Roy Rogers & The Delta Rhythm Kings – Live At The Nevada Brewery Big Room (Chops Not Chaps Records).

Roy Rogers is regarded as one of the worlds top slide players and the evidence is here on this new live album. He opens with Ever Since I Lost You, a showstopper and it’s only the first track! The Delta Rhythm Kings (Steve Ehrmann on bass and Jim Sanchez on drums) are as tight a band as I’ve heard for some time and the audience just know that they are in for a special night. Lieber and Butler’s Down Home Girl is a charming upbeat blues and Rogers unleashes a scything guitar on Mellow Apples, which eventually gets going but is a little fragmented. Willie Dixon’s Built For Comfort is played with barrelhouse piano and this is a brilliant combination with Rogers’ superlative guitar – if you want authentic, you got it. There’s a funked up version of Robert Johnson’s Terraplane Blues to follow and Rogers uses his formidable prowess to change the song completely. You are in for a surprise, believe me. Sonny Terry & Brownie McGhee’s I’m A Stranger Here is turned into a slinky blues with added vocal from Shana Morrison. It’s just their voices and guitar only and sometimes the simple things are the best. Gertie Ruth is a rhythmic blues with Southern fiddle from Tom Rigney and good vocal harmonies. Down In Mississippi has lightning fast guitar and is quite simply a joy to listen to. Vida’s Place is a punchy, throbbing blues and Duck Walk is a short, up-tempo instrumental with more of Rogers’ superb guitar. Shake Your Moneymaker has me running out of superlatives for his guitar playing and the rest of the band match his performance on this Elmore James classic. Norton Buffalo on harmonica blows his lungs out and the pianist, Philip Aaberg, tries to outdo him. Both vocalists turn in a majestic piece and, did I mention that this is superb? The set finishes with For The Children and Rogers shows his virtuosity on this touching instrumental, showing that he has a soft side too.

Roy Rogers is a guitar player’s guitarist, listen to this and you’ll understand why.

http://www.roy-rogers.com/

David Blue.

Matt Schofield Trio – Ear To The Ground (Nugene Records).

Manchester’s finest Matt Schofield returns with his fourth album and makes it a set of two apiece for live and studio albums. He has recently been voted by Guitar & Bass magazine as one of the Top 10 British Bluesmen of all time and that is some accolade. Just as he was influenced by Albert Collins and Robben Ford he now is regularly quoted as being an influence on many a young British guitarist. Although a studio album, Ear To The Ground was recorded live with the band in a single room and the overdubs were kept to a minimum. They open with Freddie King’s Pack It Up and turn it into a funky blues, strong both musically and vocally. Nine Schofield and band written originals follow and start with Troublemaker. This gives Jonny Henderson on keyboards a chance to shine, and he takes it. Schofield joins in with Albert Collins influenced runs as he burns up the frets. The eponymous title track is a grittier, tougher blues altogether and the trio get into a groove. Heart Don’t Need A Compass is a slow brooder. Schofield’s guitar is a star – jazzy and much influenced by Albert King’s Stax period. Once In A While is even slower and has a Gospel feel surrounding it – classy guitar.

Room At The Back, a short instrumental that allows free flow guitar, allows Schofield to tip the nod to such bands as The Meters and Soulive. Someone has a full blown harmonica burst from ‘Big Pete’ Van Der Pluym and is heavier than most on offer. It builds well and the guitar and harp work well together. Searchin’ (Give Me A Sign) is jazzy blues with an edge – slinky guitar and reputed to be Matt’s favourite. Move Along is full blown jazz/blues with Schofield and Johnny Henderson in synchronization. A fast paced, energetic instrumental with drummer Evan Jenkins chipping in to complete a classic organ trio song. Cookie Jar is organ based but Schofield steals the show and turns it into a highlight. When It All Comes Down is a BB King cover and a great finish. It is different enough from the original but still keeps the ethos. Schofield manages to sound like the great man on guitar and it sounds as if everyone who was in the studio that day is involved in the sing-along finish.

The Matt Schofield trio have an album that keeps them in the highest echelons of British Blues.

http://www.mattschofield.com/
http://www.nugenerecords.com/

David Blue.

The Headers – Turn It Up (Bobby Lebel).

Rockabilly trio The Headers comprise of Bobby Lebel (guitar and lead vocals), Scott Freilich (bass and backing vocals) and Dan Stroll (drums and backing vocals). They are seasoned musicians as this new album confirms. The opener, Pretty Good Shape is old style Rock n Roll/Rockabilly with stinging guitar – think Stray Cats. Lovin’ Stuff is a good, harmonic soft rocker with Beatles overtones. 10 of the 11 tracks are originals and Eloise is not a cover of the famous Walker Brothers track but is a swinging Rock n Roller with a guitar that sings. Riptide is a classic 60s style instrumental but given a modern twist. The slightly twee High The Sky fits in well with their 50s/60s style and the Les Paul style guitar track is a good addition.

Hard Man To Love is classic Rockabilly and the rhythm section really get going on this. There is some more excellent guitar work and they all rip it up towards the end. The Headers funk it up on the beginning of Cajun Sugar and then it drifts off into Southern Rock. Lebel really is a good guitar player and this could easily be their signature tune – more please! They return to the classic Rockabilly arena with Hey Ruby and Blue Highway is old school Rock n Roll with lovely harmonies. Turn It Up evokes images of early Presley Rockabilly and Lebel has the perfect voice for this type of tune. Like the others, this is short and sweet. They finish with an audacious cover of Bodhisattva. Not many people take on a Steely Dan track and even fewer manage to pull it off. It could be classed as career suicide and, although they are not in the same league, they almost make it. However, the truth is that this is not a song to mess with and for once Lebel’s voice does not achieve pass marks.

http://www.theheaders.com/

David Blue.

Ben Reel Band – Waitin’ For U (B Reel Records).

Irish singer songwriter Ben Reel releases the first single from his forthcoming album, New Horizon. Although Waitin’ For U is gentle, acoustic based rock it won’t worry the chart compilers. Reel and his band have a number of major support slots to their name and the second track on the single has become a big number for them on these tours. The traditional side of the band is shown through On Raglan Road with its powerful Celtic tones. This is a great track for the traditionalists but may be just a bit too early era Chris De Burgh for others.

http://www.benreel.com/

David Blue.

Various Artists – Terrestrial Extra (Dream Ticket Records).

The Terrestrial Extra is Rainbow George (George Weiss), an eccentric and mystic who tried for election to the Northern Ireland Assembly earlier this year. This album features new and established artists, some of whom are, or were, George’s friends. Ian Dury opens proceedings with Rainbow Land, a recital of a poem with Utopian ideas and most certainly not the Ian Dury that we were all used to. John Otway, Sid Wishes & Friends provide Please Wish Us Well. Former anarchic front man Otway is less so on this but the sentiment is good – get rid of politicians. Chorus is ok. Ben Reel, a new voice on the Irish music scene, gives us Cosmic Shifting and it is the first piece of ‘real’ music. This hippy rock has a floating feel and the distorted guitar adds to the overall experience. Phil Saatchi contributes Another Revolution which is pretty standard fare and the ponderous Rise And Fall which misses the point to a certain degree. He does, however, strike it third time lucky with Dream In Colour, an acoustic folk/rock song that is very good indeed. Ben Reel returns with Lebab for the reggae beats of U People. He certainly gets into a groove on this one and the added saxophone helps make this the best song so far. Sid Wishes has a solo effort with Oh No America which is pleasant enough and builds well. This is one of the better tracks on offer although it is the general message of the complete album is what counts. He also goes solo on the sleepy When We Give Our Love. Although this is extremely easy to listen to it is not at all challenging but that may be what we need sometimes. Anna Jacyszyn gives us Captain Rainbow Fever – sedate, clean sounding and country tinged. Hiroki Okama chips in with No Gimmicks, which is folksy and rootsy. Instruments for all over the world used and these make it one of the best. The album finishes with world renowned jazz musician and former Blockhead, Gilad Atzmon with Lebab. They give us Beyond Belief, which is silky lounge room jazz with dual sax of a high standard.

I don’t know if George’s campaign sunk without trace but I hope that he can continue to provide his eccentric spin on the music scene and give new artists a chance to shine on his label.

www.pleasewishuswell.com

David Blue.

Gwyn Ashton – Prohibition (Riverside Records).

Australian guitarist Ashton has toured extensively throughout Europe, the USA and Australia with the likes of Johnny Winter, BB King, Jeff Healey and Pat Travers. With that in his locker I looked forward to a treat with his new album, Prohibition. The opener, Get Up, Get Over It is blues rock with AC/DC style phrasing -- not too flamboyant but great slide at the end. Good start. Ashton adds a bit of funk for Come On/Don’t Walk, Run! but he firmly remains on the rock side of the blues and confirms his standing as one of the worlds up and coming guitarists. There’s a Jimi Hendrix style fuzzed solo but the addition of Don’t Walk, Run seems a bit superfluous despite being fine in its own rite. Back To You is back to AC/DC again, albeit with more sedate vocals but with solid guitar throughout. Castaway is a venture into acoustic land so get your lighters out! There’s a big, electrified solo as you would expect so, few surprises but a top performance. Secret Agent shows that Rory Gallagher lives on – top tune, enough said? Ain’t My Style continues the Gallagher theme and is a rolling blues to drift away on. The title track is a shuffling guitar and harmonica blues with distorted vocal. The addition of Liz McLaughlin on backing vocals is a welcome distraction and the whole feel is that of a slowed down Bo Diddley (sorry to hear about his recent stroke).

The Road Is My Religion casts Ashton as the latest in a long line of musical storytellers. This is a highlight where he shows his class in archetypal AOR style. Former Alex Harvey rhythm section, Ted McKenna on drums and Chris Glen on bass herald the arrival of Ashton’s slicing guitar on Ball And Chain, a pounding blues to get the blood coursing through your veins. This is classic power trio fare with Glen and McKenna providing the perfect backdrop to Ashton on guitar, as they do throughout. Are You Lonely is a storming R&B with fuzzed solo. Guitar Town is not the Steve Earle song but is a funky blues where Ashton lets his guitar loose – superb. Rest In Paradise (For Stevie) is dedicated to Stevie Ray Vaughan and is a low key finish but is, as you would expect, a festival of guitar. There are two bonus tracks, Judgement Day which is a great blues of acoustic slide and basic backing and Shake It On Down where I knew he would not let me down and comes up with a rocking finish after all.

http://www.gwynashton.com/
http://www.riversiderecords.com/

David Blue.

Wide Mouth Mason – Shot Down Satellites (Curve Music).

A power pop/rock trio, Canadians Wide Mouth Mason are inevitably being dubbed the modern day Police or Nirvana. While they still have some way to go to emulate those two they have built up a solid following with their high impact live performances. They have toured North America with The Rolling Stones, AC/DC and ZZ Top so they are no small thing. Shot Down Satellites, their fifth album, opens with I Love Not Loving You, punky pop/rock and an energetic start. Unfolding keeps the pace up with a great riff thrown in. If they can reproduce anything like this live then they will be a force to be reckoned with. Everybody’s Right is top class modern rock and these boys are easily chart material. There’s some good guitar on this and the singer shows that he has a vocal talent also. Really Wrong is not as powerful as the opening trio although they introduce slide guitar and the high standard of chorus’ are becoming the norm. Phantom Limb shows that they can write a good song and the title track is another one off the conveyor belt.

They maintain their own high standards with guitar prowess and a grinding rhythm section. Worse Than Before is as good as anything put forward by the modern power pop bands. Rust is a concession to the ears and shows that they can produce more sedate songs too. It does build up though – they just can’t help themselves. Simply put, this is great. Moment That You Came is grungy power pop and Wide Eyed has a blues influenced, fuzzed vocal intro before going off into the same power pop as before. There’s some more good guitar work but they may have been better staying with the intro and building on it. Eleven is track 11, surprisingly, and is more pop than the rest. It does still confirm their talent of writing a good chorus though. Please Go Home confirms their Green Day styling and is yet another powerful, catchy song. They finish with the Beatle-esque It’s So Bad, a short, strange ending to a powerful album.

Van Morrison once said of them “the best band that I’ve seen in a long time”, not a lot to add to that, really.

http://www.widemouthmason.com/
http://www.curvemusic.com/

David Blue.

Roger Chapman & The Shortlist @ The Ferry, Glasgow 08/06/2007.

His first words were “it’s fuckin’ noisy in ‘ere” – welcome to Glasgow, Roger! The enthusiastic crowd, mainly in the old rocker group, were there to see their hero and made plenty of noise whilst doing so. Chappo and band were not to be outdone and served up a set that was just as boisterous. The band, including former Whitesnake guitarist Micky Moody, opened with a rousing rendition of Oh Brother, Take Me and continued to showcase the new album, One More Time For Peace. He threw in a few old favourites including a wonderful version of Burlesque and, oddly enough, These Boots Were Made For Walking. Chapman has a brilliant rapport with the audience and did his bit for album sales by telling everyone that “that’s on the new album, as well” for everything, even the old songs. I hope that no-one took him too seriously and is disappointed when they find that the album only has 11 tracks. The highlights of a thoroughly good night out were the aforementioned Oh Brother, Take Me! and Burlesque along with Heading Back To Storyville and Devil Got A Son.

Roger Chapman is one of the best rock voices that Britain has ever produced and The Shortlist are a band to be reckoned with, a real force in the live arena. I’m glad that I managed to see them.

David Blue.

Marc Ford – Weary & Wired (Provogue Records).

Former lead guitarist of The Black Crowes decided to record this second solo album after playing some gigs with three former bandmates from his previous band, blues rockers Burning Tree. The raucous opener, Featherweight Dreamland, is a great start to the album and is quickly followed by Don’t Come Around, a blues influenced rocker with Ford’s fuzzed guitar adding to the overall noise. Tom Petty influences, a theme that will resurface later, appear on It’ll Be Over Soon with aggressive guitars to match. Dirty Girl follows in the same mould, good old Southern Rock with an authentic drawl. The Other Side is more of the same and long may it continue. 1000 Ways is swaggering blues rock with excellent guitar as with those that have gone before. There are some Neil Young influences on Smoke Signals and this would rival most of the great mans epics.

Greazy Chicken has a funky, sleazy beat and Ford gets into the groove. The slide guitar on this instrumental is worth a mention as are the horns. Currents is the slowest track so far and takes you away into dreamland. His voice normally takes second place to his guitar but comes to the fore here. The guitar this time has to make do with being a laconic, anthemic co-star. Just Take The Money is storming, funky rock and is followed by Medicine Time which is more of the same with a strong guitar solo. He’s not just about high octane levels and Same Thing shows he can play slow songs too. This ponderous, Willie Dixon penned blues has Ford’s guitar playing reaching new levels on this 8-minute epic. Bye Bye Suzy has a New Orleans vibe with superb guitar and horns on this happy instrumental. He finishes with The Big Callback, a Chuck Berry throwback and a superb way to end proceedings. There is certainly life after The Black Crowes.

http://www.marcford.com/
http://www.provoguerecords.com/

David Blue.

Doug Cox & Salil Bhatt – Slide To Freedom (NorthernBlues Music).

From the moment that I received this CD for review I wondered how well the fusion of Eastern and Blues music would go. I need not have worried Cox, Bhatt and Ramkumar Mishra serve up a feast. They begin with the Mississippi John Hurt song Pay Day, which starts off as a standard slide blues until Bhatt adds his instrument, a satvik veena. Surprisingly enough, he really manages to make it sound like a second guitar. The addition of tabla from Mishra is also interesting on this folk blues. Bhoopali Dance is overtly Asian in its make up. All three wrote this and Cox answers Bhatt as they dance together on it. Their instruments work so well together and it’s like Appalachia meets Himalaya! At times Bhatt sounds like he is an angry bee. Arabian Night is very easy to listen to and Blind Willie Johnson’s Soul Of A Man allows Cox to get his slide guitar to the forefront as well as his vocal. An interesting addition on this is Bhatt’s father, Vishwa Mohan Bhatt, who plays the instrument that he invented, the mohan veena. Vishwa has already collaborated with such heavyweights as Ry Cooder and Taj Mahal.

The angry bee is back on Fish Pond as Bhatt gives his instrument a pounding. It is obviously the style of playing but it does sound so aggressive. Father Kirwani, written by Vishwa and again featuring him on mohan veena is a true fusion of East and West as all show their virtuosity. Beware Of The Man (Who Calls You Bro), written by Cox, is another of the more bluesy songs and both artists, I feel, have had a fair chance to show their individuality as well as how well they fuse together. The strangely titled final track, Meeting By The Liver, is a fitting finale for these four masters of their instruments.

If this finds its way into your collection, you will not be disappointed.

http://www.northernblues.com/
http://www.dougcox.org/
http://www.sallibhatt.com/

David Blue.

Watermelon Slim & The Workers – The Wheel Man (Northernblues Music).

Multi award winning Watermelon Slim a.k.a. Bill Homans’ latest album for Northernblues confirms his status as the hottest name in the current Blues world. He has managed to get Magic Slim to guest on a track although I am surprised he managed to get the album recorded at all, given his exhausting touring regime. He opens with the eponymous title track and this duet with Magic Slim has the main man on slide guitar and is on the edge of roots/blues. The other Slim, Magic that is, takes on the guitar solo with aplomb. It’s easy to see why he has risen through the ranks of bluesmen so quickly – the guy is pure quality! However, I hope that he doesn’t get rid of all of his rough edges. I’ve Got News is a driving blues akin to the Kansas City style. Top class rhythm section, Michael Newberry on drums and Cliff Belcher on bass. Slim adds his not inconsiderable harp as well. Black Water is a blues/rock chugger and Slim lets his voice go on this one. There is a slight reggae beat and this is a highlight. Jimmy Bell is a harmonica tune, as you would expect. This is just voice and harp and is just about as authentic a blues as you could get. Slim provides some powerful Chicago blues on Newspaper Reporter. His stock is still rising and who’s to say that he won’t become the overall number one blues artist in the near future? This track shows how good a harmonica player he is. Drinking & Driving is up-tempo class. Just get it on your car CD. Fast Eddie is another for the car and he’s just getting better and better.

Sawmill Holler takes us back to the early days of the blues shouter and Truck Driving Mama has echoes of classic R&B. Full of innuendo and blues references, this is good fun. I Know One is an up-tempo blues and this is the type of song that would go down so well over here. The Workers are a top class band and back Watermelon Slim to perfection with Ronnie ‘Mack’ McMullen and Ike Lamb solid on guitar and the aforementioned Newberry and Belcher providing a fantastic base to work from. Slim Harpo’s Got Love If You Want It is a slow, deliberate blues played in a John Lee Hooker style. He picks up the pace again on Rattlesnake before going off to blues on the low side with Peaches. This shows that he is a powerful artist indeed. He finishes off with the rootsy, bluesy Furry Lewis song, Judge Harsh Blues and I just love it.

I can’t wait for the next one!

http://www.northernblues.com/
http://www.watermelonslim.com/

David Blue.

Coco Rosie – The Adventures Of Ghosthorse And Stillborn (Touch And Go).

Coco Rosie, sisters Sierra and Bianca Casady, release their third album on Touch & Go and build on the critical acclaim of their previous two. Opening with Rainbowarriors, an ethereal folktronica with spirits in the background, they take the listener on a journey that is sometimes unsettling but never mediocre. The vocal is childlike and there is lots going on. Promise is unique and the childlike vocal continues but the content is certainly not juvenile. Bloody Twins opens with bells and chimes. Images of witches abound on this very short offering. The strange but charming Japan follows and leads us into the most mainstream song so far, Sunshine. This is gentle, sleepy and hypnotic and is already a mainstay of their live set. Black Poppies contains more of their gentle, sparse tones and confirms their status as officially strange. The childs voice on this is spooky.

Werewolf will take you to very dark places and Animals makes it difficult to categorise them and identify who their fan base will be. There is a slow barrelhouse piano background to the funereal Houses and they continue their fascination with one word titles on Raphael. A word of warning; don’t be taken in by their innocent vocals, these songs are razor sharp. I don’t see the point of the extremely short Girl And The Geese but they make up for it with the 11 minute epic that is the closing track, Miracle. This is hard going, as are some of the others, but they don’t profess to be for the mass market. There is a long, unnecessary patch of silence before the track ends with train and animal noises heralding in acoustic guitar and voice.

Coco Rosie can take you from folk to hip-hop and beyond – you never know what is around the corner. Strange, an acquired taste, yet most compelling.

http://www.cocorosie.com/
http://www.tgrec.com/

David Blue.

Time Bomb – Time Bomb (Ruf Records).

German blues label Ruf have a reputation of showcasing rising North American blues artists in Europe. The latest of these are three female singer/guitarists Sue Foley (Canada), Deborah Coleman (USA) and Roxanne Potvin (Canada), collectively known as Time Bomb. The Telecaster (I love Sue Foley’s Paisley pattern one) wielding trio strut their stuff on the eponymous title track, which is a festival of guitar playing as all three showcase their skills. Hitting On Nothing has Potvin on lead vocal and is classic R&B. This is a stylish song and shows that these girls can certainly play. Sue Foley takes on lead vocal for the Country flecked stormer, So Far, and shows herself to be a very good singer indeed; probably the best of the three. Talking Loud has the third of the trio, Deborah Coleman, on vocal. This is funky and has plenty of attitude. Strong Enough To Hold You has Roxanne on lead vocal but it is a nondescript ballad.

Sue Foley returns on Show Me, a great bar room blues with a sleazy vocal. Motor City is a driving blues with Coleman on vocal but is not too inspiring. Get Up has a Pretty Woman style drum beat from Billy Thommes and Potvin takes the vocal. The only thing that this funky R&B is missing is a more powerful bass line. Two Moons Gone is Foley’s final song and she signs off in fine form on this speedy blues. Don’t Start The Car has a good blues riff and has Coleman on vox -- great rock stuff. In The Basement closes the set and has all three on vocal. They all bring different facets to the table on this R&B mix and provide a good finish. Sue Foley is the most experienced of this trio, having already released ten albums but I am sure that she, and the other two, will go on from strength to strength on the back of this album.

http://www.rufrecords.de/
http://www.suefoley.com/
http://www.deborahcoleman.com/
http://www.roxannepotvin.com/

David Blue.

Hans Theessink – Slow Train (Blue Groove).

Hans Theessink has 20 albums to his name with Slow Train being the latest. He has been called an international blues treasure by the US press and Bo Diddley once described him as “One helluva guitar player”. The eponymous title track is slow, as the title suggests. It is moving and Gospel influenced with lovely relaxed slide guitar. Katrina is Americana of the highest order, delivered to perfection and hypnotic. He has based it on the New Orleans chant, Li’l Liza Jane and tells the story of Hurricane Katrina. God Created The World continues the theme of minimal instrumentation and is very easy going despite it being about the tragic events of 9/11. The gentle theme continues with Thula Mama/Oh God Don’t You Weep, which has African influences (in this instance, Zimbabwe) as do some of the others and was inspired by stories from the African singers in his band. Cry Cry Cry is more up tempo but there is still this underlying gentleness from this master of the understated guitar. Let’s Go is a Country influenced foot-tapper. Mark Knopfler is the milestone for this kind of song and Theessink measures up very well.

Love You Baby is a hotch potch of styles; there’s blues, R&B and Country in there somewhere but it all comes together very well. Old Man Trouble could easily be a track from Graceland. Theessink’s dulcet tones waft over African influenced Country to great effect. Leaving At Daybreak highlights his deep, velvet voice again and he drifts into Mark Knopfler territory again with this gentle roots offering. May The Road has some more Gospel and African influences and is just a lovely little song. The traditional Run On For A Long Time has top class harmony, as ever, and is roots of the highest class. He finishes with When Luther Played The Blues. This is a tribute to his old friend, Luther Allison and is a blues, but not in the conventional sense. Theessink says that he had a dream where he saw Allison in front of him and tried to touch his hand. When he woke up in the morning the song was in his head.

This is a measured album from a European master.

http://www.theessink.com/

David Blue.

Gary Moore – Close As You Get (Eagle Records).

Gary Moore is in the upper echelons of British Blues/Rock and has consistently produced top class albums for a number of years now. His latest, Close As You Get, shows no sign of him falling away. The opener, If The Devil Made Whisky, is a grungy blues (with the correct spelling of whisky, I’m glad to say) with exaggerated slide guitar and an aggressive vocal. Gary is back in form, writing and playing the type of song that his guitar power requires. The album sleeve has short quotes from each song and for this it is “If the devil made money, he must have made my girl as well, Cause they get a man in trouble, then they send you straight to hell”. You know what he’s talking about, don’t you boys. Trouble At Home is a slow, stylish blues that shows he has lost none of his passion and his guitar sings. Thirty Days is a bit of a surprise as Gary takes us into the realms of Country Rock. I’m not convinced about this one although his Chuck Berry, Maybelline style opening riff is sheer class. No surprise as it is a Chuck Berry song. Hard Times is a shuffling blues with added harmonica (another thing that I’m not used to hearing on a Gary Moore recording) from Mark Feltham and Moore rocks on this. The slower songs are where artists get to show their different levels of emotion and Gary certainly puts himself through the wringer on John Mayall’s Have You Heard. Guitar and organ (Vic Martin) are to the fore here with his guitar in particularly searing form.

The classic Sonny Boy Williamson song Eyesight To The Blind has a storming opening and he gives it his all on the unhurried Evenin’. Things stay in the slow lane for the appropriately named Nowhere Fast. This has sympathetic guitar although possibly not the best lyrically. Gary flicks the grunge button again for Checkin’ Up On My Baby. This has fuzzed harp from Feltham and growling guitar and is what he does best. His gritty vocal and ringing guitar compliment each other to perfection on this second Sonny Boy Williamson cover. Everything is held together, as it is on the rest of the album, by Thin Lizzy drummer Brian Downey. The penultimate track, I Had A Dream, is slow rock and is an example of a master passing on his skills to the next generation. Great vocal, top guitar, what else can I say? In an album with a couple of surprises Gary finishes off with another. This time it is Son House’s Sundown with acoustic slide guitar and he sounds as if he has recorded it live in the studio. Sundown is not his usual bag but very acceptable indeed!

People think that they know what they are going to get on a Gary Moore album but this one may hold a surprise or two.

http://www.eagle-rock.com/
http://www.gary-moore.com/

David Blue.

Eugene ‘Hideaway’ Bridges – Eugene ‘Hideaway’ Bridges (Armadillo Music).

Eugene ‘Hideaway’ Bridges has been playing the guitar for 40 years, since the age of 4, and is now basically on a perpetual touring regime. This new, eponymous album is a bit of a departure for Eugene insomuch that he has recorded it with musicians that he has met on the road rather than his normal full band. The 12 new songs begin with Piece Of The Mountain, which is Gospel with a silky vocal that will take you to heaven itself. This will cleanse your soul so you should listen to it at least once a day. Very clean sound (production). The gentle Life Has No Meaning is acoustic led and Country tinged with Lucky Oceans, co-founder of Asleep At The Wheel, on pedal steel. Special Friend is soulful and has good harmonies whereas Never Alone has a powerful vocal and could be described as modern Doo-Wop. Oceans returns on pedal steel for Baby Your Love, a Soul/Country crossover with Sam Cooke coming to mind. Bridges shows again that he has such a sweet voice on In Your Arms Tonight. This is another in the Sam Cooke, or even possibly Jackson Browne, arena. All this and he hasn’t really unleashed his guitar yet.

Look At Me Now is Soul but only average and a little disappointing. Even Eugene picking up the bass on this one doesn’t save it. Ain’t Got Time has Bridges on Resonator guitar and playing the blues at last. It’s simple in its application and invariably that’s the best way. He could also go electric on this one to great effect, I am sure. Love Got The Best Of Me is a slow, classy blues with a B.B. King style vocal and has the best guitar work so far. I thought that I was getting We Will Rock You at the beginning of Big Legged Woman but Bridges soon dispels that. This turns out to be an acoustic blues, just guitar and percussion. He’s coming on to a game now but the Country/Blues of I Can’t Wait is a bit too sweet and nothing spectacular. Man And His Guitar finishes things off. This is a jazzy blues with Clayton Doley on Hammond and finishes up as a great end to the album. When Bridges lets loose on guitar he really makes it sing. Add that to his heavenly voice and you have an artist in his prime.

http://www.bluearmadillo.com/

David Blue.

Roxanne Potvin – The Way It Feels (Ruf Records).

French-Canadian guitarist/singer/songwriter Potvin is making a bit of a name for herself in blues circles and the fact that she has attracted Grammy Award winner Colin Linden as producer for her new album speaks volumes. She opens with A Love That’s Simple, a horn-laden R&B with strong vocals. Potvin fits in well with guest vocalist, John Hiatt, and this is an easy song to listen to; a great start. I Want To (Do Everything For You) is a slow, rolling blues that allows Roxanne to show her not inconsiderable guitar skills, ably backed by Colin Linden on Dobro. There’s a contemporary Country feel to the plaintive Hurting Child and she goes back to a classic Country/R&B/Rock n Roll fusion. This is bouncy and Roxanne certainly attacks the vocal. The gentle and magical La Merveille is sung in French and she is backed by the wonderful Daniel Lanois.

While I Wait For You is contemporary Jazz/Blues and expertly executed. The guitar work remains understated and Colin Linden’s production is classy. Your Love Keeps Working On Me is gentle R&B and although she does show her class on guitar, the song is pretty standard stuff. She remains in the R&B field for Say It before delivering a heart wrenching piano ballad on Don’t Pay Attention. Sweet Thoughts Of You is barrelhouse flecked Country with some nice Dobro thrown in. Let It Feel The Way It Feels is another piano ballad but with slide guitar added this time. This could be the type of song that could make her a serious contender to the like of Bonnie Raitt. Roxanne closes off with Break Away, a high tempo version of Del Shannon’s oft covered song. However, I can’t see why she chose to include this given that she is such a good songwriter herself. This is possibly the weakest track on the album and an unfortunate way to end what is, in fact, a very good collection of songs.

http://www.roxannrpotvin.com/
http://www.rufrecords.com/

David Blue.

Otis Taylor – Definition Of A Circle (Telarc).

Reviewers have a great life, new album comes in and new favourite artist emerges. I’ve had at least ten new favourites this year alone! The latest of these is Chicago bluesman, Otis Taylor. He’s released seven albums, before Definition Of A Circle, since returning to the music business after an 18 year break and this is the first time that our paths have crossed. Definition Of A Circle opens with the sustained guitar of Little Betty, provide by Gary Moore. The Hammond organ, operatic vocals and Taylor’s smokey voice supplement a track that has it all. The only drawback is the addition of acoustic guitar late on – I don’t think it was really necessary. The track listing on the sleeve gives a potted summary of each song and Taylor describes this as “A banjo player is seeing a married woman. The situation gets too hot and he decides to leave town”. Black’s Mandolin Boogie is not a boogie as such but is a hypnotic classy roots offering. It is also about the plight of the European Gypsies and inspired by the book, Princes Amongst Men. Rich Sharples and Nick Amodeo provide the mandolin. Looking Over Your Fence is another rhythmic, mesmerising song and he certainly pays his dues to the old-timers here. Charlie Musselwhite adds his stunning harmonica to this tale of wife and land stealing. Hurricane Katrina influenced They Wore Blue is pared down blues rock and is without percussion. Taylor has a style of his own and I am amazed that he is not a bigger star than he is. The U2 style guitar and elegant organ build the song up to a wonderful finish. Taylor shares the vocal with daughter Cassie on Few Feet Away. This very soulful acoustic lullaby has a telling cornet contribution from Ron Miles.

Something In Your Back Pocket opens up a noise-fest and has a spoken vocal on top. Jimi Hendrix influences abound. The piano-led My Name Is General Jackson follows and the cornet and cello backing are sublime. This is rootsy and contemporary at the same time and that is no mean feat!! Taylor returns to blues rock for Love And Hesitation and it is no surprise that the snappy guitar belongs to Gary Moore. Moore’s guitar work is simply stunning and sometimes means that Taylor’s voice is glossed over but don’t fall into the trap of thinking that he is not an accomplished vocalist. Maharaja Daughter is a tale of travel and the fusion of banjo, cornet and cello quartet adds up to a very strong tune. Just sit back and take it all in. Taylor tries a little free form jazz on Long Long Life but it just does not do anything for me and is the weakest track on offer. He is back to form on Mexican Cowboy as he pulls all of his influences together, adds drums by John Kelly and organ from Brian Juan and loops it all together in a J.J. Cale style. This excellent album finishes with Lifetime Of Freedom. This is either repetitive or hypnotic, you choose, and he manages to stay contemporary whilst remaining true to his obvious roots. The sentiment of the song will ring loudly with my fellow Scots; you can take my land, you can burn my house but you will never take my freedom.

Otis Taylor is my artist of the week but that could easily stretch to months or years.

http://www.telarc.com/
http://www.otistaylor.com/

David Blue.

Paul Orta & Friends – Paul Orta & Friends (Great Blues Recordings).

Paul Orta has had one of the best schoolings in the blues that you could think of. His formative years were spent in the playing company of such luminaries as Matt “Guitar” Murphy, Pinetop Perkins, Eddie Taylor and Robert Lockwood Jnr. You would expect a top class musician to emerge from that history and on the evidence of this new CD you will not be disappointed. It is a compilation of songs from four of his previous albums plus some additional recordings with various groups. Orta has made Europe his home for the past six years and he has connected with a number of European artists as well as finding time to record with some of Texas’ best musicians. The opening track, You Don’t Have To Go, has dual harmonicas (Orta and Lazy Lester) and these set the scene for this blues chugger. Orta delivers it with a lazy vocal and gives us a top class blues with a live feel, ably backed by “Uncle” John Turner on drums. Tear Drops keeps the pace slow and the wailing harmonica is the real deal. Hoochie Coochie Girl has injected pace and top harmonica again. He gives us Swing Blues and Rock n Roll on Robbing Little Woman, complete with lung bursting fills and bouncy delivery. Little Girl is choppy and shows a little frailty in the vocal. It’s back to the slow ones for Hey Mr Devil and this is a highlight with scything harp in a Chicago style.

Eyesight To The Blind is a famous old song and Orta’s upbeat vocal comes into its own. That is followed by an acoustic blues with a barroom feel in the form of Your Looking So Good. Bala Pradal’s piano and Orta’s harmonica compliment each other and the slide guitar from Karim Albert Kook adds so much. It is simple in its execution but sometimes he gets a bit overpowered. Ma Cherie (Sugar Bee) has Cajun influences as the title alludes to and the fuzzed vocal adds great effect. Boogie Til You Drop has Orta unleashing his harp again but the song is only saved by his prowess on the instrument. The raw Everytime is upbeat but Orta’s deficiencies as a vocalist start to show up here although it may have been cut in one take. The closer, I Don’t Want No Woman has a better vocal, provided by U.P. Wilson and is a slow, acoustic-based blues. Not my way to end an album but pleasant enough anyway.

Paul Orta is in the higher echelons of blues harmonica players and this is a great introduction.

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

David Blue

“Uncle” John Turner – Texas Blues (Great Blues Recordings).

“Uncle” John Turner is the legendary blues drummer and Woodstock survivor that has played with some of the best. This latest album features old friend and guitar genius, Johnny Winter and is a fine return to form. Roll Roll Roll is an upbeat opener with slightly fuzzed guitar from Winter and good vocal from Turner. The album is called Texas Blues and that’s exactly what you get on Just A Little Bit, where Turner gives the impression that he will still be a very good live performer. Divorce Court is dramatic and has Winter’s snappy guitar and Drivin’ Wheel is a lovely rolling Texas Blues. His voice goes a couple of times here and the guitar is no more than functional. You’re Humbuggin’ Me is upbeat and another that will be a great live track. The band is on form and Winter serves up his best guitar yet. I Got It Made is excellent and They Call Me lazy is more quality Blues from a quality artist. The slurred harp is a great addition.

With the title Allons Dancez you would expect a little Cajun and you won’t be disappointed. Unfortunately, it is not the best that I’ve heard though. Tales of guns and infidelity are Blues staples and Shoulder Holster fits in well. Great guitar from Johnny Winter and a fair recompense to the man who convinced Winter to start a blues band. Hey Senorita is not the best track on offer and is a bit disappointing considering that he once starred alongside Stevie Ray Vaughn in Krackerjack. Winter adds some T-Bone guitar style on T-Bone Intentions, which is complimented by Turner’s laid back drumming. I-10 Hurricane Blues is delivered in an Elmore James style apart from the vocal. It’s short and sweet. The daftly titled Oooh Poo Pa Doo finishes things off and he does put a bit of grit into his vocal but it is the humour that comes over most of all. This is an artist having a good time doing what he does best. You would expect no less from a man of whom B.B. King once said "Man, I can set my watch to your time!"

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

David Blue.