Alastair Moock – Fortune Street (CoraZong Records).

Fortune Street is Bostonian Alistair Moock’s fifth album and he presents nine original songs and one cover. The album was recorded in just five days and Moock says that “it was the most fun I’ve had making an album”. The eponymous title track opens this album and highlights Moock’s slight gruff quality to his voice. It’s a sedate opener, played in the open key of E that is firmly in the Americana fold. Yin Yang Blues is a quirky blues and Woody’s Lament is Americana again. These gentle acoustic sounds blend into Moock’s understated guitar and Sean Staples’ vocal. This is a Woody Guthrie tribute with some harmony that confirms Moock’s citation that “Woody Guthrie is the reason I’m a songwriter”. Swing That Axe is old style folk blended with jazz and is a well executed good time song. God Saw Fit To Make Tears is a lovely title and is gentle Americana with a weary vocal from Moock and guitar from The Mercy Brothers’ Michael Dinallo.

Cloudsplitter is played, and sung, in a mountain style. Moock is an excellent storyteller and this song, based on Russell Banks’ novel of the same name, is one of the albums highlights. Roll On (Song For Anne Marie) brings up one of my ‘hates’. Well, I say hates but really it’s just a dislike. I’m not always a fan of ‘Song For’ songs as they tend to be a little too sentimental for me. Not this one though. It’s as gentle as its predecessors but there is little sweetness in there. Kris Delmhorst adds his own vocal talent to this. Own Way To Heaven is old style folk/barroom with a Gospel feel, but just listen to the lyric. Delia is a tale of a gambling girl and highlights a storytelling talent again but Blind Willie McTell’s this time – an epic, with leanings towards the blues. Fishing Tales is a low key finish but that was to be expected given the pace of the rest of the album. This is Country/Folk with his slightly gruff vocal showing up well. The overall feel of the album is one of intimacy and leaves you feeling that you have visited a small, private party.

http://www.moock.com/
http://www.corazong.com/

David Blue.

Paw Paw – Wired OK (Albino Recordings).

This is the debut single from Paw Paw -- one guy, two girls & plenty of synths – oh it’s The Human League. Seriously, Wired OK opens with a Devo Whip It style beat and thumps its way through on a rollercoaster of pop. The other tracks on the single are two versions of Strange Reaction, which is Pet Shop Boys with a bit of Erasure. The second version, the Sam Dread Mix, is just more buttons and knobs. There is room for Paw Paw in today’s pop arena.

www.myspace.com/albinorecordings
www.myspace.com/pawpawmusic

David Blue.

Cliff Eberhardt – The High Above & The Down Below (Red House Records).

This is Cliff Eberhardt’s first album in 5 years and features 12 original songs. The eponymous title track is up first and is roots with a blues/rock punch. It is acoustic led and highlights the gritty quality to his voice. Missing You is slow and brings to mind many other American singer/songwriter offerings of the past – it’s of that high standard. It’s Home Everywhere I Go keeps the pace on the slow side and his voice is easy on the ear. The Next Big Thing is bluesy Americana and The Right Words is a piano ballad that conjures up images of the piano player in the corner of a bar with an upright bass player beside him. After The Rain Falls is an easy paced acoustic song that is short and to the point.

Assembly Line is another excellent understated song which is well constructed. Dug Your Own Grave confirms a Tom Waits feel to his music and shows him as another great American songwriter. Let This Whole Thing Burn has a slight Latin tinge and a strong performance. New Is What’s Come Over You is relaxing and I’m All Right is contemporary Country. The final song is Goodbye Again and it is no surprise that he closes with another quiet song. Most of the album is on the gentle side but having said that, he still manages to show many different facets to his voice.

http://www.redhouserecords.com/
http://www.cliffeberhardt.net/

David Blue.

Mem Shannon – Live. A Night At Tipitina’s (Northernblues Music).

A gushing introduction brings Mem and the band to the stage at Tipitina’s in New Orleans and they open their first live album with Payin’ My Dues. This is funk personified and is a strong & vibrant pounding opener. It’s a surprise that it has taken him so long to bring out this live album considering he does almost 200 gigs a year. Smell Something has bass & drums producing a sound base as the funk continues. No Religion is a throbbing blues that allows Shannon to display his full range on guitar and the band conjure up a storm. The follow up, Who Are They gets us back to the funk and is very strong technically. All I Have is slow and soulful but gives the sax soloists, Tim Green, Joe Cabral and Jason Mingledorff, a chance to shine. Perhaps it is a little too slushy for this hard hearted reviewer.

I Won’t Back Down is the Tom Petty song and I’m disappointed in this as I love the song. Mem’s treatment is not a success despite his strong guitar work. No Such Thing has him back to what he does best – funking up the blues. Keyboard player glides across the keys. Forget About Me is slow soul and heartfelt. His deep voice booms this out. Voodoo is the first of two epic tracks to finish off with, this being just under 12 minutes long. This is a funk-fest with an outstanding rhythm section in Josh Milligan on drums and Angelo Nocentelli on bass. It’s a great version of the Neville Brothers song and the full band is on top form. Phunkville is from his last album and he goes out with a bang on this grinding blues-based funk.

http://www.memshannon.com/
http://www.northernblues.com/

David Blue.

Paul Reddick – Revue (Northernblues Music).

Recently acclaimed as one of the most original singer-songwriters in the blues today, Paul Reddick has had a two pronged attack to his career. He is part of the group The Sidemen and has also launched a successful parallel solo venture. Revue presents us with songs from all stages of his career so far, including some songs that are currently unavailable elsewhere. I’m A Criminal is a throbbing blues, a grinder with grungy harmonica from Reddick. Colin Linden also throws in his not inconsiderable guitar. 2nd Street is played on acoustic slide and harmonica but in a contemporary blues style and boy, do they rip it up at the end. Template Blues is nothing of the sort. It has strong horns and a very clever New Orleans and Delta feel to it -- ultra cool. Villanelle has rootsy mandolin and its simple and fantastic style will make you think that anyone can do it!! Big Not Small has a fuzzed vocal; a rhythmic blues with harp and mandolin to the fore. Colin Linden contributes a heavy bass. Smokehouse is lightning quick and Am I Right Or Wrong has a rootsy homemade feel – a rustic jug band. Rattlebag takes us back to the sophisticated side. We have a fuzzed vocal again but it does come over a little Stevie Ray Vaughan in style with the sliding, smooth guitar. The fuzzed harp from Reddick and jagged guitar solo from Kyle Ferguson are particular highlights.

Train Of Love has a strange introduction and feels as if it belongs to another song. Anyhow, the song gets going into a Country/Americana harp led classic. This will get you going although it has a strange finish too. Queens Hotel has Latin rhythms with horns layer upon layer but still has a bluesy feel to it. ‘Round This Time Of Year is slow and weary Country and Trouble Again is rootsy, gutsy and neat & tidy. Winter Birds is another rootsy offering but difficult to categorise. Waitin’, with its shuffling harmonica, is a blues of high order. Colin Linden’s Hook’s In The Water stays firmly in the Americana field and although quite sparse it is superb. The slide guitar from Linden is haunting at times. Rosemary is jazzy and You Know It Ain’t Right is a breakneck blues where Reddick shows his undoubted class on harmonica as he almost blows himself out. The album closes with The Sidemen Boogie and you can hear the effort put into his harp playing as he delivers a master class. Reddick’s music has been used for films, TV shows and for a Coca Cola Classic commercial. Long may he continue.

http://www.northernblues.com/
http://www.thesidemen.com/

David Blue.

The Eisenhowers – Almost Half Undressed (Serali).

Useless Love is the opening track on this album from another new Scottish band. It is an airy and haunting well crafted song although a little on the long side. Novelty Act has a catchy chorus but the vocalist, Raymond Weir, is a bit light on it although he more than redeems himself on the rest of the album. 25 O’Clock opens with alarm clocks and pinging bass & synths from Paul Gray and Ronan Breslin respectively -- think The La’s or The Coral. and Consequently also has a strange Liverpudlian feel to it and builds the belief that we have another good band on our hands. I can hear Teenage Fanclub, BMX Bandits and Cosmic Rough Riders in this one. Let’s Not Talk About Me is Indie rock of a high calibre and The Abracadabra Man (no, not Steve Miller) is acoustic Indie rock that borders on folk/progressive rock.

The melodic Jigsaw confirms their professional attitude. If Satellites Should Fall is back to the acoustic side but is one of the weaker tracks. I’m sure that the good idea and eerie feeling behind this song could be re-worked. Mr & Mrs Frankenstein is an eccentric little tune and, remarkably, it works. The quirky vocal is a la Elvis – Costello, that is. If I Had To Make A List confirms their dedication to the melody. Constantinople (or is it Istanbul – ok, my jokes are getting worse) is acoustic with shades of the soft rock of 70s band, America. Plastic Jesus keeps its base on the acoustic side but does creep up on you (no pun intended) and makes for a strong finish to the album. Eisenhowers are superb in parts, due mainly to the song writing skills of Weir; I hope that they haven’t missed the boat.

http://www.serali.co.uk/

David Blue.

Gum – Seven Feeble Alibis (Serali).

I don’t know much about Gum other than the scant information on the CD sleeve and they’ve tried to fox me from the outset by only listing six tracks instead of the seven alluded to in the title. Time Going By is the first and I’ll always champion Scottish bands and the job is made easy when you have good raw materials to work with. This is a strong opener and acoustic based rock seems to suit them to a tee. I think that Leigh Myles’ vocals could fit in anywhere as she is such a good vocalist. Beyond The Horizon is a good slow paced rocker with a stadium style chorus. Cross Your Heart, Hope To Die is another power ballad and they tend to concentrate on the song – no big guitar solos to draw your attention away. Asleep At The Wheel reminds me of Garbage (the band, that is). It’s listed as a remix but the song is not represented anywhere else. What was the original like then? Not the best on offer. Falling Through The Cracks is a slow rocker and is more than passable. Untitled is short and pointless (makes up the seventh alibi and is, as the title says, feeble). They close with Low Flying Kites which makes for a low key finish although pleasant enough. All in all, this is a promising debut for Gum.

http://www.serali.co.uk/

David Blue.

Devon Allman’s Honeytribe – Torch (Provogue).

Son of Gregg Allman, Devon & Honeytribe, hopes to carry the family name on to new heights with this, his debut album for the excellent blues/rock label, Provogue. Torch has eleven originals from Allman and they open with the eponymous title track which is blistering funky rock. Allman’s deep vocal tones are intoxicating and he follows in the family tradition for classy guitar playing. This is a classic rock album opening track. The instrumental Mahalo has shades of 70s style San Francisco rock. If you like your guitar rock then you are going to fall for this so get your wah wah out! You wouldn’t normally expect to find a Bob Marley track on an out and out rock album but Allman’s treatment of No Woman, No Cry is sheer class! It’s hard to take such an iconic song and not do damage but you will love this. When I Call Home is an altogether slower pace and this easy rocker is so slick. Perfect World is a big blasting grungy blues that announces a new star to the firmament. Mercy Mercy has Joe Bonamassa on lead guitar and he burns up the frets. This is stunning as Bonamassa brings a different flavour to the Honeytribe of George Potsos on bass, Mark Oyarzabal on drums and Jack Kirkner on keyboards. Something I Know is slow, stadium rock and Heaven Has No Mercy is a Southern style rocker with acoustic slide from Pedro Arevalo. The up-tempo Why You Wanna Bring Me Down is a rocking blues and the second instrumental, 511 Texas Avenue, shows Allman’s fantastic technique on acoustic guitar. They close with Nothing To Be Sad About, an uplifting, good time blues where the title says far more than I can. This is one of the albums of the year.

http://www.provoguerecords.com/
http://www.honeytribe.com/

David Blue.

Kevin Coyne with Jon Langford & The Pine Valley Cosmonauts – One Day In Chicago (Buried Treasure Records).

This is Kevin Coyne’s last, and ironically a comeback, album; he died on 02/12/2004 after having a long and eccentric career in the music business. All 15 of the albums tracks were recorded within a few hours and it is reputed that he made up at least 10 of them on the spot. The opener, Monkeyheart is a fractured blues with Coyne’s distinctive moaning vocal. This shows that he is no respecter of musical genre. Britischer Cowboy is a waltz, in parts, Americana in others and comic in the lyric. He was certainly his own man, often acclaimed as the British Captain Beefheart. Over Land And Sea is Asian influenced with the wailing vocal now the norm. Songs like this show why he was regarded as the antithesis of pop. Money Like Water is in a country style but also has echoes of Blur’s Parklife and Ian Dury. Way Of The World is dreamy and blues influenced. The acoustic Happy Island Girl has a childlike lyric, “zoom zoom goes the plane and I’m on my way” being a good example of this happy song. By the time I reach Scene Of The Crime I’m scouring my memory to find who his voice is reminiscent of. Cracked it – Alex Harvey. This is another bluesy song but one of his more conformist.

She’s Not There is pub rock with a country bent, English style of course – a rollicking good ride. You You You! keeps up the standard and Harvey, Blur and Dury come to mind again. I’m sorry that I never got into Kevin Coyne in earlier years and I am sure that he is sadly missed by many. However, he is musically survived by his son, Robert, who released his first solo album in April this year. I’ve not tracked it down yet but I’m intrigued to hear if he has taken on any of his fathers attributes. There’s a bit of Van Morrison in Angel, another great song sung with so much feeling. Saviour, the standout amongst standouts, is a rhythmic, pulsating rock track; why he was never a big star I do not know. It is said that he was offered the chance to be Jim Morrison’s replacement in The Doors but turned it down as he didn’t fancy having to wear leather trousers. There is also the tale that he refused the offer to write lyrics for Tubular Bells, now I wish that I could have heard the result of that collaboration if it had ever come off. There are four live bonus tracks, the first of which is Blame It On The Night. This is just guitar and voice and Coyne gives a passionate performance. Fat Girl is blues influenced with Coyne’s twist and black lyrics. Money Like Water (version) is better than the studio version and is altogether impassioned and surrealistic. The last of the live tracks is Karate King and it is here that you can hear how ill he was at the time. His breathlessness comes over very strongly. There is a short précis about how the song is dedicated to a bully called Denis and his acerbic lyric is a fine testament to his writing talent.

Kevin Coyne is the type of artist that probably only Britain can produce but I fear we may never see his like again.

http://www.kevincoyne.de/
http://www.buriedtreasurerecords.com/

David Blue.

Various Artists – Rattlesnake Guitar The Music Of Peter Green (Viceroy Music/Lightyear Entertainment).

This 2CD set is a celebration of the music written by and covered by the genius that is Peter Green. Some of the planets best guitarists gather here to pay homage and offer their versions of some of the best known Green tracks. Black Magic Woman is performed by Larry McCray with scorching guitar and smooth voice and much different from both the original and Santana’s most famous version. Dave Peverett & Rod Price produce a soulful rendition of Love That Burns with free-flowing guitar and a big horn compliment. They also contribute If You Be My Baby, which stays relatively faithful to the original and has stinging guitar from Price. Savoy Brown gives Stop Messin’ Around a jazzy, acoustic feel and Snowy White changes Looking For Somebody completely. Luther Grosvenor, Ariel Bender in his Mott The Hoople days, chips in with Cryin’ Won’t Bring You Back and turns in a slinky blues with grungy lead guitar. The only downside is the extended, repetitive ending. He also plays Merry Go Round in a sultry, ragged manner. Peter Green’s writing allied to Rory Gallagher’s class conjures up a classic in Leaving Town Blues – the addition of mandolin is more than justified. Gallagher is also included with his archetypal style on Showbiz Blues. Harvey Mandell & Wilbur Boscomb play Ramblin’ Pony at breakneck speed and create a great version of one of Green’s best songs. They also contribute Long Grey Mare and funk it up big time – top performance from Bascomb on bass. The task of re-creating The Green Manalishi falls to Arthur Brown and he provides an anarchic performance, as you would expect, that oozes with energy. It’s not all Peter Green originals here as it is meant to be a representation of the music played by him. So, the inclusion of Ken Hensley on Hellhounds On My Trail is not too much of a surprise. This Robert Johnson song is essentially turned into a piano blues with a little acoustic slide guitar thrown in for good measure. A cranked up I Loved Another Woman is from Larry Mitchell & Jay Aston and keeps up the high standard. This is turning out to be a fine collection. Mick Abrahams keeps faithful to the original on The Same Way and Top Topham & Jim McCarty turn in a relaxed version of Drifting. Clas Yngstrom churns out a storming version of The Supernatural and Ian Anderson gives us his obligatory flute on Man Of The World, which is almost Oriental in its execution.

The second CD begins in barnstorming style with Billy Sheehan’s version of Oh Well. This is a fantastic 7 minutes of guitar playing, both electric and acoustic. Vince Converse’s Rattlesnake Shake is competent enough and the guitar pyrotechnics at the end are well worth waiting for. There’s a whirlwind performance of Fleetwood Mac from Stu Harman and his blazing fingers produce a heavy rock blues that Green would be proud of. Zoot Money & Bobby Trench give us a soulful rendition of Watcha Gonna Do. Perhaps Green’s most famous song is Albatross and it is a little strange that it is Paul Jones’ harmonica that is chosen to take the place of the guitar. It is pretty unique although I can’t say that I’m impressed too much and I feel that it loses too much of its impact. I’ve never heard of Naked Blue, who gives us Closing My Eyes. The female vocal is different but I think that overall it is another strange inclusion. Ray Gomez contributes a raunchy Evil Woman Blues and Troy Turner revs up the pace with neat guitar work and a solid vocal on Lazy Poker Blues. Harvey Mandel features again, this time with Jon Paris on Watch Out, a shuffling blues that drifts into cabaret at times. Kim Lembo plays A Fool No More and his smokey voice makes this sultry blues. Although a slow song, this is a powerful performance and Mark Doyle’s guitar playing is as good as anywhere else on this double set. Southside Johnny closes out the album with Baby When The Sun Goes Down, an appropriate track to finish with. This has a big brass backing from The Uptown Horns and the overall feel is one of a Springsteen song – great finish. The excellent sleeve notes from Jim Kozlowski (Viceroy Music) and Pete Brown are a good addition and gives us an insight into how the album was put together.

http://www.lightyear.com/

David Blue.

Various Artists – Knights Of The Blues Table (Viceroy Music).

This is a tribute to the memory of Cyril Davies, widely recognised as one of the fathers of British blues, and the opening track, Send For Me, is fittingly one of his compositions. This version is from Jack Bruce and is a classic British Blues sung by one of the best in the business. Bruce’s vocal is more than complimented by his lung bursting harmonica breaks (bet there’s a few out there that didn’t know he played harmonica as well). Clem Clempson also has a high profile on guitar. Georgie Fame is up next with If You Live, the Mose Allison song. This is a silky, jazzy blues given Fame’s renowned panache. Go Down, Sunshine is a traditional acoustic blues with the smokey voice of Duffy Power. Lonnie Johnson’s Rocketeer Blues is sung by Chris Jagger, with able backing from his brother, Mick. This acoustic stroller is great stuff. Pete Brown, Phil Ryan and Dick Heckstall-Smith join forces for Rocks In My Bed. This Leroy Carr tune is given the British treatment and builds up very well. I must have a special mention for Les Davidson here on guitar. The much recorded Don’t Let Me Be Misunderstood is hardly a blues song but it is very welcome on this selection. Performed, solo, by Miller Anderson who provides an emotion laden vocal. Big Jim Sullivan and Maggie Bell give us Blind Man. They are two of the UK’s best blues exponents and Sullivan’s guitar work is masterful. To compliment this, Bell’s voice has that gritty quality that makes for a great blues singer.

Travelling Riverside Blues is one of the classics of the genre and Peter Green is one of the few who can carry it off, even though this was not recorded in his heyday. Backed by Nigel Watson they both simply play guitar and sing, giving it a natural feel. TS McPhee plays Drop Down Mama, the Sleepy John Estes song, in a gritty, punchy manner before Clem Clempson and Jack Bruce join forces for I’ve Got News For You. This is a slow, powerful Chicago blues to match the best from the USA with Clempson in particularly good form. Nine Below Zero play the Sonny Boy Williamson song from which they took their name. They were always a popular band, if commercially unsuccessful to a degree, and their powerful harp player, Billy, nails this dirty, gritty blues. 60s favourites The Pretty Things contribute Judgement Day and they capture the essence of the blues with novel use of John Povey’s harmonica. Paul Jones & Otis Grand throw in Play On Little Girl/T Bone Shuffle and this gives Jones the opportunity to show how good he is on the harmonica. It plods along very nicely until the T Bone Shuffle where Grand takes over and the blues come alive. James Cotton’s One More Mile is a bit uninspired given the calibre of the artists, Mick Clarke & Lou Martin. The set closes with Mick Taylor and Max Middleton with the Willie Dixon & JB Lenoir song, You Shook Me. I was expecting big things of this but its ponderous treatment only leaves the slide guitar as the main point of interest. It’s a shame that it’s a little disappointing at the end but overall, this is a good representation of British blues and a fine dedication to Cyril Davies.

http://www.lightyear.com/

David Blue.

Pinetop Perkins – Born In The Honey. The Pinetop Perkins Story (Vizztone).

93 year old Pinetop Perkins is one of the last remaining golden generation bluesmen. This 60 minute documentary, narrated by Chuck Dodson, tells his story and shows what a great showman he is. He was born Joe Willie Perkins in Belzoni, Mississippi on the Honey Island Plantation, hence the DVD’s title. His parents split up when he was young and he left home at the age of 16 after a particularly bad beating from his grandmother. After a very short Gospel career he met guitarist Robert Nighthawk and started playing with him, in between making moonshine and working on cotton farms. Around this time he started calling himself Pinetop, after Clarence Pinetop Smith. He continued to work in the cotton fields, playing guitar and piano at night before he met another who would be a long time colleague, guitarist Earl Hooker. Pinetop’s next adventure came in 1941 when Robert Nighthawk invited him to play with him on the King Biscuit radio show. This was the first show to feature live blues and led to Sonny Boy Williamson asking him to join his band, The King Biscuit Entertainers, in 1943.

Other notable achievements include teaching Ike Turner how to play piano. The DVD also features some live footage that shows the he, even in his advanced years, can still belt out a tune. His career has not been without its lows, one of which was when a chorus girl attacked him with a knife, severing a tendon in his left arm and nearly ended his career. There were no black hospitals and he had to depend on the radio station owner and sponsor to take him to be treated. Perkins says that his left arm don’t work too well ever since.

At the end of the 40s he was back with Nighthawk and Earl Hooker. He moved up to Memphis and then Cairo, Illinois in 1949. Cairo was midway between the Delta and Chicago and became an important staging post for blues musicians. Pinetop worked as a car mechanic during the day and played piano at night. By 1950, Nighthawk had moved on to Chicago and invited Pinetop to record with him. Again, he was unlucky with injuries and ruptured his eardrum one night when sitting too close to Hooker’s amplifier – his hearing went down to 50%. He went on to play in Ike Turner’s band and even had to fill in on drums occasionally. Perkins moved back to Cairo in 1953 before going up to Memphis to record at the legendary Sun Studios. It was there that he recorded one of his most famous songs, Pinetop’s Boogie Woogie. He was off on his travels again in the late 50s and his latest destination was St Louis where he joined Johnny O’Neill and The Houndogs. He finally made it to Chicago during the 1960s blues boom and it was here that he had his most fortuitous meeting. In 1969, Otis Spann left the Muddy Waters Band to go solo and Waters asked Pinetop to replace him. Despite a lasting friendship with Waters, Pinetop left with the rest of the band to form The Legendary Blues Band. Unfortunately, Waters died 3 years later and Perkins says that the reason was that the band had left him.

Perkins finally went solo and released his first album in 1988. he tells of his raucous whisky drinking days and how he gave it up at the ripe old age of 82 when he could not be bothered being arrested every time he stepped out his front door anymore. It all worked because he became a Grammy nominee and won a Lifetime Achievement award in 2005. By then, he had made his final, so far, move to Austin and was given the keys to the city on his 92nd birthday.

Apart from the great concert footage, one of the enduring memories is that of Pinetop being driven up to McDonalds in his Rolls Royce and ordering 2 double cheeseburgers and 4 apple pies. Seemingly, that is all he regularly eats. There are many interviews where some of the best blues musicians give their memories of Pinetop. Those interviewed were Sam Carr (Robert Nighthawk’s son), Willie ‘Big Eyes’ Smith, Bubba Sullivan, Ike Turner, Bobby Rush, Dr John, Lonnie Brooks, Mitch Woods, Paul Oscher, Hubert Sumlin, Taj Mahal, Ann Rabson, Marcia Ball, Kim Wilson, Koko Taylor, Bernard Allison and Eddie Clearwater.

Pinetop Perkins is one of the greatest bluesmen ever and a man of great humility. His answer to the final question of ‘if you weren’t a musician, what would you be doing’ was that he did not know what he would be doing, probably in the poor house. Also included is a bonus 10 track CD with some of his greatest songs. This DVD package is a must for those interested in blues history.

http://www.vizztone.com/
http://www.pinetopperkins.com/

David Blue.

National Debt – From The Horse’s Mouth (No Tom Records).

National Debt was formed by Ronnie Smith and Michael Messer in 2002 to play for fun when Messer was not out on tour. That is still the situation but last year they decided to record an album and From The Horse’s Mouth is the result of that decision. Oozlin’ Daddy Blues sets the tone for this Rootsy album however, don’t ask me what the title means as I have not got a clue. Slide guitar from Michael Messer is fantastic. Charlie’s Tale is the first of a trio written by vocalist Ron Smith. This is top class folk with added value in the form of Messer’s guitar. The second of Smith’s trio is Love To Burn and this one is old style Country/Mountain music. Backing vocal from Cheyne Pride is very good and her voice compliments Smith’s extremely well. By now it should be taken for granted that Michael Messer’s guitar work is nothing short of superb and the short solo on this is sublime with backing from long time musical partner Ed Genis. Dead Men’s Wages makes it three in a row of Smith penned songs. This is the weakest of the three and his vocal is not really on form here. He would be best leaving this type of song to the guy that I was reminded of when I heard it and that is Nick Lowe. Leaving Home is a Charlie Poole song and is firmly in the Roots/Americana genre. This earthy offering would go down great in an intimate live venue.

Preach The Gospel has the band going electric for the first time. Written by Washington Phillips, this is an easy going, laid back stroll. Lonely Road is another of Smith’s songs and this is brilliantly raw Alt. Country. No matter how good a song is, and believe me, this is a highlight, Michael Messer always manages to lift it with his guitar fills. Salvation Blues is Smith’s last solo song writing credit and is Americana of a high standard. Turning Blue sees Messer co-writing with Smith for the first time on a stripped bare rootsy offering. They turn to the mountains again for Ridin’ That Midnight Train. Messer and Genis are standouts here again on this up-tempo classy Americana. I would have swapped the final two tracks around for the last song, The Memory Of Your Smile is a bit too laid back for my liking, good though it is. Backing vocals from Pride and bassist Chris Clarke are top drawer and there is a powerful chorus to its credit but the pace lets it down for a closing track as it does not really implant itself in the memory. However, the track is of such a high standard that it is only me being picky. This is a very good album by very good musicians.

http://www.michaelmesser.co.uk/

David Blue.

Savoy Brown – Bring It Home (Viceroy Music).

Bring It Home opens with Mr Brown Boogie, a fast paced instrumental with excellent slide guitar from Kim Simmonds and Pete McMahon on harmonica manages to keep up the pace too. Sweet Loving Thing is a grinding blues rock, the kind that John Mayall excels at. There is a gritty vocal from former Kingsnakes front man McMahon and punchy guitar from Simmonds. Too Much Of A Good Thing has another excellent vocal from McMahon – swing/jump blues this time but Simmonds guitar is consistent and former Robert Cray Band drummer, Dave Olson keeps the whole thing together. Misery is blues based rock and more than competent standard fare. Your head will be nodding to the staccato beat of Willie Dixon’s Shake For Me as Simmonds and Hubert Sumlin trade riffs. Pack It Up, with pounding bass from Jim Heyl is a Freddie King song turned into blues rock, British style. Savoy Brown and their ilk cornered this market in the 60s and 70s and the genre went on to spawn Free and many others.

‘Lonesome Dave’ Peverett is the guest vocalist on High On Your Love, which could be classed as an old shuffling Texas style blues. The harmonica gets another outing here and is used to great effect. The grinding Worried Man has more of Simmonds’ excellent slide guitar and the vocals are better than its predecessor. John Lee Hooker’s Little Wheel is given a sympathetic treatment and the guitar and harp get it on at the beginning. This is more rhythmic than the original but not quite as hypnotic. Percy Mayfield’s You’re In For A Big Surprise (the title, not a statement) is a big, powerful, sophisticated blues and there are strong vocal and harmonica performances on the New Orleans flavoured Real Fine Woman. The contemporary blues of That’s What Love Will Do are still fresh, even 12 years after the original release. They finish with Baby Please, a slow moody Chicago blues that has Simmonds’ guitar and the vocal melding very well.

http://www.savoybrown.com/

David Blue.

Snowy White & The White Flames – Melting (Mystic Music).

Written by drummer, Juan Van Emmerloot, the instrumental Discoveri is an atmospheric start to Melting, White’s 1998 album. It builds to Snowy’s guitar which pierces the sub-conscious. I can’t help thinking of Dire Straits when I hear Long Distance Loving. Of course, this is not the first time that this has been said. That aside, there is a good riff, the guitar playing is excellent and bassist Walter Latupeirissa is on top form. I’ll Be Moving On is bluesy with a pronounced vocal. This is superb and is really all about the guitar. The More You Live highlights a rock guitarist in full flow with top backing from Van Emmerloot. The often covered Hendrix classic, Little Wing, comes up with one of Snowy’s better vocals. It is difficult to compare his guitar work with the other versions of this song so I shall just say that he excels in his own way. That’s When I’ll Stop Loving You is a grinder and Latupeirissa’s Terpisah is a moody, atmospheric and short instrumental of a high calibre. The First Move has gentle vocals over a standard rock riff but you can always rely on White to throw in the odd twist. Like The Sun is nothing special apart from the progressive rock middle. You will just rock on to That Ain’t Right before going into the title track’s bluesy, prog rock finish. This instrumental allows White to turn in a virtuoso performance and the synthesiser fading to the end makes for a great conclusion to the album. There is one bonus track, Love, Pain & Sorrow, which includes a guest appearance by Dave Gilmour. As you would expect, the pair turn in a festival of guitar but the one thing that I did not expect was the inclusion of harmonica – a good surprise.

http://www.mysticmusic.com/
http://www.lightyear.com/

David Blue.

Savoy Brown – The Blues Keep Me Holding On (Mystic Music).

Savoy Brown has been around as a band for what seems like an eternity. This incarnation, from 1999, has perennial member Kim Simmonds joined by Nathaniel Peterson on bass and Tom Compton on drums as well as a number of guests. They open with Going Down To Mobile, a standard blues but of very high quality. She’s Leaving is an electric blues that will bore its way into your very being. Just sit there and feel the blues. Willie Dixon’s That’s All I Want Baby is a bit more up-tempo and utilises the acoustic slide guitar of Duke Robillard – extremely easy to listen to. The eponymous title track is a funky blues and Bad Shape is a slow blues of the kind that Gary Moore excels – classy playing.

Mississippi Steamboat is a fast paced, good time blues. Simmonds’ vocal is not the best but his stinging guitar more than makes up for it. Ain’t No Need To Worry is an acoustic blues with an authentic Delta feel. Headline News is contemporary (even though the album is from 1999) and has soaring guitar. Little Red Rooster is Chicago blues, as expected. However, it is very much different from the better known versions of The Rolling Stones and Howlin’ Wolf. There is a long guitar intro for a start. This is an excellent version of Willie Dixon’s classic and one that will be my favourite for some time to come. When You’ve Got A Good Friend has them electrifying Robert Johnson. I’m not sure about Simmonds’ vocal again, though. More up-tempo than the original and the guitar is the star. Peterson and Compton keep the rhythm well and it gets good marks overall. Everybody Says They Want It is an upbeat finish and a good time is had by all as Simmonds and Robillard swap guitar licks with ease.

http://www.mysticmusic.com/
http://www.lightyear.com/
http://www.savoybrown.com/

David Blue.

The Mercy Brothers – Strange Adventure (CoraZong Records).

Strange Adventure is the latest, critically acclaimed album from Boston duo, The Mercy Brothers. Consisting of vocalist Barrence Whitfield and guitarist Michael Dinallo, The Mercy Brothers are a bit of a throwback to the days of when it didn’t matter what type of music you were playing, as long as you were playing. Another Man Done Gone has a strangely 60s feel to it but its rootsy and the reverb guitar is simply executed. Stay Away From My Door is hard to pigeonhole but if I had to, I’d call it Rootsy rock. Down That Road is acoustic blues in a Furry Lewis/Reverend Gary Davis style. It is energetic and Whitfield lets rip in a gospel style. I Believe I’ll Make A Change is classy roots that nods its head to Woody Guthrie and The New Year Blues is simply gentle. Blind Willie McTell’s Broke Down Engine is more of the blues, Mercy Brothers style. Very good and played with panache. Working On The Line is well played if a little on the light side. Night Train To Memphis is a Country tinged swinger and Misery Train continues the locomotive theme, moving like a high class train – very smooth with good guitar. Mr Johnson is rootsy again but Whitfield loses it a bit, although that is not a common complaint.

Long Black Train is the first of six live bonus tracks recorded in Oslo, Norway and is unashamed Country and a feel good song into the bargain. California Stars is some more Country flecked musings and is extremely good, as you would expect from a Woody Guthrie song. The live version of The New Year Blues is pleasant and Countrified but the studio version is better. Down That Road stands up to the studio edition and the demonic screams are certainly a change. Misery Train is another of the studio tracks to be given the live treatment and shows them to be a good live band indeed. Pallet On The Floor is more upbeat to the versions that I’m used to. They’ve electrified it and turned it into an R&B but it is different enough to get you thinking. They finish with a bonus studio track, Terraplane Blues, with voice and guitar only. This is the only way to play this slow, acoustic blues.

http://www.corazong.com/

David Blue.

Nina Simone – Empress Live! (Lightyear Entertainment).

Previously released under the title Live& Kickin’: In Europe & The Caribbean, Vol 1, Empress Live was recorded in the South of France and on un-named Caribbean islands at the height of Simone’s popularity. She is given a rapturous welcome for I Loves You Porgy, a slow sophisticated jazz, written by the Gershwins. She follows up with two of her own songs; Four Women is powerful lyrically and is the type of song that made her what she was and builds to a fitting climax whilst The Other Woman is a soulful night club song. The Burt Weill written Pirate Jenny is a strange one. It is very descriptive but will not everyone’s taste and, unfortunately, I am one of them. Bob Guidio’s For Awhile is slow again and she’s still not really out of first gear with this torch song. Three more self-penned songs follow and the first of these, You Took My Teeth, is up-tempo at last but it is very, very short.

Sugar In My Bowl is a Jazz/Blues and swings along very nicely. Her voice is beginning to get in gear and the level of applause tells the tale. Backlash Blues is a rhythmic Blues and she is really on song now. Jim Webb’s Do What You Gotta Do is standard fare and her own Mississippi Goddam is a fast paced political tune. Two more Simone originals follow in the shape of See Line Woman, complete with audience participation and I Sing Just To Know That I’m Alive. There is percussion backing only on the former and this makes for a powerful experience. I Sing Just To Know That I’m Alive is repetitive but has a carnival feeling. She closes with My Baby Just Cares For Me and this has her chiding the audience for their lack of energy but not for long. If you asked any number of people to name a Nina Simone song then this will be it, even if she did not actually write it. This is a good version and a fitting end to an introduction to Nina Simone as a live artist.

http://www.lightyear.com/

David Blue.

Jeff Lang – Whatever Makes You Happy (Furry Records).

Australian Lang lists some of his influences as Skip James, Blind Willie Johnson, Jimi Hendrix and Ry Cooder. He’s off to a good start, then. Whatever Makes You Happy is one of eleven albums by Lang and is the latest to be released in the UK. The opener, The Save, is Americana, Folk/Blues – describe it as you will. I will just say that it is fantastic. It also has a trowel listed as an instrument – certainly the first time that I have heard of this! Switchblade has some impressive National guitar work and he sets his standard here. Alive In There is plaintive and sedate and You Should Have Waited is Country Rock of a high standard – think Poco. Orange Roughie is a short electric riff and he adds Suzannah Espie, to great effect, as a vocal accompanist on By Face Not Name. The pair provides lovely harmonies and excellent Americana with the best guitar work so far. This is a top song. Next up is Rain On Troy, which has a calming effect and is one that I could listen to it all day.

The Day I Got Chewing Gum Stuck In My Hair is contemporary electric rock with the grateful addition of some brass and lap steel. Rejected Novelist Fails Again is another great title but the song is so short and probably pointless unless I’m completely missing the irony. You Tremble has gentle acoustic sounds and Sleeping is contemporary Indie acoustic. Slip Away has Lang back on lap steel and National guitar. This builds up into a very relaxed Alt. Country/Folk Rock with superb guitar work. The Road Is Not Your Only Friend is played at breakneck speed and is manic modern Folk but the eponymous title track calms things down completely and emphasises what a prodigious guitar player he is.

http://www.jefflang.com.au/

David Blue.

Roy Rogers & The Delta Rhythm Kings – Live At The Nevada Brewery Big Room (Chops Not Chaps Records).

Roy Rogers is regarded as one of the worlds top slide players and the evidence is here on this new live album. He opens with Ever Since I Lost You, a showstopper and it’s only the first track! The Delta Rhythm Kings (Steve Ehrmann on bass and Jim Sanchez on drums) are as tight a band as I’ve heard for some time and the audience just know that they are in for a special night. Lieber and Butler’s Down Home Girl is a charming upbeat blues and Rogers unleashes a scything guitar on Mellow Apples, which eventually gets going but is a little fragmented. Willie Dixon’s Built For Comfort is played with barrelhouse piano and this is a brilliant combination with Rogers’ superlative guitar – if you want authentic, you got it. There’s a funked up version of Robert Johnson’s Terraplane Blues to follow and Rogers uses his formidable prowess to change the song completely. You are in for a surprise, believe me. Sonny Terry & Brownie McGhee’s I’m A Stranger Here is turned into a slinky blues with added vocal from Shana Morrison. It’s just their voices and guitar only and sometimes the simple things are the best. Gertie Ruth is a rhythmic blues with Southern fiddle from Tom Rigney and good vocal harmonies. Down In Mississippi has lightning fast guitar and is quite simply a joy to listen to. Vida’s Place is a punchy, throbbing blues and Duck Walk is a short, up-tempo instrumental with more of Rogers’ superb guitar. Shake Your Moneymaker has me running out of superlatives for his guitar playing and the rest of the band match his performance on this Elmore James classic. Norton Buffalo on harmonica blows his lungs out and the pianist, Philip Aaberg, tries to outdo him. Both vocalists turn in a majestic piece and, did I mention that this is superb? The set finishes with For The Children and Rogers shows his virtuosity on this touching instrumental, showing that he has a soft side too.

Roy Rogers is a guitar player’s guitarist, listen to this and you’ll understand why.

http://www.roy-rogers.com/

David Blue.

Matt Schofield Trio – Ear To The Ground (Nugene Records).

Manchester’s finest Matt Schofield returns with his fourth album and makes it a set of two apiece for live and studio albums. He has recently been voted by Guitar & Bass magazine as one of the Top 10 British Bluesmen of all time and that is some accolade. Just as he was influenced by Albert Collins and Robben Ford he now is regularly quoted as being an influence on many a young British guitarist. Although a studio album, Ear To The Ground was recorded live with the band in a single room and the overdubs were kept to a minimum. They open with Freddie King’s Pack It Up and turn it into a funky blues, strong both musically and vocally. Nine Schofield and band written originals follow and start with Troublemaker. This gives Jonny Henderson on keyboards a chance to shine, and he takes it. Schofield joins in with Albert Collins influenced runs as he burns up the frets. The eponymous title track is a grittier, tougher blues altogether and the trio get into a groove. Heart Don’t Need A Compass is a slow brooder. Schofield’s guitar is a star – jazzy and much influenced by Albert King’s Stax period. Once In A While is even slower and has a Gospel feel surrounding it – classy guitar.

Room At The Back, a short instrumental that allows free flow guitar, allows Schofield to tip the nod to such bands as The Meters and Soulive. Someone has a full blown harmonica burst from ‘Big Pete’ Van Der Pluym and is heavier than most on offer. It builds well and the guitar and harp work well together. Searchin’ (Give Me A Sign) is jazzy blues with an edge – slinky guitar and reputed to be Matt’s favourite. Move Along is full blown jazz/blues with Schofield and Johnny Henderson in synchronization. A fast paced, energetic instrumental with drummer Evan Jenkins chipping in to complete a classic organ trio song. Cookie Jar is organ based but Schofield steals the show and turns it into a highlight. When It All Comes Down is a BB King cover and a great finish. It is different enough from the original but still keeps the ethos. Schofield manages to sound like the great man on guitar and it sounds as if everyone who was in the studio that day is involved in the sing-along finish.

The Matt Schofield trio have an album that keeps them in the highest echelons of British Blues.

http://www.mattschofield.com/
http://www.nugenerecords.com/

David Blue.

The Headers – Turn It Up (Bobby Lebel).

Rockabilly trio The Headers comprise of Bobby Lebel (guitar and lead vocals), Scott Freilich (bass and backing vocals) and Dan Stroll (drums and backing vocals). They are seasoned musicians as this new album confirms. The opener, Pretty Good Shape is old style Rock n Roll/Rockabilly with stinging guitar – think Stray Cats. Lovin’ Stuff is a good, harmonic soft rocker with Beatles overtones. 10 of the 11 tracks are originals and Eloise is not a cover of the famous Walker Brothers track but is a swinging Rock n Roller with a guitar that sings. Riptide is a classic 60s style instrumental but given a modern twist. The slightly twee High The Sky fits in well with their 50s/60s style and the Les Paul style guitar track is a good addition.

Hard Man To Love is classic Rockabilly and the rhythm section really get going on this. There is some more excellent guitar work and they all rip it up towards the end. The Headers funk it up on the beginning of Cajun Sugar and then it drifts off into Southern Rock. Lebel really is a good guitar player and this could easily be their signature tune – more please! They return to the classic Rockabilly arena with Hey Ruby and Blue Highway is old school Rock n Roll with lovely harmonies. Turn It Up evokes images of early Presley Rockabilly and Lebel has the perfect voice for this type of tune. Like the others, this is short and sweet. They finish with an audacious cover of Bodhisattva. Not many people take on a Steely Dan track and even fewer manage to pull it off. It could be classed as career suicide and, although they are not in the same league, they almost make it. However, the truth is that this is not a song to mess with and for once Lebel’s voice does not achieve pass marks.

http://www.theheaders.com/

David Blue.

Ben Reel Band – Waitin’ For U (B Reel Records).

Irish singer songwriter Ben Reel releases the first single from his forthcoming album, New Horizon. Although Waitin’ For U is gentle, acoustic based rock it won’t worry the chart compilers. Reel and his band have a number of major support slots to their name and the second track on the single has become a big number for them on these tours. The traditional side of the band is shown through On Raglan Road with its powerful Celtic tones. This is a great track for the traditionalists but may be just a bit too early era Chris De Burgh for others.

http://www.benreel.com/

David Blue.

Various Artists – Terrestrial Extra (Dream Ticket Records).

The Terrestrial Extra is Rainbow George (George Weiss), an eccentric and mystic who tried for election to the Northern Ireland Assembly earlier this year. This album features new and established artists, some of whom are, or were, George’s friends. Ian Dury opens proceedings with Rainbow Land, a recital of a poem with Utopian ideas and most certainly not the Ian Dury that we were all used to. John Otway, Sid Wishes & Friends provide Please Wish Us Well. Former anarchic front man Otway is less so on this but the sentiment is good – get rid of politicians. Chorus is ok. Ben Reel, a new voice on the Irish music scene, gives us Cosmic Shifting and it is the first piece of ‘real’ music. This hippy rock has a floating feel and the distorted guitar adds to the overall experience. Phil Saatchi contributes Another Revolution which is pretty standard fare and the ponderous Rise And Fall which misses the point to a certain degree. He does, however, strike it third time lucky with Dream In Colour, an acoustic folk/rock song that is very good indeed. Ben Reel returns with Lebab for the reggae beats of U People. He certainly gets into a groove on this one and the added saxophone helps make this the best song so far. Sid Wishes has a solo effort with Oh No America which is pleasant enough and builds well. This is one of the better tracks on offer although it is the general message of the complete album is what counts. He also goes solo on the sleepy When We Give Our Love. Although this is extremely easy to listen to it is not at all challenging but that may be what we need sometimes. Anna Jacyszyn gives us Captain Rainbow Fever – sedate, clean sounding and country tinged. Hiroki Okama chips in with No Gimmicks, which is folksy and rootsy. Instruments for all over the world used and these make it one of the best. The album finishes with world renowned jazz musician and former Blockhead, Gilad Atzmon with Lebab. They give us Beyond Belief, which is silky lounge room jazz with dual sax of a high standard.

I don’t know if George’s campaign sunk without trace but I hope that he can continue to provide his eccentric spin on the music scene and give new artists a chance to shine on his label.

www.pleasewishuswell.com

David Blue.

Gwyn Ashton – Prohibition (Riverside Records).

Australian guitarist Ashton has toured extensively throughout Europe, the USA and Australia with the likes of Johnny Winter, BB King, Jeff Healey and Pat Travers. With that in his locker I looked forward to a treat with his new album, Prohibition. The opener, Get Up, Get Over It is blues rock with AC/DC style phrasing -- not too flamboyant but great slide at the end. Good start. Ashton adds a bit of funk for Come On/Don’t Walk, Run! but he firmly remains on the rock side of the blues and confirms his standing as one of the worlds up and coming guitarists. There’s a Jimi Hendrix style fuzzed solo but the addition of Don’t Walk, Run seems a bit superfluous despite being fine in its own rite. Back To You is back to AC/DC again, albeit with more sedate vocals but with solid guitar throughout. Castaway is a venture into acoustic land so get your lighters out! There’s a big, electrified solo as you would expect so, few surprises but a top performance. Secret Agent shows that Rory Gallagher lives on – top tune, enough said? Ain’t My Style continues the Gallagher theme and is a rolling blues to drift away on. The title track is a shuffling guitar and harmonica blues with distorted vocal. The addition of Liz McLaughlin on backing vocals is a welcome distraction and the whole feel is that of a slowed down Bo Diddley (sorry to hear about his recent stroke).

The Road Is My Religion casts Ashton as the latest in a long line of musical storytellers. This is a highlight where he shows his class in archetypal AOR style. Former Alex Harvey rhythm section, Ted McKenna on drums and Chris Glen on bass herald the arrival of Ashton’s slicing guitar on Ball And Chain, a pounding blues to get the blood coursing through your veins. This is classic power trio fare with Glen and McKenna providing the perfect backdrop to Ashton on guitar, as they do throughout. Are You Lonely is a storming R&B with fuzzed solo. Guitar Town is not the Steve Earle song but is a funky blues where Ashton lets his guitar loose – superb. Rest In Paradise (For Stevie) is dedicated to Stevie Ray Vaughan and is a low key finish but is, as you would expect, a festival of guitar. There are two bonus tracks, Judgement Day which is a great blues of acoustic slide and basic backing and Shake It On Down where I knew he would not let me down and comes up with a rocking finish after all.

http://www.gwynashton.com/
http://www.riversiderecords.com/

David Blue.

Wide Mouth Mason – Shot Down Satellites (Curve Music).

A power pop/rock trio, Canadians Wide Mouth Mason are inevitably being dubbed the modern day Police or Nirvana. While they still have some way to go to emulate those two they have built up a solid following with their high impact live performances. They have toured North America with The Rolling Stones, AC/DC and ZZ Top so they are no small thing. Shot Down Satellites, their fifth album, opens with I Love Not Loving You, punky pop/rock and an energetic start. Unfolding keeps the pace up with a great riff thrown in. If they can reproduce anything like this live then they will be a force to be reckoned with. Everybody’s Right is top class modern rock and these boys are easily chart material. There’s some good guitar on this and the singer shows that he has a vocal talent also. Really Wrong is not as powerful as the opening trio although they introduce slide guitar and the high standard of chorus’ are becoming the norm. Phantom Limb shows that they can write a good song and the title track is another one off the conveyor belt.

They maintain their own high standards with guitar prowess and a grinding rhythm section. Worse Than Before is as good as anything put forward by the modern power pop bands. Rust is a concession to the ears and shows that they can produce more sedate songs too. It does build up though – they just can’t help themselves. Simply put, this is great. Moment That You Came is grungy power pop and Wide Eyed has a blues influenced, fuzzed vocal intro before going off into the same power pop as before. There’s some more good guitar work but they may have been better staying with the intro and building on it. Eleven is track 11, surprisingly, and is more pop than the rest. It does still confirm their talent of writing a good chorus though. Please Go Home confirms their Green Day styling and is yet another powerful, catchy song. They finish with the Beatle-esque It’s So Bad, a short, strange ending to a powerful album.

Van Morrison once said of them “the best band that I’ve seen in a long time”, not a lot to add to that, really.

http://www.widemouthmason.com/
http://www.curvemusic.com/

David Blue.

Roger Chapman & The Shortlist @ The Ferry, Glasgow 08/06/2007.

His first words were “it’s fuckin’ noisy in ‘ere” – welcome to Glasgow, Roger! The enthusiastic crowd, mainly in the old rocker group, were there to see their hero and made plenty of noise whilst doing so. Chappo and band were not to be outdone and served up a set that was just as boisterous. The band, including former Whitesnake guitarist Micky Moody, opened with a rousing rendition of Oh Brother, Take Me and continued to showcase the new album, One More Time For Peace. He threw in a few old favourites including a wonderful version of Burlesque and, oddly enough, These Boots Were Made For Walking. Chapman has a brilliant rapport with the audience and did his bit for album sales by telling everyone that “that’s on the new album, as well” for everything, even the old songs. I hope that no-one took him too seriously and is disappointed when they find that the album only has 11 tracks. The highlights of a thoroughly good night out were the aforementioned Oh Brother, Take Me! and Burlesque along with Heading Back To Storyville and Devil Got A Son.

Roger Chapman is one of the best rock voices that Britain has ever produced and The Shortlist are a band to be reckoned with, a real force in the live arena. I’m glad that I managed to see them.

David Blue.

Marc Ford – Weary & Wired (Provogue Records).

Former lead guitarist of The Black Crowes decided to record this second solo album after playing some gigs with three former bandmates from his previous band, blues rockers Burning Tree. The raucous opener, Featherweight Dreamland, is a great start to the album and is quickly followed by Don’t Come Around, a blues influenced rocker with Ford’s fuzzed guitar adding to the overall noise. Tom Petty influences, a theme that will resurface later, appear on It’ll Be Over Soon with aggressive guitars to match. Dirty Girl follows in the same mould, good old Southern Rock with an authentic drawl. The Other Side is more of the same and long may it continue. 1000 Ways is swaggering blues rock with excellent guitar as with those that have gone before. There are some Neil Young influences on Smoke Signals and this would rival most of the great mans epics.

Greazy Chicken has a funky, sleazy beat and Ford gets into the groove. The slide guitar on this instrumental is worth a mention as are the horns. Currents is the slowest track so far and takes you away into dreamland. His voice normally takes second place to his guitar but comes to the fore here. The guitar this time has to make do with being a laconic, anthemic co-star. Just Take The Money is storming, funky rock and is followed by Medicine Time which is more of the same with a strong guitar solo. He’s not just about high octane levels and Same Thing shows he can play slow songs too. This ponderous, Willie Dixon penned blues has Ford’s guitar playing reaching new levels on this 8-minute epic. Bye Bye Suzy has a New Orleans vibe with superb guitar and horns on this happy instrumental. He finishes with The Big Callback, a Chuck Berry throwback and a superb way to end proceedings. There is certainly life after The Black Crowes.

http://www.marcford.com/
http://www.provoguerecords.com/

David Blue.

Doug Cox & Salil Bhatt – Slide To Freedom (NorthernBlues Music).

From the moment that I received this CD for review I wondered how well the fusion of Eastern and Blues music would go. I need not have worried Cox, Bhatt and Ramkumar Mishra serve up a feast. They begin with the Mississippi John Hurt song Pay Day, which starts off as a standard slide blues until Bhatt adds his instrument, a satvik veena. Surprisingly enough, he really manages to make it sound like a second guitar. The addition of tabla from Mishra is also interesting on this folk blues. Bhoopali Dance is overtly Asian in its make up. All three wrote this and Cox answers Bhatt as they dance together on it. Their instruments work so well together and it’s like Appalachia meets Himalaya! At times Bhatt sounds like he is an angry bee. Arabian Night is very easy to listen to and Blind Willie Johnson’s Soul Of A Man allows Cox to get his slide guitar to the forefront as well as his vocal. An interesting addition on this is Bhatt’s father, Vishwa Mohan Bhatt, who plays the instrument that he invented, the mohan veena. Vishwa has already collaborated with such heavyweights as Ry Cooder and Taj Mahal.

The angry bee is back on Fish Pond as Bhatt gives his instrument a pounding. It is obviously the style of playing but it does sound so aggressive. Father Kirwani, written by Vishwa and again featuring him on mohan veena is a true fusion of East and West as all show their virtuosity. Beware Of The Man (Who Calls You Bro), written by Cox, is another of the more bluesy songs and both artists, I feel, have had a fair chance to show their individuality as well as how well they fuse together. The strangely titled final track, Meeting By The Liver, is a fitting finale for these four masters of their instruments.

If this finds its way into your collection, you will not be disappointed.

http://www.northernblues.com/
http://www.dougcox.org/
http://www.sallibhatt.com/

David Blue.

Watermelon Slim & The Workers – The Wheel Man (Northernblues Music).

Multi award winning Watermelon Slim a.k.a. Bill Homans’ latest album for Northernblues confirms his status as the hottest name in the current Blues world. He has managed to get Magic Slim to guest on a track although I am surprised he managed to get the album recorded at all, given his exhausting touring regime. He opens with the eponymous title track and this duet with Magic Slim has the main man on slide guitar and is on the edge of roots/blues. The other Slim, Magic that is, takes on the guitar solo with aplomb. It’s easy to see why he has risen through the ranks of bluesmen so quickly – the guy is pure quality! However, I hope that he doesn’t get rid of all of his rough edges. I’ve Got News is a driving blues akin to the Kansas City style. Top class rhythm section, Michael Newberry on drums and Cliff Belcher on bass. Slim adds his not inconsiderable harp as well. Black Water is a blues/rock chugger and Slim lets his voice go on this one. There is a slight reggae beat and this is a highlight. Jimmy Bell is a harmonica tune, as you would expect. This is just voice and harp and is just about as authentic a blues as you could get. Slim provides some powerful Chicago blues on Newspaper Reporter. His stock is still rising and who’s to say that he won’t become the overall number one blues artist in the near future? This track shows how good a harmonica player he is. Drinking & Driving is up-tempo class. Just get it on your car CD. Fast Eddie is another for the car and he’s just getting better and better.

Sawmill Holler takes us back to the early days of the blues shouter and Truck Driving Mama has echoes of classic R&B. Full of innuendo and blues references, this is good fun. I Know One is an up-tempo blues and this is the type of song that would go down so well over here. The Workers are a top class band and back Watermelon Slim to perfection with Ronnie ‘Mack’ McMullen and Ike Lamb solid on guitar and the aforementioned Newberry and Belcher providing a fantastic base to work from. Slim Harpo’s Got Love If You Want It is a slow, deliberate blues played in a John Lee Hooker style. He picks up the pace again on Rattlesnake before going off to blues on the low side with Peaches. This shows that he is a powerful artist indeed. He finishes off with the rootsy, bluesy Furry Lewis song, Judge Harsh Blues and I just love it.

I can’t wait for the next one!

http://www.northernblues.com/
http://www.watermelonslim.com/

David Blue.

Coco Rosie – The Adventures Of Ghosthorse And Stillborn (Touch And Go).

Coco Rosie, sisters Sierra and Bianca Casady, release their third album on Touch & Go and build on the critical acclaim of their previous two. Opening with Rainbowarriors, an ethereal folktronica with spirits in the background, they take the listener on a journey that is sometimes unsettling but never mediocre. The vocal is childlike and there is lots going on. Promise is unique and the childlike vocal continues but the content is certainly not juvenile. Bloody Twins opens with bells and chimes. Images of witches abound on this very short offering. The strange but charming Japan follows and leads us into the most mainstream song so far, Sunshine. This is gentle, sleepy and hypnotic and is already a mainstay of their live set. Black Poppies contains more of their gentle, sparse tones and confirms their status as officially strange. The childs voice on this is spooky.

Werewolf will take you to very dark places and Animals makes it difficult to categorise them and identify who their fan base will be. There is a slow barrelhouse piano background to the funereal Houses and they continue their fascination with one word titles on Raphael. A word of warning; don’t be taken in by their innocent vocals, these songs are razor sharp. I don’t see the point of the extremely short Girl And The Geese but they make up for it with the 11 minute epic that is the closing track, Miracle. This is hard going, as are some of the others, but they don’t profess to be for the mass market. There is a long, unnecessary patch of silence before the track ends with train and animal noises heralding in acoustic guitar and voice.

Coco Rosie can take you from folk to hip-hop and beyond – you never know what is around the corner. Strange, an acquired taste, yet most compelling.

http://www.cocorosie.com/
http://www.tgrec.com/

David Blue.

Time Bomb – Time Bomb (Ruf Records).

German blues label Ruf have a reputation of showcasing rising North American blues artists in Europe. The latest of these are three female singer/guitarists Sue Foley (Canada), Deborah Coleman (USA) and Roxanne Potvin (Canada), collectively known as Time Bomb. The Telecaster (I love Sue Foley’s Paisley pattern one) wielding trio strut their stuff on the eponymous title track, which is a festival of guitar playing as all three showcase their skills. Hitting On Nothing has Potvin on lead vocal and is classic R&B. This is a stylish song and shows that these girls can certainly play. Sue Foley takes on lead vocal for the Country flecked stormer, So Far, and shows herself to be a very good singer indeed; probably the best of the three. Talking Loud has the third of the trio, Deborah Coleman, on vocal. This is funky and has plenty of attitude. Strong Enough To Hold You has Roxanne on lead vocal but it is a nondescript ballad.

Sue Foley returns on Show Me, a great bar room blues with a sleazy vocal. Motor City is a driving blues with Coleman on vocal but is not too inspiring. Get Up has a Pretty Woman style drum beat from Billy Thommes and Potvin takes the vocal. The only thing that this funky R&B is missing is a more powerful bass line. Two Moons Gone is Foley’s final song and she signs off in fine form on this speedy blues. Don’t Start The Car has a good blues riff and has Coleman on vox -- great rock stuff. In The Basement closes the set and has all three on vocal. They all bring different facets to the table on this R&B mix and provide a good finish. Sue Foley is the most experienced of this trio, having already released ten albums but I am sure that she, and the other two, will go on from strength to strength on the back of this album.

http://www.rufrecords.de/
http://www.suefoley.com/
http://www.deborahcoleman.com/
http://www.roxannepotvin.com/

David Blue.

Hans Theessink – Slow Train (Blue Groove).

Hans Theessink has 20 albums to his name with Slow Train being the latest. He has been called an international blues treasure by the US press and Bo Diddley once described him as “One helluva guitar player”. The eponymous title track is slow, as the title suggests. It is moving and Gospel influenced with lovely relaxed slide guitar. Katrina is Americana of the highest order, delivered to perfection and hypnotic. He has based it on the New Orleans chant, Li’l Liza Jane and tells the story of Hurricane Katrina. God Created The World continues the theme of minimal instrumentation and is very easy going despite it being about the tragic events of 9/11. The gentle theme continues with Thula Mama/Oh God Don’t You Weep, which has African influences (in this instance, Zimbabwe) as do some of the others and was inspired by stories from the African singers in his band. Cry Cry Cry is more up tempo but there is still this underlying gentleness from this master of the understated guitar. Let’s Go is a Country influenced foot-tapper. Mark Knopfler is the milestone for this kind of song and Theessink measures up very well.

Love You Baby is a hotch potch of styles; there’s blues, R&B and Country in there somewhere but it all comes together very well. Old Man Trouble could easily be a track from Graceland. Theessink’s dulcet tones waft over African influenced Country to great effect. Leaving At Daybreak highlights his deep, velvet voice again and he drifts into Mark Knopfler territory again with this gentle roots offering. May The Road has some more Gospel and African influences and is just a lovely little song. The traditional Run On For A Long Time has top class harmony, as ever, and is roots of the highest class. He finishes with When Luther Played The Blues. This is a tribute to his old friend, Luther Allison and is a blues, but not in the conventional sense. Theessink says that he had a dream where he saw Allison in front of him and tried to touch his hand. When he woke up in the morning the song was in his head.

This is a measured album from a European master.

http://www.theessink.com/

David Blue.

Gary Moore – Close As You Get (Eagle Records).

Gary Moore is in the upper echelons of British Blues/Rock and has consistently produced top class albums for a number of years now. His latest, Close As You Get, shows no sign of him falling away. The opener, If The Devil Made Whisky, is a grungy blues (with the correct spelling of whisky, I’m glad to say) with exaggerated slide guitar and an aggressive vocal. Gary is back in form, writing and playing the type of song that his guitar power requires. The album sleeve has short quotes from each song and for this it is “If the devil made money, he must have made my girl as well, Cause they get a man in trouble, then they send you straight to hell”. You know what he’s talking about, don’t you boys. Trouble At Home is a slow, stylish blues that shows he has lost none of his passion and his guitar sings. Thirty Days is a bit of a surprise as Gary takes us into the realms of Country Rock. I’m not convinced about this one although his Chuck Berry, Maybelline style opening riff is sheer class. No surprise as it is a Chuck Berry song. Hard Times is a shuffling blues with added harmonica (another thing that I’m not used to hearing on a Gary Moore recording) from Mark Feltham and Moore rocks on this. The slower songs are where artists get to show their different levels of emotion and Gary certainly puts himself through the wringer on John Mayall’s Have You Heard. Guitar and organ (Vic Martin) are to the fore here with his guitar in particularly searing form.

The classic Sonny Boy Williamson song Eyesight To The Blind has a storming opening and he gives it his all on the unhurried Evenin’. Things stay in the slow lane for the appropriately named Nowhere Fast. This has sympathetic guitar although possibly not the best lyrically. Gary flicks the grunge button again for Checkin’ Up On My Baby. This has fuzzed harp from Feltham and growling guitar and is what he does best. His gritty vocal and ringing guitar compliment each other to perfection on this second Sonny Boy Williamson cover. Everything is held together, as it is on the rest of the album, by Thin Lizzy drummer Brian Downey. The penultimate track, I Had A Dream, is slow rock and is an example of a master passing on his skills to the next generation. Great vocal, top guitar, what else can I say? In an album with a couple of surprises Gary finishes off with another. This time it is Son House’s Sundown with acoustic slide guitar and he sounds as if he has recorded it live in the studio. Sundown is not his usual bag but very acceptable indeed!

People think that they know what they are going to get on a Gary Moore album but this one may hold a surprise or two.

http://www.eagle-rock.com/
http://www.gary-moore.com/

David Blue.

Eugene ‘Hideaway’ Bridges – Eugene ‘Hideaway’ Bridges (Armadillo Music).

Eugene ‘Hideaway’ Bridges has been playing the guitar for 40 years, since the age of 4, and is now basically on a perpetual touring regime. This new, eponymous album is a bit of a departure for Eugene insomuch that he has recorded it with musicians that he has met on the road rather than his normal full band. The 12 new songs begin with Piece Of The Mountain, which is Gospel with a silky vocal that will take you to heaven itself. This will cleanse your soul so you should listen to it at least once a day. Very clean sound (production). The gentle Life Has No Meaning is acoustic led and Country tinged with Lucky Oceans, co-founder of Asleep At The Wheel, on pedal steel. Special Friend is soulful and has good harmonies whereas Never Alone has a powerful vocal and could be described as modern Doo-Wop. Oceans returns on pedal steel for Baby Your Love, a Soul/Country crossover with Sam Cooke coming to mind. Bridges shows again that he has such a sweet voice on In Your Arms Tonight. This is another in the Sam Cooke, or even possibly Jackson Browne, arena. All this and he hasn’t really unleashed his guitar yet.

Look At Me Now is Soul but only average and a little disappointing. Even Eugene picking up the bass on this one doesn’t save it. Ain’t Got Time has Bridges on Resonator guitar and playing the blues at last. It’s simple in its application and invariably that’s the best way. He could also go electric on this one to great effect, I am sure. Love Got The Best Of Me is a slow, classy blues with a B.B. King style vocal and has the best guitar work so far. I thought that I was getting We Will Rock You at the beginning of Big Legged Woman but Bridges soon dispels that. This turns out to be an acoustic blues, just guitar and percussion. He’s coming on to a game now but the Country/Blues of I Can’t Wait is a bit too sweet and nothing spectacular. Man And His Guitar finishes things off. This is a jazzy blues with Clayton Doley on Hammond and finishes up as a great end to the album. When Bridges lets loose on guitar he really makes it sing. Add that to his heavenly voice and you have an artist in his prime.

http://www.bluearmadillo.com/

David Blue.