Walter Trout – Common Ground (Provogue Records).

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

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

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

David Blue.

Philip Sayce – Innerevolution (Provogue Records).

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

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

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

David Blue.

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

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

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

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

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

David Blue.

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

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

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

Big things beckon for Jimmy Bowskill – remember the name!

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

David Blue.

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

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

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

Oli Brown will help form the future of British blues.

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

David Blue.

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

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

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

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

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

David Blue.

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

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

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

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

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

David Blue.

Mitch Laddie – This Time Around (Provogue).

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

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

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

David Blue.

Scott McKeon – Trouble (Provogue).

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

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

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

David Blue.

Joe Bonamassa – Black Rock (Provogue Records).

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

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

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

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

David Blue.

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

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

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

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

David Blue.

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

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

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

http://www.bluearmadillo.com/


David Blue.

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

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

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

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

David Blue.

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

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

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

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

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

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

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

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

I would say that Marcus Bonfanti has arrived.

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

David Blue.

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

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

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

http://www.rufrecords.de/

David Blue.

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

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

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

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

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

David Blue.

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

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

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

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

David Blue.

Blue Mother Tupelo – Heaven & Earth (Diggin’ Music).

Tennessee husband and wife duo Ricky and Micol Davis’ third album has been mastered by Motown legend Bob Ohlsson who worked on many of Stevie Wonder’s hits. Heaven & Earth bears the Ohlsson stamp but is very far removed from those Wonder tracks. Always Lookin’ is a mid-paced Country rocker with a little funk on the side. A rasping vocal from Micol Davis makes for a good opening. The slow and hypnotic eponymous title track is played on piano and there is something spiritual about it. Give It Away/Hard Times has a grinding boogie slipping into a rhythmic Delta blues before reverting back to some grinding to finish the duet of songs off. The War is a beautiful piano ballad and their voices work well together on Goin’ Down Midnight, a mid-paced rocker. Wandering Soul is gentle Americana and so easy to listen to. Tupelo sees the introduction of saxophone to back up the slide guitar all played in a laid back Southern US style.

Ramblin’ Train is a bit heavier and darker than its predecessors although it is a bit out of sorts with the rest of the album. There is some more gentle Americana in the form of the Jesse Winchester written Biloxi and their strong harmonies underpin a classic Southern Country rock on Hand In Hand. The traditional I Wish I Was In Heaven Sitting Down brings Janis Joplin to mind and the gentle High In The Sky is much akin to Krista Detor in its execution. Runnin’ Around is rousing, rocking Country and they finish with the swamp music of Gustard Bellue. This is a jaunty end to an overall excellent album and it is split into two tracks, in effect. There are children singing on the second part and dogs barking in the background which gives a homely feel. To give more of a background, Gustard Bellue is the dog of the story – imagine calling out for him in the park!!

http://www.bluemothertupelo.com/

David Blue.

Patrick Vining Band featuring Mike Bourne – Atlanta Boogie (Blues Boulevard).

An Atlanta native, Patrick Vining has been playing music since he was a child but it was only when a friend played him a Muddy Waters record that he knew that he had to sing the blues. That love of the blues continues with his latest album, Atlanta Boogie, which opens with a Kansas City style blues, Everybody Knows. Vining has one of those lived-in voices and Mike Bourne’s sharp guitar compliments it very well. Chicago blues man Bourne is steeped in the styles of Chicago and Kansas City and has now relocated to Atlanta to join up with Patrick Vining. Last Night is another shuffling blues with New Orleans overtones and highlights Vinings perfect voice for the blues. There is some good piano work from Matt Wauchope on this one. Tommy Brown joins on vocals for Atlanta Boogie and his is good time music in a rock n roll vein. I’m So Glad is a boogie-woogie and a classy one too with Wauchope is sparkling form.

30,000 Dollar Millionaire is a strolling blues/swing effort and very pleasing to the ear whilst the very good Money’s Getting Cheaper is a mid-paced swing blues. Something is upbeat R&B and Late At Night is a standard slow Chicago style blues. They then throw in Man Of Clay, a fast paced boogie that shows they are comfortable with all forms of the blues. There is a Gospel feel to the beginning of Last Meal. However, this then turns into a rolling blues but it is the organ playing of Wauchope that makes it feel like Gospel. A good, strong finish from a tight band.

http://www.blues-boulevard.com/
www.myspace.com/patrickvining

David Blue.