Simon Mayor Quintet – Mandolinquents (Acoustics Records).

This is the original line-up of the band that now call themselves The Mandolinquents and this is a re-release of their debut album from 1997. The album shows the prodigious talents that The Mandolinquents have and what they have built on over the last 10 years or so. I cannot fault the playing on Dvorak’s Slavonic Dance No 8; they are maestros of their instruments. Tchaikovsky’s Dance Of The Sugar Plum Fairy loses a bit of its impact perhaps but the dexterity on Eine Kleine Nachtmusik is amazing. It is worth noting that some of the band were wondering what to wear when performing the former – look out for concerts in your area! Plum Blossoms In The Snow is a traditional tune given the Mandolinquents treatment and more than meets the mark with Mayor on mandolin and Gerald Garcia on classical guitar. Mayor and friends play all kinds of music and Beat Out That Rhythm On A Drum from Carmen Jones is a venture into opera. Hilary James’ voice is not all that exceptional on this but we should not be too surprised as we are not talking about an operatic performance. However, the music is as infectious as the original. Down By The Sally Gardens is a traditional Irish folk tune. Played on guitar and mandola, it also has good harmony and the melody suits James’ voice far better. The addition of Chris Leslie on violin lends an air of authenticity.

Amongst this selection of classical and traditional tunes it is heartening to hear an original and Boston Ballyhoo is that original. Although short, it does allow Mayor, Richard Collins and Hilary James to display the full range of their talents. They jazz up the Irving Berlin oldie, Cheek To Cheek, although it does come out a bit Home Counties. There are flurries and runs aplenty on Russian Rag – good fun. It’s back to the classical mode for Ravel’s peaceful Pavane Pour Une Infante Defunte. This, I feel, is a wrong choice as it doesn’t really transfer over to mandolin very well. They raid the Irving Berlin archives again for The Piccolino. The playing is still superb but I don’t really know what to make of this – I’m confused! The traditional American folk song He’s Gone Away resumes normal transmission and Apanhei Te 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. This allows it to be transferred to mandolins very easily. They close with A Nightingale Sang In Berkeley Square, a well known song that Simon Mayor plays solo on the mandola and treats it in a sympathetic manner.

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

David Blue.

Deering & Down – Break This Record (Diamond D Records).

This is Deering & Down’s third album and having based themselves in Tennessee since 2004, it has a flavour of that states most famous town, Memphis. They have amassed themselves a formidable band whose members include Rick Steff on keyboards (ex- Cat Power, George Thorogood, Gin Blossoms) and drummer Kurt Ruleman (ex-San The Sham). I was certainly taken aback by Canadian vocalist Lahna Deering’ squeaky tones on the opening track, Finally Found The One. It turns gritty rather than squeaky the further into the song we go. It has a rag tag homemade sound and doesn’t really reach its initial promise. Whatcha’ Thinkin’ Of has a certain punk feel to it. Her voice is better suited here but it does get a bit of getting used to. There’s a better base to this. Can’t Wait is mid paced rock and Richard Of Los Angeles is a rock ballad with the obligatory big chorus. Unfortunately, the stadium rock guitar solo from Rev Neil Down doesn’t quite work.

Sad Love is slow and plodding and Wonder Who’s Callin’ doesn’t offer anything too exciting either. Velvet On Stone is a slow country ballad and the singer has a Dolly Parton tone to her voce but don’t be fooled by the childlike quality, there is a lot of power in there. Sugar is a sleazy, grungy blues that works well and Cow Cow Girl is a fractured alt.country that is one of the best songs on the album. Deering turns in a Stevie Nicks style vocal on Oh So Good before giving us another slow song in the form of Abbey. Perhaps they have recorded too many slower songs for this album than is absolutely necessary. There is nothing wrong with this one but it is just not exceptional. Bessie’s Big Way is the closing track and this is unashamed country although I originally thought that it was going to be about Bessie Smith. It’s a guitar instrumental with enough small (deliberate) errors to give it that homemade feel.

This may be a slow burner and there are certainly enough plus marks to give hope for the future.

http://www.deeringanddown.com/

David Blue.

Kat Flint – Go Faster Stripes (Idioglossia Records).

I’ve just come across this single and although it was released a few weeks ago I feel it necessary to draw it to your attention. Scottish songstress Kat Flint has released Go Faster Stripes, a tale of life from the heart from her forthcoming album, Dirty Birds. It is an uncomplicated story of things that can, and do, go wrong and has a homemade feel. It is backed with Joseph, a look at the Nativity from Mary’s perspective that highlights Flint’s way of looking at life. The gentle acoustic sounds allow you to take in the meaning of the song. Consider my appetite whetted for the album.

www.myspace.com/katflint

David Blue.

Photograph: R. James Feaver

Deadstring Brothers, Miyagi & Culann @ King Tut’s, Glasgow 8th Feb 2008.

Three bands for the price of one certainly whetted my appetite although the quality of support acts is usually a hit or miss affair. I had no need to fret, for when young Scots band Culann took to the stage I knew that quality was not going to be an issue. They wowed the crowd with their blend of prog rock and certainly have the makings of a couple of epic songs in Bogus Conclusions and The Journey Starts. One thing though – I’m just getting my fillings back into place after the bass player rattled them out of my mouth! I’m looking forward to their debut album, whenever it gets released. Next up were Edinburgh’s Miyagi and they built on the good start provided by Culann. Miyagi are a different kettle of fish however and their funky Byrds style harmonies were the perfect foil for Culann’s heavier sounds. They showed their adaptability by swapping guitar and vocal duties amongst guitarist Euan Bruce (young Ted Danson look-alike), saxophonist Ally McNaught and bass player Alex ‘Rasta’ Ross. Drummer Andy Duncan and Claire Schiavone also chipped in with vocal harmonies and Duncan drums were the focal point of the performance.

Detroit based headliners, Deadstring Brothers, were eagerly anticipated by the knowledgeable Glasgow crowd and when they burst into life with Masha Marjieh in full voice, the crowd went wild. The set was peppered with songs from their critically acclaimed 2006 album Starving Winter Report and their latest release, Silver Mountain. Sharing the lead vocal was main man Kurt Marschke and his easy going interaction with the crowd went down well although he shouldn’t really have tempted fate by stating that he hadn’t had any whisky thrown at him yet! Fortunately, no-one took him up on that. Guitarist Spencer Cullum is, in my opinion, a star in the making and adds that touch of extra class to Marschke’s excellent alt.country songs. The rest of the band is Spencer’s brother Jeff, on bass, E. Travis Harrett on drums and keyboard wizard Pat Kenneally. If you have their albums then go out and see them live as the albums, excellent as they are, do not convey the power of their live performance. Highlights for me were Lights Go Out, Moonlight Only Knows and Meet Me Down At Heavy Load but it is unfair to pick out any songs for particular attention as there wasn’t a bad one in the whole set.

http://www.deadstringbrothers.com/

David Blue.

Doug Jay—Under The Radar (Crosscut Records).

It’s two years since Doug Jay’s last album, his debut for Crosscut, Jackpot and in the intervening period he has continued to hone the Blue Jays, his European touring band since 2000. The Washington DC singer and harmonica player has an impressive CV that includes gigging with Muddy Waters, BB King, Sunnyland Slim and Bruce Springsteen. The Blue Jays draw their music from many different sources and the eponymous opener is an R&B with Jay’s craggy vocal and accentuated guitar from Jimmy Reiter, touted as one of the finest young blues guitarist around these days. It’s Love is an upbeat rocker with the Reiter’s obligatory snappy guitar and great harp from Jay. Temptation harks back to the hey day of 60s Rock n Roll and has excellent harmony from Reiter. Show Me The Way To Love You stays in the R&R field albeit on the blues fringes. Without Love is slow and uninspiring and Don’t Want Your Love No More seems entrenched in the past. Losing Hand is a down and dirty blues and Lowell Fulson’s Love Grows Cold is an R&R/ blues crossover with the horn section adding welcome depth. Good guitar solo from Reiter and it really sways along.

Poor Me is a slow Chicago blues with top class playing, harp from Jay & piano from Christian Rannenburg and a good vocal too – he can turn his hand to this if he wants to. Up-tempo R&B Poor Me has good harmonies and the band seems to be warming to their task. It’s Easy When You Know How stays with R&B, the highlight of which is Jay’s screeching harp. What A Man Can Do is firmly in the style of Robert Cray – no bad thing, of course and Call Me Back To You is a barrelhouse piano and country blues, played at walking pace. There’s a little whistling from Reiter at the end but thankfully no yodelling. They round things off with Boom-A-Rang, an R&B instrumental guitar thingy. It’s well played but a bit dated methinks.

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

David Blue.

Last Train Home—Last Good Kiss (CoraZong Records).

For a band that started as a part time outfit 10 years ago, Washington DC band Last Train Home has come a long way. This is their fifth album and will surely be their breakthrough record. The albums title comes from a James Crumley novel and the eponymous title track is a very strong, bouncy Americana/Country opener. The pace slows for Flood but the added grit more than makes up for the lack of speed and I feel that this is a real songwriter’s song. The Country flecked Anywhere But Here follows with former Jayhawks keyboard player Jen Gunderman excelling on electric piano. Vocalist Eric Brace‘s velvet voice is best heard on Can’t Come Undone. This plods along and shows now tight a band they are. Go Now is slow and piano-led although the band say that they started it out as a Pogues style waltz. This version is lovely and poignant and I’m glad they changed their minds. A remembrance of Brace’s late father, May continues the sedate pace in its classic folk/country style – just drift away on his voice. You has contemporary funky sounds and a big, powerful chorus. It’s a love song, a rare thing on a Last Train Home album.

Just as I’ve said love songs are rare, here comes another. I’m Coming Home is classic Americana and it is so easy to listen to them. Kissing Booth is more of the same and they are becoming as familiar as an old pullover. I will go back to this again and again. Marking Time has another of their trademark powerful chorus’s and the last official track, The Color Blue, has a retro feel with Claire Small’s backing and Kevin Cordt’s trumpet. Three bonus tracks begin with Loves Farewell, a traditional roots song given the Last Train Home treatment. Bob Dylan and Levon Helm’s This Wheels On Fire is probably best remembered as the Julie Driscoll & Brian Auger version but Last Train Home’s Americana treatment works fantastically well. Alice Despard gets her chance on vocals and Steve Wedemeyer’s ballsy guitar rounds everything off. The last track is a radio edit of Last Good Kiss and this shorter version loses none of the impact of the opening track. Last Train Home deserves a hit.

http://www.corazong.com/
http://www.lasttrainhome.com/

David Blue.

Krista Detor – Cover Their Eyes (CoraZong Records).

Krista Detor’s second album, Mudshow, brought her to the attention of a wider audience and she hopes to build on that with her latest offering, Cover Their Eyes. She is a big fan of Leonard Cohen and although his influence can be heard, it is not to say that she has the same perceived gloominess surrounding her music. Pretty Horses Run is a gentle and bouncy opener that cements her distinctive style. Marlene In A Movie is much the same with the addition of a powerful chorus. Krista doesn’t do high speed songs and is much more at home with slow ballads in the vein of The World Is Water, a piano driven beauty with lovely understated harmony and cello from Anne Hurley. Go Ahead And Wait manages to sound both up and downbeat at the same time – a great skill to have. Robert Johnson Has Left Mississippi is not a blues as you may have expected and despite its rousing chorus, is slightly confusing. Only in the USA could songs such as the title track flourish. By that I mean that there is enough diversity to enable niche artists such as Krista Detor to grow as a songwriter. The song itself is quite simply stunning.

Her laconic delivery is exemplified on Anaemic Moon and if a song could describe her style, it would be this one. The torch song, Dinner With Chantel, is a perfect night time companion. Just snuggle up with a glass of red wine and chill. Icarus, like many others, allows the listener time to think. It is not an aural assault but rather more an intensive cerebral one. Waterline is about as pacy as she gets with Dave Weber’s acoustic guitar and Pete Wilhoit on drums adding impetus to this contemporary country offering. How Will I Know returns to the gentle pace that I more associate her with. Modern Americana is the best that I can use to describe her. Lay Him Down, a duet with Grammy award winner Carrie Newcomer, has an old style military feel, combined with old time country and is a fine finish to a highly professional album.

http://www.kristadetor.com/
http://www.corazong.com/

David Blue.

Bob Brozman – Post Industrial Blues (Ruf Records).

The title of the album gives an indication of what we are about to receive as Bob Brozman gives us his take on modern living. He plays an amazing array of instruments on the album and is forever experimenting with new and wonderful ones. He starts off fairly conservatively on National guitars for the Iraq protest Follow The Money, on which he makes them ring like bells -- a lively, high impact opener. Look At New Orleans is quite self explanatory. A personal view on what really happened when the levees burst. He is an extraordinary guitarist and gets the most from his instrument, and the 7 string banjo, with notes that you would not think possible at times. The banjo remains for the earthy Old Man’s Blues, which has echoes of the original Delta music even though it is played on the strangely titled Okinawan Sanshin. Airport Blues remains firmly in the Delta with Brozman’s wailing vocal making it acoustic blues of the highest order. Shafafa is more of a ragtime/music hall song played on Hawaiian guitar & dobro and whilst pleasant enough, it does not carry enough of an edge for me. Lonely Children has a loose, fluid feel but it covers a dark lyric on the plight of the homeless. This is played on a myriad of instruments including firsts for me in the shape of Chaturangui (a 22 string Indian guitar) and grass clippers! Let’s Get It Boy is a competent instrumental and introduces us to yet another new instrument, this time it’s a Gandharvi, a 14 string Indian slide guitar.

Three Families Blues is very dark and tells the tale of an immigrant, a soldier and an Iraqi – lyrically stunning and very thought provoking. Another instrumental, Strange Ukelele Blues gives you exactly what it says on the tin – a festival of strings from a Resophonic ukulele and 7 string banjo. The traditional tune, Green River Blues is full of sedate acoustic tones and Crooked Blues is not about felons but infirmities instead. However, Brozman goes on to compare physical crookedness with that of politicians. He plays the latter in an offbeat way but with strong acoustic slide. Rolling Through This World has a Spanish guitar style intro to a bass heavy dramatic acoustic offering. There are many other Spanish influences here. Slow Motion Blues is painfully slow but is a boon for lovers of slide guitar and there is another percussion experiment with Jim Norris using a straw bag of metal rattles. The self same slide guitar meets The Doors on People Are Strange. The novel use of percussion reaches a peak on this with ‘instruments’ such as broken toy piano, pots & pans, butter knife on table and a bamboo anklung being used. A strange combination I hear you say and he almost pulls it off. If he had added a little more menace to his ‘devil voice’ performance then he would have been there. A pared down How I Love That Woman gives a relaxed end to the album. This Texas blues instrumental with Brozman on Hawaiian guitar and bassist Stan Poplin will allow you to close your eyes and forget about the troubles of the post-industrial blues.

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

David Blue.

Luther Allison – Underground (Ruf).

Lost recordings released for the first time – a statement that always makes the music world sit up and listen and in the case of Luther Allison it is well justified. However, the claim that this set is making its debut is far from clear. These songs were allegedly sitting in Luther’s home for approaching 50 years before his son, Bernard, discovered them. They were originally thought to have been recorded in 1958 (according to Bobby Rush) but recent findings show the sessions are most likely not to have been before 1967/68. Putting all of that aside, it is good to hear any early Luther Allison material. The opener, Hide Away, is a vibrant, raw R&B instrumental and is followed by the often recorded Don’t Start Me Talking, which shows the beginnings of his strong vocal and guitar work. Drivin’ Wheel features slide guitar and has a very contemporary sound, leading into Cut You Loose before he unleashes Easy Baby. This confirms that he was mature before his time and although the voice was still a little raw it isn’t much of a problem. You’re Gonna Miss Me is, quite simply, a highlight. Take My Love is a strong R&B boogie and BB King’s (I think) Rock Me Baby is a slow electric blues with excellent slide guitar. BB King songs need a strong vocal and Luther delivers with interest.

It’s only half an hour long, and may not be what it claims on the cover, but it is an important release nonetheless.

http://www.rufrecords.de/

David Blue.

Poppa Chubby – Deliveries After Dark (Dixiefrog).

Poppa Chubby, aka Ted Horowitz, is from the Bronx and still lives in New York state today. His brand of New York City Blues is formed from many musical influences but what you get is exciting, raw music. He is not new to the business and as far back as 1995 was releasing albums produced by the likes of the legendary Tom Dowd. Since then he has continued to release independent albums and produce many other New York artists. Deliveries After Dark is the follow up to the acclaimed 2006 release, Electric Chubbyland and he opens with Let The Music Set You Free, a heavy blues based rocker with layer upon layer of guitar. He is some guitarist and from the picture on the front cover you wouldn’t want to mess with him. Sally Likes To Run is uncomplicated rock with all of the associated posturing. The eponymous title track is high octane rock in an AC/DC vein and he plays The Theme From The Godfather as you will have never heard it before. This is a festival of guitar from a true heavyweight exponent. Grown Man Crying Blues proves that Poppa can cut it in the blues as well with a strong guitar performance. He continues to surprise as he delivers a country song in the form of You Can’t Stop Love. The excellent slide guitar lifts the song to levels that it probably doesn’t really deserve to reach.

He returns to the blues with a bang and a screaming guitar. The sentiment may not be too pretty on I’ll Piss On Your Grave but it does reinforce his no messing style. I hope that it is a sound effect at the end!! Man Of The Blues is an average chugging blues and Money Isn’t Everything is 80s style rock. The latter is pleasant enough, with seamless guitar, and I’m warming to the big guy. 2nd Avenue Shuffle is a guitar based instrumental and highlights his good range but overall is not too inspired. You Never Loved Me is a standard rock ‘toon’ but certainly in the higher strata of that genre. Woman In My Bed is pseudo reggae but it is his high standard of playing that shines through, no matter what style he is playing. Oh Rock N Roll You Heartless Bitch is an acoustic finish in a Meat Loaf country rock style. There are two bonus video tracks at the end that allow you to savour the full Poppa Chubby experience. I’ll leave you with words from the man – “All I can tell you is you need rock and roll in your soul and I am the man in control. Are you ready to rock?”.

http://www.dixiefrog.com/

David Blue.

Tim Hain – Bleggae (Note Records).

Tim Hain is described as a character, an eccentric and a public schoolboy of aristocratic descent. He is also two percent Jamaican and it said that he’d be arrested if he showed you which two percent. Bleggae is a fusion of blues and reggae, his two loves and two genres that fit because of their simplicity and their passion.

Little Willie John’s Need Your Love So Bad is a pleasant start. This has been covered by many, most famously by Fleetwood Mac and Reggae Lift The Blues has some reggae shouting and an impromptu Lively Up Yourself – good fun and has Prince on drums, no not that one! Fine Time Child shows that blues and reggae can mix well and features Earl Linton on harmonica. An Old Blues Man Never Dies has a John Lee Hooker style opening before it drifts into a slow reggae treatment. Hain’s lived in voice suits this well and to be honest, the song could fit into either genre. Somebody Turn On A Light is a highlight and like some of the others has been plundered from an earlier album. Pauline Henry makes a telling contribution on vocal. Welcome To Iraq is still as relevant today as it was when it was first released and is a wonderful critique on the intervention in Iraq.

If I Ever Get Home is another attack on the Yanks and displays Hain’s clever use of the English language. The Wind Cries Mary is another old one but a cover this time. Jimi Hendrix, of course, and when you do one of his you have to be confident of your guitar playing. Hain comes through with flying colours, showing that he can handle his guitar as well as his talent for making a song his own. He can do straight reggae as well and Everybody’s Talking To Themselves with chatting over a grinding reggae beat is testament to that. The biggest surprise about That’s What The Blues Is All About is the fact that there is no reggae. This is a funky blues in an Albert King style and he manages to fit in pieces of other songs such as Tony Joe White’s Steamy Windows. Feels So Nice is a straightforward blues with Hain turning is a voice of pure velvet. He finishes with One Man Went To Mojo, taken from the album of the same name. This is the perfect way to chill out so pour yourself a glass of whatever you fancy and settle down.

http://www.timhain.com/
http://www.note-music.co.uk/

David Blue.

Someone Say Something – Let The Games Begin EP (Own Label).

New Jersey pop punksters Someone Say Something are building a bit of a reputation on the US college scene and on the evidence of this EP it’s not hard to understand why. This 6 track sampler is full of raw energy and whilst they will have to smooth out some of the rough edges, they should not cut down on their obvious power and passion. The eponymous title track is very reminiscent of Blink 182 in their heyday and the chorus will get under your skin. They will have to improve lyrically but that will come with experience. They are musically solid and their youthful exuberance comes through in spades. Friday Night is even faster than the opener and is wonderful power pop. More power pop comes in the form of Less Than Lazy and this could easily be chart material. They throw in a live recording in the form of Follow and this power packed song has good potential. The acoustic based Anti-Self is average pop but can be improved – think McFly with an edge. They leave the best to last and Lose Control is the jewel in their crown. It is so full of energy and highlights a band on fire. They have a talent for writing a great chorus and that will take them a long way in the business. Given the right conditions and a bit of luck, Someone Say Something could well find themselves on the verge of something big.

www.myspace.com/someonesaysomething

David Blue.

Will Tang – Everything Changes (Zen Music).

Opening with the eponymous title track, Will Tang sets about realising the boast of the album’s title. There is certainly a big change from his last album, The Other Side although eight of the thirteen tracks on offer are from that very same album. The title track is acoustic rock that has him in the same class as Paulo Nutini and David Gray. Troubles Down, one of the new songs, is sedate country rock with well executed slide guitar. On My Way, another of the new tracks, stays in the acoustic vein and sees him straying away from the blues. This shows a level of sensitivity and vulnerability. He beefs it up a bit for The Other Side, which heralds the return of the electric guitar and, more importantly, the harmonica. This gritty, blues influenced rocker is a welcome addition. Red City Blues returns to an acoustic setting and is not a blues, as such, but rather a slinky rocker. Something Special is a new one and although it is upbeat, it is unmemorable.

Stories is more soft acoustic rock but Love Bites is a bit harder and his voice suits this. He gives the harp another airing on Time Of Day and the fuzzed vocal adds to the overall stormy effect. Drifting is not the blues classic as you may have expected but another acoustic rocker, this time much in the style of the aforementioned Mr Nutini. The last official track is Sun Down, which is a harmonica blues which is short, sweet and cuts the soul. There are two bonus tracks, remixes of Travellin’ Man (the normal mix of which is not on the album) and Love Bites. The former is a contemporary acoustic blues and the latter adds snappy drums from Geoff Holroyde to give another gritty modern blues.

They say that a change is as good as a rest so Will Tang must be completely rested for his next charge for widespread recognition.

http://www.willtang.co.uk/

David Blue.

Stoney Curtis Band – Raw And Real (Provogue Records).

The Stoney Curtis Band carries on the long tradition of blues/rock power trios and has been working the circuit for many years, honing their show entitled ‘Acid Blues Experience’. Stoney includes Kiss, Deep Purple, Robin Trower and Led Zeppelin amongst his influences but it was BB King who turned him onto the blues. The opener, That’s Right, is an electric blues with a shuffle. Stoney’s guitar will cut through your skin and rattle your bones. His voice sounds strained but that is just his style. Sometimes She Likes Me is a good old blues boogie with stunning guitar work and Girlfriend has a solid base from drummer Charlie Glover, built on by Curtis’ funky guitar. This grinder is the musical equivalent of a good boys night out. Behind The Sun is mellow and chilled out. However, I’m not convinced that the vocal is up to the job this time. It’s weaker, even with the elastic guitar and is a bit too long. American Lady is another strutting blues rock and Black Rose is a raunchy and heavy blues. It’s not the Thin Lizzy song but it is down to earth, honest music.

Blues Without You has a stunning guitar intro and turns into a standard slow blues that the masters would be proud of. Eli’s Blues is an electric 12 bar with gritty slide and the instrumental Coldwater Canyon is played at breakneck speed with scorching guitar. You’ll need some water from the canyon to cool down after this one! Rain Over Me is a bit wishy-washy. It’s the obligatory ballad but the anthemic chorus is worth the inclusion though. Love And Money is back to basics rock – air guitar at the ready. They close with Dirt and they keep up the power to the end. I can’t believe how much power Curtis generates.

http://www.provoguerecords.com/

David Blue.

The Barcodes – Live! In Session For The BBC (Note Records).

This is The Barcodes fourth album for the highly rated independent label, Note and their first live set. A selection of 10 covers and five originals opens with Statesboro Blues, a jazzy version of the Blind Willie McTell classic. Relaxed, but then I’m used to more frenetic versions such as those by Pat Travers and the like. Individually, Barcodes are great musicians and they transfer that to the band as a whole. Parchman Farm, from their earlier album Independently Blue, is a Mose Allison standard that was also done in the past by Blue Cheer. This is pacey and punchy. Johnny ‘Guitar’ Watson’s Sweet Lovin’ Mama, also from Independently Blue, is a laid back blues with Nick Newall on sax and Bob Haddrell on piano/organ up front again. Dino Coccia shows his class on drums as they drift into a percussion and harmonica segment. The intro to Crazy Life, from Keep Your Distance, tells the story of Zoot Money and, believe me, this is zany stuff! The song itself is little more than lounge room jazz. Halfway To Nowhere, from their last album, With Friends Like These, is a mid-paced blues with top class organ work and strong sax. They have a very clean sound but sometimes they may find it better to dirty it up a little.

That’s Alright, another from Keep Your Distance, is a standard 12 bar blues and Comin’ Home Baby throws flute and organ to the fore. This jazz/rock offering is like Ian Anderson in a cardigan. Willie Dixon’s renowned 7th Son is played as a Professor Longhair tribute however, I prefer this song on guitar. Outskirts Of Town has Alan Glen’s slide guitar heralding a slightly sleazy blues and Back At The Chicken Shack/T-Bone Shuffle is lifted by Glen’s harp but is otherwise a little too lounge room for me. Sonny Boy Williamson’s Checkin’ On My Baby, from Independently Blue, is given a sultry, jazzy treatment and may not be everyone’s taste. One of the self-penned numbers, Alan Glen’s Be Cool, (also from the heavily plundered Independently Blue) is a piano led blues that will get you going. The second of a trio of originals is the Coccia/Haddrell written Undercover Lover. This is from With Friends Like These and the live version is more than comparable to the studio edition. The Snitch is another from With Friends Like These and is a bit of a jam as the band gets down to some grooves. They finish with a final cut from With Friends Like These, another archetypal Mose Allison song, I Don’t Worry About A Thing. Allison flitted between blues and jazz and that just about sums up The Barcodes too. This is what they are all about, good musicianship and great fun.

http://www.note-music.co.uk/

David Blue.

Paul Cox – Real World + Five Live (Note Records).

Paul Cox’s latest album, his third for highly acclaimed British label Note Records, confirms his status as one of the country’s leading blues/soul vocalists. Al Green’s Are You Lonely is a soulful R&B opener and Cox’s vocal is as good as ever. He has that ability to bend notes and the tonal quality is excellent. Hold On To Your Dreams is a ballad where the power comes through and shows that he is one of the best in the genre. Real World is sung in a Joe Cocker style. This is a classy, blue-eyed soul/rock crossover. Already Gone is a slow piano bar blues. He gives us highs and lows and goes from a lion to a lamb within a few bars. Paper Thin is a rocker and allows Cox to let rip. He shows that he has many facets to his voice on this John Hiatt song. Ain’t Gonna Be The First To Cry is another classy, tight soul/blues and is followed by the funky R&B of Heart Of Stone. You’re Born, You Live, You Die is a barroom blues with the welcome addition of slide guitar.

Walk In The Dark brings us more soulful tones from the big man. Derek Nash’s sax solo is worthy of a mention too. Cox’s passionate vocal comes through loud and clear on Sam Cooke’s Change Is Gonna Come, a soul/gospel effort. Allen Toussaint’s blues rocker, Brickyard Blues (Play Something Sweet), has Chris Farlow-esque tones. Rolling Back The Years has a big sax influence over the shuffling R&B. The live version of Change Is Gonna Come is a big, bold statement of his vocal talent. Three further live tracks, John Mayall’s Walking On Sunset and Van Morrison’s Nation Son and Caravan provide the full gamut of Cox’s style – jaunty party blues, adult rock with incisive guitar fills and blue-eyed soul. He finishes with BB King’s The Thrills Gone, a classic tune given a staccato guitar treatment by John Slaughter. Cox gives it his own personality and surely he has to have one of the best voices in the business.

http://www.note-music.co.uk/

David Blue.

Pat Travers – Stick With What You Know (Provogue).

Life In London is an outstanding track from his back catalogue and he has lost none of his power in the intervening period. This takes me back to my late teens when I would eagerly wait for each new Pat Travers album to come out. A high octane start which will not disappoint Travers’ fans. Crash And Burn is not a sign of what is to come and although his voice has seen a bit of action over the years there’s not much sign of it. He is still a top guitarist as well as he shows on a trademark wailing solo. I Don’t Care is a traditional rocker with a rebellious theme and the headbanging really starts by the time we get to Heat In The Street and Pat starts to warm to the task. Elijah is storming rock with soaring guitar and the Jimi Hendrix classic, Red House, gets a first play by Travers. This has been covered by many, including Albert King, and this is as good a version as any that I have heard. Travers is a very expressive guitarist and it is this that has kept him on top for so long. Another cover follows and this time it is Robert Johnson’s If I Had Possession Over Judgement Day. He rocks this up big time for a fantastic track. The third cover in a row is an Albert King song, Oh Pretty Woman, most famously covered by Gary Moore. How good would it be to have the two of them trade licks on this? Travers’ version is powerful, as you would expect. The strangely titled PT Nutz Aka Linus And Lucy gives the bass player a bit of the spotlight. It’s a rocking instrumental with manic drumming and shows his latest band to be a tight unit. Snortin’ Whiskey doesn’t conjure up anything other than hard rock but, in fact, it’s a blues, albeit on the hard rock side. Snortin’ whiskey and drinkin’ cocaine, don’t you just love the bad boys? Boom Boom (Out Go The Lights) is an old favourite of mine and one of the songs that turned me on to the blues. He rocks up the intro but when he gets into the song, it is marvellous. There is a big audience participation on this one as he puts in an electric performance. This has dual guitars throughout and he comes back for two encores as the audience bays for more. The first of these is PT’s Solo Time. He gets all the pedals out for this one and he makes his guitar produce all kinds of sounds, including violin at one point. He has to be indulged, don’t you know! He closes with the third of the associated Albert King songs, Born Under A Bad Sign. He tries to keep on familiar tracks with this one but he can’t help himself and before long he’s off into one of his solos.

Not many are better and even less have lasted longer – young pretenders, you have just had your ass kicked.

http://www.provoguerecords.com/

David Blue.

Canned Heat—Christmas Album (Ruf Records).

Noddy Holder famously said “ It’s Christmasssssssssssss” and each year we get a raft of Christmas related albums and singles to listen to for a couple of weeks before discarding. Blues rock legends Canned Heat are no different to most bands and have released an album that spans history. There are two versions of the band here with three tracks from the original, and best loved, line-up. The bands first delve into Christmas records happened when Skip Taylor met Ross Bagdasarian of Chipmunks fame in 1968 and they decided that it would be a good idea to have The Chipmunks record with The Heat. The result was The Christmas Song and it is so surreal. It has its humorous moments as the Chipmunks butt in and I think that by not using this song, the advertising people have missed a great opportunity with the new Chipmunks movie coming out for the holiday period. However, they did not miss the chance to use Christmas Blues for a Heineken advert from 2003 to 2005. There are three versions of the song on offer, a standard 12 bar blues, a painfully slow, grungy alternative version with harmonica on form and Dr John on piano and a more upbeat bonus live version with Eric Clapton guesting on guitar and John Popper from Blues Traveller on harp and vocals. Other tracks include seasonal favourites Deck The Halls and Jungle Bells, both given the Canned Heat treatment. Nothing is sacred as the boys turn their attention to Boogie Boy (Little Drummer Boy) and the Christmas cheer is spread with lines such as ‘children need to guns when we got the boogie’. Another well known track is Santa Claus Is Coming To Town and this is turned into a swinging instrumental but they also give us Santa Claus Is Back In Town, which is a rousing boogie. Add a classic Heat boogie on Christmas Boogie and a tearful barroom blues, I Won’t Be Home For Christmas, and you’ve just about covered all of the holiday emotions. Don’t Worry, Santa will soon be here.

http://www.rufrecords.de/

David Blue.

Delta Moon –Clear Blue Flame (Jumping Jack Records).

It’s two years since Delta Moon’s last album and Clear Blue Flame has been much anticipated. The eponymous title track opens proceedings and it is rootsy & gutsy with a whisky stained vocal – classic Americana. Blind Spot is blues tinged roots with beefy slide guitar. The only thing missing is the vocals of Kristin Markiton from the last album, Howlin’. In fact, the band has changed dramatically since that 2005 album and they are now essentially a vehicle for Tom Gray and Mark Johnson with Ted Pecchio on bass and Tyler Greenwell on drums as their main backing. Money Changes Everything has more than a nod to Bruce Springsteen and John Hiatt. It’s not a cover (written by Gray) but it does sound so familiar. Gray could be called a Southern Boss! The addition of fiddle gives this a bayou feel. Trouble In Home is the bluesiest track so far. Excellent slide makes this grinder a favourite. Jessie Mae is another that could be a cover, its sound being so authentic. They stay in the blues zone for this rocker which is driven by the rhythm section and underpinned by the guitars of Gray and Johnson.

Cool Your Jets continues with the same vocalist and is another blues flecked rocker. The band revolves around the slide guitar and they produce no nonsense music. Life’s A Song has good harmony and is blues rock of high calibre. This is one track where the dual guitars get to rip it up. Stranger In My Hometown is a rootsy blues with mandoguitar and laid back slide -- a surprising favourite. Lap Dog is a grinding blues with some of the best guitar work of the album. I’m A Witness is hard to compartmentalise but I’d say middle of the road rock with obligatory slide. The only cover on the album, Mississippi Fred McDowell’s You Done Told Everybody is an acoustic blues with high class slide from Gray and Johnson. Music as it should be –raw and honest.

http://www.jumpingjackrecords.com/
http://www.deltamoon.com/

David Blue.

Alabama Slim & Little Freddie King – The Mighty Flood (Music Maker).

Alabama Slim (from Alabama, surprisingly) and his contemporary, Mississippian Little Freddie King are two of the biggest names in blues (in the case of Slim this is quite literal as he is almost 7 feet tall) and when they get together, people take notice. Both lost all of their possessions during Hurricane Katrina and had to flee to Dallas, Texas. Their trials and tribulations have manifested themselves on The Mighty Flood. The eponymous title track opens proceedings and is a graphic description of the New Orleans flood via a Chicago blues. Please Leave My Money Alone is a slow, rhythmic blues but they return to the Chicago fold for Crack Alley. This has the first introduction of Slewfoot’s harmonica and although the song is pretty standard stuff, it is very earthy. The pace on Way Down In The Bottom is still quite sedate and this is a slow heartbeat of a song. I Got The Blues lifts the pace a little. It’s a tale of lose job, lose woman, get the blues with reverb guitar for the soundtrack. I love the way that they get maximum returns for the economy of effort. Going Upstairs keeps up the pace and even increases it by a bit – simply another tale of broken relationships.

The dulcet tone of Slim’s spoken lyric on Mr Charlie makes for a great tale and there are more of those dulcet tones on Coming Home. John Lee Hooker influences can be heard throughout the album but none more than on this with just guitar and voice. This is music made up of the most base of elements. His voice has more of a strained quality on Waiting On You and again there is nothing too fancy – they just get on with the job. The two guitars are independent but they are together at the same time. They swap vocalists with great aplomb and King takes over for Lord, I’m Good For Something, which heralds the return of the harp and has a drumbeat for about only the second time so far. This organic Gospel is top drawer. King keeps the vocal for I Don’t Know What To Do and it is all over the place, even with drums again, but does come together in the end. The main point to push here is the passion of the artists and it is this passion that conquers all, especially in the vocal. They reprise the title track as an acoustic blues to finish with and have the harmonica wailing for New Orleans and the same deep vocal as the opener.

These guys need to be heard and appreciated – do it!

http://www.musicmaker.org/

David Blue.

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.