Savoy Brown -- Steel (Panache Records).
Kim Simmonds and the latest incarnation of Savoy Brown really don’t need much of an introduction so let’s get to the music. They open with a Lowell Fulsom song -- that’s a good start in anyone’s book -- Monday Morning Blues, we all get them, don’t we? Simmonds voice may not be what it used to be but boy can he still play guitar and this is confirmed on a strong solo on. Long As I’ve Got You is a stormer, a first rate boogie with excellent slide. I Don’t Remember You is a moody, grungy blues that suits his mature voice better. It’s the type of song that lends itself to an extended guitar solo and Simmonds cranks one out, big style. You Don’t Do A Thing For Me is blues rock that almost drifts off into a Southern boogie and Simmonds is keeping up the pace on guitar. Fly Away has a ringing guitar introduction and the fact that I find it difficult to pigeonhole this rootsy offering turns it into an unexpected favourite.
By the time we reach Crying Forever, Simmonds is warming to his task and harks back to his heydays. Daybreak is a straightforward blues, played on the rock side whereas Echo Of A Sigh gives us a break from the blues. It’s an instrumental that allows Simmonds to express himself and show how good he still is. I’ll Keep On Singing The Blues is played in the Chicago style with a stinging guitar that cuts right through you. They finish with Keeping The Dream Alive and I’m pleased that they are choosing to boogie to the end. Just turn up the volume and get on down to Kim Simmonds ringing guitar.
Kim Simmonds says on the reverse of the CD that he wanted to get back to recording blues with energy. I think that he has achieved his goal.
http://www.savoybrown.com/
http://www.bluewaverecords.com/
David Blue.

Stacy Mitchhart -- Gotta Get The Feeling Back (Dr Sam Records).
This is Cincinnati born Stacy Mitchhart’s ninth album yet he remains strangely unknown on this side of the Atlantic. This latest release features seven original songs and four covers and is sure to get him wider acclaim. The eponymous title track is a big, brassy opener, a contemporary blues with incisive guitar. I Can’t Get Enough Of Your Lovin’s chorus is just Living For The City but it is funky and driven by the bass and Mitchhart’s slide guitar lifts the middle section. Despite Mitchhart’s claim that he has never been a big Zeppelin fan, there is a Led Zeppelin tribute on Black Dog/Whole Lotta Love and he gives us a little twist on it by using acoustic slide. He’s no Robert Plant on the vocal side but he does have a good voice in his own rite. He also gives an interesting analysis of the line ‘Big legged woman got no soul’ before moving on to Whole Lotta Love, staying on slide. This is, at just over 8 minutes, a very good job. He sticks with the slide guitar for Blow On Them Baby and his dextrous playing and machine gun delivery are just perfect for this minimalist instrumental. The Blues Has Got You Bad is blues chic with stylish organ and horns. Additionally, Mitchhart’s guitar solo does not disappoint, yet again.
He gets the funk back for Better Off Without You and the album is getting better and better, track by track. The fuzzed guitar is excellent and his vocal is improving all the time. Given Me Reasons is a Kansas style blues, a piano blues with clean sounds and a welcome sax break. It was written at 02.30 and the temperature was still 85 degrees (obviously nit in Scotland then). There is no need to explain the subject of Dog House Blues (we’ve all been there boys, haven‘t we). There is a fiddle, a mandolin and even some dogs on this stomping Country blues. I’ll Play The Blues For You sees the return of the female backing singers, Dorothea, Dee and Raquel, and the sophisticated horn section. Mitchhart’s pointed guitar rounds the whole thing off. The smooth acoustic blues of Duane Allman’s Whipping Post has got it all and the live Blue Monday shows that he is a good live singer. It’s a slow but powerful finish to an album that provides a number of highs and there’s some bonus video at the end.
http://www.stacymitchhart.com/
David Blue.

Chrystina Tomlin – Bitter Twisted Wrong (Own Label).

Young English singer songwriter Chrystina Tomlin’s debut album has been a labour of love but with that title, are you hoping for a happy album? The opener, Your Demise, is funky rock with attitude and sets the standard for what is to follow. Stand Corrected shows her band (her and producer, Phillip Goss) can rock – think Alanis Morrissette. Goss is particularly strong on guitar. They follow up with No More, which is acoustic and atmospheric and shows she can hold her own, vocally. Sometimes has me still thinking Morrissette – is she the successor? Funky guitar from Goss sets this up. The eponymous title track validates the comparisons (did I mention Alanis Morrissette?) and is out of the top drawer of angst.

She takes on piano duties for Lonely Tonight and her shrill voice just adds to the overall power. Infidelity is Indie rock and such a powerful song must mean there is a place for her at the table. Losing You is another piano-led track, a rock ballad that also brings Evanescence to mind and highlights her good vocal range. There is a live feel to Accusations as Goss gets into a groove on guitar and drums. He then adds bass (busy boy) to funk it up on another personal song that carries the theme of a love lost throughout. Never Ever is a passionate and soulful piano song and her versatility is shown on another rocker, Your Way. This also confirms her songwriting talent which was first noticed at the tender age of 10. You thought that there would be a happy ending, didn’t you? Well, you are out of luck as Poison rocks out the album to the end. However, this is not one of her best and leaves you with a sense of disappointment. Overall, this is an excellent, if black, album. Chrystina says “thanks to this album I’ve had the chance to express all of my emotional baggage”. You don’t say!!

http://www.chrystinatomlin.com/

David Blue.

Mason Casey – Sofa King Badass (NorthernBlues Music).

Much travelled New Yorker Mason Casey arrived on the blues scene via many years working as a stone mason. He has built a reputation as a top class harmonica player and played on recordings by Wilson Pickett. In fact, when Pickett heard him play he said “Now that’s how the harmonica is supposed to sound”. Three albums for Dixiefrog Records between 2000 and 2003 cemented his reputation in Europe but this album is his first serious release in the USA. You Make It Hard continues the blues tradition of double and sometimes, single entendre. Mind you, if you read the albums title correctly then you will have been well warned. This is a satisfactory opener and Casey blows a mean harp on this rhythmic blues. The innuendo is accentuated by his gravely voice. Nine Times A Man, written by the aforesaid Mr Pickett, is classic R&B and would have fitted into the golden era easily. There is nothing complicated about it but it is a standout. It’s That Time Of Year Again is a blues influenced rocker in the style of The Rolling Stones or The Small Faces. John Tiven’s guitar solo slides in seamlessly. Chesterfield County Jail is another blues rocker, this time a la Gary Moore and his ilk. I think that we have found a new star with his lived in voice and Jimmy Johnson on guitar who obviously lists B.B. King amongst his influences. Blue Hair Woman is a Southern style blues rock chugger with a tale of a gigolo as its theme. Don’t End Our Love has him leaning towards R&B again and is a bit of a grower – give it a chance.

You surely must have got the joke by the time the eponymous title track comes around. This is funky and urban, even with the juvenile play on words, but it is still one of the weakest tracks on offer. Taxi Love has a Joe Cocker style vocal (also compared by Wilson Pickett in the past) and he is back on form with this broody contemporary blues. The horns and the mean harmonica set it off perfectly. Let Me In is not as strong as most of the others. It’s a bit harmless and not what I’ve come to expect with a lack of harmonica and even Steve Cropper’s guitar doesn’t save it. Take Me To The Airport is a Chicago blues and the most out and out blues song on the album. I think that this brings out the real Mason Casey and that makes it a highlight. It Takes A Lotta Love is an organic R&B that has him on good form. That’s My Heart is straightforward and shows that Casey has no airs and graces. He lets his harp go for more than a few fills on this one. Steve Cropper guests again on Done Crying, the last of the R&B songs and another that creeps up on you so don’t dismiss it on the first hearing. My Prayer has almost a reggae beat and is surprisingly Gospel influenced. He finishes the way he started by giving a satisfactory performance.

http://www.northernblues.com/

David Blue.

The Outside Track – The Outside Track (Bedspring Music).

Formed in 2005, The Outside Track are an amalgam of musicians from Canada, England, Ireland and Scotland and the music from their respective cultures adds to a mix that is quite intoxicating. A great way to start a party is to involve the Scots and Outside Track open with two Scottish reels, MacCallum’s Reel/Tune For A Lost Harmonica. These are a pleasant way to start and you certainly get plenty of notes for your money. Being a Scot myself I can fully appreciate this but I don’t get the lost harmonica bit though. The Scots theme continues with Karine Polwart’s Thaney. This is unadulterated Folk with good vocal harmony from Norah Rendell, Alan Jordan and Patricia Clark and is a tale of the mother of St Mungo, who built a church in Glasgow where the Cathedral now stands. Sheila’s One Legged Spectacles/The Famous Bridge is another strangely titled one. Apparently, it was written to commemorate one of the bands mothers’ spectacle collection. It’s gently led by Fiona Black on accordion before Clark and Rendell join in on fiddle and flute respectively. The second part is a more upbeat fiddle tune and combines contemporary themes with traditional. The traditional Irish tune, Cailin Rua has guitar and voice opening with the rest of the band coming in at intervals. The vocal grows on you as it builds on this Celtic Folk. Aillie Robertson plays harp on Galician, Anxo Pintos’ Cancro Cru as they continue to swap instrumentals with vocal tracks. This one has accordion, flute and fiddle playing big parts as well as Jordan on acoustic guitar. Another Irish song, Do Thugas Gra Cleibh Duit has a male voice for the first time and Jordan sings it in Gaelic. You can hear the Scottish and Irish influences on Cape Breton’s Own/ Marche Au Camp. Cape Breton music is a force in its own rite and the accordion on the first part and the fiddle on the second help bolster that.

Poor Lonesome Hen is a tribute to the Hebridean women’s work songs with three part harmony and it builds up into a great little tune. Troll/Sean’s Slip echoes tales of ancient Gaeldom. It’s a descriptive tune where the flute leads into percussion and fiddle. It is thoroughly enjoyable and though the second part is quicker, with fiddle and flute playing the harmony, the first part more than holds its own. A Kiss In The Morning Early/The Hole In The Hedge is well sung and is interspersed with a great reel. Munsters Grass/McGinley’s Socks are comedic Irish tunes, of which there have been many. Nimble fingers from the players build it up to a good pace. Smugglers Of Strangford is another Irish tale – never trust a smuggler! One of the weaker tracks, though. Dhu Hill/The Crooked Bandit gives Norah Rendell’s flute a chance to solo in parts. The guitar backing is excellent and the harmonium joins the flute for the melody. The whole thing comes together when the bass is added. The one noticeable thing is that there is very little percussion throughout the album. The closing track, Dar Williams’ Fishing In The Morning, keeps up the vocal/instrumental alternating pattern right to the end. I would have preferred a rip-snorting reel to finish off with rather than this, which is not really indicative of the rest of the album. Well played and sung, though it is, this is quite pallid. The Outside Track is a valuable new addition to the world of traditional music.

http://www.bedspringmusic.co.uk/
http://www.theoutsidetrack.com/

David Blue.

John “Juke” Logan – The Chill (re-Chilled) (Mocombo Records).

Originally released in 1992 and out of print for some time, John “Juke”Logan’s debut album, The Chill, has been re-mixed, re-mastered and has new tracks added. All 16 tracks were written, or co-written, by Logan and Fan The Flames is Texas blues with Rock ‘n’ Roll overtones, as heard in the Chuck Berry touches. A great opener and sets the scene for the rest of the album. She’s Cool People is a strange one, a 60s style question and answer session with a few Latin twists. He virtually speaks the vocal on Play Tha Blues, as he does with many of the others, and I can hear Albert Collins influences in Junior Watson’s guitar playing on this loose blues. Young & Wired underlines the fact that he is better at the rockers. Chuck Berry and Dave Edmunds come to mind on this and he shows that he is a good singer when he wants to be and the addition of David Hidalgo of Los Lobos is a masterstroke. This is a highlight. She Stone Me’s Latin rhythms will grow on you and the fast-paced harmonica blues of Rumblin’ Reeds introduces a little Zydeco to the proceedings. Logan on harp and Hidalgo on accordion both shine. He should concentrate more on these than on the spoken lyric tracks as he has produced another highlight. Dig Ta China is a strange one but he gets back online with the mid-paced swinging blues of Hustler. I can’t understand why he includes novelty tracks when he can produce this standard. Collins style shines through on Watson’s guitar again although the overall feel is that of Kansas, not Texas.

Long Low Ride has the addition of Brenda Burns on vocals and the result is a smooth, slinky blues and hey, we have another two good tracks in a row. There’s a familiar Bo Diddley beat on Bayou Diamond Ring with a bit of The Who’s Magic Bus thrown in for good measure. Mario Moreno’s guitar is on full reverb for the funky blues of If The Money’s All Right and you have to just wiggle your chromosomes to the manic guitar and harp of We Got Ta’ Rock. The Chill is another of those that lean towards the novelty end of the market, at least as far as the lyric goes. Musically, it is fine but he can be so infuriating. Soul Stroll is the last of the regular tracks on offer and is a slow 12 bar blues with harmonica to the fore. The aforementioned harmonica is played with feeling but it is a bit strange to end the album with a slow instrumental. However, there are two, previously unreleased, bonus tracks in the form of Mello C and Tend To My Bid’ness. The former is 60s R&B with Logan’s harp featuring more and more and played with such vitality and the latter is a laconic blues with the too often used almost spoken lyric. Otherwise, it is very good quality. John “Juke” Logan has been the harp player of choice for Ry Cooder, Los Lobos, Etta James and Bo Diddley to name but a few and they have excellent taste, as can be heard here.

http://www.mocomborecords.com/
http://www.johnjukelogan.com/

David Blue.

Lowri Evans – Kick The Sand (Fflach).

From the Welsh town of Haverfordwest, Lowri Evans has been steeped in music since the age of seven. She was a member of the all-girl group, Stella, with whom she released two EP’s before splitting up in 2002. After a couple of solo EP’s and contributions to compilation albums, she released her debut album, in Welsh, last year and quickly follows it up with this collection of ten self-penned songs and one marvellous cover. Can’t Decide is laid back, blues influenced, with acoustic guitar (Lee Mason), a bass player (Andy Coughlan) making his influence felt from the outset and keyboard player Wyn Jones sweeping up on a yard brush! Not At Maria’s places her firmly in the singer-songwriter field filled by those such as Janis Ian and the like. She’s much like Michelle Shocked, without the shock. Another string to her bow is the sweet, candy coated pop of the piano song, Lifetime. There are not too many U2 covers around and it does take a certain amount of bravery to take one on, so was With Or Without You a good move? She gives it an acoustic treatment and the addition of Nerys Richards on cello is a telling one, all of which makes it a surprising success. She’s back to the gentle, and rather twee, side for I’m Not In Love With You but Sorry Smokey is slightly better and her voice is becoming strangely familiar. It would be very easy to label her as a challenger to Natalie Imbruglia.

The title track is one of the highlights and is a piano classic in the making. She turns to her native tongue for Merch Y Myny and I apologise if my Welsh is not up to date to allow me to translate. This only sounds strange because you are not used to listening to the language and she has to be applauded for sticking to her roots and, with a melody that is excellent, it doesn’t really matter if you can’t understand her anyway. Conscience is gentle and she really sings from the heart. I think that she would benefit greatly from performing in small, intimate venues as I think that her voice would be best suited to those. Another piano ballad follows in the form of Me. This is a high end, Stevie Nicks type of song and confirms her as a top class song-writing talent for the future. She finishes with Mountain Girl (the English version of Merch Y Myny for us mono-linguists); another soft and gentle song but I would not have it any other way. It’s a welcome return to guitar for this and it conjures up visions of Welsh mountains and crystal clear streams. Lowrie Evans has a massive song-writing talent and a lovely voice, to boot. My only criticism is that she lacks a little edge in her delivery.

http://www.lowrieevansmusic.co.uk/
http://www.fflach.co.uk/

David Blue.

Chris Duarte Group – Blue Velocity (Provogue).

The Chris Duarte Group comes from Austin, Texas and Duarte follows in the steps of Stevie Ray Vaughan, whom he has been compared to on many an occasion. He finished fourth behind Eric Clapton, Buddy Guy and B.B. King is 1995s Guitar Reader’s poll so you can imagine what a talent we have here. His previous four albums were all critically acclaimed and I’m sure that this will join the list. Amy Lee is stomping blues rock on which Duarte uses sustain to great effect and grinds it out to the end. Things go a bit more up-tempo on Do It Again and this has more of a vintage feel. Dextrous guitar playing and a classic rock voice make this a favourite. Damien Lewis’ rolling drums guide us through Hard Mind but when Duarte unleashes his guitar, the whole tone changes. This is good time music, played by a top practitioner and although it is over 7 minutes long, it certainly does not feel it. The opening to Something Wicked blew me away and this has power all the way. Don’t fall for the sedate opening bars and turn up the volume – you are liable to go deaf very quickly. When the vocal comes in, things slow down to an epic blues and blues with such feeling. At over 13 minutes long it sits with the classic tracks of the seventies – get your air guitar out! The pace picks up again for I’ll Never Know, another rocker on which Duarte funks it up. The vocal is a little detached at times but there is no doubting his guitar credentials. The rhythm section deserves special mention for Dustin Sargent’s pulsating bass and pounding drums from Lewis.

Sun Prairie Blues is a laconic blues with a not so PC lyric but many blues songs fall into that category. Guitar and voice are in complete synchronicity and he keeps things simple, apart from his solo where he rips it up. Never Gonna Change is a total wall of sound with the full band on a rocking tip but R U 4 Real? (I hate text language) is probably the weakest track on the album. Even Duarte’s guitar pyrotechnics fail to save this strange one and it is far too long at just under 9 minutes. He is back on form with the straightforward rocker, Out In The Rain and follows it up with a standard electric 12 bar blues, Leave Her Be. This Chicago style blues has a ringing guitar and heavily accented vocals and hits the spot. It’s a heavy finish as the band takes it to the limit with Met My Match. It’s short, it’s sweet and it’s a great way to finish.

Provogue keeps coming up with more and more top class guitarists and long may it continue.

http://www.provoguerecords.com/

David Blue.

The Rounders – Wish I Had You (Blind Pig).

Oklahoma City based five-piece outfit, The Rounders are a young band that are beginning to make a splash in the swimming pool of the blues. This, their debut for Blind Pig opens with God Knows I’m Tryin’, an uncomplicated, energetic opener with pulsating bass from Dave Spindle. The eponymous title track is another hypnotic one that fits firmly into the blues/rock category. My Getaway is a blues chugger with dual guitars (Ryan Taylor and Michael Stone), one on slide, playing in tandem. There is a Cajun feel to the simply executed You Know Better Than That and Through No fault of my own is a brash, brooding rocker with fuzzed vocal from Brian Whitten and harp. They show us another string to their bow on Oh My Dear Mind, which is fast paced, easy going Country.

When It’s Bad is a stomper and so different from the previous track. Ryan and Stone really get down on this blues rocker, ably backed by Stu Williamson on drums. It’s back to Country, with a little Cajun beat, for Oh Why. This is happy music – turn it on if you feel down. Let Me Talk At You continues the interchange between Country and rock. This is another with a fuzzed vocal and confirms their comfort in different genres. Their ease with each other is here for all to hear. Wait For Me is more of a straightforward blues, played in a Muddy Waters style. There is that fuzzed vocal again – is it my headphones? Guitar and harp meld well here. Leave My Trunk Behind is an R&B crossover with a 60s feel and It Wasn’t My Baby is an old style Chicago blues. They close with the fast-paced Goodbye George and its excellent slide guitar.

The Rounders is a good, down to earth band and there will always be a place for them in my collection.

http://www.blindpigrecords.com/
http://www.the-rounders.com/

David Blue.

Chris Whitley & Jeff Lang – Dislocation Blues (ABC Records).

This album was recorded seven months before Chris Whitley’s untimely death due to cancer and it is a fitting piece of work to remember him by. Vocal flits between wispy and pronounced power on the opener, Stagger Lee. This is a slow, brooding version of the famous song with acoustic backing, electric slide and a throbbing drum beat from Ashley Davies. Twelve Thousand Miles is a gutsy blues with excellent, equally gutsy guitar. Bob Dylan’s When I Paint My Masterpiece is a wall of sound with Whitley and Lang both on form with this grinder. Rocket House is country blues at the start but runs into a contemporary urban blues. There is some excellent slide guitar from both of them and what a loss Whitley is – hypnotic. The Road Leads Down has, quite simply, superb. They manage to get the ethos of the pre-war Delta and bring it slap bang up to date on the eponymous title track.

Forever In My Life has, as with the rest, a broody undercurrent. The use of Dobro on the album has been a masterstroke, none more so than on Velocity Girl. Unfortunately, the vocal on this is not as good is has been on others but the jagged guitar makes up for that. Ravenswood is airy but the voice goes a couple of times. Underground is completely different from those that have gone before. Electric, grungy guitar with a fuzzed vocal, it is almost demonic. Their voices differ but compliment each other and this is highlighted on the second Dylan cover, Changing Of The Guard. The breathless quality of the vocal is counterbalanced by the snappy guitar. Motion Bride is the last noted track and starts off in a sea shanty style with banjo to the fore. However, there is a short silence and then the guitars take over for a very ethereal rendition of Robert Johnson’s Hellhound On My Trail. This is followed by another, Kick The Stones I believe it to be, and the whole thing lasts over 11 minutes with a live track at the end. Not altogether unnecessary but it would have been good if they could have listed these tracks.

http://www.warnermusic.com.au/

David Blue.

Hallam Foe Original Soundtrack (Domino).

Orange Juice starts off this more than slightly Scottish tinged soundtrack of the recently released, critically acclaimed film, Hallam Foe. Their contribution is Blue Boy, an upbeat pleasure with Edwyn Collins on top form (good to hear that he is fighting his way back to fitness). The guitar is all over the place, as it normally is, and there are punk influences and a great chorus. UNPOC, from The Fence Collective whose highest profile member is currently King Creosote, gives us Here On My Own. This acoustic offering with its shouted chorus is deceptively catchy. King Creosote makes a short appearance as well and he confirms his status as a newly found major label act on The Somewhere Else. He has grown as a performer and this will enhance his standing with the harmonium giving a seafaring feel. Sons And Daughters are another band that are making a name for themselves and their brand of Indie rock on Broken Bones will fit in well with the target audience for the film. Junior Boys contribute the uninspiring electronica of Double Shadow and Clinic lift the album again with their rousing rocker If I Could Read Your Mind. Future Pilot AKA send in the heavy dub on Battle At The Gates Of Dub – highly addictive but very short.

Hood gives us the relaxing Lines Low To Frozen Ground and the headline band, Franz Ferdinand contributes Hallam Foe Dandelion Blow. This has a flighty and acoustic introduction and is a bit of a surprise – I’ll say no more. Psapp gives us Tricycle, which takes us back to the gentler side but it sounds like someone pulling a zip up and down at one point though – don’t ask!! Surf Song from James Yorkston & The Athletes remains on the gentle side. It’s just guitar and voice with a little accordion in the background. Great alt. folk from the Fence Collective stalwarts. The Bill Wells Trio chips in with Also In White, the great slogan from the back of many a transit van. This has electric piano and harmonica for most of the piece and harks back to the days of Larry Adler. Salvese Quien Pueda from Juana Molina is tender, almost child like and is a surprising favourite and Cinema’s They Nicknamed Me Evil is very ethereal, very Tubular Bells. The sedate feel continues with I Hope That You Get What You Want from Woodbine but it’s difficult without seeing the film to see how well the songs fit in. The album closes with Movietone’s Ocean Song, another slow one although it does build up towards the end.

As I say, it would probably be best to see the film first but there are a number of tracks here that stand up in their own rite.

http://www.dominorecordco.com/

David Blue.

John Dee Holeman & The Waifs Band – John Dee Holeman & The Waifs Band (Music Maker).

Born in 1929, John Dee Holeman is an original bluesman and here he teams up with the young Australian folk/rock band The Waifs for a surreal session that resulted in this gem of an album. They open with a straightforward version of the country blues classic, John Henry and follow it up with the electric blues of Country Gal. This is delivered at a pedestrian pace but the delta/Chicago hybrid is the real deal. Mojo Hand is another, no messing electric blues and the band gives it to us, warts and all. This is a rough diamond with a live feel to it. The strangely titled Give Me Back My Wig gives the harmonica player, Vikki Thorn, a chance to step out of the shadows and she does excel on this rustic offering. I’m A Pilgrim is acoustic, traditional and fantastic.

The tracks keep on coming and Coming Home To You is a classic blues. The first slight disappointment is Elmore James’ Dust My Broom. I’ve been brought up on powerful versions of this song and Holman’s just doesn’t do it for me. Next up is Little Queenie but I could swear that I was listening to Reelin’ and Rockin’ – someone has got his Chuck Berry tunes mixed up! This shows how wide reaching Chuck Berry’s influence is. They return to electric delta style blues for I Miss You Huggin’ and they turn in an unpolished performance that demonstrates how sweet music can be. Looking Yonder Comin’ is country acoustic blues and harks back to days gone by. If there is a style to pin to Holeman then this is it. They finish with the classic Baby, Please Don’t Go – often covered, few better.

http://www.musicmaker.org/

David Blue.

The Carvin Jones Band – I’m What You Need (Own Label).

Carvin Jones has been voted in the world’s Top 50 guitarists in Guitarist Magazine and this album confirms that status. Jones and the band open with the eponymous title track, a rousing blues with gunslinger guitar and vocal duet with Roscoe Taylor. You Drive Me Crazy has fuzzed guitar to introduce this slow burner. Strawberry Shortcake is R&B with Steven Von Wald’s saxophone introduced to good effect. Carvin shreds up the fretboard on this instrumental which also has a clever piano break from Tim Furkes. Drownin’ On Dry Land is a strong Chicago blues but with an unnecessary trumpet in the background. It is too much of a conflict with Jones’ guitar, which overpowers everything. Born To Win is a fast paced R&B with stinging guitar. The excellent Patrick Riley on drums keeps the whole thing together.

They stay with R&B for Havin’ A Bad Day and this confirms that Jones’ guitar is the star. Excellent horns on this as well. The slightly familiar instrumental, Lightning & Ice is a fast paced, shuffling blues on which Furkes gets his share of the limelight. The electrifying guitar of Jones heralds Stuck In The Mud; a familiar tale of a lost job, no money and a woman leaving. This down on my luck blues at its best. There is a little more power to Roscoe Taylor’s voice on One Night Stand, an R&B/Soul crossover with Jones’ guitar piercing the sky. Miss You Baby is a rolling blues with a return to his smokey voice and prominent piano from Furkes. Wanna Walk Witcha Baby is another rolling blues and they finish off with I Need Your Sweet Lovin’, a slow, delta blues with a primeval feel. Simple guitar and voice is a fine way to finish.

Eric Clapton thinks that Carvin Jones is the next up-and-coming blues player and I am not about to argue with him.

www.carvinjones.com

David Blue.

Omar Kent Dykes & Jimmie Vaughan – On The Jimmy Reed Highway (Ruf Records).

Mississippian Dykes and Texan Vaughan take a road trip in honour of one of the blues greats. Opening with the eponymous title track, we have Dykes’ growling vocal over a mid-paced boogie although Vaughan’s guitar is a little shaky at times. Reed’s own Baby What You Do To Me/Bright Lights, Big City is a strolling blues on which the use of Kim Wilson’s harmonica is to good effect. There is a seamless change between the two songs, the second of which is a classic, of course. Here, their voices go well together. Willie Dixon’s Big Boss Man has Wilson’s harmonica out again whilst Vaughan keeps up the rhythm and snappy drums from Wes Starr underpins the whole thing. The First of four Reed songs, Good Lover, is a swinging blues with Lou Ann Barton on vocal, answered by Dykes. There is a good interaction between them on this, one of the best tracks on offer. They slow things down for Caress Me Baby and Dykes continues to exchange vocal with Barton. Wailing harp from James Cotton, an emotion-laden vocal and some of Jimmie Vaughan’s best guitar work makes for a top song.

Aw Shucks, Hush Your Mouth is played in a Jimmy Reed style and Vaughan gets to take over. There is more lead guitar than on the others and he carries it off well – no fireworks, just steady playing. You Upset My Mind continues in the Reed style – a slow shuffle with plenty of harp from Kim Wilson. Dykes as the authentic voice for this. I’ll Change My Style is a Country blues with staccato guitar from Vaughan that fills in very well. Eddie Taylor’s Bad Boy is a mid-paced 12-bar that turns into a bit of a jam in the middle and allows Vaughan to shine. Baby What’s Wrong is another Reed song and is faster than most. This has Dykes grinding his way through. Gary Primich on harmonica, however, takes centre stage. The final Reed song, Hush Hush, is a grinder with Dykes continuing his gruff vocal with some vocal and harmonica from Delbert McClinton. You Make Me Laugh is standard fare to finish with and Primich almost makes his harmonica talk.

http://www.rufrecords.de/

David Blue.

Matt Andersen – Solo At Sessions (Own Label).

Canadian Andersen is a five year veteran in the music business and this comes across in his latest album, Solo At Sessions. He has an acoustic start with Leavin’ Blues and it highlights his silky voice and 12 string guitar. It’s a straightforward swinging blues. The Bill Withers classic, Ain’t No Sunshine is given a good treatment. Andersen’s voice is well suited to the song and he is an excellent live performer. He produces some frenetic guitar on this superb version. When My Angel Gets The Blues is a return to the 12 string guitar is more nu-country than blues. He is a particularly good singer, much like his Australian contemporary, Derrin Nauendorf. He introduces dobro for I Play The Fool For You nod produces a rousing blues despite the lack of urgency. The reaction of the crowd tells its own story.

He turns in an acceptable country blues on One Size Never Fits before returning to his 12 string for the shuffling blues of Rollin’ Home, complete with fingers of steel. Have You Got The Blues underlines his love of the 12 string and he produces some lovely Gordon Giltrap-esque fills. If I Can’t Have You is folksy but very good, nonetheless. He shows that he can crank up the speed on the breakneck blues of Tell Me. He must have worn out his slide on this and his picking technique is outstanding. He throws in a bit of Deliverance and Smoke On The Water for good measure. He finishes with one of my favourite songs, The Proclaimers’ My Old Friend The Blues. Steve Earle does a great version of this and although Andersens’ version is not as grungy, it is excellent in its own rite.

http://www.stubbyfingers.com/

David Blue.

Joe Bonamassa – Sloe Gin (Provogue).

It was with great excitement that I received this album having reviewed You & Me (his last album) and having seen him live. His seventh solo album opens with Chris Whitley’s Ball Peen Hammer and this shows a maturity in his voice. It starts on acoustic guitar but it is not too long before he unleashes his renowned power and excellent picking. Ten Years After’s One Of These Days follows on quickly and is a mighty powerful blues chugger. This builds to a crescendo and then takes the listener back down again. There is a little bit of slide guitar and a top solo on this, which is destined to go down in the annals of blues rock history. Joe shows his versatility on the acoustic Seagull. Joe gives this Paul Rodgers song a folk rock, 70s concept album feel. Dirt In My Pocket is the power blues rock that Joe is most associated with but this is a little Bon Jovi, although that is not too bad a thing. The eponymous title track, a little known song from Tim Curry’s 1978 solo album, is ethereal and has guitar that slashes through your senses – sheer class. Bonamassa reckons this will soon be his biggest live track.

Another Kind Of Love – another kind of blues rock, more like. This is straightforward, but at the top end of the genre. Around The Bend is a return to acoustic guitar but with the addition of some innovative slide. This will be a great song in a hushed auditorium. Black Night (not the Deep Purple classic but the one written by Charles Brown) is a classic blues with a big solo and a grown-up voice. He gets the dobro out for John Martin’s Jelly Roll, beautifully played and showing that he is one of the best around. Richmond is played on acoustic guitar and is quite simply a very good song. He stays in acoustic mode for the closing track, India. This has sitar overtures and is a slight departure for the blues rock genius. I suppose he is still spreading his wings and is eager to try new sounds and I won’t blame him for that. This is a more than satisfactory follow up to You & Me.

http://www.joebonamassa.com/
http://www.provoguerecords.com/

David Blue.

Dave Gross – Take The Gamble (Swingnation Records).

22 year old Gross is already a master of the guitar and his talent was noticed by the legendary Duke Robillard who has produced Take The Gamble and guests on three of the tracks. Clarence ‘Gatemouth’ Brown’s She Walks Right In is played in a Big Band style and is an upbeat swing blues to open with. He follows that with Mess On My Plate, a slow swinger and I’m Leavin’ Baby, which is a slinky blues with equally slinky guitar. I’m So Hungry Blues is slow and deliberate and full of innuendo. Swinging On All Six is jazz/blues and there is a good interaction between Gross’ guitar and Doug ‘Mr Low’ James’ saxophone. Dona Oxford on piano also gets in on the act on this fast paced swinger. Walkin’ In A Daze, written by ‘Hot Lips’ Page, is on the jazz side of the blues again but not too inspired.

That’s All You Get has a snappy Albert Collins style guitar and he must certainly be an influence – smooth. You Ain’t Playin’ Me No More is a barroom blues with slinky guitar and assertive vocal but I Know Your Wig Is Gone (strange title) is another unremarkable jazzy blues, despite having been written by T-Bone Walker. After Your Gone is another jazz offering and although very professional, it is not inspiring. Great guitar though. Movin’ On Down The Line is a contemporary blues and there is no disputing his prowess on guitar. Once I Had A Girl is old style Country played quickly with adventurous guitar. He closes with Make Things Right, a slow sultry blues. This makes for a very good ending and carries his now trademark vibrato and exceptionally strong guitar.

http://www.davegrossband.com/
http://www.swingnationrecords.com/

David Blue.

Gina Sicilia – Allow Me To Confess (Swingnation Records).

Philadelphian Gina Sicilia is a new voice on the blues scene and she is making waves already. That’s A Pretty Good Love is a swinging opening with Sicilia unleashing her big voice on the song many will associate with Big Maybelle. I Ain’t Crazy is a big band blues with a great horn section. The guitarist, Dave Gross, plies his trade well and Gina is powerful again. Try Me is a slinky blues, originally sung by Esther Phillips with Karel Ruzicka Jr and Rob Chaseman on sax are on form. One Of Many sees the introduction of Dennis Gruenling on harmonica for this upbeat song. It’s blues but it does flirt with the jazz side. Pushover has a 60s feel and Gina does a great job of covering this Etta James song.

The self-penned Rest Of My Days is soulful and you can sense influences such as Otis Redding. The second half of the album is written solely by Sicilia and the eponymous title track is a grinding soulful blues with jagged guitar from Gross. You Set My Heart On Fire is a sultry nightclub blues with Matt Stewart’s muted trumpet under a raunchy vocal. Bass (Scott Hornick), drums (Mike Bram) and guitar (Dave Gross) are all understated – gorgeous. There Lies A Better Day is a harmonica blues and Gina vamps it up again as Dennis Gruenling beefs it up on harp. This swings along very well indeed and her voice belies her years. That Much Further is Country and the poorest track on offer. The Gospel inspired When My Ship Comes In finishes things off and is played acoustically to let the listener hear the lyric. The last two tracks are obviously in there to show her versatility but it almost backfires. However, I have to say that this is an above average debut.

http://www.swingnationrecords.com/
http://www.ginasicilia.com/

David Blue.

Seasick Steve – Dog House Music (Bronzerat).

Seasick Steve is one of the flavours of the moment on the blues scene and it’s not hard to understand why when you hear this album. The opener, Yellow Dog brings the Delta to the 21st century but is way too short. Things Go Up is an acoustic blues and back to basics. He’s had the knocks and his life experience comes out here and elsewhere in the album. Cut My Wings has a live feeling to it. It’s played on electric guitar and will, repeat will, excite you. Fallen Off A Rock confirms that Seasick Steve could be John Lee Hooker’s successor. This is more of a country song though, but it has a big, loud blues finish. Dog House Boogie tells the tale of how he is still trying to get your spare change – old habits never die. Save Me has a strange effect on the guitar but otherwise, is a straightforward blues.

Hobo Low is another mid-paced boogie. He speeds it up in places toward the end with an almost Native American wail. This is John Lee Hooker influenced and no mistake. Shirley Lou is acoustic Delta blues and My Donny is a mesmerising stomping blues from the same area. Time Dead Song is a painfully slow but confirms his status as a real bluesman. Last Po’ Man is slightly more upbeat but the dark undertones continue. Salem Blues is back to the snails pace acoustic but he does manage to produce a smouldering blues. I’m Gone is played at his own pace again. Clean sounds with a big speech at the end. The song is a story about jail and a dog. Five minutes later he goes off into another track and adds drums, which for him is a big departure. He has been quoted as saying that he won’t be around for long, let’s hope he is wrong.

http://www.bronzerat.co.uk/

David Blue.

Simon Mayer & The Mandolinquents – Dance Of The Comedians. In Concert (Acoustics Records).

In the 1930s, mandolin orchestras were very popular and one listen to Simon Mayer & The Mandolinquents it is very easy to understand why the instrument is undergoing a bit of a revival. Fans of the band have been asking for more ballet music since Dance Of The Sugar Plum Fairy was included on their first album. They have capitulated and offer Delibes’ Pizzicato as the opening track. This is a smorgasbord of mandolins and the tune suits the instrument well. Between most pieces there are spoken introductions which, on the whole inject some of the bands off-beat humour. Apanhei Te Cavaquinho is a tune played at breakneck speed. Written by Ernesto Nazareth, the King of Choro, which is a Brazilian street music, the speed is produced by the Cavaquinho, a type of small guitar that is designed to play at a rate of knots. Their energetic playing is so precise and they get even quicker towards the end. Hilary James is introduced on vocal for the first time on Song Of India, taken from the opera Sadko, but her voice is a little too shrill for me. The spoken introduction to The Typewriter emphasises the good rapport that they have with their audience and their dexterity on the instrumental astonishes me. They show that they are not a one trick pony with George Shearing’s Lullaby Of Birdland. This is jazz, as you would expect, with vocal and violin thrown in. Richard Collins keeps the audience going by telling them that he is not bald, he is eggshell blonde. After this revelation they launch into the well known and superbly played Czardas. The female introduces Loch Lomond and gives an explanation of what the song means. Unfortunately, as a Scot, I feel that they have Anglicised the song a little too much but the mandolin interlude is well placed.

Rigaudon is a Greig piece and they show great depth and feeling, highlighted by the fact that there is not a pin dropped in the whole place. The Sailor sees Hilary James back on vocal and it turns out to be a lovely song, well sung. The introduction to Caravan highlights the differences between the USA and Britain. The song is by Duke Ellington and has a cowboy feel to it before it goes off into a French Jazz Club. The sarcasm drips off the tongue on the introduction to Will You Come To The Bower. This is old English folk which is expertly played. Not for me though. Summer is light and airy, as you would expect and The Dance Of The Comedians, taken from Smetana’s The Bartered Bride, is back to the rapid playing. They surely are masters of their trade. There is comedy to the end but they do give a reason as to why they started The Spider In The Shed. This is a spoof of Home On The Range with audience participation. A nice, fun ending.

http://www.acousticsrecords.co.uk/
http://www.mandolinquents.com/

David Blue.