Paul Orta & Tonky De La Pena – Pawn Shop Blues (Great Recordings).

Paul Orta (Port Arthur, Texas, USA) and Tonky De La Pena (Madrid, Spain) arrived at the studio with a Hohner harmonica and a Martin D28 guitar in hand, sat down and recorded Pawn Shop Blues. There were no amplifiers used and it harks back to the old Sonny Terry & Brownie McGhee format. The eponymous opener is a slow Delta blues and is a great start to the album. Muddy Waters’ Catfish Blues features slide guitar and Tonky takes over on the vocal. Talk To Your Daughter is a full harmonica blues with Orta back on vocal. However, I don’t think that the dog noises are necessary on this JB Lenoir song. Ponme Otro Whiskey is sung in Spanish but I’d have preferred the Scottish spelling of Whisky. Otherwise, it’s a standard guitar and harp blues. Boogie The Woogie is a lung bursting stunner and the classic Jimmy Reed song Bright Light, Big City has piercing harmonica from Orta.

Voodoo Mama is in Spanish again and is strange yet compelling. Willie Dixon’s Bring It On Home has more echoes of McGhee & Terry and Feel So Bad is a classic guitar and harp blues, written by Lightning Hopkins. Oh Susanne is more of the same, only slower and the last of the Spanish songs, Vaga Bundo, is upbeat. It is appropriate that the final track is Tribute To Sonny Terry and it does exactly what it says on the tin. It is an excellent tribute and a wonderful end to a thoroughly entertaining album.

http://www.great-recordings.com/
http://home.hetnet.nl/~porta/index.html

Richard Earl – One More Song (Great Blues Recordings).

Richard Earl has shared a stage with great artists such as Little Milton, ZZ Hill and Johnnie Taylor and has forged a successful career with his band, The R&B House Rocka’s. One More Song opens with Henpecked, which has a world weary vocal as you would expect. Come on boys, we’ve all been there. Prominent guitar from Jack Edery and organ from Chris Thibodeaux make for a solid start. Comin’ Back Baby is pure soul and Earl has the classic type of voice for this slow love song. I’ll Be Right Here remains in the soul genre but is more upbeat than its predecessor. My only complaint is that it isn’t imposing enough. Back to slow soul for Baby It’s You and as heartfelt love songs go, it’s ok. Bad News means the blues and Thibodeaux gives it some in the middle. The band plays everything with soul but Earl’s vocal does desert him a bit on this. Blues Over You is a more straightforward blues yet is one of the best tracks and shows that great results can be had when you play it simple. He stays with the blues for His Old Lady And My Old Lady and this tale of bigamy is a slow burner. There is not a lot of pace about this band and Too Many Lovers confirms this. Having said that, the song will have a hypnotic effect on you. One More Song is pretty standard stuff but the excellent closing track, Riding All Night, is the sort of down & dirty blues that I wish he had provided more of.

http://www.great-recordings.com/

David Blue.

Walter Trout – The Ferry, Glasgow 03/10/2008.

From the opening bars of Buddy Holly’s Not Fade Away, Walter Trout showed why he is considered to be in the world’s top 10 guitarists. He is no stranger to the stage at The Ferry, this being his 10th visit in as many years and he is totally comfortable with the Glasgow crowd. With a set peppered with outstanding tracks from his latest album, The Outsider, Trout and his band, Sammy Avila on keyboards, Rick Knapp on bass and the newest member, Michael Leasure on drums, ripped up the evening. Walter’s voice continues to grow as does his songwriting, as he gets older and his guitar playing is probably the best that it has ever been. This was exemplified by his impromptu recital of Eine Kleine Nachtmusik, which was note perfect.The introduction of Andrew Elt on a couple of tracks gave an added dimension to the vocal performance and when Sammy Avila took over lead duties he proved he is no mean singer himself. I’d like to think that there is a passion for the blues in Scotland and Walter Trout certainly brought that out of the crowd at The Ferry. He certainly got the crowd on his side with a quick version of Scotland The Brave. However, in an evening of standout songs, Child Of Another Time and The Next Big Thing were the true highlights.

Post-show interview with Walter Trout @ The Ferry, Glasgow 03/10/2008.

DB – What brings you back to Glasgow again and again?
WT – A van! (much laughter amongst those in attendance)
DB – Very funny, but is it something about Glasgow or The Ferry, in particular?
WT – You know something, it’s just a great audience. You know, you could feel it tonight. You could feel the energy and the enthusiasm of the people. The first time that I played this city was 17 years ago at King Tut’s Wah Wah Hut and the people went completely nuts and I thought, this is a great city. Every gig is like that.
DB – Glaswegians are a very hard audience to please but you seem to manage to win them over with no problem.
WT – You know, I’ve never had a problem pleasing them from that first gig in King Tut’s, man.
DB – If Glaswegians don’t like you, they’ll tell you!
WT – That night they went nuts and the manager of the place came out to tell us to stop playing because he thought that they were going to tear the club down. We did about four encores that night.
DB – If they had torn the club down then Oasis would never have been discovered.
WT – Yeah, ‘cause that’s where they got discovered, right?
DB – So the new album. It’s been out for a couple of months?
WT – Yeah.
DB – The title, do you feel like an outsider?
WT – No, I didn’t write that about me. I wrote it about a relative of mine who shall remain nameless, but who I saw at a party at my house for family and friends. I saw him standing across the room and everyone else was having a good time and relating. He was standing by himself and I could see sadness in his eyes. I could see that he felt uncomfortable in social situations and he is still having trouble making friends, a lot of trouble, and this was for him.
DB – Are you pleased with the reaction to the album?
WT – It’s been great.
DB – It’s been high in the blues charts in Europe.
WT – Yeah, and in the States it debuted at number 3 and stayed in the Top 10 for, I think, about 8 or 9 weeks.
DB – Very impressive. You once said and I’m going to quote here, “the blues should not be in a museum”. Do you think that the genre has expanded, say in the last 10 years or so?
WT – It depends on who you listen to. If you listen to people who are on a mission to keep it in a museum, they’re certainly not expanding it and I don’t have a problem with them. What they do is valid; it’s just not what I’m interested in doing. I want to push the envelope a little. I want to feel free of any musical constraints like it has to fit like this or it has to sound like this and that’s why that one verse on Child Of Another Day is about blues purists – “Here comes the guy I’ve met a million times before. He tells me to slow it down, he says remember less is more. He doesn’t understand it, it don’t sound just like it should. It don’t fit his preconceptions so it can’t be any good. But I just ignore him, I don’t care what he said”.
DB – Truer words never spoken. So what do you think of the young pretenders just now, like your stable mate, Joe Bonamassa?
WT – I think he’s great man. I think he’s carrying the torch for this stuff. I think it’s important that there’s young people carrying it on and he’s definitely somebody who is concerned with taking this to a new place, modernising it a little bit, not being stuck in the past, you know. So, I respect him for that, a lot.
DB – I’ve seen Joe twice now and both times he blew me away completely. He is definitely pushing the envelope. He is the young master but he is following after you. I think that you have influenced Joe Bonamassa in a big way.
WT – I think I probably have too and I think that’s kind of evident, you know, and I’m very, very happy if that is true because I feel like I couldn’t have had a better person as a protégé. He’s definitely going his own way with it too. He’s been influenced by a lot of people, I may be one of them, but he is definitely on his own path and God bless him and more power to him. He’s carrying the torch.
DB – Your instrument is the Strat, as is mine although I play very badly. Would you consider using another type of guitar? Could you get that sound from another guitar?
WT – Well you won’t get that sound but on my new album, on a song called You Can’t Have It All, I played a 1962 Gibson 345 through an old Fender Bassman amp and got an old Freddie King kinda sound out of it. But playing live I just like, I just know the Strat. I know how to control it and I’m completely at home with it.
DB – So, how is the touring schedule? Is it hectic just now?
WT – It’s as my old album says, it’s relentless.
DB – And more power to you for that. When do you get a break?
WT – I’m going home in two and a half weeks to vote and I’m home for nine days. Then I come back over and I tour through mid-December and then I’m basically home through March.
DB – So you’ll be back to Glasgow sometime?
WT – Probably the same time next year. It’s kind of a tradition now.
DB – Very much so, the last ten years or so.
WT – Yeah, and always seeming in October.
DB – Taking you back to your Bluesbreakers days. Do you still see any of the guys?
WT – I see them all the time. I get up and play with John Mayall when we play at festivals and I’ve gotten up with Coco and his band and he’s got up and played with my band. We send each other emails all the time. Coco sends me like lots of crazy videos and stuff of people.
DB – The camaraderie is obviously still there so it must have been some band to play in.
WT – It was a hell of a band and I may be biased but I still think in the last thirty years, I think that was Mayall’s best band. When he had me and Coco as duelling guitarists we used to push each other every night.
DB – Yes. I’m a big Clapton fan but it is always better with two guitarists.
WT – Well, yes I think it was for John because he would encourage competition between us and he would get fiery shows every night. It was a duel.
DB – Many people think that Thin Lizzy brought out the dual guitarists but you did it many years before.
WT – Yeah.
DB – Obviously, Sammy is playing tonight and I was speaking to him earlier and he said that he played on the album but John Cleary also played on parts too.
WT – Jon Cleary?
DB – Yeah, I recently reviewed his latest album, Mo Hippa.
WT – Yeah, Jon Cleary’s album was also produced by John Porter, I believe, because actually while we were in the studio John Porter was playing me some cuts and he said “listen to this, I just mixed this for Cleary”. He is an incredible player.
DB – Fantastic.
WT – And I’m glad you call him Cleary. A lot of reviewers and people who have been writing about the album they call him Clearly and I’m like, C’mon.
DB – No, I can read.
WT – (laughter). Yeah, that’s what I mean.
DB – I’ll let you get your food, one last question Walter. You’ve shared a stage with many, many people. Is there anyone that you have not shared a stage with that you would wish to do so?
WT – Yeah, before I die if I could get up and play a song with the Rolling Stones I could die happy. That’d be it.
DB – I’ll arrange it with Mick. I’ll get it sorted out.
WT – Please do. There you go.
DB – Walter Trout, thank you very much.
WT – Thanks Dave.

http://www.waltertrout.com/

David Blue.

Boo Boo Davis – Name Of The Gane (Black & Tan).

Boo Boo Davis is a true Delta bluesman and one of the last of his generation. A poor childhood meant he couldn’t learn to read or write not that has not kept him down. His latest album for Dutch based Black & Tan opens with Dirty Dog which is, as you would expect from the title, a grungy blues. The pounding beat from drummer John Gerritse is a sign of things to come. I’m Coming Home is even more grungy than the opener. It’s done in a John Lee Hooker style with a fuzzed vocal and added harp from Davis. This highlights how powerful Boo Boo is as a singer. There is some good advice on Stay Away From The Casino and he starts to funk things up a little with some pace also injected. However, the repetition made me take a little time to warm to it. Want Nobody Tell Me How To Live My Life is a more straightforward harmonica and guitar blues and Boo Boo finds a groove on Tryin To Get Ahead. The Chicago blues of the eponymous title track has a prominent harmonica and a beefy vocal.

Who Stole The Booty is a contemporary blues with overcharged guitar and harp. Believe me, this riff will work its way right into your brain. Why You Wanna Do It is more of a soft rock song and although slightly out of kilter with the rest of the album, it does have a very good vocal. Lonely All By Myself is a slow Chicago blues and more than meets the standard with its deep pulsating bass line, even though he doesn’t use a bass player! It’s A Shame is an upbeat blues with harp to the fore. I just love the energy! Throbbing drums herald I’m So Tired and when the world weary guitar and spoken intro join in then we have a song on our hands. It’s conducted at walking pace throughout and Davis produces one of his best vocals. Hot Foot is a funky grinder and he closes with St Louis Woman, loosely played in the St Louis style. He seems to like the fuzz effect on his vocal and he could be accused of using it too much. Nevertheless, this is a great finish to a top class album.

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

David Blue.

Matt Andersen – Something In Between (Own Label).

This is Matt Andersen’s first full length album recorded in the UK and he has used Eric Clapton’s post-Cream band (Norman Barrett on guitar, Dave Markee on bass, Henry Spinetti on drums and Dan Cutrona on keyboards) to do so. The big Canadian is also a prolific tourer and has shared a stage with Little Feat and Randy Bachman to name but two. Come By is unashamedly country but with a little Gospel thrown in. The eponymous title track continues with the country theme, acoustically this time and with a characteristically strong vocal. Working Man Blues is back to electric and is a storming blues. There is nothing flamboyant here but it is full of innuendo such as “I’ll be your mechanic, I’ll make your motor run”. He’s swapping electric with acoustic with aplomb and So Gone Now is the real Matt Andersen. Solemn voice and a touching song shows that simple is often best. Stay With Me is not The Faces classic but a country rock effort that is not unpleasant. Better Man Blues is a smooth rolling blues that drips off the tongue and produces some of the strongest guitar work so far.

Lonesome Road sounds like it should be a country song and you won’t be disappointed. It is fast paced and extremely good. John Fogerty’s Wrote A Song For Everyone is folk rock that verges on country and manages to sound like The Band at their height. Broken Man is so heart aching and shows what a consummate songwriter Andersen is. It is just him and his guitar and this is him in his element. Tell Me is country boogie, good time music with a big guitar sound. How I Wish is very, very good country and Baby Come Back Home is a jazzy blues with smooth guitar lines. Bold And Beaten is from the album taster and has that smoky tone to his voice when he needs it. He adds strings to make a great gentle folk/country crossover and an excellent finish to an excellent album..


http://www.stubbyfingers.ca/
David Blue

Jon Cleary & The Absolute Monster Gentlemen – Mo Hippa Live (FHQ).

Erstwhile Bonnie Raitt pianist, Jon Cleary also has a burgeoning solo career ably backed by the wonderfully named Absolute Monster Gentlemen. Cleary is much respected in blues, soul and funk circles and this live album confirms that status. The smooth and funky Go To The Mardi Gras is an updated Professor Longhair song with a great bass line from Cornell Williams. Cleary has a silky voice that just oozes over you and the song is just simply New Orleans summed up in 6 and a half minutes. They step up the funk on People Say and provide ample vocal harmonies at the same time. Jon Cleary is, as we know, an excellent piano player and his tight band helps him to rip it up. Cleary introduces Eddie Christmas on drums and he is a newcomer with a big future as he shines on C’mon Second Line. This is funk and boogie-woogie of the highest order. I first heard Professor Longhair play Tipitina on the Live On The Queen Mary album and have been a fan of his ever since. Cleary’s treatment of the song is more funky but manages to stick to the ethos of the Prof. Cheatin On You is so easy on the ear, as are most of his songs.

Port Street Blues is a slow and slinky barroom blues and Help Me Somebody is very soulful and understated. There is not a whisper in the crowd as Derwin Perkins plays a lovely solo on guitar. He does build things up toward the end of the solo and gets his much deserved praise. Groove Me has us back in the New Orleans groove again. Cleary’s voice is like treacle and his fingers are as quick as Usain Bolt! When U Get Back features electric piano and is soul of the highest standard. This is music to get horizontal to and the jazzy interludes make it a true joy, overall. They finish with the title track and Cleary lets the band have a couple of minutes in the spotlight before he comes in with a grinding groove. Funk, soul, this has got the lot and his voice suits it to a tee. A star has certainly been found in the form of Eddie Christmas but Derwin ‘Big D’ Perkins on guitar and Cornell C. Williams on bass are big, big parts of this band too.

http://www.joncleary.com/
www.myspace.com/joncleary

Rainer – The Westwood Sessions Volume 1 (OWOM Records).

10 years after his death, Rainer still has a great affect on those who listen to his music. This album, made from tapes recorded 20 years ago and recently discovered in Tucson, sounds as fresh as music being made today. It can be safely assumed that some of these songs were to be included in a follow up to the 1984 album, Barefoot Rock but they were presumably put away somewhere safe and forgotten about when he finally did release his next album in 1992. The opener, Voodoo Music, confirms that Rainer had his own style but this is just guitar and voice. He does produce a full sound, however, on this straightforward start. Mellow Down Easy has him moving onto electric and with a full band. This has a rockabilly feel to it and all of his eccentricity is here. Wayfaring Stranger is a blues rock with a wailing vocal. It builds well and he keeps his guitar understated as he was not one for big solos. Backwater Blues is so energetic and has great slide guitar whereas Mush Mind Blues is the complete opposite of the preceding track. This is a slow, throbbing blues with the only constant being the high standard of slide guitar. It begs the question -- was Rainer the inventor of Alt.blues?

All Done In sees a return to acoustic and a bit of Alt.country this time. He plays it pretty straight on this and produces a great song. He funks it up big style on Fear and it comes out as Talking Heads with slide guitar – very catchy. The very short Just A Little Bit is a shuffling blues version of the famous song covered by many. This is better than most of the versions that I have heard. There is no doubting his feelings on the very atmospheric Zealots Serve Dogmas (acoustic) although it is instrumental only. Every Body Wants To Go To Heaven is an amalgam of David Byrne, Mark Knopfler and Bob Dylan in the vocal delivery and is an excellent song, well executed. Zealots Serve Dogmas is electric this time and is with a full band. Bruce Halper’s drums add that extra dimension. He saves the best for last and I Am A Sinner is a spiritual, powerful blues that demonstrates a certain vulnerability before his guitar comes more and more to the fore.

I can’t wait for Volume 2!!

http://www.owomrecords.com/

David Blue.

Joe Bonamassa – From Nowhere In Particular (Provogue).

Joe Bonamassa has been hailed as “the new king of the blues” and from what I have seen and heard over the past couple of years, I cannot disagree with that statement. Live albums are not always the best quality but this is a more than ample follow up to his highly acclaimed 2007 album, Sloe Gin. He plunders this and 2006’s You & Me for most of the songs here and it is produced again by the excellent Kevin Shirley. The first CD opens with the electric Bridge To Better Days from You & Me and you couldn’t have a much better introduction to Joe Bonamassa. It’s rocking stuff and he is already playing the crowd. Free’s Walk In My Shadows is a classy walking blues and he has the crowd hanging on his every note. He is so precise on the slow blues of So Many Roads but there is no loss of impact with his power guitar in the live arena. At over 10 minutes, India/Mountain Time is a master class. India is the shorter instrumental intro/outro although it interweaves throughout. This may well become one of Joe’s signature tunes in the vein that Freebird became for Lynyrd Skynyrd for example. John Mayall’s Another Kind Of Love is a funky blues based rocker with a stunning solo although the song is short by Joe’s standards. The title track from his last album, Sloe Gin, reduces the pace a little. I said in my review of that album that this would be a great live track and I was not wrong. This will become another of his signature songs as both power and gentleness shine through. One Of These Days is a throbbing finish to the first CD. There are power chords all over the place as he takes it down in the middle before building it up to a storming slide guitar finish.


The second CD starts with Chris Whitley’s Ball Peen Hammer from his Slow Gin album. It has an acoustic start but it shows the power of the man and is a real crowd pleaser. He follows this up with If Heartaches Were Nickels and stays in the acoustic field. It’s a blues rock and this is what he is best at. There are no big solos here and it is all about the song this time. Woke Up Dreaming is a staple of his live performance and just listen to how fast one man can play an acoustic guitar. Django/Just Got Paid is an epic amalgamation of Joe’s original from You and Me that turns into ZZ Top’s Just Got Paid, a song that he only plays live. He can turn his voice from a whisper to a shout at will. Charley Patton’s High Water Everywhere highlights his acoustic dexterity and superb technique. The song builds slowly as the band pounds away in good style. He gets a big cheer for Asking Around For You so you can tell that this is a fans favourite. This smooth blues shows that he is not all about power but he still finds the space for his incisive guitar and yet another great solo. The set finishes with a medley of Jethro Tull & Yes in the form of A New Day Yesterday/Starship Trooper/Wurm. Seamless transitions are the order of the day and I cannot praise this high enough. This is a guy on the top of his game.

If you haven’t seen Joe Bonamassa live then this will keep you going until you do.

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

David Blue.

Monte Montgomery – Monte Montgomery (Provogue).

Already in the Top 50 All-Time Greatest Guitar Players, Alabama’s Monte Montgomery is a guitar player’s guitarist. This is his second album for Provogue and showcases 11 original Montgomery songs that reinforce his writing talent and brings it to the same level as his renowned guitar playing. River is, like all of Montgomery’s songs, acoustic based. His use of slide is handled well and the song flows like the mighty Amazon itself. He is a strong contender in the guitar stakes with his wicked flurries. The addition of strings on Let’s Go helps to build a wall of sound. Acoustic guitar is his weapon of choice and he pushes the instrument to its limits. It’s all too easy to forget that he is singing too and he has a great rock voice that shouldn’t be allowed to be overwhelmed by his guitar wizardry. There’s a bit of Sammy Hagar in him and none more so than on Everything About You with its harmonics r us chorus. Company You Keep is acoustic rock of the highest order and his style is just so fluid that it washes over you and you come out so refreshed. The ballads are pleasant enough and the first of these, Love’s Last Holiday, is a prime example.

He lays down some slinky moves on Moonlight Tango, which is as sharp as an Argentinean on speed. Can’t Fool Everyone has a distorted vocal and hi-octane guitar. This should be a great live track. Montgomery goes all smooth and sultry on Could’ve Loved You Forever and as with the previous track, the backing vocal fits perfectly. This has a big chorus and epic guitar. Be Still is a classy acoustic rock with an electrifying solo and How Far is another of the ballads that serves as a good counterpoint to the more hectic stuff. Is it me or does everyone do Little Wing these days? However, Montgomery’s instrumental version is unlikely to be bettered. Taking us from delay and reverb effects at the start to over 10 minutes of superb guitar playing he gives us a true epic in every way. As Crocodile Dundee would say “that’s not a guitar solo – this is a guitar solo”. He closes with Midlife Matinee and although he needed to slow down it is a bit of an anti climax. It’s gentle and there’s nothing really wrong with it but he has set such a high standard with some of the previous tracks.

http://www.provoguerecords.com/
http://www.montemontgomery.com/

David Blue.

Eric Gales – The Story Of My Life (Provogue).

One of five brothers, Eric Gales is from a musical family and released his first album at the age of 16. Six albums later he gives us The Story Of My Life but it is strange that such a relatively young man has chosen to release this title – much the same as people writing autobiographies in their early years. He has many heavyweight fans such as Carlos Santana, Mick Jagger, Keith Richards, BB King & Eric Clapton and those names alone should tell you of the talent that Eric Gales has. The follow up to the critically acclaimed The Psychedelic Underground opens with Save Yourself, which is a high impact opener and he has lost none of his power since his last album. His guitar pyrotechnics are just a joy to behold. I Ain’t No Shrink is a funky and slinky blues with the notes just dripping off his guitar. The eponymous title track is a churning blues, plain and simple. Layin’ Down The Blues is sophisticated and Gales has class stamped all over him. The Sound Of Electric Guitar is a festival in your ears so get your fuzz pedals and wah-wah’s out and join in. Gales mimics Jimi Hendrix at the start of Red, White & Blues. He then goes acoustic and turns the whole thing into an 8 and a half minute stadium rocker with a massive electric solo at the end. It has got it all!

Very Educated has staccato guitar over a heavy blues rock. It is a fervent attack with a flurry of notes. Cut And Run is a fast paced rocker with searing guitar that must have him in the forefront of the genre now. Borderline Personality is another strong rocker with obligatory raging solo and You Ain’t The Boss Of Me is a slow Chicago blues that confirms his ability to swap genres at will. These tracks contribute to a very strong finish. Bringin’ The Hammer Down is the last official track of the album. It is a pounding blues rock with guitar wizardry a plenty. There are two bonus tracks. The first is You Don’t Move Me with its funked up bass from Jeremy Colson and Steve Evans’ drums beating the rhythm. Gales tries to keep a lid on things but he just can’t help himself. The second bonus track is Gypsy, a mid-paced soft rocker with the trademark guitar flurries.

Eric Gales is knocking very hard on the door of the top guitarists club.

http://www.provoguerecords.com/

David Blue.

Various Artists – Great Rockabilly Volume 2( Smith & Co).

Hard on the heels of Great Skiffle Volume 2, here is the Rockabilly version. Some people might find that the two genres often overlap and they would not be wrong. One came from the other and artists tended to change genres like their socks, although Rockabilly tended not to appeal so much to the mass market. There are, of course, elements of Rock N Roll and Country in here too and it is sometimes impossible to distinguish what is what. As with the other albums in this series there is a wide spectrum of artists and standards on offer but the album does show that Rockabilly holds a firm space in the music firmament.

Some of the songs should be taken for what they are – great songs. Danny Wolfe contributes Let’s Flat Get It and the good vocal harmonies and guitar work makes it a top tune. Warner Mack gives us Roc-A-Chicka and if you ignore the novelty parts and concentrate on what is essentially a rocking good song then you have it. Jimmy Lloyd gives us the mid-paced Where The Rio De Rosa Flows and although this is not like the general Rockabilly genre at all, it is very very good and Sid King gives us Good Rockin’ Baby – slow and classy.

As I have said, Country music features highly in the Rockabilly make-up. Bob Luman sings on the Country side both vocally and musically on Make Your Mind Up Baby. But he also contributes Red Hot which is all Rockabilly. Dennis Herrold is heard on the Country influenced Hip Hip Baby – good chorus. Another strong song from Herrold is Make With The Lovin’. Autry Inman’s It Would Be A Doggone Lie is also from the Country side and a good example. Johnny Cash is about as big a name as you can get and Mean Eyed Cat is more Country than Rockabilly. A class act however. Hey Porter is also included but again, why here?

Rock N Roll is also represented and Janis Martin is one of the few women included but Drugstore Rock N Roll is, as the title suggests, more Rock N Roll than rockabilly. Jack Scott contributes Two Timin’ Woman which is a Rock N Roll crossover but it has that Rockabilly essence. Mac Curtis throws in If I Had Me A Woman which is a good crossover from Rock n Roll to Rockabilly. Sleepy LaBeef is another big name and has a deep vocal on the cusp of Rock n Roll with I’m Through whereas Carl Mann is earthy and has the feel on Gonna Rock N Roll Tonight.

Rockabilly is all about energy and defiance so the sheer energy on Bobby Lee Trammell’s Shirley Lee will knock you out. Johnny Carroll has Wild Wild Women which has plenty of whoops and hollers in a great rockabilly style whilst Kenny Parchman shows vitality on Tennessee Zip. Rudy Grayzell’s Ducktail is more like the rockabilly that is well loved by many -- a screaming vocal and manic guitar are the main components. Jimmy Edwards Love Bug Crawl is surely Jerry Lee Lewis inspired and Ray Harris gives us a version of Greenback Dollar, Watch & Chain in which he certainly has the Rockabilly warble. Curtis Johnson gives us Baby Baby and this has all of the components for a top Rockabilly song. Roz Larne also provides a fine example of the genre on Baby Take Me Back. Wayne Williams has the required energy on Red Hot Mama. Jackie Lee Cochran gives us a classic Rockabilly on Hip Shakin’ Mama and Corky Jones’ Hot Dog has that garage made feel to it.

Some of the biggest names of Rock N Roll and Country are here; Marty Robbins is one of those big names and Long Tall Sally is a big song to go with it. It’s not as energetic as Little Richard but who was? Carl Perkins is perhaps the biggest name in Rockabilly and he shows he is the daddy on Put Your Cat Clothes On – class does show. He also contributes Dixiefried, which is a mid-paced Rockabilly classic. Gene Vincent is one of the greats and Woman Love is trademark Vincent. The voice is there on Gonna Back Up Baby and The Bluecats also start to show signs of their class. Buddy Holly gives us I’m Changing All Those Changes and this indicates what was to come from the great man. His other contribution, Rock Around With Ollie Vee is early but his class shines through. Less famous is Billy Barrix who provides a stuttering delivery, no doubt modelled on Holly, on Cool Off Baby. Charlie Feathers delivers another stuttering vocal on Everybody’s Loving My Baby. Ricky Nelson gives us the blues side of Rockabilly on If You Can’t Rock Me. He also has Boppin’ The Blues but should this really be included on an album of Rockabilly songs? Eddie Cochran is one of the biggest names of them all and 20 Flight Rock was one song that crossed over into popular areas. He gives an understated performance here. Roy Orbison is not a name that you would expect to see here but he turns in a great performance on Mean Little Mama. He also gives us (A Cat Called) Domino but this is not so good. Elvis Presley contributes My Baby Left Me and this is pure class from the first note. He also is included with I’m Left, You’re Right, She’s Gone and although it’s not Rockabilly as such, it does show where his roots were. Johnny Burnette is one of the giants of the genre and Rockabilly Boogie is good but not any better than the best of the others. Also gives us Lonesome Train and he is back on form with just enough emotion in the voice. Billy Lee Riley is one of the best known artists and Pearley Lee has just enough defiance in the voice. One of the first Rockabilly songs that I ever heard was his Flying Saucer Rock – a classic from a master.

There is, of course, a down side and Bobby Sisco is too proper and not nearly wild enough on Go Go Go. Al Ferrier’s Hey Baby is tame and Roy Moss sounds like Vic Reeves’ Shooting Stars pub singer on You’re My Big Baby Now. Billy Wallace is docile on Burning The Wind. Wanda Jackson was one of the few women to make the grade but I Gotta Know flits between country and Rockabilly and really there should be no place for this on this album. Hot Dog That Made Him Mad is poor. Collins Kids – Hop, Skip & Jump is not for me. George & Earl – Done Gone is not defiant enough in the vocal. Sammy Masters performs and energetic Pink Cadillac but it is too clean overall. Jay Chevalier is all over the place on Rock N Roll Angel. Narvel Felts is poor on Cry Baby Cry. Buzz Busby puts it all in for the performance on Rock N Roll Fever but he still doesn’t come up to the standards of some of the others. However, the biggest crime of all is Curtis Gordon’s take on Sitting On Top Of The World and shame on him for taking this blues classic and turning it into a circus.

All things considered there are more plus’ than minus’ and it will be a good addition to the audiophile library.

http://www.smithco.nl/

David Blue.

Oli Brown – Open Road (Ruf Records).

Oli Brown has taken in the influences of the great British blues players of the past and those of his contemporaries such as Aynsley Lister to take up the baton for the 21st century. He has already shared a stage with greats such as Koko Taylor, Walter Trout, John Mayall & Buddy Guy and is ready to take his place in the spotlight. Psycho is a contemporary blues played by a power trio. The rhythm section of Fred Hollis on bass and Simon Dring on drums ably backs Brown’s guitar in its quest for the elusive note. The eponymous title track is a mid-paced grinder with nothing out of the ordinary in the voice. Stone Cold (Roxanne) is a shuffling blues in the Kansas City style and there is no doubting his credentials as he lets it rip on the chorus. The first cover, Can’t Get Next To You has him not really out of first gear yet and this needs a bit of pace injected. It’s another contemporary blues rock with the introduction of Govert Van Der Kolm on organ. Shade Of Grey is slow again and has a spoken vocal intro. It does build a little and turns to the funky side.

All The Kings Horses has a heavy intro and highlights Brown as one of many playing this type of blues at the moment, and he’s certainly not the worst by any manners of means. This has his best guitar work yet and the pounding drums from Billy McLelan breathe life into it as it builds to a fantastic crescendo. Black Betty (yes it is the Ram Jam song) has a drawled vocal and although essentially the same as the Ram Jam cover of Leadbelly’s song, Oli does let himself go -- short and sweet. Missing You is a slow, uncomplicated blues with incisive guitar bursts -- this will be a great live track. New Groove is a beefed up Robert Cray style strolling blues in parts but we have had to wait until Played By The Devil before we get any genuine pace and this is a highlight as he shows how good he really is. Complicated is slowed down again but I’d have rather had him sprinting for the finish although this 21st century blues is a good finish to an intriguing album.

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

David Blue

Doug MacLeod – The Utrecht Sessions (Black & Tan Records).

Recorded in MacLeod’s favourite European city, The Utrecht Sessions sees a consummate songwriter in his prime. Despite the Scottish name, MacLeod is an American, born and bred, although he now spends a lot of time in Holland where he has mastered one word – Heineken. The album was recorded in such a way that it feels live and MacLeod is in his element. The opener, Horse With No Rider, has top class slide guitar and is an authentic blues in every way. It is very contemporary and he is in good voice. He stays with dobro and slide for This Old River which has an emotion laden vocal – this is what it is all about. MacLeod builds on this with The Addiction To Blues, which is more upbeat and shows a true troubadour. The Long Black Train is a familiar subject matter for blues and country artists and he gets the effect of the shuffling train to a tee – very clean sound. The Demon’s Moan has another wailing vocal and the slide is, as it is throughout, top class. Long Time Road is bouncy and energetic with a very familiar sound.

I Respectfully Decline is soulful and mourning with a simple execution which hides the mastery of his instrument. He is a man confident in his own talent and this Americana is how music should be. That Ain’t Right is a country blues with great finger picking, Coming Your Brand New Day is gentle rhythmic blues and Sheep Of A Different Color is a slow John Lee Hooker style blues. What You Got (Ain’t Necessarily What You Own) keeps up the standard although he does lose it a bit on some of the guitar breaks. Where You’ll Find Me is just one man and his guitar – lovely Americana. The enclosed booklet gives little insights such as the guitar tuning for each song and some musings from MacLeod. For a true live experience you can also buy his DVD – The Blues In Me.

http://www.black-and-tan.com/
http://www.doug-macleod.com/

David Blue.

Ben Waters – Hurricane (Hypertension).

By his early 20’s Ben Waters (PJ Harvey’s cousin for those of you that like to know that sort of thing) had already played with some of the giants of British rock such as Mick Jagger and Pete Townshend. He also played at Jools Holland’s wedding and led the great boogie-woogie pianist to say “boogie-woogie is alive and well. Ben Waters has got the touch and feel for it”. A few years on sees the release of his first album for Hypertension. The title track does what it says on the tin – a high octane boogie with twinkle fingers Waters on piano. A bit more vocal attack would have set the song up perfectly, especially on the Beach Boys style chorus. Tiny Planet is another boogie with great interaction between Waters’ piano and Clive Ashley’s saxophone. It is a good piece of social commentary. It’s hard to categorise Booker but it builds well and is an homage to James Booker who had a great influence on the young Waters as well as teaching Dr John and Harry Connick Jnr to play piano. The Sky Fell Down is the most commercial song so far and good enough to match chart bands such as The Hoosiers and their ilk. Helicon Boogie has more piano and sax competition with the sax, played by guest Derek Nash, being more than a match on this intriguing instrumental.

Amos Milburn’s Roomin House Movie is a shuffling boogie and just good time music played for the fun of it. Mother Natures Molecules has increased pace and you certainly can’t criticize his energy. There’s a bit of Nick Lowe in his and partner Richard Hymas’ songwriting style. The Wasp is a high paced boogie-woogie with sax taking the part of the wasp. Waters’ muscles on his left arm must be of Popeye proportions. Who U Lay has funky bass from Hymas and keyboards from Waters and is only one step away from a Steely Dan song. He saves one of his slowest songs to finish with and Inconsequential shows that he has more than one tone to his voice. There are touches of Squeeze in this and the sax fade out is top class.

Jools Holland was correct!

http://www.hypertension-music.de/
http://www.benwaters.com/

David Blue.

Various Artists -- Great British Skiffle Volume 2 (Smith & Co).

I know what you are thinking – how could they get enough tracks to make up a volume 2? You would think that that would be the case but they’ve obviously held over a few top tracks to whet the appetite. Whichever way you think about Skiffle you have to agree that it does have a vital place in British Rock history. There is good and bad and this album has both. From the better Gospel based tracks such as Glory Road by The Vipers (one of the best known bands), Bob Cort’s It Takes A Worried Man To Sing A Worried Song and The City Ramblers Skiffle Group’s Down By The Riverside to the less well performed Toll The Bell Easy from Les Hobeaux Skiffle Group (a very British executed song) and Delta Skiffle Group’s repetitive and second rate Ain’t You Glad, all standards are here. There were many influences on Skiffle and the better tacks include Johnny Duncan’s bluegrass offering, Ella Speed, the Blues of Ken Colyer’s Midnight Hour Blues (just add a washboard and you have Skiffle), Rock n Roll in the form of Dickie Bishop’s No Other Baby, the Country tones of Careless Love by The City Ramblers Skiffle Group, folk from 2.19 Skiffle Group on Texas Lady, boogie-woogie in the form of Bearcat Crawl from Chris Barber and Jazz from Tony Donegan on Yes Suh although the last of these is of particularly poor recording quality.

The one true giant of British Skiffle was, of course, Lonnie Donegan and he has three tracks on offer. He shows us that he was the boss on Midnight Special and Jesse James. However, he is a bit sedate on Stackolee which is Stagolee under a different guise. There are other tracks more associated with Donegan such as Cumberland Gap (The Vipers) and Don’t You Rock Me (Bob Cort) that don’t measure up to his standard. Skiffle influenced many future artists and those include John Lennon who couldn’t have failed to be affected by The Vipers’ Railroad Steamboat, Steamline Train, Hey Lily Lily Lo and Maggie May, part of which ended up on the Let It Be album.

Famous songs include Last Train To San Fernando from Johnny Duncan, New Orleans (House Of The Rising Sun) & The Cotton Song (Cotton Fields), they pronounced their T’s in those days, by Chas McDevitt and Bob Cort’s 6.5 Special. You have to suspend belief at times such as when a very posh British female sings “I was born in East Virginy” on Chas McDevitt’s Green Back Dollar – yeah right! Jimmy Miller tries too hard to be American on Sizzling Hot. All the familiar themes are there including trains in the form of Chas McDevitt’s Freight Train, Sonny Stewarts’s The Northern Line and Railroad Bill by Lea Valley Skiffle Group.

One thing about Skiffle singers was that piercing tone just under the sound barrier that they had and shining examples of that are Johnny Duncan’s Footprints In The Snow and Sonny Stewart’s Black Jack. Ken Colyer’s piano led instrumental, House Rent Stomp has a homemade feel and that, in essence, is what Skiffle was all about. British blues giant Alexis Korner sounds positively amateurish on Roadhouse Stomp but, again it was that which made the genre so widespread. Skiffle really harks back to a previous time and Soho Skiffle’s Give Me A Big Fat Woman would have today’s PC brigade up in arms. Jimmy Jackson’s California Zephyr gives me my biggest problem and, after listening to it a number of times, I am convinced that it reminds me of another, more popular song. Can someone please put me out of my misery?

There is no mistaking the influence that Skiffle had on the musical forms that came after it. This album features some of the best but Frog Island Skiffle Group sum things up on Hand Me Down My Walking Cane. They’ve got the repetition, they’ve got the tone, they’ve got Skiffle!

http://www.smithco.nl/

David Blue.

Storm Warning – Something Real (Own Label).

Storm Warning are a five piece outfit that draw on their diverse musical backgrounds to produce a fluid sound. On The Road opens with echoes of an ancient forest which leads into a joint guitar and harp attack. It’s modern blues with a gruff vocal from Son Maxwell and Bob Moore’s effortless guitar style that can be dressed up when required. Hard To Be A Man has a bit of bounce to it and man fights back during the laconic lyric. Moore’s Vibrant guitar is a standout. Charlie’s Blues is a return to the guitar and harp duet and they have certainly taken the genre into the 21st century. Ian Salisbury’s keyboards are to the fore here to and Maxwell has lungs of steel on the harp. Blues 101 is a harmonica led jazzy blues with numerous references to blues classics that make it a bit of an homage to the great blues poets.

The eponymous title track is a slow blues with sustained guitar but despite the excellent intro it ultimately fails to deliver – patchy. One Step Forward has a snappy acoustic guitar and harp intro that leads us to a fast paced electric burst and manic keyboards. Lucky Peterson’s Nothing But Smoke, the only cover on offer, is another slow one and Bob Moore excels in these. There is a pronounced bass from Derek White and the song is more traditional than most. I Don’t Know has screeching harp and stays on the jazz side of the blues. They are a tight knit unit and Roger Willis on drums keeps them all together. Long Ride is a funky blues to finish with and Moore gets up a head of steam with some excellent flurries.

There is certainly space at the table for Storm Warning.

http://www.stormwarning.co.uk/

David Blue.

BB & The Blues Shacks – Unique Taste (Crosscut Records).

BB & The Blues Shacks have been around for over a decade now and have built a reputation as one of Europe’s foremost R&B/Soul/Blues bands Crosscut Records recognised this and signed them in 2001. Unique Taste is the bands fourth release and they are going from strength to strength, following on from the highly acclaimed Live At Vier Linden. The opener, Keep My Promises is a swinging, rolling R&B and shows the band has moved the focus of their sound to celebrate the 60s. The Fool I Am is a bit off beat at times but this shuffler moves along well. The eponymous title track is a bit of a departure for the band with this R&B leading into soul and Motown. It’s very good in its own way and it has some top Hammond organ playing from guest Raphael Wressnig. I Understand is a powerful, slow blues based ballad much in the style of Robert Cray and Three Handed Woman has a machine gun guitar delivery. Three hands, good or bad – discuss. However, when you find out that her third hand is in your wallet then that may make up your mind! Best guitar playing so far. Fool When You’re Cool is classic R&B and harmless fun and the speed is stepped up for Not The One For You, a fast paced bouncing blues/boogie woogie driven by Bernhard Egger’s drums and Andreas Arlt’s guitar. Little Pins is a slow blues with just guitar and Michael Arlt’s voice for the first minute or so. The band then joins in for an archetypal Chicago blues with strong guitar and piano with Michael Arlt just getting down and doing his stuff, as ever.

Anything But You is a slow, punchy R&B with sleazy vocal and organ. You just know what Arlt is talking about on Like A Woman That Just Bought Shoes, don’t you boys. High energy R&B with Dennis Koeckstadt and Raphael Wressnig on piano/keyboards to the fore again. The short and sweet Cut It! has a staccato guitar which heralds a 60s style instrumental whereas Step Back A Little is a strong soul song with more organ heroics. Tears About To Fall is a rock n roll ballad which, despite the lack of tempo, does swing along nicely. Michael Arlt’s harmonica returns but only serves to highlight its scant use during the album. So Glad I’m On Your Mind is a mid-paced pulsating blues with a stinging guitar solo and Too Fast Living is a slow blues much in the vein of Three Hours Past Midnight. The silky harmonica plays off the stark, snappy guitar. Do My Will has plenty of rhythm. Egger’s drums are the heartbeat of the band; piano and guitar take their place in the spotlight whereas the bass remains in the background but pays his way. The closing track, When The Night Comes Down is a slowish swinging blues with the Andreas Arlt’s guitar the star. However, Koeckstadt pushes him to the limit on the piano.

This album is sure to keep BB & The Blues Shakers in the premier league.

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

David Blue.

Moreland & Arbuckle – 1861 (NorthernBlues Music).

The last two or three years have been a bit of a whirlwind for Kansas City’s Moreland & Arbuckle with performances at several major blues festivals adding to 700 odd gigs in the past five years. They have become renowned for their blistering live performances and are a must see. There is always a nagging feeling for this type of band that they may not be able to turn those electric live performances onto recorded media. Moreland & Arbuckle need not have worried as this, their debut, is a great introduction. Gonna send You Back To Georgia is a heavy duty start with its fast pace, 100% fuzzed slide guitar from Aaron Moreland and harp from Dustin Arbuckle. It’s a great electric blues with Arbuckle also in full voice. Despite the name they are a three piece outfit with drummer Brad Horner making up the trio. Fishin’ Hole is a rootsy blues and confirms that Northern Blues has come up with another star act for their roster. Tell Me Why is mellow and acoustic with Arbuckle’s deep dulcet tones setting it off very well. Chris Wiser guests on organ and joins the harp to introduce Diamond Ring, an earthy, rocking blues. This confirms their status as stars in the making. The quaintly named See My Jumper Hangin’ Out On The Line is a powerful electric blues and The Legend is classic Americana with Arbuckle excelling again on vocals.

Never Far Behind is a fast paced country blues with Moreland’s slide guitar keeping pace with Arbuckle’s vocal. Teasin’ Doney is low key right up to the end where it goes all electric for some strange reason. Not too sure about this one. Please Please Mammy is a Kansas City blues at last, and a good one to boot. Pittsburgh In The Morning, Philadelphia At Night is a classic ‘Woke Up This Morning’ type of blues. It’s grungy and grinding and very heady stuff. Wrong I Do is played on acoustic dobro with sympathetic harp and heartfelt vocal but six and a half minutes of slow jam on Wiser Jam is, unfortunately, ultimately a pointless end to an excellent album.

Their name sounds like a firm of lawyers but don’t let that put you off, this is an excellent band.

http://www.northernblues.com/
http://www.morelandandarbuckle.com/

David Blue.

The Homemade Jamz Blues Band – Pay Me No Mind (NorthernBlues Music).

This has to be the youngest blues band ever! Brothers Ryan (16) & Kyle Perry (13) along with their 9 year old sister Taya are setting the blues world alight. Heavyweights such as BB King and Elvin Bishop have predicted big things for the trio. In fact, they have been invited to play at the opening of the BB King museum in Indianola later this year. This, their debut CD, is already being described as the Holy Grail amongst blues circles. Who Your Friends Are introduces their earthy guitar sound and when your guitars are made from exhausts (mufflers in the USA) then earthy is an understatement. It’s a funky, contemporary blues played by a classic power trio set up with guitarist/vocalist Ryan out front. His voice will get better by age, good as it is at the moment. Voodoo Woman is another funk fest. 21st century blues although the sound is a bit thin at times. This is a criticism levelled at most trios but they have youth on their side and that gives them time to fill out their sound. The Worlds Been Good To You is a slow Chicago blues and the addition of harmonica, played by father Renaud (who also writes their songs), is a pleasant surprise. Ryan Perry is another young guitarist destined for greater things. Right Thang, Wrong Woman (I love the title) is a strong song and they have achieved that fuller sound with the addition of Miles Wilkinson on rhythm guitar. The incisive guitar breaks confirm Ryan is the star of the trio. The pace is slowed for Penny Waiting On Change, a straightforward heartfelt blues. Ever had one of those days when you woke up feeling great but by lunchtime it’s all gone to pot? This is one of those. There’s a flurry of notes in the solo but Kyle on bass is the bedrock on which his brother can do his thang and Taya on drums is more to the front than on most tracks.

Blues Concerto is R&B, old style and the harp returns. The production is lost on a few occasions but it does give each of the band a chance to show off their skills individually. Time For Change has some mellow crossover tones and this will get better as it evolves. A re-working in the future will make it one of their biggest tracks. Pay Me No Mind has the harp being used more and this hi-tempo R&B makes full use of it. Jealous keeps the pace up with stinging notes from Ryan’s guitar. It’s hard to work out their influences but they do this funky blues thing so well. They are a tight unit and the rhythm section backs up the guitarist very well. Shake Rag is a jam and a good one at that with both guitar and harp to the fore. They close with the John Lee Hooker classic, Boom Boom. This is a malevolent song but they don’t really have that kind of streak in them just yet. Deeper vocals are required for this and I’m sure that the great man would have enjoyed singing it with these youngsters.

The album is, quite literally, homemade and I hope that they don’t lose too much of that raw sound as they climb the ladder.

http://www.northernblues.com/

David Blue.

Matt Taylor Band – No Trouble At All (Bluesy Electric Recordings).

The Matt Taylor Band is a well respected outfit on the live circuit and there are times when that vitality does not transfer to the recorded medium. However, Matt’s new album, No Trouble At All, is quite prophetic as he does it with ease. I Found A Love is a dynamic, funky opener and the band has already established their credentials. This is followed by Get Outta My Way, which is one of a number of original songs on offer. It’s a soulful soft rock that leaves you in no doubt about the high quality of Taylor’s guitar playing. Let Your Hair Down is another original and the slow mellow tones could easily be The Eagles or their ilk. The harmonies are top drawer and this one could well become a bit of an anthem. You Are The Only One shows a different facet to his voice as he adds a bit more gravel to the vocal for this blue eyed soul. One of the covers is that of Bob Dylan’s To Be Alone With You. Dominated by Jonny Dyke’s piano, it manages to turn into a 60s R&B. The Open Road has a slow build up but this soft rock offering has such an uplifting chorus.

Hayley Anderson guests on So Far From Home and Taylor goes all Americana and does it very well. The fuzzed vocal is used to great effect. Sheryl Crow’s Everyday Is A Winding Road is given a rootsy treatment and is, it could be argued, more than comparable with the original. Taylor’s not inconsiderable guitar talent is one of the reasons why. Another cover follows in the shape of Greg Allman’s It’s Not My Cross To Bear. This is a soulful blues that builds to a feverish pitch. Snakes is a strange one with a Miami Latin feeling whereas Lovestain is a moody and atmospheric acoustic ballad with Taylor’s soaring guitar ending things perfectly. He gets a jug band feel into No Trouble At All and the fun lasts all the way as he manages to get his guitar to sound like a duck in parts. Three radio edits of You Are The Only One, The Open Road and Everyday Is A Winding Road finish off proceedings.

The Matt Taylor Band makes playing sound so easy, almost no trouble at all.

http://www.matttaylorband.com/

David Blue.

Tony Joe White – Deep Cuts (Munich Records).

Tony Joe White is an acclaimed songwriter with songs recorded by Elvis Presley, Ray Charles, Tina Turner and Joe Cocker amongst many others. He is also credited with being one of the originators of ‘Swamp Rock’ and has written some of the classic songs of our time. Set The Hook has deep rich drums from Jeff Hale that lead into jagged guitar and harp. It’s an instrumental opening that is powerful, yet strange. As The Crow Flies makes plenty of references to the blues and White’s deep vocal sets it off perfectly. This is a hypnotic 21st century blues. Willie & Laura Mae Jones has those deep husky tones again and although snappy drums almost mask the blues influences, it pounds and throbs to a climactic peak. Soul Francisco has a futuristic feel with a power that is right in your face. It’s simple, yet effective, guitar is countered by a pounding bass. There’s no real pace about it but the power more than makes up for it.

The instrumental, Run With The Bulls is, as you may expect, Spanish flavoured and High Sheriff Of Calhoun Parish is another easy goer; a Western tale with a deep message. The start of Aspen, Colorado doesn’t hit it off. His voice doesn’t work but does eventually edges his way into it. This is a classic song that is expansive and world weary. Most definitely a grower. Homemade Ice Cream is gently led by guitar and harmonica and this instrumental is one to just laze back and listen to. Swamp Water is a down & dirty instrumental that sums up his raison d’etre. I don’t mean this in a bad way but you can see why others take his songs and have more success with their own interpretations. Take the final track, Roosevelt & Ira Lee for example. He is a bit of a one trick pony vocally and other singers can put their stamp on his songs, which, incidentally, are second to none in terms of quality. This moody offering is a bit of a strange one to finish with.

There is no mistaking Tony Joe White’s contribution to popular music and this selection of songs confirms his sublime songwriting talent.

http://www.munichrecords.com/
http://www.tonyjoewhite.com/

David Blue.

Edgar Winter – Rebel Road (Own Label).

It’s 35 years since Edgar Winter had a hit with Frankenstein and he has been re-inventing himself ever since. His current incarnation takes him closer to his brother Johnny with an infusion of blues rock that breathes freshness into the genre. With guest appearances by Slash, Clint Black and the aforementioned Johnny Winter, Edgar has put together an album of finely crafted songs. The eponymous opener features Slash and is a high impact start with a shout along chorus. It’s a big guitar song with no real sign of Edgar’s famous keyboard skills. Eye On You is a pounding, throbbing rocker -- this is a highlight. Power Of Positive Drinkin’, with Clint Black on harmonica, is potent and has another great chorus along with top class guitar. Freedom is softer and far mellower than those that precede it. It does build up after a sluggish start. Rockin’ The Blues has Johnny Winter stamped all over it and this mean and moody blues rocker allows him to upstage his younger brother.

The Closer I Get is an acoustic ballad that is a bit out of place. Dedicated to his wife, Monique, it’s pleasant enough and does show different levels to his voice. Do It Again has clean lines and this rocker has a full bodied chorus -- another highlight. Texas Tornado has the first real overt signs of keyboards. A gritty vocal and big sax input help to grind this one out. The mid-paced Beatlesque ballad Peace And Love is another of the songs that sounds out of place. His softer tones really don’t do too much here. Horns Of A Dilemma is a welcome return to the raunchy country rock of earlier. This is a good time boogie and Clint Black sets the whole thing off. The final track, Oh No No is another rocking boogie to finish with and it has yet another rousing chorus.

Winter says that his idea was to make a classic American rock album like those of the 70s. Objective achieved, I say!

http://www.edgarwinter.com/

David Blue.

Eric Steckel – Feels Like Home (Me & My Blues Music).

Is it me or are blues players getting younger? Eric Steckel is the latest kid on the block and at the age of 17 he is certainly one of the youngest. However, he is already a bit of a veteran having released his debut album when he was just 11. Feels Like Home opens with Just Walk Away, which has power from the outset. Blues rock with a maturity that belies his years. The eponymous title track is sophisticated Southern style rock and shows that he is an extremely talented and classy guitarist. Southern Skyline is an instrumental that highlights his exceptional technique and he is ably backed by Duane Trucks on drums and contributes Hammond organ himself. I haven’t mentioned his voice yet but on the plodding Don’t Look Behind it demands to have the attention taken away from the guitar. The voice will grow as he gets older but the signs are there that he came become a top class all rounder.

He shows that he is as adept on dobro as he is on electric guitar on Smiling Liar and his solo performance on Robert Johnson’s C’mon In My Kitchen is raw and exciting. Something Better is a return to the sophisticated rock of earlier on – a very, very strong performance. From Time To Time is a shuffling blues and is as good as anything in the genre at the moment. Is he a possible successor to Stevie Ray Vaughan? He has every chance. When Ignorance Turns To Bliss is an atmospheric acoustic based blues ballad and the predominately instrumental The Ghetto, led by Hammond organ, is an excellent jazzy offering. These tracks serve to confirm his excellence. He shows he can play acoustic guitar too on the closing track, Tuscany. This is an instrumental that calls up memories of days in the sunshine but seems a strange way to end such a powerful album. I’m not complaining, though.

If you like your guitar licks then check out Eric Steckel, the baby-faced blues assassin.

http://www.ericsteckel.com/
http://www.continental.nl/

David Blue.

Matt Andersen – Bold & Beaten (Own Label).

This six track EP is an excellent introduction to New Brunswick’s Matt Andersen. He opens with the Country and Gospel influenced Come By and if this doesn’t whet your appetite then nothing will. Something In Between is old style Country but it still has that Gospel feel in the background. His velvet voice and superb guitar technique will have you clamouring for more; it has been said that he is one of Canada’s finest guitarists. Bold & Beaten (Acoustic) is New Country this time and this is a lovely, well executed song. Tell Me is a bit of Blues, a bit Rock n Roll and a bit Country. It sounds as if it doesn’t know where to go but as Andersen unleashes his guitar you don’t really care. So Gone Now is acoustic and has the now familiar smokey voice. This is gentle and shows his talent for a poignant lyric. Broken Man is more of the same and I could just listen to that quintessential voice all night.

http://www.stubbyfingers.ca/

David Blue.

Samuel James – Songs Famed For Sorrow And Joy (Northernblues Music).

This is Samuel James’ debut album and at “a few years short of 30” some may say that he hasn’t the experience to sing the blues. However, age is no matter when the music is relevant and, believe me, the music of multi-instrumentalist Samuel James is most certainly relevant. This set of 12 original songs confirms the arrival of a true story teller. The “Here Comes Nina” Country Rag-Time Surprise (the first of many long titles) highlights his dextrous fingers but his voice is different to what I expected from looking at him on the sleeve. There is nowhere to hide when it is just you and your guitar but James dishes up a spectacular opening. I’m back to the voice for Sunrise Blues. It definitely belies his years and this hypnotic Delta blues is of the highest order. Big Black Ben has slide guitar and the high standard is maintained. Sugar Smallhouse Heads For The Hills is exciting and vital as he turns his hand to the banjo. Wooooooo Rosa is an instrumental and James gives a master class in dobro slide playing. This is followed by the very short One-Eyed Katie, which continues his talent for keeping the listener interested.

It could be very easy to become bored just listening to one man but his variety is exceptional. Mid-December Blues – I get them, doesn’t everyone is a gentle country blues and is a great counterbalance to some of the other more in your face numbers. Sugar Smallhouse And The Legend Of The Wandering Siren Cactus (recurring theme?) has a virtually spoken lyric but it fits like an old shoe. Sleepy Girl Blues has a bit of pace injected on the slide and Baby Doll has some old style guitar picking. Both show what a true technician he is. He slows it down for the instrumental Runnin’ From My Baby’s Gun Whilst Previously Watchin’ Butterflies From My Front Porch – easily the longest blues title I’ve ever come across. However, he builds it up so that it sounds like bees rather than butterflies at one point. Love & Mumbly-Peg shows that he does old style with real style and The Sad Ballad is a railroad song with his guitar taking the part of the train.

Samuel James is already a true master and this is one of the best debut albums that I have ever heard.

http://www.northernblues.com/

David Blue.

Dr John And The Lower 911 – City That Care Forgot (Cooking Vinyl).

There have been many songs written in homage to New Orleans following the aftermath of Hurricane Katrina but one of the city’s favourite sons has released an album full of them. Dr John is a true veteran of the music business and it has taken this tragedy to stir the passions and produce some of his best music for some time. The mid-paced funk of Keep On Goin’ has the good Dr’s familiar drawl and is laid back in the extreme. Time For A Change features Eric Clapton and Willie Nelson pops up on the Gospel style Promises Promises. Both songs are enhanced by the guest appearances but the spotlight is left to the main man. He opens You Might Be Surprised with the line “Life is a near death experience” and I couldn’t agree more. He delivers this message in his own inimitable style and you just sense that underlying feeling of caustic wit in everything that he does. Dream Warrior is a slow groover with a deep bass line – so smooth.

The funky Black Gold brings a true New Orleans feel to the proceedings and there is more funk on offer with We Getting’ There, on which Terence Blanchard guests. Stripped Away grinds away with grungy guitar from Eric Clapton. It is a very punchy and upbeat song and one of the best on offer. Say Whut? Continues the grind but it is slowed down this time. He doesn’t hold his punches as his political leanings come to the surface. My People Need A Second Line is more conventional and sweetly soulful. This breaks into true New Orleans jazz from James Andrews and Trombone Shorty with about 2 minutes to go. He is becoming more angry and political and Land Grab has a sense of release with its soaring trumpet. The title track is very easy going but don’t let that fool you, this is a very serious song! The guest appearances by Eric Clapton, again, and Ani DiFranco give it that gravitas. There is a touch of Creole with Terence Simien to finish with on Save Our Wetlands.

This is an album to make you think.

http://www.cookingvinyl.com/
http://www.drjohn.org/

David Blue.

Harper – Day By Day (Blind Pig).

Australian by birth and US resident, Harper is someone who mixes music from both areas to produce an infectious sound. The twelve original tracks begin with Do What Is Right, which is a funky rocker although the cover of the album does not really prepare you for this. What would you expect if you saw along haired guy with a didgeridoo? He is a strong harmonica player as you would expect from someone who has the lungs to play that other instrument. The switching between fuzzed and clear vocal adds another layer to the song. One Day has both didgeridoo and harp, a strange coupling that actually works. Otherwise, this is a straightforward rocker that sounds a bit like Paul Weller’s Walk On Gilded Splinters in the chorus. Sure There’s A Place is a strong, slowish rocker and Watch Your Back is sultry and will creep up on you. Just What You’re Looking For is a return to the funk with another strong harmonica performance. Al Hill, on Hammond organ, also deserves a mention here. There’s a return to the didgeridoo for I’ll Go Home and he manages to include this powerful instrument without disrupting the overall feel of the song. Very earthy as he and the band get down and dirty.

Resonator guitar is brought in by Andy York to good effect on Feels Like Sunday Morning. Essentially, Harper is based on soft rock but that is not a criticism. Wailing harmonica welcomes Get Out Of This Mess. Its simple formula and catchy chorus are effective but it is the harp that steals the show. Face The Truth is sophisticated rock for grown ups much in the style of Steely Dan and I Must Be Dreaming is slow and harmless. He certainly has a voice for this kind of soft ballad. The return of the primal screams and didgeridoo for You Can’t Hide also brings back his harmonica. It is these incisive harp breaks that will most likely make the biggest impression on you. Good funky rock. He finishes with The Comfort Zone, an instrumental where he confirms my belief that he can be a worldwide star on harmonica. The upbeat finishes features overdubs which provide harmonic harmonicas!

The more you listen, the more you will hear.

http://www.blindpigrecords.com/
http://www.harper.biz/

David Blue.

Popa Chubby @ The Ferry, Glasgow 15th May 2008.

Let me set the scene: Popa Chubby is a BIG man, a BIGGER talent and an even BIGGER personality. He, and bassist AJ Pappas and drummer Rich Monica, took the audience at The Ferry by the scruff of the neck and did not let go for the best part of two hours. Despite barely stopping for breath he still managed to build up an excellent rapport with the renowned hard to please Glasgow crowd. In a set peppered with classic covers and songs from his new album, Deliveries After Dark, he showed just how good a guitarist and vocalist he is. Of the originals, the opener, Let The Music Set You Free, 2nd Avenue Shuffle and I’ll Piss On Your Grave were particularly well received. The covers, such as Hendrix’s Hey Joe & Little Wing, BB King’s The Thrill Is Gone and Robert Johnson’s Walking Blues were delivered with aplomb. He closed with a version of Rufus Wainwright’s Hallelujah, which is an evocative sing at the best of times but Popa squeezed every ounce of emotion out of it and showed he’s not just a big gruff New Yorker.

He said to the audience that Glaswegians were just like him – a nice guy, would do anything for anyone but don’t fuck with him. Believe me big man, I’m not about to.

http://www.popachubby.com/

David Blue.

The Believers – Lucky You (Corazong).

The Believers are an almost constant touring band but they do stop sometimes to record their brand of roots music. Lucky You was mastered by Ray Kennedy, who has produced albums for Steve Earle and Lucinda Williams in the past and you can bank on some superbly crafted songs. The eponymous title track is a great rocking opener and immediately confirms them as serious contenders in their field. I’m Only Dreaming has Craig Aspen on lead vocal for a pleasant middle of the road electric offering. Higher Ground is rootsy, with mandolin, accordion and good harmony between Aspen and Cyd Frazzini’s strong voices. It’s another homage to New Orleans and has power all of the way through. Mother Nature is acoustic and has a familiar feel. I’ve only heard four tracks and they feel like old friends already – always a good sign! The lyrics on this are quite acerbic and shows that they are not all nice and cuddly. You’ve Got Another Thing Comin’ has Cyd Frazzini on lead vocal and it is a very crisp & clean, moody rocker, written by members of Judas Priest, I believe. The acoustic soft rock of Read It And Weep continues with Frazzini on vocals.

Who’s Your Baby Now has authentic vinyl scratches at the beginning and they lead into some pleasant nu-country. Your Hurting Ways cements their good vocal partnership and this one is firmly set in the Americana field. Acoustic led, it builds with the gradual inclusion of the band (Stevie Adamek on drums and Bill Reynolds on bass). Its sedate pace does not detract from the overall quality of what is an excellent song. Ring, Ring, Ring is old style country although it is rocked up a bit. Male vocal and dogs barking in the background – go ahead, just lose yourself. The Day The Circus Left Town is very low key and relaxing. Railroadspikes & Shotgunshells is the first of two bonus tracks and country based as you would expect on reading the title. Aspen on vocal with mandolin and a throbbing pace. The other bonus track is very Tom Petty in the intro (his country phase, that is). This is another nu-country classic with a great little riff – very simple yet so effective and catchy.

I’m looking forward to them fitting in a Glasgow gig in their very hectic schedule.

http://www.corazong.com/
http://www.thebelieversusa.com/

David Blue.

BB King – Live At The BBC (Universal).

To say that BB King is the greatest bluesman still alive does not really tell the full story or impress enough upon those who are not of a blues persuasion. The fact that he is still performing at the grand age of 83 should be enough but the best way to feel the experience that is BB King is to actually see or hear him live. There are a number of live albums on the go but this one restricts itself to performances for the BBC covering a 20 year span. The shows are gleaned from three gigs at Hammersmith Odeon (1978), Glasgow (1991) and Fairfield Hall, Croydon (1998) plus a couple of tracks from the Andy Kershaw show in 1989. The songs are all standards and the introduction at The Hammersmith Odeon says it all – “The wonderful Mr BB King”. That introduction precludes a slow beginning to Caldonia, which with its prominent horns and trumpet solo, has all of the trademarks – the powerful voice and stinging licks from Lucille. There are five songs from this show and he turns on the funk for I Love To Live The Life. This slips nicely into Night Life, which is the classic smoothie. This is a recording of a man in his prime and there has to be a special mention for the pianist – his solo is so cool. The sound on When It All Comes Down is sometimes beset by echoes but the fact that it was recorded 30 years ago has to be taken into account. Of course, that doesn’t stop the vibrant audience participation. The Thrill Is Gone is thought of, by many, as the quintessential BB King song and he plays it in so many different ways. The first of two versions on offer is played in the classic blues style that most people will be familiar with. There are two songs from Glasgow and I Gotta Move Out Of This Neighbourhood is welcomed in the usual warm manner by a very appreciative audience including me! There is a better sound on this; well it is 15 years later, after all. The long, slow intro only serves to whet the appetite for the classic that is to come. The other Glasgow inclusion is a fast paced version of When Love Comes To Town which has horns aplenty. Worth listening to if you think that the U2 version is the be all and end all.

Five tracks from Croydon begin with the high energy Let The Good Times Roll and he gives a big build up to guitarist Leon Warren on Stormy Monday Blues before the pair of them serve up a powerful version of the T-Bone Walker classic. BB gives us a bit of conversation about who had been recording with (Rolling Stones, Eric Clapton, Willie Nelson & Heavy D) in 1998 before giving us an energetic Ain’t Nobody Home. Five Long Years is one of my favourite BB King songs and this performance is broody and brilliant. The last of the Croydon songs is How Blue Can You Get and he jokes with the audience about The Blues Brothers and how he didn’t get into the film. Unfortunately for him he was in the less successful Blues Brothers 2000! This song will be familiar to aficionados of the film who will recognise it at the song that the supergroup sang. BB’s performance is, however, much more powerful. Paying The Cost To Be The Boss is another of his classics and is a bit more up-tempo than normal. It is very slick and his voice and playing are in top gear. The last track is the second version of The Thrill Is Gone and it is superb. The two live studio recordings benefit from those surroundings and are the best on the album for quality but they just lack that electricity that is felt when you are in the presence of one of music’s greatest performers.

This is BB King – I need not say any more.

http://www.umusic.com/
http://www.bbking.com/

David Blue.