Ben Waters – Hurricane (Hypertension).

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

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

Jools Holland was correct!

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

David Blue.

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

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

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

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

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

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

http://www.smithco.nl/

David Blue.

Storm Warning – Something Real (Own Label).

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

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

There is certainly space at the table for Storm Warning.

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

David Blue.

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

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

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

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

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

David Blue.

Moreland & Arbuckle – 1861 (NorthernBlues Music).

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

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

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

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

David Blue.

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

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

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

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

http://www.northernblues.com/

David Blue.

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

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

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

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

http://www.matttaylorband.com/

David Blue.

Tony Joe White – Deep Cuts (Munich Records).

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

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

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

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

David Blue.

Edgar Winter – Rebel Road (Own Label).

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

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

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

http://www.edgarwinter.com/

David Blue.

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

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

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

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

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

David Blue.

Matt Andersen – Bold & Beaten (Own Label).

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

http://www.stubbyfingers.ca/

David Blue.

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

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

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

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

http://www.northernblues.com/

David Blue.

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

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

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

This is an album to make you think.

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

David Blue.

Harper – Day By Day (Blind Pig).

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

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

The more you listen, the more you will hear.

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

David Blue.

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

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

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

http://www.popachubby.com/

David Blue.

The Believers – Lucky You (Corazong).

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

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

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

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

David Blue.

BB King – Live At The BBC (Universal).

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

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

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

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

David Blue.

Paul Haig –Go Out Tonight (Rhythm Of Life).

Go Out Tonight is Paul Haig’s 10th solo album and is a quick follow up to 2007s critically acclaimed Electronic Audience. Opening with Trouble Maker, a funky electro-pop with a crisp bass line he moves on to Stay Mine, which has a very retro 80s feel and harks back to his time in Josef K and, in particular, A Certain Ratio. Shut Down has an industrial feel but this electronica is very, very catchy. Believe is slower, with an exaggerated blue eyed soul vocal and the first single, Hippy Dippy (Pharmaceutically Trippy) is clipped electronica but rhythmic and throbbing at the same time with riffs that Josef K would have been proud of.

Fantasize in an instrumental with Eastern influences whilst Acidic Snowdrops has pounding rhythms and the instrumental Data Retro is full of Jean-Michel Jarre electronics. Scene is slow and atmospheric electronica with a deliberate vocal but the closing track, Gone In A Moment is more upbeat than most on offer and reveals a lighter side to the most serious of Scottish rock stars.

http://www.rolinc.co.uk/

David Blue.

Jeff Healey – Mess Of Blues (Ruf Records).

Jeff Healey was one of the most distinctive guitarists of my generation and I was sad to hear of his recent passing after bravely battling against cancer. It is all the more sad as this album, his first blues/rock album in eight years, was due to be released within three weeks of his all too early death. He is backed on the album by Dave Murphy on keyboards, Alec Fraser on bass, Dan Noordermeer on guitar and Al Webster on drums, a line-up that Healey called “the best damned bar band in Canada”. Mess Of Blues is a compilation of standards, some live, that have been part of his show over the years. I’m Torn Down is live and what he did best – a scorching blues. This is how to remember him and parts of his solo just melt together. You don’t really have to do too much to How Blue Can You Get. However, there are more notes than BB King and keyboards get a big slice. Live again. Sugar Sweet is a funky blues with a fuzzed guitar solo and Jambalaya is upbeat Creole with superb guitar. There is a good version of The Weight but it just lacks the original feel and Levon Helm’s vocal can never be recreated. A classic song nonetheless.

Mess O’ Blues is played in a barrelhouse style. It’s been recorded by many from Elvis to The Quo and this one tends towards Elvis. It’s Only Money is high paced boogie/rock n roll. I would have loved Jools Holland on this although pianist Dave Murphy (who Healey said is “undoubtedly the finest keyboardist I’ve ever worked with) does the job exceptionally well. He also takes on vocal duties here but Healey steals the show yet again with his scorching guitar. Like A Hurricane is one of my all time favourites and this is a very good version but it does lack a bit of the originals impact. He does stamp his own personality on it though and his guitar work goes without saying. Sitting On Top Of The World is the classic blues. This is a driving version with a good piano break and marvellous guitar. A boogie-woogie version of Shake Rattle & Roll finishes things off.

This album is as good an epitaph to a great guitarist as there can be.

http://www.rufrecords.de/

David Blue.

Guy Tortora – Living On Credit (Turtledove Records).

Raised in Pasadena but now living in the UK, Guy Tortora has been a bit of a wanderer. His travels have taken him from the USA to Canada, on to mainland Europe before finally settling in London. He has played at festivals and clubs throughout Europe and shared a stage with Peter Green and John Mayall. The eponymous title track opens things up and the blues based dobro is fine. It is well produced and Giles King’s harmonica wails away in the background. Blind Willie Johnson’s Nobody’s Fault But Mine has been recorded many a time and Tortora gives it a slow, jazzy treatment with prominent piano. It’s a bit too clean if you know what I mean but it is well played on acoustic guitar though. Like It That Way has some gentle sounds to take you away in a dream. Cotton Was King is a bit of a history lesson and the spoken vocal is powerful and thought provoking. Earthy harmonica from Giles King once again. God Don’t Change is a blues based soft rocker with plenty of chanting in the background. The jazzy Super Blue has him going electric for once and this JJ Cale song has a telling guitar break.

Mama’s Tired is an acoustic blues but the snappy drums from Mike Thorne gives it a contemporary feel. White Boy Blues has prominent Hammond organ from the excellent Janos Bajtala and it shuffles along in a slow groove. Tortora’s voice could do with a little more edge. People Get Ready is the Curtis Mayfield song recorded by many including a duet by Rod Stewart and Jeff Beck. This version compares favourably with the best of them and the slide guitar fits in very well. The Gospel feel to it makes it a highlight. Share Croppers makes it two crackers in a row and Tortola is really getting into it now. This acoustic Americana is very well played and Olly Blanchflower’s double bass is a point in question. The album is finishing strongly and it would seem that his place should be in Americana – he is far better in this field. There are some backing vocals and Richard Studholme’s mandolin on Falling and it certainly makes for a fuller sound. To finish off, there is a bonus track in the form of Don’t Do It. This is a blues on the rock n roll side and is a bit of fun to complete a fine selection.

Guy Tortora has a future for himself in Americana, he just has to realise it.

http://www.guytortora.com/

David Blue.

The Wentus Blues Band – Family Meeting (Ruf Records).

This 2CD pack is a celebration of The Wentus Blues Band’s 20th anniversary and they managed to get some stellar guests to come along and help them celebrate. The album is also the soundtrack to the DVD of the same name, giving it a feeling of The Last Waltz. The Wentus Blues Band is a Finnish outfit with an international outlook. Proceedings begin with a short acoustic introduction, Going To The Show, before they are off into the electric boogie of Moonshine. They are a big family and have many guests but this is one of their own songs played just by themselves with strong guitar from Niko Riippa & Kim Wikman and Juha Kinaret’s vocal hits the mark. Pekka Grohn provides excellent backing on organ. Deadric Malone’s You Gonna Make Me Cry is slow and soulful with a mourning voice. It builds superbly and certifies the bands credentials. There is a snappy BB King style guitar on Since I Been Loving You and this is overlain with a powerful vocal. It also sees the first guest star, Sven Zetterburg, on guitar. Kim Wilson joins Zetterburg and the band for Little Walters I Got To Go. As expected, this is a harmonica blues which is fast paced and well received. Zetterburg leaves but Wilson stays on for Passenger Blues, which is a grinding, churning blues with Wilson’s harp a wailing. Pick Up The Pieces has Eddie Kirkland joining the family and he provides some silky guitar. The vocal interchange between him and Kinaret is top drawer. Zetterburg is almost becoming an extra band member as he joins the band and Kirkland on this Kirkland original. Lonesome Fugitive is an acoustic country blues performed by Lazy Lester and Angel Blues is a slow electric blues with Omar Kent Dykes. He has such a lived in voice and even manages to get his guitar sounding like a helicopter at one point. This is a strong performance overall. Stop Twistin’ My Arm is a big production R&B and the high energy will get to you. Barrence Whitfield screeches it out, especially at the end and Clas Yngstrom adds some telling guitar. The Stones’ Can’t You Hear Me Knocking gives sax player Tore Berglund a chance to excel and he grabs his chance on this soulful instrumental. He is followed by Grohn on keyboards and guitar – all excellent soloists. It’s appropriate that the guitarist is none other than Mick Taylor – who else to get to play a Rolling Stones song!

The second CD opens with I Heard The Angels Singing, which is an acoustic led, gentle paced swinger with spiritual overtones. The guest on this one is Eric Bibb and his soul is all over the track. Down The Line has the band playing on their own again and they deliver a grungy R&B with high energy and impact. Looking For Trouble is a Kim Wilson song and he returns to play harmonica on this standard shuffling blues. Hold That Note has searing guitar from Clas Yngstrom, as you would expect. This is a bouncy blues with a good sentiment to the lyric. It goes to show that you can do as much with one note than 10 times as many. Annie-Lee is a slow Chicago blues with powerful vocal performances from Whitfield and Kinaret. Blind Willie McTell has an explanation of the song before it gets played. It is different from the Dylan original and it is beefed up by Taylor. I like this! Backroom Delta is, as the title suggests, a Delta blues. This is good fun, especially at the end, as Louisiana Red and Niko Riippa try to outdo each other. Louisiana Red stays on for Ride On Red and gets the audience going with its funky style. Jagger & Richards’ Ventilator Blues is a plodding, grinding blues on a topic that can’t be classed as pleasant. Mick Taylor guests again and performs it very well. Raining In My Heart is a strolling Kansas City style harmonica blues with Lazy Lester on harp. The closing song, Biscuit Roller is a bouncy R&B with organist Grohn back on good form again. There’s a smokey lead vocal from Barrence Whitfield with screaming backing vocals and more guitar interceptions from Yngstrom. The last track, Outro – Great Final is one minute of soft acoustic led, Celtic style music – point?

This is a celebration of a band that has stayed together for twenty years and on this evidence, there’s another twenty yet to come.

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

David Blue.

The Dirty Aces – One Good Reason (Blue Filth Records).

Jersey based Dirty Aces have been building a following of their tough style of blues over the last year or so. Renowned harmonica player Sugar Blue has said “You cats play like you mean it” and that sums up this 5 track mini album. The opener, Dollar & A Quarter, which is a reworking of an Otis Spann song, has a strong harmonica presence and the overall delivery is much akin to Rory Gallagher. One Good Reason is a funky blues and harmonica player, Giles Robson, is very much the frontman but he might have to do something with that name – not very blues, is it? Been Mistreated is another Rory Gallagher style blues and Sonny Boy Williamson II’s (Rice Miller) You Might Do Without Me is a slowish blues where the guitarist, Filip Kozlowski, gets to strut his stuff also. They close off with One Day Soon, which is another powerful electric blues – good British pub blues.

http://www.thedirtyaces.com/

David Blue.

Dani Wilde – Heal My Blues (Ruf Records).

21 year old Dani Wilde hails from Brighton and this is her debut for Ruf. Don’t let her lack of years lull you into thinking that she can’t sing the blues. She has a voice that suits a gritty blues and a crystal clear delivery that can deal with the most intense ballad. Bring Your Loving Home is a driving blues rock with a jazzy chorus and label mate Ian Parker on guitar. Will Wilde also chips in on harp. Heal My Blues has a strong vocal and she certainly knows her way around a fretboard too. It’s just what British blues needs -- a young female who can play as well. Come Undone is a swinging blues with mucho power from such a small frame and Parker weighs in with some telling guitar. I Love You More Than I Hate Myself is an expansive slow blues that draws out all the emotions. Could it become a classic? I Want Your Loving, another pulsating boogie, is a vehicle for the voice this time although Parker is there to help out again.

Testify is punchy with a gritty vocal. In The Mood is the old John Lee Hooker song and she gives it a slightly different treatment to those that I’m familiar with but well played. Norman Whitfield’s I’m Going Down is piano led and a powerful ballad with her strong voice betraying some emotion in parts. Slow Coach is a jaunty country blues and she swings up the classic Junior Wells song, Little By Little. She gets a big help from harmonica player Will Wilde on the latter. People Like You is an acoustic finish. Low key but a very good song indeed.

http://www.rufrecords.de/

David Blue.

Eric Bibb – Get Onboard (Telarc).

Recorded in Nashville, Get Onboard has been on the production line since May 2007 and Bibb says that it has been one of the most exciting projects of his career. He hits the nail on the head when he says “It’s a further exploration into the place where blues meets gospel and soul”. He uses the best session musicians around as well as special guests Bonnie Raitt and Ruthie Foster. The soulful and spiritual Spirit I Am is a great opener and Bibb’s sweet voice will smother you in honey. The Promised Land is bluesy and bouncy and New Beale Street Blues is a jazzy, New Orleans blues. The latter is another tribute to the great city that is still recovering from Katrina. The eponymous title track has a vocal that is so sweet and so clear. It also has great harmonies and he has more soul than heaven itself. If Our Hearts Ain’t In It has Bonnie Raitt on slide guitar and a big production to match. All I can say about Pockets is that it is an Eric Bibb song if there could ever be one. The voice, the gentle approach and the understated instrumentation are his hallmarks.

The gentle acoustic vibes continue with River Blues, which is not, as the title suggests, a blues in the truest meaning of the word. This is followed by Deep In My Soul and that’s where he has rested. Folk, country, gospel it covers so much. Conversation is a slow, precise and heartfelt blues duet with Ruthie Foster and the understated brilliance of God’s Kingdom has, as the title suggests, Gospel overtones Step By Step stays much in the same vein and the final track, Stayed On Freedom, lifts the pace a little with a country blues. This arrangement of the Civil Rights anthem, which in turn was adapted from a traditional spiritual, hits the spot

Eric, and his producer Glen Scott, may just have unleashed a future classic.

http://www.ericbibb.com/

David Blue.

Miyagi – Lucky Face (Own Label).

Up and coming Edinburgh band Miyagi have started their serious recording career on a promising note with thirteen self-penned songs on Lucky Face. Dirty Little Monkey confirms that this band will be hard to pigeonhole and that is no bad thing. It is almost childlike in parts but the harmonies on the chorus are crisp and it is instrumentally sound. It’s As Easy As Lying has a Crosby Stills Nash & Young beginning and it speeds up with the introduction of Ally McNaught on saxophone. It could be split into two songs very easily – country rock & funk. On Grow So Tall the introduction of the Madness style sax breaks is welcome, if not totally necessary. However, this is a good song with a unique delivery that will only get better. All Good Reptiles Go To Heaven is a gentle acoustic instrumental with some added cello from Claire Schiavone. She also adds vocals to Cry Cry Cry, which is back to the full band with Andy Duncan on drums improving track by track. He really keeps this band together. This song is a wall of sound with Euan Bruce sounding like a banshee on harmonica. Minnie Gemmil’s is short, acoustic and ok.

Dead Man’s Hand is vibrant and shouldn’t really be a favourite, but it is and Dragonfly is another powerful song with Byrds style harmonies. Tomorrow has a different vocalist and is modern folk with a little bit western influence. They may be hedging their bets but whatever they are doing they have added another string to their considerable bow. It’s played at a good pace but maybe could be better at a slightly faster tempo. Somebody’s Daughter is psychedelic Byrds and All The Way Home is West Coast American 60s acoustic folk rock. Apeman has a very Dexy’s Midnight Runners opening. It’s a strange one but it will grow on you. It builds up throughout and there’s that drummer again! You Think, I Am has them still surrounded in 60s psychedelic rock and the last track, Sugar Cane (Queen Bee) confirms that they were born in the wrong era.

Miyagi would have been massive in the late 60s, let’s all hope for a revival.

http://www.miyagimusic.com/

David Blue.

John Power – Stormbringer (Tanuki Tanuki).

John Power, for those who don’t recognise the name, was the bass player and public face of The Las’s and frontman of Cast whose album, All Change, was the biggest and fastest selling debut album in the history of Polydor Records. However, that was 13 years ago, don’t you feel old, and he has now put out an album that he considers to be “the most comfortable, wind-in-my-sails recordings I’ve done…it’s folk music, grassroots music”. He opens with Ain’t No Woman, which has a rasping tone to the vocal and he certainly gets some venom into it. It is unmistakably Liverpudlian and follows on well from his La’s days. Calling You Back has a homemade and bluesy feel and allows him so much freedom. American Dream has slide guitar, which re-visits the blues feel and it is lyrically strong and rustic. The title track is played in a jug band style and still has that thread of blues running through it. Distant Eyes is a different style – a more traditional folk tune this time. It is understated and brilliant – he has certainly hit a new, rich vein of form. Good Life is back to basics again – short and snappy. Fire In My Heart has him flirting with folk music again and this is a dirge in the truest sense of the word. Tombstone lifts the beat, despite the title and Cockerel Crow has a strange up and down timing. Come In The Morning has a little brass backing – a cross between colliery bands and New Orleans. It still has that easy, homemade comfortable feel and has a mixture of styles including a little yodel. Power may have just found himself another little cult niche.

http://www.thisisrude.com/
http://www.johnpower.uk.com/

David Blue.

Monte Montgomery – Live – At Workplay (Provogue Records).

Monte Montgomery has been described as “The Evel Kneivel of Guitar” and “The Acoustic Shred Master” and on listening to this live album I can understand why. Recorded at The Workplay Theater, Birmingham, Alabama the album opens with 1st And Repair, which immediately establishes him as a strong live performer. His fluid acoustic guitar playing is added to just enough grit in his voice to make an excellent all round package and give us another guitar wizard on the block. Let’s Go is blues rock and not too bad at that. Shock is another blues rock but this time with a funk edge. The only criticism is that he does lose himself sometimes in those amazing guitar flurries. He’s a bit Bob Dylan on Wishing Well – folk rock on the rock side with an extraordinary guitar solo. He gets a well deserved big round of applause for this. All On Me slows things down for the first time and he is able to show how good a vocalist he is. The guitar speaks for itself – stunning!

I don’t know why but I think of Neil Diamond when I hear Come Away. If anyone can illuminate on this then please feel free. Acoustic guitar is Montgomery’s weapon of choice and what a supreme choice it is. There is no quarter given on Splitsville and no respite in the pace. Churning bass from David Piggott is remorseless. Back To The Country is country rock as the title suggests. There are a few errors creeping in but he does play so fast and he can be allowed a few minor ones. How The Story Goes is one of the few slow tracks and he just changes things enough to make it hard to classify him. The Book makes it two slow ones on the trot. This is good soft rock with those lightning fingers again. He must have burned himself out because the final track makes a trio of slow pacers. He manages to build up Bringing Me Down into a stadium style rocker however. The slow and quiet passages have the audience in the palm of his hands and he produces an epic to end with.

Don’t let the guitar heroics get in the way of his vocal and songwriting talents; Monte Montgomery is the complete package.

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

David Blue.

Betty Harris – Invitation (Evidence Music).

60s legend, The True Soul Queen of New Orleans, Betty Harris has released a debut solo album filled with 16 original songs on Evidence Music. She is probably best known for her version of Solomon Burke’s Cry To Me and was under the wing of Big Maybelle in her early years. She recorded often with Alain Toussaint and toured with Otis Redding on what was to be his final tour. After a few years in retirement to raise a family her daughter found a number of internet sites devoted to her and coaxed her to start performing again.

Is It Hot In Here brings immediate comparisons to Tina Turner but this mid paced R&B/rock is good enough in its own rite. Isolation (Someone To Hold) is R&B/soul and nothing out of the ordinary. Intuition is slow but it’s certainly no ballad. Her vocal is deliberately slurred at times and the subject matter is certainly a bit different. Backing vocals from Bekka Bramlett, who wrote the lyric, are a welcome inclusion. Still Amazed is a raunchy R&B and a Rolling Stones song if I’ve ever heard one. It was written by the same team that wrote Midnight Train for Buddy Guy, Jon Tiven and Roger Reale. Buddy Miller lends his not inconsiderable talents on vocal harmony and lead guitar. Since You Brought Your Sweet Love is a duet with Freddie Scott and the Tina Turner likeness re-surfaces. A Fool Can Always Break Your Heart is another Stones style R&B and probably the strongest performance here. With lyrics by Keith Reid, who produced some of the most recognisable words in popular music history – A Whiter Shade Of Pale, how could it fail?

You Do My Soul Good is slow and soulful. Guitarist Jon Tiven goes off on a riff but the song doesn’t really go anywhere and there’s not enough variety. How To Be Nice is mid-paced R&B, Who’s Takin’ Care Of Baby is sultry R&B and Time To Fly is a Bonnie Bramlett written grinding soul/R&B with attitude. It Is What It Is – how philosophical! Written by Jerry Ragavoy, this needs to be paid attention to. Need, a collaboration with legendary songsmith Don Covay, is classic soul and I love the feeling behind it – take it and shove it! She Stays On is a tale of domestic abuse and a slow soul/R&B that a number of artists have tried to record but Betty is the only one to have nailed it. She did not want any Gospel songs on the album but Tell It To The Preacherman, although it flirts with religion and you would think from the title that it would be overtly holy, is good old style R&B and one of the best on the album. A Bible And A Beer is very rousing. The Tina Turner comparisons will still be around but she is her own woman, as shown by the fact that she originally had reservations about recording the song as her mother is a preacher. The album is finishing strongly and Happiness Is Mine, co-written by Betty, continues with the more up-tempo beat to end with.

http://www.evidencemusic.com/

David Blue.

Danny Bryant’s Redeyeband – Black And White (Continental Blue Heaven).

Hertfordshire born Danny Bryant has been plying his trade with his Redeyeband for the last nine years and those have produced over two thousand performances. It is that hard toil that has now reaped deserved recognition for Danny and his band. His performing credits include playing alongside Jeff Beck, Joe Bonamassa, Greg Allman, Buddy Guy, Peter Green and Mick Taylor. Black And White is their sixth album and follows the massively popular Live album which has hit the I-Tunes Top 10 blues charts in six countries. 10 original tracks start with Tell Me, a grinding blues rock with searing guitar. It’s good to know that there are a number of top class young blues guitarists coming through and Bryant is in the forefront. Between The Lines is slower than the opener but still has that grinding blues feel. Love Remains is the ballad! There’s a bit of Axl Rose in his vibrato and the song is good enough as he follows the formula but the extended solo is the highlight.

Twenty One is a strolling, rocking blues with another scorching solo. Any Wonder is a power ballad and he is just getting better and better. Low Down Blues is an uncomplicated chugging blues and he continues to swap slow tracks with more up-tempo ones on Walk Away. This is acoustic led and very good despite its simplicity. I do like his guitar style and he is becoming more and more of a favourite. Old Blues Song has a bit of Joe Cocker in the vocal and it’s another slow one with yet another strong guitar solo. This type of blues power ballad could be called pastiche or passé nowadays but it still gets my vote. The penultimate track, Last Goodbye is a blues based 70s rocker and the closing title track, Black And White is a low key, acoustic finish – good song though.

Danny Bryant is one of the best guitar players that I have heard this year and that’s black and white.

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

David Blue.

Larry Miller – Outlaw Blues (Big Guitar Records).

Guildford’s finest, Larry Miller, releases his fifth album, 10 self-penned tracks of blues rock that opens with Shame On You. This is a rocking opener and gives an early indication of his no nonsense style. He comes out as the modern equivalent of a blues shouter and no mean guitar player either! Crank up the volume on this one. Writing’s On The Wall has a long lead in before the band, ex-Jethro Tull rhythm section Scott Hunter on drums & bassist Neil Sadler and Matt Empson on keyboards, join in and boogie it up. This is good, honest music and Miller’s guitar is in flames! Calling All The Angels is a blues ballad and as good as any I’ve heard and he shows that his playing can be delicate as well as full on. Rebekah is a storming boogie and Storm Comin’ is a Hoochie Coochie Man revamp. This has a classic style of blues playing and Miller snarls out the vocal. Professor Casanova is mid-paced and not really too much to get excited about although the guitar work is pointed and snappy. Only One Woman I Want is a solid boogie and Outlaw Blues does what it says on the tin with a Canned Heat beat. Blues Forever is completely slowed down and shows that he can be heartfelt too and his sympathetic playing finishes the overall feel. The closing track, Klondyke, is played solo on dobro and is such a powerful performance that you almost forget that you are listening to one guy. British blues rock is safe in the hands of Larry Miller.

http://www.larrymiller.co.uk/

David Blue.

P-A-U-L and The Harper Woods Heroes – Hangin’ On For Dear Life (EE Records).

P-A-U-L stands for Paul Andrew Ulysses Lamb and the Detroit born guitarist’s debut album has 10 original tracks of high quality blues rock. You Pulled The Trigger is a heavy opener and plods along in a 70s rock style. Platinum Blonde Jesus is much in the same vein with strong guitar work from Lamb. Kiss My Scars stays in the heavy area and confirms the bands status as no nonsense rockers. One Last Slow Dance is the obligatory slow one and Lamb’s voice sounds like he’s been chewing glass. It’s back to the mid-paced rock for Pretty Please. Monique is power all the way and Dead In El Paso is blues based and has a stop, start delivery that matches the best in the genre. Freedom Rider is more upbeat and a steady rocker, Serenity is funky and Hangin’ On For Dear Life is a muted blues. It’s just electric guitar and voice for the latter and is very soulful. The last 45 seconds or so has the full band but it makes it like two separate songs and I can’t understand its inclusion. A bit of a pointless ending to what is, overall, an excellent album.

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

David Blue

Dave Fields –Time’s A Wastin’ (Fields Music Inc).

Son of the noted composer Sammy ‘Forever’ Fields, Dave Fields has been around the New York music scene for some time. His father was prolific in the 1950s, writing Who Wears Short Shorts, amongst others. Fields junior has followed in his fathers footsteps and has written music for the 2004 Olympics, VH-1, The Today Show and NBC Sports. Time’s A Wastin’ is his second album and one full of originals. The opener, Let’s Get Shakin’ is a high tempo rock n roll/blues crossover with a flurry of notes that has already declared his credentials. Keep It Up is a down and dirty blues with prominent harp from Rob Paprozzi. You Don’t Know has a more sedate pace to it but this blues based rock has a scorching guitar solo. The upbeat blues of Don’t Look At Me That Way is standard stuff and Do Me Now has some rhymes that are a bit too much for me – definitely a filler.

Rabbi Blues is musically strong and has a first for me, a Hebrew chorus – Jews Blues! He is a highly proficient guitarist so all air guitarists should be at the ready. I expected high pace, ears bleeding rock on Frenzy but all I got was a mid-paced rocker. However, he does confirm his guitar excellence. DF’s Blues is a guitar instrumental. It’s a jazzy blues with an easy style as he floats between a shuffle and full on blues. I’ll Do You Right is a mid paced blues rock with a laconic solo and Do Do is introduced in a big band style. He brings in Paparozzi on the harp again for this and the song has it all. Just a bit more power in the vocal would have sealed it. Rockin’ At The Barbeque has a staccato guitar beat and tends towards rock n roll. However, it doesn’t live up to its potential despite some fretboard trickery. The Cure is the final track and is played on dobro. A solo blues with improved vocal power and extra emotion. Slide guitar is a welcome inclusion and Fields excels on all guitars.

Dave Fields is not wasting his time with this album.

http://www.davefields.com/
http://www.fieldsmusic.com/

David Blue.

John-Alex Mason –Town And Country (Naked Jaybird Music).

After spending his teenage years listening to blues records and being blown away by live performances by Johnny Winter and James Cotton, it is no surprise that John-Alex Mason took up blues guitar. However, it was after listening to The Complete Recording Of Robert Johnson that his particular love of solo country blues artists began. This is John-Alex Mason’s fifth full length recording but the first to reach my desk. He splits the album roughly in half with original songs and reworkings of classic and traditional tunes. Shake ‘Em On Down (OMB) has a voice that belies his youthful looks on the cover. Electric Delta blues and OMB stands for One Man Band – simple and powerful. Steel Pony Blues is also Delta style but acoustic this time. This is a modern response to Charley Patton’s Pony Blues and proves him to be the real deal. Bury My Boots has him playing acoustic slide and we could have a real rival for current guitar kings such as Joe Bonamassa. Terraplane Blues is a different take on the Robert Johnson classic. He has a clear vocal and this treatment is clinical & professional. The acoustic thread continues with Boll Weevil and this country slide blues is made to sound so easy by a master of his instrument. Chef Menteur is sedate but the feeling behind the song, a tribute to the people of New Orleans and how everyone was touched by what happened to the city, is well meant. Strange Things is played out on the dobro, as are a number of others, and is a bit more urban than its predecessors. Having said that, he is still firmly rooted in the Delta.

Milk Cow Blues is another famous song, well played. He manages to inject some much welcomed emotion into this vocal. There’s a return to electric guitar for Locomotive and I’ve worked out the code on the back of the sleeve. The titles with pale print are electric and those in black are acoustic or, if you like, Town & Country. This is vibrant and he lets it rip on the vocal. What Are You Hungry For? is another pumping tune with drums complimenting perfectly. The drums pound out a heartbeat for Rabbit Song, a pared down electric offering with emotive vocals. Jitterbug Swing has Southern influences throughout and there is a telling introduction of bass about half way through. This is a good arrangement of a traditional song. The Skip James classic Cypress Grove is slow and thought provoking. Mason will be a star of the blues if he continues in this form. There are no big solos, just top class picking and slide. You can’t play an Elmore James song at anything less than 100% and Shake Your Money Maker is no exception. This has been covered by many but I can’t remember any better than Mason’s version. It’s just guitar and drums and is the shortest track on offer but it will get you going. He closes with an acoustic version of the opening track, Shake ‘Em On Down. John-Alex Mason will hold your attention by himself very easily. This is real music for real music lovers.

http://www.johnalexmason.com/
http://www.nakedjaybirdmusic.com/

David Blue.

Joe Bonamassa @ The Arches, Glasgow 28th February 2008.

Guitar wizard Joe Bonamassa rolled into Glasgow and filled The Arches with a wall of sound that not many will ever equal. He said that his love affair with the city started two years ago at The Renfrew Ferry. I was one of the 125 fortunate souls to see him that night and I’m not surprised that this time around it was an 800 sell out. He has improved his rapport with the crowd although they could have been a little more respectful during some of the quieter periods when Joe pleaded with them for silence. His guitar prowess has also improved and I am convinced that he has now reached the higher echelon of players. The highlight of the night was the title track from his current album, Sloe Gin although Don’t Burn Down That Bridge and Another Kind Of Love rubber stamped the feeling that we were in the presence of something special. Throw in a version of ZZ Top’s Just Got Paid and you can imagine the night we had.

http://www.jbonamassa.com/

David Blue.

Velvetone – Yip Yip (Crosscut Records).

Hailing from Bremen, Germany Velvetone is a band that could easily have come out of the heyday of American rock n roll. The band has added new drummer, Stefan Ulrich since their last album and he has helped maintain their vitality.

11 of the 14 tracks are self-written and the opener, Desperate Heart, has a full sound and they still have Tammo Luers’ killer guitar tone – a very 1960s theme. The Kooler still has those vintage sounds and signature vibes. Lil’ Bad Thing is a cranked up rockabilly in The Stray Cats style and Mighty Hand is a mid-paced rocker with Johnny Cash attitude. Smuggle has a very clean sound, very much down to the production of Velvetone and The Zumo Kings. This R&B also has the 60’s very much stamped all over it. It’s back to rockabilly for Buddy Killen’s It Ain’t Right and their energy levels reach new peaks with this.

Jack Clement’s Guess Things Happen That Way is played in a slow country style and Limbo Moon continues the slow pace, this one being a grinder. However, it’s not too long before they are back at what they are best at and the rockabilly of Paycheck is one of the albums highlights. Seven is straight out of a 60s Western soundtrack with updated Hank Marvin guitar sounds and Ray DeVaryo’s velvet voice. There are more 60s rock n roll sounds on Hot Rod Killer and Hurt Me No More is a sturdy rocker. Sandford Clark’s Go On Home is a slow country/rock n roll crossover and the eponymous closing track is a reverb festival. Yip Yip, shake your hip – a frenetic and fantastic way to finish a more than able follow up to 2004’s Switchback Ride.

http://www.crosscut.de/
http://www.velvetone.de/

David Blue.