Blues N Trouble – Try Anything Twice (Moonbeam Music).

BB King once said that Blues N Trouble are the best white Blues band in the world. No pressure there, then! From the Scottish new town of Livingston and led by well-known UK singer/harmonica player Tim Elliott, Blues N Trouble are back with eight original songs and five classic covers of high quality. There’s a live feel to the recording and many of the tracks must have been completed in one session. Highlights are the talking harmonica Blues of Bye Bye Bird, the Bo Diddley inspired Cadillac and the grinding Blues Rock of You Can’t Hit A Woman. This is a top class album and won’t look out of place in any serious Blues fan’s collection.

 

www.bluesntrouble.co.uk

David Blue.

Candye Kane (Featuring Laura Chavez) – Coming Out Swingin’ (Vizztone).

Candye Kane is known as ‘The Toughest Girl Alive’ and her two decade spanning career has seen its ups and downs. Comin’ Out Swingin’ is one of the highs with 13 diverse songs covering Blues (Comin’ Out Swingin’, Invisible Woman), Rock N Roll (Darling Baby, You Ain’t All That and I’m The Reason Why), Cajun (Au Revoir Y’All), Boogie (Marijuana Boogie) and Rockabilly (I Wanted You To Walk). Highlights are the sultry Invisible Woman, the gritty vocal of Darling Baby and the uptempo I’m The Reason Why. There are elements of Fairground Attraction on When Tomorrow Comes and Caro Emerald on Rock Me To Sleep. Certainly worth a listen.

www.candyekane.com

www.vizztone.com

David Blue.

Federal Charm – Federal Charm (Mystic Records).

Manchester’s Federal Charm has released a debut album that befits a true Rock band. This is a joy from start to finish and classic Rock themes abound from Too Blind To See, the stinging and throbbing Reaction and Any Other Day. Their Blues influences appear on The Stray and the rocking I’m Not Gonna Beg. They are explosive (Gotta Give It Up, Tell Your Friends), smouldering (Reconsider) and electric (No Money Down). Highlights are the slow burning Somebody Help Me and the ultra-quick There’s A Light. Vocalist Nick Bowden and guitarist Paul Bowe are top notch and live performances will be electric.

www.federalcharm.co.uk

www.mysticrecords.co.uk

David Blue.

Live Dates:

November 6 -- Wolverhampton Robin 2
November 10 -- Blues Splash, The Ritz Manchester with Walter Trout
November 16 -- Caerphilly Patriot Club
November 21 -- Chislehurst Beaverwood
November 22 Sutton Boom Boom Club
November 29 -- Aylesbury Limelight Club

Dana Fuchs – Bliss Avenue (Ruf Records).

This is Fuchs’ third album and follows 2011’s Love To Beg. Opening with the eponymous title track, a rough and ready Blues Rock with Janis Joplin vocal, she rips through 12 original songs. She’s not a one trick pony and changes style with ease; there’s Country (Rodents In The Attic, Daddy’s Little Girl, Nothin’ On My Mind), Rock (Vagabond Wind, How Did Things Get This Way) and Blues (Handful Too Many). Despite her songs rarely sticking strictly to one genre, one constant is her gravelly voice and this is used to best effect on Livin’ On A Sunday, How Did Things Get This Way and Baby Love The Life.

www.danafuchs.com

www.rufrecords.de

David Blue.

Oli Brown – Songs From The Road (Ruf Records).

Culled from three superb studio albums, this has Oli in front of his hometown crowd. It brings out his best and believe me he is one of the best.  Speechless and Next Girl personify raw power but it is Love Is Taking It’s Toll where the trio flower. Pulsing bass, crashing cymbals and Oli’s lightning fingers provide a highlight. Lengthy solos are provided on Mr Wilson and Manic Bloom but it’s not all power as the strolling Devil In Me and Stone Cold show but his whipping, ripping guitar is never too far away. Credentials confirmed as a live act with Thinking About Her and You Can Only Blame Yourself.

www.rufrecords.de

David Blue.

The New Groove – Quit Bitchin’ (Own Label).

Recording your debut album at the legendary Rockfield Studios is not something that every band gets to do and I feel that The New Groove has missed a trick here. The album starts well with hints of John Lee Hooker and ZZ Top on the boogie laden eponymous title track. Ben Curtis’ gravel voice is well suited to this but it becomes too affected on later tracks. If he can sort out his vocal delivery then they have the chance of reaping some rewards with their second album and if he can turn in a vocal like that of the chorus of Injustice more often we would be in business, especially when it is linked to strong guitar playing from Steve French. Other notable tracks are Give It Time with its Dr Feelgood influenced chopping guitar and the sleazy (in a good way) Money. Rip It Up is harmless Rock n Roll with French’s guitar ringing like a bell, just like Chuck says and Shovellin’ Dirt is almost there but lack of vocal range just lets it down despite harmonica keeping the songs head above water. There’s some good fluid harp on the smokey Blues, If I Had To Leave but an over the top vocal spoils it.

There are some green shoots in here but you have to look hard to find them.

www.facebook.com/thenewgroove

David Blue.

Hamilton Loomis – Give It Back (Ham-Bone Records).

Already a 7 album veteran, Give It Back provides an 8^th dose of ‘funkified Texas music’ and if Funk is what you are after then this is the place to find it. From the funky rocker Stuck In A Rut with its fluid guitar solo through the strong bass of One More Take and the grinding, George Benson sounding Give It Back to the Average White Band influenced Peer Pressure it’s just a joy. Throw in Soul in the form of A Woman Like You, the dirty slow rocker, High and the slashing guitar and fuzzed vocal of Partner In Crime and you have the makings of an excellent album.

www.hamiltonloomis.com

David Blue.

Tess Of The Circle – Thorns (Vintage Voice Records).

Tess is Tess Jones and an impressive circle of musicians brought in to perform his songs. Thorns is produced by BRIT award winner, Chris Potter. However, the album has missed its time or is a resurrection vanguard. To explain; songs like History and Eyes Of A Clown could be seen as old fashioned and certainly not Nu-Folk. Al Stewart, early Chris De Burgh and Gordon Giltrap are brought to mind with Say What You Want (Run) and Girl In The Window the best of the bunch. Vagabonds And Rogues and No Place Like Home could easily fit into a musical. It’s a mixed bag and Tess will divide opinion.

www.tessofthecircle.com

David Blue

 

 

Aynsley Lister – Home(Straight Talkin’ Records).

Home is Lister’s 10^th album and the first on his own label. His brand of Blues Rock is showcased on the big, bold eponymous title track, a classy Blues with driving drums from Wayne Proctor. He’s not afraid to funk things up on Possession, Inside Out and Hyde 2612, all of which have standout drums and bass (Steve Amadeo). However, Blues Rock is his forte and Free, Sugar, Broke and Insatiable are fine examples. The classic Feeling Good more than matches Muse’s version whereas the rest flits between ballads (You Make It Real) and Blues (Straight Talkin’ Woman and Impossible). Aynsley goes from strength to strength on this showing.

www.aynsleylister.co.uk

David Blue.

Henrik Freischlader – House In The Woods (Cable Car Records).

Cologne born Freischlader started out as a drummer but hearing Gary Moore on Cold Day In Hell he picked up a guitar and never looked back.  He’s been championed by Joe Bonamassa and it’s easy to hear why; Freischlader is a superb young axeman. House In The Woods boasts 10 original songs covering Blues Rock in its many guises. The eponymous title track is a funky Blues Rock whereas the closing track Won’t You Help Me is a power ballad. In between there is 1999, not the Prince song but with the same attitude as the little purple one with slashing guitar, the power and snappy drums of Sisters and the tough grinding Take The Blame. Ballads get an airing in the form of the whispering Two Young Lovers with Elvis Costello coming to mind and the soulful Breaking My Heart Again with echoes of Paul Carrack. Henrik’s classy guitar shines through on the relentless With The Flow and squeals on Hear You Talking but it flows like a mountain stream on the plaintive Nowhere To Go. Throughout the album the lingering sound is that of Freischlader’s voice which comes from the depth of his soul.

www.henrikfreischlader.de

David Blue.

Doug MacLeod's 20th studio album and his 1st for Reference Recordings.

Doug MacLeod – There’s  A Time (Reference Recordings).

 

There’s A Time is Doug MacLeod’s debut album for Reference Recordings but his 30 year career span has  seen a further 19 studio albums. He opens with Rosa Lee, an acoustic Delta Blues with a shuffling drumbeat. MacLeod is a fine exponent of slide guitar and vocally strong. Other Delta Blues included are the gentle East Carolina Woman with wailing vocal and a certain fluidity about his playing, the mournful Ghost where his voice goes from a whisper to a shout in one line, the slick and sure Black Nights and the soothing tones of A Ticket Out. Country Blues are represented in the shape of the wonderfully titled My Inlaws Are Outlaws with wonderful guitar work and the 12 string driven The Up Song, which is rather mournful despite the title. Doug also ventures into Chicago Blues with I’ll Be Walking On which has a feel of Worried Life Blues to it and the contemporary The Entitled Few. However, Doug MacLeod is a storyteller and he excels on the talking Blues of The Night Of The Devil’s Road which is full of suspense and accentuated by the rhythmic beating on his guitar, the well worked religious debate of Dubb’s Talking Religious Blues and the aforementioned The Entitled Few. The only weak track on the album is the gentle Blues of St Elmo’s Room And Pool but that’s only because the rest of the album is of such a high standard. What comes through on this album, as it always does, is that Doug MacLeod is a consummate storyteller, a powerful vocalist and a superb slide guitarist.

www.referencerecordings.com

David Blue.

 

 

Mighty Mojos – Hook, Line And Sinker (Own Label).

Northern Ireland based Mighty Mojos have done everything for their debut album, from recording to distribution. The result is well worth the effort. The opener, White Lightning, is a powerful R&B, jug band Blues and a good, solid start. The uncomplicated Cindylou follows; a Country boogie and good time music. Can’t Be Satisfied is one of two live tracks on the album, it’s a Blues stomper and a classic Muddy Waters tune, treated well. There’s some good slide guitar work and a world weary vocal with wailing harp. From evidence like this, they sound like a good live band. Am I Wrong has acoustic finger picking and slide with snappy slapped drums. Looks like we’ve found a new slide hero in David McClean. You Wouldn’t Treat A Dog Like That is a rough and tumble Blues. A modern love story, eh and there’s that dirty slide again. Come On In My Kitchen is an often covered song and it’s difficult to be original with a Robert Johnson track. The Mojos try to give it a rhythm and they add slide and harp to give a good version of this classic. McClean’s slide is so powerful.  I Want It All is an upbeat R&B and the eponymous title track is fast paced Delta style Blues with McClean on fire. Alan Ward’s lived in voice sets the song off perfectly. Ward’s gruff vocal also comes to the fore on the Country Blues of Devil In Disguise and everything just fits on this one.  Back To You follows a different tack as they go all Country. Gentle acoustic and a lovely song. The highlight is Tampa Red’s Don’t You Lie To Me. This is a classic and could well confirm Mighty Mojos as a down and dirty Dr Feelgood for the 21^st century.  My only criticism is that bass player Ali McKenzie is lost in most, if not all, of the songs but that can be sorted on the second album. All in all, a very good band but McClean is the man.

www.mightymojos.com

David Blue.

Chuck Leavell – Back To The Woods (CrossCut Records).

Chuck Leavell needs very little introduction. He was the pianist for The Allman Brothers and played keyboards with The Rolling Stones; enough said. For Back To The Woods he has selected a number of Blues classics, both piano and guitar based. He’s also assembled a top class band and invited a number of all-star guests.

He opens with Little Brother Montgomery’s No Special Rider, a New Orleans piano Blues. Good sounds and good times. Leroy Carr’s Evening Train is played as an acoustic, strolling Blues with Keith Richards on guitar whereas Memphis Slim’s Wish Me Well is a pulsating Blues with Leavells fingers a blur at times and John Mayer guesting on guitar. Leroy Carr is obviously a favourite and four more of his songs are featured; the shuffling Low Down Dirty Dog, Mean Mistreater with Candi Staton sharing the vocal, the old time piano Boogie Woogie of Memphis Town and the highlight of the lot, the Professor Longhair-esque Naptown Blues. All four show that Leavell can sure play the Blues. Ray Charles made Losing Hand a hit and Leavell gives it a smouldering treatment. The eponymous title track, written by Charlie Spand, is a straightforward piano Blues but augmented by Danny Barnes’ tuba and clear, sharp guitar. Barrelhouse Buck McFarland’s I Got To Go Blues is played at lightning speed with added fiddle and guitar. Fast fingers all round on this Country Blues. Leavell gives fellow pianist Otis Spann’s Boots And Shoes an updated Delta feel (Keith Richards and John Mayer both making another appearance)and Jesse James’ Southern Casey Jones is an upbeat New Orleans epic with wailing sax from Randall Bramblett. Another in the New Orleans style is Skip James’ If You Haven’t Any Hay with piano mirroring the vocal. Candi Staton takes the vocal on her own for Leona Manning’s The Blues Is All Wrong although the song sounds a bit thin without bass or drums. Leavell finishes it all off where he began, with a Little Brother Montgomery song. This time it’s Vicksburg Blues which is triumphal. It’s just Chuck on piano and singing, simple and effective.

www.crosscut.de

www.chuckleavell.com

David Blue.

Robin Trower – Roots and Branches (Manhaton Records).

What is there left to say about Robin Trower? One of the all-time British guitar greats, listing Procol Harum and an extensive solo career covering 40 years in Blues and Prog Rock, he could be forgiven for putting his feet up. Not likely! Roots & Branches is his 31^st release since leaving Procol Harum and as the title suggests, he’s returned to his roots to rediscover some of the songs that shaped his blossoming years, mixed with some new songs influenced by these classics. He starts off with by slowing down the intro to Hound Dog and returns the song to its Blues roots with suitably laconic guitar and harp. Shape Of Things To Come has some classic Trower playing as he turns this into a grinding Funk Blues and I Believe This To My Soul is a sophisticated Blues. Two Blues classics in the form of Born Under A Bad Sign and The Thrill Is Gone are offered in differing versions, the former delivered like a string bending master and the latter is played in a way that even BB King hasn’t thought of. He keeps the vocal laid back and throws in a few more notes than BB and it works. When I Heard Your Name is a contemporary Blues on the soulful side and Sheltered Moon is a sultry, sophisticated Blues. Both are relaxing in their own way. Another song made famous by Elvis Presley, That’s Alright Mama is given a grungy makeover and Trower returns to his original slashing, screeching guitar. Little Red Rooster has Trower in his element. Forget the Rolling Stones’ very good cover but this is how it should be played, on the menacing side. It’s dark and brooding and he’s not lost any of his guitar prowess on sustain and power. Save Your Love is a lengthy, slow Blues with plenty of fills and thrills. He’s well known for his grinding Blues Rock and there’s not a finer example than the closing track, See My Life. This reminds me why he is one of the best guitarists ever to come out of the UK and the old time guitar solo is not too indulgent. A true master!

www.manhatonrecords.com

David Blue.

Marcus Bonfanti – Shake The Walls (Jigsaw).

With his 2010 album, What Good Am I To You, listed in Classic Rock’s top 50 albums of the year, the follow up could have been difficult. The opener, Alley Cat, dispels the fears immediately with its great riff and deep, velvet vocals. That voice is the constant despite some genre switches – Country Blues (Jezebel), classic Rock (Cheap Whisky), R&B (My Baby Don’t Dance), Americana (We All Do Bad Sometimes) and Blues (Honest Boy). Highlights are Honest Boy with images of the old Blues shouters and the high octane rocker Bang Of A Gun. Where that big voice comes from in such a little dude I don’t know.

www.marcusbonfanti.com

David Blue.

The Reverend Jimmie Bratcher – Secretly Famous (Ain’t Skeert Tunes).

Secretly Famous is the good Reverend’s seventh album and this time it’s produced by the multi-Grammy winner Jim Gaines. You can tell immediately as the opener, Jupiter & Mars, comes at you with plenty of attitude and grinding Blues. It’s got a big, full sound in the solo and is a sweetly produced starter. Craig Kew’s funky bass line is the basis of the sexy sounding 57. Laid back and smooth, pity he’s singing about a microphone! Feels Like Friday is a fast paced contemporary Blues with guitar flowing like molten metal and he slows things down on the acoustic ballad, Just Feels Right. It goes the whole nine yards and could easily be a Bon Jovi song. Check Your Blues At The Door is a clever title for a straightforward, no nonsense soft Blues rocker with a swinging feel. It’s gritty vocal and sharp guitar carry it through. Tobacco Road is an often covered song but I’ve never heard it played this way. There’s a of John Lee Hooker’s delivery in here and it is as good a version of this song as I’ve ever heard, especially in the grungy parts. The driving Blues of Nowhere To Go But Down gives a contemporary feel whereas When I Fall Apart is a classy Blues Rock. Bratcher plays it a bit safe on the Addrissi Brothers’ ballad Never My Love but he’s back on form with the solid, grinding funky Blues of I Can’t Shake That Thing. He plays it for laughs on Bologna Sandwich Man before finishing up with Starting All Over Again, a good Country Blues rocker. The Reverend can turn his hand to a number of styles but he’s most at home when he’s rocking the Blues.

www.theRevJB.com

David Blue.

King King – Standing In The Shadows (Manhaton Records).

Glaswegian Blues rockers King King’s latest offering, Standing In The Shadows completely dispels the myth of the ‘difficult second album’. Opening with More Than I Can Take, a Southern States Blues rocker with a strident guitar solo they draw their line in the sand.  They follow up with the soulful Rock sounds of Taken What’s Mine, a cross between Free and Joe Cocker. A Long History Of Love is a lengthy ballad, emotion filled and with a powerful vocal. Alan Nimmo’s guitar playing is excellent as ever, with some of his best playing on offer here. Frankie Miller’s Jealousy has funky guitar with Bennett Holland ably backing up on organ. This is on the Soul side too.  The Joe Cocker comparisons resurface on What Am I Supposed To Do, a Soulful soft Rock where Nimmo climbs the peaks. One More Time Around has thumping drums, driving guitars and organ. A groovy Blues rocker, Free influenced with slashing guitar.  Can’t Keep From trying has happy sounds. Faster paced, it’s a bit out of place and may be too in the Pop mould for some. Coming Home (Rest Your Eyes) is soft blue-eyed Rock in the Paul Carrack mould with incisive guitar fills from Nimmo. Just to confirm the Free influences they throw in their piano based grinding rocker, Heavy Load and they round things off with the funky rocker, Let Love In. King King is a band that has it all, a good singer, a great guitarist and excellent self-penned songs in abundance.

www.kingking.co.uk

www.manhatonrecords.com

David Blue.

Mark Knopfler @ SECC, Glasgow 17/05/2013.

Mark Knopfler playing in Glasgow is like a homecoming for him and he certainly enjoyed himself. In fact, he had enjoyed himself on the previous night too at band member John McCusker’s birthday bash. If any of the band was under the weather then it didn’t show. A set of Celtic influenced solo songs and a dusting of classic Dire Straits tracks had the audience in the palm of his hands. Knopfler has surrounded himself with some of the UK’s top musicians and it was a pleasure to listen to the art of instrumentalists. The band were all multi-instrumentalists and could turn their hand to any genre as Blues, Jazz, Country and Rock were all served up with the same passion and dexterity. Songs from the latest album, Privateering, were well received with the eponymous title track and Gator Blood highlights. However, the best applause was saved for Romeo & Juliet, Telegraph Road and the final encore of Local Hero. It’s 35 years since I first saw Mark Knopfler play with Dire Straits and his prowess on the guitar has not waned one little bit. We were promised an ‘Evening With Mark Knopfler’ and that is exactly what we got.

 

David Blue.

Dave Arcari & The Hellsinki Hellraisers – Whisky In My Blood (Buzz Records).

If you’ve heard of Dave Arcari before then you’ll think you know what you’re in for. However, not everything is as it would appear. Known for his raucous, abrasive style and loved for it on the festival scene, Arcari has mellowed slightly in parts of this album. The Arcari of old is to be found on Heat Is Rising, where it’s just him and his guitar, Robert Johnson’s Travelling Riverside Blues, on which he slips effectively into his natural Scottish accent, and Preachin’ Blues with his manic growls and laughter and See Me laughing, a Delta influence Arcari style Blues. These are the Blues, Glasgow style. Highlights from the more mellow side are Rough Justice, which has some of his rough edges polished off, the Country Blues of Cherry Wine, Third Time Lucky, played with banjo and Jitterbug Swing. Other notables are the short and sharp Day Job, Tell Me Baby, which will be great live and the fractured, almost sentimental, sounds of Still Friends. This is an album to please fans, old and new.

www.davearcari.com

www.bluesnews.fi

David Blue.

Chris While and Julie Matthews – Infinite Sky (Fat Cat Records).

BBC Folk Award winners, While and Matthews, are widely respected musicians and songwriters and this, their 8^th studio album, gives indications as to why. Harmonies abound is tracks such as This Beautiful Life and Hope Springs, both on the cusp of Folk and Country. They move firmly into the realm of Country with Shaky Town, Broken Crash Barrier and Come On Over, the latter being the stand out track on the album. I Apologise and Half A World Away are both gentle and hypnotic and are prime examples of their excellent songwriting skills. There are some less successful songs with the slightly morose Nie Weider (Never Again) which has well-meant sentiments but just not for me and South America (Come Home Soon) which is a bit twee but the tight harmonies come to the rescue as they do on the patchy Inconvenient Hero. Gravity is too one paced and sounds a little bit like These Dreams by Heart but without the impact of the chorus. All in all this is a fine album by excellent musicians and top class songwriters. A good introduction into the world of While and Matthews.

www.whileandmatthews.co.uk

www.circuitmusic.co.uk

David Blue.

Albany Down – Not Over Yet (AD Recordings).

Not Over Yet is the follow up to their 2011 debut South Of The City. The Blues are represented on the strong opener, Back Again, the contemporary Travelling Blues and the epic You Ain’t Coming Home. Straight out rockers such as Take The Town, You’d Better Run and The Working Man pepper the album. Throw in Middle Eastern themes on the beefy She’s The Light and the Country Rock of Man Like Me and the diversity shines through. Paul Muir is a true Rock singer and Paul Turley’s guitar is formidable; expansive in places, lightning fast elsewhere. I hear Steve Earle, Joe Bonamassa and Dr Feelgood but no doubt, they are their own men.

 

www.albanydown.com

 

David Blue.

Carrie Rodriguez – Give Me All You Got (Ninth Street Opus).

Rodriguez’s sound is rooted in Americana (Country/Pop of Devil In Mind and Whiskey Runs Thicker Than Blood) and Jackson Browne and The Eagles influences abound (the Country ballads Sad Joy and Cut Me Now, the latter a triumph). She uses her fiddle to great effect on the instrumental version of Devil In Mind and the gritty Country Rock of I Cry For Love. She’s not just a fiddler though; her voice is powerful in places (Tragic), soothing in others (Get Back In Love). Her easy to fall for style is exemplified by the nu-Country songs Lake Harriet and I Don’t Mind Waiting as well as the strangely effective Brooklyn.

 

www.carrierodriguez.com

 

David Blue.

 

Lisa Biales – Singing In My Soul (Big Song Music).

Lisa’s eighth album on Big Song showcases her diverse musical tastes. There’s Gospel with the triumphant eponymous title track. Country Blues are represented by Let The Mermaids Flirt With Me, which just falls short of David Johanssen’s version. You Got To Know How is a bar-room Blues of high order whereas I Only Have Eyes For You is given an excellent slow Jazz treatment. There is good rise and fall in her voice and she has a wonderful tone throughout. The only self-penned song is the childlike Magic Garden, whilst Write Me In Care Of the Blues has a 50s Blues sound and may just be a little too clean.

www.LisaBiales.com

 

David Blue.

Paul Rose – Double Life (Mita Records).

Rose has built his fan-base over the years but this, his 12^th album, may well be the one to bring him widespread attention. A mix of classics like Honey Hush, If Loving You Is Wrong (I Don’t Want To Be Right) and Stormy Monday would seem commonplace. However, the treatment of these standards and Rose’s superb guitar playing makes the album well worth seeking out. Guest vocalists pepper the album; Terry Evans on the beautiful, Gospel influenced Dark End Of The Street, Sweet Pea Atkinson on  the rocking Ball & Chain and Raffia Ford on the excellent R&B of Crazy ‘Bout You Baby are standouts.

www.paulrose.co.uk

www.mitarecords.com

 

David Blue.

Devon Allman – Turquoise (Ruf Records).

Being the son of a Rock legend doesn’t guarantee you success but Devon Allman has enough talent to make it on his own. Fresh from his collaboration with Cyril Neville and others in Royal Southern Brotherhood, Allman releases his debut solo album for Ruf Records. With a crossover between Country (When I Left Home and Don’t Set Me Free), Soul (Into The Darkness) and Rock (Homesick, Strategy and Tom Petty’s Stop Draggin’ My Heart Around)Allman delivers an album that you can use to rock out to or find your mellow side. Santana style guitar, excellent backing vocals from Samantha Fish and songs that make you feel at ease are trademarks.

 

www.rufrecords.de

 

David Blue.

Bart Walker – Waiting On Daylight (Ruf Records).

Gritty Southern Stateside Blues your thing? You’re in for a treat.  Whether it’s Blues fuelled Rock such as Black Clouds and Gotta Be You or the upbeat R&B of JB Hutto’s Hipshake, it’s the power of Walker’s guitar that hits home. Girl You Bad and Mary & Me showcase his slide playing and there’s ZZ Top influences on Took It Like A Man and Happy. The title track has echoes of Slowhand himself and the closer, Greg Allman’s Whippin’ Post, is a slow burner, building to a climax before finishing softly. From the home of Country, this is a contemporary Bluesman par excellence.

 Move over Simpson, Walker’s the new Bart in town.

 

www.rufrecords.de

 

David Blue.

Martin Harley – Mojo Fix (60/20 Records).

Welcome to the big time, Martin Harley! He mixes things up with the Reggae beat of Rum Shack and acoustic Folk of Cardboard King, the latter rivalling current overlords, Sheerin and Howard. However, it’s when he unleashes Ry Cooder influenced electric slide on Working For The Man, Mean Old City and Ball & Chain that he shines. The title track hints towards White Stripes and Outlaw has markings of rebel Country. Wrecking Ball highlights Jazz, Blues and Big Band whereas Tightrope and Treading Water show acoustic class, the former a marriage of Paolo Nutini and The Stereophonics. Harley has it all – voice, guitar artistry and the songs. Can’t wait for a live performance!

 

www.martinharley.com

 

David Blue.

Alan Turner – When One Door Closes Another One Opens (Self Produced).

Former frontman of Lost City Soul, Turner sets out on his own with this 4 track EP. Opening with the Celtic inflected indie rock of Angel and the 80’s throwback Dance Until The Night Falls he gets the listener involved from the beginning. Paris is dance orientated and although there’s not much variation, an additional quirky middle eight and extra bass could prove beneficial. The best track on offer is the Oasis inspired Open Door. Good vocal performance in the higher range and with some lyrical polishing he could have a chance. The songs are raw and further production will help but the basic building blocks are there.

 

https://soundcloud.com#alanturnermusic

 

David Blue.

Erja Lyytinen – Forbidden Fruit (RUF Records).

 

Finnish songstress Lyytinen’s latest album shows a more personal side and the bittersweet Joyful Misery is a fine example.  She goes through her emotions in a number of styles, highlighted on the funky Soul, slow Blues and Jazz of Hold On Together. Blues themes permeate the album with the eponymous title track being a contemporary Blues, Lil Johnson’s Press My Button continuing the tradition of Blues double entendre and Things About Coming My Way traditional Delta.  Her trademark slide playing is apparent on Son House’s Death Letter. However, no matter what she plays, everything is backed with emotion laden vocals, wonderful harmonies and expert guitar playing.

 

www.erjalyytinen.com

www.rufrecords.de

 

David Blue.

Julian Sas – Bound To Roll (Cavalier Recordings).

Dutch master Julian Sas’ latest album confirms his growth into a top Blues guitarist. Trademark bludgeoning Blues arrive in the shape of the opener, Life On The Line, the eponymous title track and Steve Marriott’s 30 Days In The Hole. Swamplands and Tear It Up are Boogies at either end of the speed scale. The other 2 covers, Dylan’s Highway 61 Revisited and Rory Gallagher’s Shadow Play are high octane versions with slinky slide guitar and lightning fingers respectively. Throw in the offbeat Blues of The Blues Don’t Worry and you have an album to be proud of.

www.juliansas.com

www.cavalier-musicmanagement.com

David Blue.

Mark Harrison – Crooked Smile (Own Label).




Londoner Mark Harrison’s second album, Crooked Smile, is a set of 12 self-penned songs that are as unique as they are original. There are hints of blues, Country and folk to take you by surprise and the results should sit easily with the recent revival in roots music. The opener, Georgia Greene is a gentle, old time, homely acoustic blues and he follows it up with Pearly Gates, a jug band blues. Crematorium Blues is maudlin yet uplifting. Good mandolin playing from Ryan Carr and harmonies from Josienne Clarke. Clarke also adds her harmonic vocals to Mexican Gardener. This is in the same vein as the opener with good quality guitar and a simple drum beat to play behind the slightly political theme. Bombs Coming Down is down to earth and back to basics. Well played, with rapid mandolin from the aforementioned Carr. The gentle feel to the album continues with Lay Your Burden Down. This time Josienne takes the lead vocal and the result is simple music, maximum pleasure. The Demon Drink is another homespun song with an authentic roots feel. Vamped harmonica from Will Greener and mandolin adds to the now familiar guitar signature. Harrison’s vocal style is almost childlike and quite idiosyncratic. The Original Dawg has an original Country Blues feel and this one will creep up on you with its one line chorus. Effective electric guitar over the acoustic makes for a surprising highlight. Honeyboy has a quirky delivery and he sometimes struggles to get all of the words in. Top slide guitar from Harrison and snappy drums from Ed Hopwood. Blessed has prominent slide guitar throughout and highlights Harrison as a top slide and pick player. However, the manic mandolin is what gives this a true air of authenticity and the overall ensemble provides a highlight. Smiler John has more gentle sounds and is a lovely song whereas the closing track, Reckless, is a shuffling Blues based Country effort with a great lead from drummer Hopwood which gave me a warm feeling all over and provides a good finish to the album. The more you listen to this album, there more you are going to like it – believe me!

www.markharisnrootsmusic.com

David Blue.