel to it. Bon Jovi written all over it and guitar ringing like a bell at the end. Danger Zone adds some funk to the rock and is held together by the snappy drums of Kenny Aronoff. Hudson Had Help is a good time barrelhouse blues and a bit of a highlight.

Loaded Gun is the type of song that you would attribute to Walter Trout right away. Loud, bawdy blues rock and one to get the party started with. Rousing, especially with Jon Cleary’s piano getting hammered as well as Trout’s guitar and driven on superbly by Hutch Hutchinson on bass and the aforementioned Aronoff on drums with some of the best guitar you are likely to hear this year! Song For My Guitar is exactly what is says. Walter gives his guitar almost human status. Some may think it a bit twee but a guitar can become a member of the family. Eyes Of A Child is a mid-paced blues with a touch of swing. No Regrets is a slow, chugging blues with Trout’s voice and guitar in perfect unison. His guitar scorches as he bends the strings to breaking point. Wrapped Up In The Blues is a more standard type of electric blues. Harmony vocals and shuffling beats makes for another highlight. He finishes with Excess Baggage, a slow, sultry blues with Cleary’s Hammond organ to the fore – just what I would expect from one of my keyboard favourites. This is a powerful finish to the album and Walter Trout just keeps on being outstanding. I’m already looking forward to the next album!

http://www.waltertrout.com/
http://www.prvoguerecords.com/

David Blue.

Philip Sayce – Innerevolution (Provogue Records).

Born in Wales and raised in Canada, Philip Sayce was immersed in music from a very young age. Influenced by those such as Eric Clapton, BB King, Buddy Guy and Robert Cray you would have expected him to come out as an all guns blazing blues guitarist but that’s only a part of the Philip Sayce armoury. Innerevolution is his second album since leaving Melissa Etheridge’s band and the opening track, Changes is a strong one, with expansive rock sounds. It’s a good, driving song and his guitar work is excellent. The follow up, Scars, has a great riff and it chugs along very well – Lenny Kravitz comes to mind. The snappy Bitter Monday (is that not every Monday that you have to go to work?) has pounding drums, from Matchbox 20s Ryan MacMillan) announcing the arrival of Sayce’s guitar before going off onto the realms of pop-rock. Anymore is slower than most of the albums opening tracks and this power ballad compares well in a genre that is difficult to be innovative in. This succeeds and Sayce’s voice has the requisite power to carry it off. Take You Away is raucous power pop with fuzzed guitars adding to the wall of sound and has Sayce letting rip on a number of fronts.

Daydream Tonight is the obligatory ballad and this piano-led softie could quite easily be boy band chart material. It’s no surprise that he includes Richard Marx amongst his co-writers on this album. He rips it up again for My Pearl and this pulsating, melodic rocker sets him apart for the other artists on the Provogue label. The power trio set up suits his classy guitar style. Tennessee Girl is a gritty rocker and Are You Ready has a big production and a singalong feel with his guitar getting a good going over on both. Gimme Some More has frenetic drumming and the whole thing tips more than a nod to Hendrix. Little Miss America is an epic to finish with. At over 8 minutes long it will stretch you to your limits but the throbbing grooves and Hendrix overtones will satisfy more than most.

http://www.philipsayce.com/
http://www.provoguerecords.com/

David Blue.

Jimmie Vaughan – Plays Blues, Ballads & Favorites (Proper Records).

This is Jimmy Vaughan’s first album in nine years and he has chosen a personal collection of songs, recorded in his home town of Austin, Texas. It opens with The Pleasure’s All Mine, a shuffling blues and it is as if the Fabulous Thunderbirds had never gone away. Vaughan’s trademark jagged guitar coupled with a mellow sax solo make for a solid opener. Jimmy Reed’s Come Love is a strolling blues/R&B crossover with additional backing vocal from Lou Ann Barton and Vaughan’s harmonica used to good effect. The country blues of I’m Leavin’ It Up To You continues with harmonica and Vaughan’s guitar rattles like a machine gun. Jimmy picks up the pace a little for the excellent, self-penned instrumental, Comin’ & Goin’. He plays this in an Albert Collins style with horns and George Rains’ drums integral to the overall feel. Wheel Of Fortune is another of his country influenced blues with Texas stamped all over it. Lou Ann Barton stars on vocals. How Can You Be So Mean – what a question! The smokey vocal on this Johnny Ace song flirts on the edge of R&B but despite the title, you’ll always have a good time with Jimmie. Roscoe Gordon’s Just A Little Bit is a well known song and Jimmie delivers it in a smooth fashion with raucous sax an excellent counterpoint.

He keeps up the pace on Lonely Weekends, a good time R&B, surprisingly written by Charlie Rich. This is sure to be a favourite on tour. I’m not too much of a fan of spoken vocals so when I Miss You So starts off in such a fashion, my heart sank a little. However, once Jimmie and Lou Ann Barton get to grips with the song and start to swap vocals then the whole thing turns around. Roy Milton’s RM Blues shuffles along very nicely and Bill Willis’ Hammond B3 and the horns make for an accomplished track. Trumpet is not often heard on blues tracks nowadays but it is a standout here beside Jimmie’s guitar. Guitar Junior’s Roll, Roll, Roll is another classic, played in the Fabulous Thunderbirds style. This shows how much of a class act Jimmie is and is the highlight of the album. Send Me Some Lovin’ is a country influenced blues, written by Little Richard, with Lou Ann Barton on vocals and he’s still using that horn section to great effect. Add Kim Wilson and it’s the Fabulous Thunderbirds. Why, Why, Why is replete with Tex-Mex influences and this is no surprise considering that it is a Doug Sahm number. He is so good in this genre it makes you wonder whether it is worth his while playing anything else. (She’s Got The) Blues For Sale is an upbeat blues and Jimmie is cranking up the style towards the end of the album. He’s got himself a top band and the sax players excel here. This track is short and oh so sweet. Bill Willis takes over on vocals for Willie Nelson’s Funny How Time Slips Away. It’s real soulful and although I didn’t think that this might not work at the outset, it comes across well. Willis’ haunting Hammond B3 makes it a little less lounge room smooth as other versions such as Bryan Ferry’s.

Jimmie Vaughan’s love for these songs pours out of every track and I must make special note of the horn section, Greg Picollo, Kas Kasenoff and Ephraim Owens, who are excellent throughout.

http://www.jimmievaughan.com/
http://www.properuk.com/

David Blue.

Jimmy Bowskill – The Jimmy Bowskill Band Live (Ruf Records).

It’s always brave to release a live album but to do it with your debut shows a real confidence in your own ability. Is it me or are guitarists getting younger every day? 18 year old Bowskill is the latest off the Ruf production line. He is an exciting young player with a powerful, yet still youthful voice and riffs abound on the gritty opener, Far From Reality. His style on Peter Green’s Rattlesnake Shake is actually more reminiscent of Paul Kossoff and there is some way over the top sustain. Walk In My Shadow is a Free song and whilst he is no Paul Rodgers in the vocal stakes, he has more than the capability to match Paul Kossoff. His fingers are now starting to fly. Loser is the obligatory slow one and he turns in a strong vocal performance to hold the crowd. Be Mine is a driving rocker and Dan Neill’s snare drum gets a real beating. Slide guitar adds to the wall of sound. Broke Down Engine is Rory Gallagher, Joe Bonamassa and Gary Moore all wrapped up in one – he really is that good!!

Drifting Haze is a very descriptive title as Jimmy takes you out on an ocean of sound and allows your mind to completely relax whereas Diamond Ring is a cracking blues rocker. It’s shorter than most but that allows him to maintain the impact. Jimmy’s treatment of the old Free song, Ride A Pony just confirms that the sky is the limit for him. He really can go anywhere his ambition takes him. The hi-pace instrumental, Karaday gives drummer Neill the chance to come to the fore. BB King’s Three O’Clock In The Morning is a mournful blues with a big solo and Link Into Your Chain is a superb finish. It is full of energy and action and confirms his songwriting credentials.

Big things beckon for Jimmy Bowskill – remember the name!

http://www.rufrecords.de/
http://www.jimmybowskill.com/

David Blue.

Oli Brown – Heads I Win, Tails You Lose (Ruf Records).

This is Oli’s follow up to his critically acclaimed debut, Open Road, and legendary producer Mike Vernon has brought the best out of him again. Evil Soul is a hi-octane opener which is driven by the drums of Jamie Little. Brown’s voice has improved since my review of Open Road and two years of almost constant touring has helped that so much. His guitar work is still stunning on this snappy introduction. Makes Me Wonder is a fluid blues which is slightly jazzy in some of the passages. The piercing guitar is the focal point. The metronomic Keeping My Options Open is a grinding blues based rocker whereas Speechless turns to a softer rock with a sophisticated feel. Brown’s guitar needs no encouragement to come to the fore and he confirms his status as one of the UK’s premiere guitarists. His treatment of the classic Fever, by playing it in a 60s R&B style is a success. It’s always hard to do something unusual with such a well known song but he does add a different feel to it overall.

Not A Word I Say is the first slow song on the album. It is moody and smouldering with the guitar as the star again. It builds well from the middle onwards. I Can Make Your Day is another grinding blues but a bit on the heavier side this time. Oli lets it rip here on the type of song that Joe Bonamassa excels at. Real Good Time has punchy guitar with a soulful feel. The funky Take A Look Back has a slicing guitar and the funk continues with No Diggity. Oli switches effortlessly between styles but the one constant is his guitar. Love’s Gone Cold has to be a blues with a title like that. This is slow and dark before it explodes into life when Oli lets that guitar go. Unfortunately, the album has to finish sometime and On Top Of The World is a wonderful sing-along song to wrap things up with. Played with panache, it is a testament to Oli’s all round growth.

Oli Brown will help form the future of British blues.

http://www.olibrownband.co.uk/
http://www.rufrecords.de/

David Blue.

Stefan Schill – Don’t Say A Word (Provogue).

Dutchman, Stefan Schill hails from Dordrecht and I am sure that this is the first time I’ve reviewed anyone from that part of the world. Don’t Say A Word is his debut album and fulfils a desire to perform after seeing Ritchie Sambora captivate the audience on MTV’s Unplugged. The album, which was two years in the making, opens with Any Direction, which is vibrant and fresh with a youthful vocal and stinging guitar. The eponymous title track is funk/soul with a little input from horns and a silky guitar interlude. He stays with the funk for Take On My Beliefs but he rocks it up a little this time. His guitar playing shines through and the whole package comes across a little like Prince, who he just happens to think is a genius. Just Not Today has his vocal progressing all the time and still staying on the funky side.

U Don’t Mind has crisp drums from Arie Verhaar and this mid-paced funk grinder certainly shows up Prince as a major influence. Gone By Tomorrow is a slinky professional blues whereas Everybody’s Gotta Be Somewhere is soulful and a strong contender for song of the album. The latter has one of his best vocals so far. Game Called Love is a big, ballsy, swinging blues with heaps of attitude. He rocks it up a little for It’s Gonna Be Alright but this rarely gets out of the power pop genre. Last Goodbye is just Schill on guitar and vocal with a little harmonica added by Aram Raken. This acoustic track shows the talent behind the gloss and is a very pleasant finish.

On this basis, Stefan Schill is certainly worth another listen.

http://www.provoguerecords.com/
http://www.stefanschill.com/

David Blue.

P-A-U-L – Gunshot Lullaby (E&E Entertainment).

Paul Andrew Ulysses Lamb, or P-A-U-L as he likes to be known, is a Detroit native and his second album is as tough as the city of his birth. It begins with, funnily enough, And So It Begins which is a short intro into the high impact Our Bullets Will Be Fairytales. I reviewed his first album and I think that he has gone for an all over heavier sound this time around. There is a lot going on in this song but it all comes together very well. The grinding I Ain’t Givin’ You Up continues with the heavy vibes and Martyred Eyes confirms his transfer over to the heavy side of rock. This has guitar overload and best played loud. I Will Never Tell is a wall of sound, a real rockers tune so get the air guitars out and dust them down. The eponymous title track gives us a slight respite from the aural assault but the subject matter makes for a strange ballad. However, his guitar work is still on the highest level.

Detroit Is On Fire is just as powerful as the only other song I know about Detroit. That’s Detroit Rock City by Kiss and P-A-U-L shows that Detroit is still a rock city. He might not get the same exposure as Kiss but he certainly can generate the same power. Mercy Kissin’ is very ZZ Top and I love it!! Grinding, thumping rock at its best. At The Revolution has a short burst of acoustic slide to begin with before taking us off to the now customary grinding loud rock of Rattlesnakes And Butterflies. Diamonds For Gold has nothing too much to get excited about although it does pick up towards the end. Behind The Brothel is an interesting title. There is a big bass line from Paul Randolph and some added woodwind. This, plus the funky guitar gives us a break from the heavy stuff. It’s over 6 minutes and at times it seems a bit too long. What it does do is it shows his versatlilty and the singalong chorus, “hey hey, come out and play” is a different proposition to most of the album.

This is a cracking second album and there is even more to come from P-A-U-L in the future.

http://www.p-a-u-lmusic.com/

David Blue.

Mitch Laddie – This Time Around (Provogue).

A North-East of England native, Mitch Laddie is just 19 years of age. When you hear this album you will share my complete shock and awe at the talent of this boy at this age. He’s only been playing the guitar seriously for 6 years and learned his chops by copying the riffs of Mark Knopfler, Dave Gilmour and Jimi Hendrix. However, his love of the blues was kindled when he heard Stevie Ray Vaughan. A listen to BB, Freddie and Albert King, Albert Collins and many others focused him on the genre. Walter Trout invited him to play at one of his gigs in 2006 (he was only 15 or 16) and his life changed forever. His debut solo album opens with Awakening (intro), which starts like a leviathan rising from his sleep. Laddie builds layer upon layer before unleashing a pulsating, rocking instrumental. He is technically superb as he slashes his guitar. The smouldering Here’s A Drink is bluesy but shows that vocally, he is still a bit raw. However, he has all the attributes and stands up to the current best in the genre. Get You Back is a hi-paced blues from an exciting new kid on the block but he slows it down again for I Need Your Love. Float On By has a staccato delivery but shows that he is a real talent. He keeps the solos on this to a good length, something he doesn’t always do. Punchy drums and piercing bass from Lee ‘Cliffy’ Clifford and Rhian Wilkinson respectively. Papa’s Got A Brand New Bag is not as frenetic as the James Brown original but he does make it his own – not an easy thing to do with a song like this.

The eponymous title track has funky beats as he puts his soul into it with his wailing guitar a stand out. There is a barrage of notes at times and he may have to take up the new Joe Bonamassa philosophy that sometimes less is more. Miss Supernatural has pounding drums and sustained guitar opening this full on rocker with fuzzed vocal. Two Years is an upbeat swinging blues with stinging guitar whereas Mr Johnson is a complex instrumental that shows his fretboard skills. The latter is perhaps a tad long at 6 minutes but that’s only a small criticism. All I Have has a pleading vocal -- a bit mainstream but in the upper echelons. Rock Me Baby is the old BB King song and this live version with Walter Trout is turned into a slow, driving blues with guitars a plenty (10 minutes of them). It’s good to hear what he’s like live as I intend to seek out his next visit north of the border immediately.

http://www.provoguerecords.com/
http://www.mitchladdie.com/

David Blue.

Scott McKeon – Trouble (Provogue).

Trouble is the second album from baby faced guitarist Scott McKeon. However, don’t let his youthful looks (he’s 23) deceive you; he is a hard nosed guitarist and has made it into the Top 30 blues guitarists already. McKeon tours relentlessly and has opened for such luminaries as Eric Clapton, Sheryl Crow and John Mayer. Trouble has 12 original songs and opens with The Girl, which has an industrial feel, some great riffs and an all encompassing sound. However, the guitar, albeit in short bursts, is the star. I Can Tell highlights McKeon’s youthful voice and the song comes over as a bit poppy, but there is a harder core in there too. This may be a bit too middle of the road for some people’s tastes. The eponymous title track is a grinding standard rocker with a big chorus and this chorus may just be enough to win you over, that’s if McKeon’s guitar doesn’t. Scarecrow is the track of the album so far with acoustic influences all over and layer upon layer of sense provoking guitar. Written by Robbie McIntosh who also contributes slide and resonator guitar. Talk To Me, featuring John Mayer’s vocalist David Ryan Harris, is an acoustic led rhythmic groover with a sing-along feel to it.

Broken Man has fuzzed guitar and echoed vocals wrapped up in some classy pop rock. All That We Were is a ballad which shows how good a song McKeon can write. This is as good as any in the genre and the big guitar solo sets it off well. Capture Me has a pounding drum beat and strong, throbbing guitar. So Much More has sultry acoustic vibes with Robbie McIntosh adding his weight on guitar. Added horns and organ on Giving Me The Blues makes for a soulful sound. What I’ve Become is another mid-paced rocker with heavy bass and a storming finish. Home is a low key finish but after a 20 second pause it drifts into an electric jam. Fully instrumental, it is a strange finish but a well played one nonetheless.

http://www.scottmckeon.com/
http://www.provoguerecords.com/

David Blue.

Joe Bonamassa – Black Rock (Provogue Records).

Black Rock is the tenth solo album from the industrious Mr Bonamassa and sees him team up again with producer Kevin Shirley of Black Crowes, Aerosmith & Led Zeppelin fame. Shirley, of course, produced 2009s critically acclaimed The Ballad Of John Henry. The albums title comes from the recording studio in Santorini where Joe wanted to get a ‘world’ feeling for the songs. Steal Your Heart Away is a grinding opener. Joe is on form immediately on vocal and guitar. I Know A Place remains on the slower side but this has power all the way. However, don’t let that fool you into thinking that the craft isn’t there, this is a majestic musician at work. He introduces dobro on When The Fire Hits The Sea and he switches between acoustic and electric effortlessly. This old style blues shouting lets his show the expression in his voice. Quarryman’s Lament has him stepping away from the blues for a more straightforward rock that has folk and Celtic leanings. Great harmonica too. Spanish Boots, written by Jeff Beck, is a blues rocker with Joe’s fingers in a blur. If there is anyone better in the genre then I’d like to hear him or her. Joe likes to throw in some Middle Eastern/Asian influences from time to time and on Bird On A Wire Is Black Rock’s. This Leonard Cohen song, made famous by The Neville Brothers, will grow and grow on you. It’s completely different from their version and it may well become a Bonamassa staple.

Three Times A Fool is a great old Otis Rush song an Joe plays it as a classic blues rock. He’s never sounded better vocally too. Willie Nelson’s Night Life is turned into a big, brassy blues with BB King, who originally made the song his own, adding his not inconsiderable talents. BB’s voice is still one of the best on this up-tempo version of his classic. Wandering Earth is an expansive Chicago style blues with a Joe twist. James Clark’s Look Over Yonders Wall is a fast paced, energetic blues Athens To Athens, that’ll be Greece to Georgia, USA, has a bouzouki as well as guitar giving us Delta blues for the 21st century. Joe throws in all sorts of strange instruments here. Blue And Evil is a rousing penultimate track. It confirms his status as a consummate performer but he often says that he plays too many notes. That may be so, but they are all in the right place. The closing track is Blind Boy Fuller’s Baby You Gotta Change Your Mind which exudes class and tops off another blinding Joe Bonamassa album.

Joe Bonamassa was recently named as Best Blues Guitarist in Guitar Player magazine’s Readers’ Choice Awards for the third consecutive year – glad to hear that I’m not the only one who thinks he is the best that we have heard for some time!

http://www.provoguerecords.com/
http://www.jbonamassa.com/

David Blue.

Coco Montoya – I Want It All Back (Ruf Records).

Erstwhile Bluesbreaker, Coco Montoya has a reputation within blues circles as an awesome guitarist. He forged this reputation alongside Walter Trout in John Mayall’s Bluesbreakers and has continued it into a parallel solo career. He’s not just about the blues though and Hey Senorita has Latin grooves meeting the blues with punchy guitar from Montoya. The piano fills make you feel like you are in Cuba. The eponymous title track is soulful, with silky guitar from both Montoya and Keb’ Mo’. Forever is another on the soul side, not surprising seeing that Lamont Dozier and Brian Holland were involved in its composition, and Cry Lonely will creep into your head.

As Close As I Have Come is a bit tired and The Life Of My Broken Heart, whilst strangely familiar, is mainly harmless soft rock. The One Who Really Loves You continues his laid back, soulful side although his guitar does get a little outing this time. Buster Brown’s Fannie Mae delivers some of the guitar slinging Montoya that we all know. This takes us back to the days of his exchanges with Walter Trout in The Bluesbreakers and has the added bonus of Rod Piazza on harp and Jeff Paris on Hammond organ. Don’t Go Makin’ Plans (the only song written by Coco) is a funky offering and the funk continues on She’s Gonna Need Somebody, one of two written by keyboardist Jeff Paris, which is vocally good and has its base in the blues. He finishes with Jackson Browne’s Somebody’s Baby. This is a great song and Coco and the band play it well but it lacks the impact of the original and I’m sorry to say that it is out of place here.

http://www.cocomontoya.com/
http://www.rufrecords.de/

David Blue.

Eugene Hideaway Bridges – Live In San Antonio (Armadillo).

It’s about time that Eugene Hideaway Bridges released a live album because his reputation as a live performer was building so much that he couldn’t afford not to. Recorded at Chango’s Havana Club in San Antonio, Texas, it captures the essence of Bridges’ talent. He opens with I Got The Blues, which is an electric performance that sets up the listener for what is to come. Next up is Woke Up This Morning, words often used by blues singers but none to more effect t than here on this energetic blues. Little Boy Blue – is he singing about me? Maybe so, but this is a funky blues which keeps up the energy with such power. Learn How To Let You Go is performed in a Motown style in the vein of The Temptations and brings to the fore his lovely guitar work. Giving Up On Love shows Bridges lightning fingers as he funks it up big time and Real Hero is a Chicago blues with attitude. The horns in the background on the latter, which is an homage to the workers, are superb. Rome Wasn’t Built In A Day is classic soul and when you know that it’s written by Sam Cooke then it isn’t any wonder – fantastic.

Won’t Be Your Fool is an up-tempo blues which showcases Bridges’ prodigious guitar work. Sam Cooke’s Movin’ And A Groovin’ is played as a slinky Kansas City style blues and it works so well. This is followed by I Know That You Love Me, which is funky soul with frantic trumpet from Justine M. Miller. I Found It has the horns coming more and more to the fore as his soulful side comes out – superb. Bluesman is a punchy bold blues whereas How Can I Win has a spiritual soulful feel although both are vocally excellent. You’re The One is happy and Jump The Joint is a big finish. This jump blues is energetic, as you would expect. A great way to finish and it shows Bridges to be the consummate artist.

http://www.bluearmadillo.com/


David Blue.

Recorded live in the studio over 2 days, without any overdubs and mainly taking only one take, Ain’t Gotta Dime is Boo Boo Davis’ 6th album for Dutch label, Black & Tan. Silvermine is a grizzly, grungy, throbbing opener. There is no level of pace injected into Ten Thousand Dollar either but the quality is already shining through. Watch Yourself is a mid-paced R&B with a fuzzed vocal and a certain earthy feel. The quality continues with My Baby Got Me Fixed and The Man Who Be Around evokes feelings of the past and confirms Boo Boo as a true blues man. The eponymous title track is deep, down in your soul music and Boo Boo Blues is a romping, stomping boogie. Boo Boo certainly knows how to have a rollicking good time.

Cake Lady is a Delta blues with a drumbeat and this will touch your hidden depths. The repetition on Don’t Wait Too Late will hypnotize you but you will be brought crashing back to earth by the superb blowing harp and fuzzed vocal of Standing At The Fishbank. Let Me Ride With You is a hi-energy, swinging blues and he goes all Bo Diddley on Got My Loving, Now You’re Gone. Cryin’ Blues is slow and wailing, well what would you expect? He finishes it off with the fast paced R&B of the quaintly titled There’s A Roach Crawlin’.

Boo Boo Davis has an air of authenticity that some of his peers lack.

http://www.black-and-tan.com/
http://www.booboodavis.com/

David Blue.

Popa Chubby – The Fight Is On (Provogue Records).

This is Popa Chubby’s first release in two years and he says that this is blues rock for the people. He started out with some cool riffs and a house full of vintage guitars and The Fight Is On and a transfer to the superb Provogue Records is the result. The eponymous opener is pure Popa, gritty subject matter and top detuned guitar. The pulsating, anthemic We Got Some Rocking To Do is standard fare but Locked In A Memory harks back to the best rock ballads of the 70s. Popa says that he thinks that this has some of his best guitar work to date and I’m not about to argue. One hearing of his scintillating Les Paul confirms his thoughts. He goes all Motown on The Right Time!! This could easily have been a Temptations or Four Tops song. Rock & Roll Is My Religion is another standard mid-paced rock offering and Greedy For Gold attacks you on two levels -- fast and ultra fast.

NYC 1977 Till is Popa’s homage to Lou Reed as he intertwines Walk On The Wild Side with his own words. He rocks out on Holes and Steelhorse Serenade is a strong instrumental with the man on top form. It’s Over has Popa at his brooding best before ZZ Top come to mind on Wicked Wanda and he wraps the whole thing up with a storming version of Ace Of Spades.

Love him or hate him, you certainly can’t ignore him!

http://www.popachubby.com/
http://www.provoguerecords.com/
David Blue

Marcus Bonfanti -- What Good Am I To You (The Guitar Label).

This is 27 year old Londoner Bonfanti’s second album and follows on from 2008s promising debut, Hard Times. That debut gave rise to a new British voice demanding to be heard and the follow up confirms that the voice has arrived. Bonfanti was once described as the love child of Tom Waits and Van Morrison and also the person to fill the gap between Seasick Steve and Jack Johnson. Time will tell (not on the love child thing though!) The grinding opener, Will Not Play Your Game is acoustic led and Bonfanti’s silky voice will win you over immediately. He then slips seamlessly into Goin’ Down, a mid-tempo boogie which will have you believing that you are listening to someone from the deep South (USA, that is). Messin’ Round No More is a strolling blues whilst Devil Girl is more of a contemporary acoustic blues.

Don’t Wanna Come Home is so laid back and superbly understated whereas Tweed Blazer is a high octane rock and roller much akin to Pat Travers Hot Rod Lincoln era. This guy is not all front, he can really can play. Get Behind Me confirms that I can do little pigeonholing on him as he can turn his hand to anything and can be quite unique when he wishes. The eponymous title track has him switching from acoustic to electric effortlessly and the superb God Only Knows is played on harmonica only with Bonfanti’s soulful voice a classy counterpoint. Give Me Your Cash is a pulsating blues rock which confirms his excellent vocal range. The gentle acoustic tones of Bleecker Street and Sweet Louise finish the album off in old style magnificence.

I would say that Marcus Bonfanti has arrived.

http://www.marcusbonfanti.com/
http://www.theguitarlabel.com/

David Blue.

Luther Allison – Songs From The Road (Ruf Records).

It’s hard to believe that Luther Allison died over 12 years ago as I remember reviewing him just around the day he died. This latest set, recorded for Canadian Television just 4 days before he had to cancel his tour in 1997 and never to return to the stage again, runs for 90 minutes on CD and 56 minutes on DVD. Cancel My Check has a long guitar intro that sets the scene. Luther then adds his dulcet tones to his outstanding guitar for a storming start to this CD & DVD set. Living In The House Of The Blues is a standard electric blues performed by an above standard musician. What Have I Done Wrong (an often asked question) has Luther funking it up a little and he plays with such energy and Will It Ever Change has some superb guitar work as he sets the fret board on fire.

You Can, You Can is a swinging blues whereas There Comes A Time has a bit of audience interaction as Luther virtually talks his way through the song. The latter adds some funky keyboards and a bit of swing. Allison’s guitar always reminds me of BB King and sometimes even his voice does too. He even makes his guitar talk towards the end. (Watching You) Cherry Red Wine is a big, powerful instrumental that shows Allison at his best. Low Down & Dirty, written by his son, Bernard, is energetic and adds to a great build up to the end of the album It Hurts Me Too is a famous old song and Allison treats it well and he finishes with the funky and gritty Serious, keeping it short, unlike most of the others.

http://www.rufrecords.de/

David Blue.

Danny Bryant’s Redeyeband – Just As I Am (Continental Blue Heaven).

British guitarist Danny Bryant has released six albums prior to his latest, Just As I Am, and the new album contains 8 new songs along with a cover of John Hiatt’s Master Of Disaster. Shut Out The Light is a standard rocker to open with and Bryant sets the standard with a searing guitar solo. Blues For Buddy is a big, ballsy blues, just like Buddy Guy. For The Last Time is a rock ballad and Every Time The Devil Smiles is a slow, blues rocker to rival the best in the genre.

The big production on the eponymous title track leads into John Hiatt’s Master Of Disaster, which is not a heavy rocker as you may have expected from the title. It has a strained vocal but it is appealing in a certain way and this will be a grower. The raunchy Day By Day is an excellent example of Bryant’s guitar work and he will beat you into submission as he slugs his way through The Hard Way. The 8 minute epic, Alone In The Dark is slow and powerful with a big guitar solo to finish. Bryant’s voice may not be the greatest but it is strangely effective and he has honed this and his superb guitar playing over a career that has yielded in excess of 2,000 live shows so far. I think Danny Bryant will be around for quite some time yet.

If you want to find out how far Danny and his band have come then check out his excellent 2002 debut album, Watching You, which was recently re-released on the Roots Collectibles label. Highlights on the album are Since You’re Gone and Purple.

http://www.continental.nl/
http://www.redeyeband.co.uk/

David Blue.

LZ Love & Lightning Red – Gut Bucket Blues (Own Label).

LZ Love has an impressive list of artists that she has sung and toured with including Joan Armatrading and Luther Vandross but she has returned to her blues and gospel roots to team up with guitarist Lightning Red. The opening Been Lonely is drawled out and LZ has such a soulful voice. Red strums away in the background and adds some background vocals towards the end. You can feel her pain with every syllable. Wang Dang Doodle is the famous old Willie Dixon song with Howlin’ Wolf’s version being the best known. This version is earthy and highlights LZ’s powerful voice. Live No More is a pleasant Country blues with Red taking the lead vocal but LZ returns for the plodding Something Good. The title doesn’t really fit the song as this is nothing special.

Backyard Boogie is a bit more like it. A slide blues instrumental and well played by Lightning Red. Baby, What You Want Me To Do is a Jimmy Reed song and Red deals with it is a suitably stand off manner. Can’t Help Myself tends toward Delta blues – a good track with an ethereal feel. Cotton Pickin’ is another slide instrumental and Red keeps up the high standard. He takes the vocal again on Gates Of Heaven, a Southern blues rocker which could easily be a big Lynyrd Skynyrd style song given the correct production.

http://www.lz-love.com/
http://www.lightningred.com/

David Blue.