Bob Brozman – Post Industrial Blues (Ruf Records).

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

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

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

David Blue.

Luther Allison – Underground (Ruf).

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

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

http://www.rufrecords.de/

David Blue.

Poppa Chubby – Deliveries After Dark (Dixiefrog).

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

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

http://www.dixiefrog.com/

David Blue.

Tim Hain – Bleggae (Note Records).

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

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

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

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

David Blue.

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

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

www.myspace.com/someonesaysomething

David Blue.

Will Tang – Everything Changes (Zen Music).

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

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

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

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

David Blue.

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

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

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

http://www.provoguerecords.com/

David Blue.

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

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

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

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

David Blue.

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

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

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

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

David Blue.

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

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

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

http://www.provoguerecords.com/

David Blue.

Canned Heat—Christmas Album (Ruf Records).

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

http://www.rufrecords.de/

David Blue.

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

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

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

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

David Blue.

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

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

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

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

http://www.musicmaker.org/

David Blue.

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

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

Chrystina Tomlin – Bitter Twisted Wrong (Own Label).

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

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

http://www.chrystinatomlin.com/

David Blue.

Mason Casey – Sofa King Badass (NorthernBlues Music).

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

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

http://www.northernblues.com/

David Blue.

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

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

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

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

David Blue.

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

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

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

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

David Blue.

Lowri Evans – Kick The Sand (Fflach).

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

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

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

David Blue.