Paul Rishell & Annie Raines – A Night In Woodstock (Mojo Rodeo Records).

Paul Rishell and Annie Raines first met in 1992 when Raines sat in with Rishell on a gig in a Boston bar. Those who were there must have suspected that they were witnessing the beginning of a long standing partnership. A Night In Woodstock is their first live recording and also the first release on their fledgling Mojo Rodeo label. The pair has racked up hundreds of gigs and it is evident throughout this recording of how comfortable they are with each other. The opener, Blind Boy Fuller’s Custard Pie, is acoustic country blues which has a Sonny Terry & Brownie McGhee style guitar and harp feel to it. A Night In Woodstock is a live album in every way and this is the best medium for the wailing vocal on Canned Heat Blues. This Tommy Johnson classic is superbly executed. Johnny Winter’s Dallas has slide guitar and is a classic blues of huge proportions. The first original song is Got To Fly, which has guitar and harp in the Terry/McGhee style again but it’s Raines who takes the vocal this time though. There’s not enough emotion in it for me but it is admirable taking on both harp and vocal. It’ll Be Me/I’ll Be Looking For You is sedate but has precision guitar from Rishell and moaning harp to make up for it. Louis Armstrong’s Old Man Mose is far more upbeat. It’s not a blues however but should be filed more under jazz/Americana.

Blues On A Holiday is laid back and nothing special but Can’t Use It No More has John Sebastian guesting. This gives us a more impassioned vocal and the added drums and piano are welcome. I’m A Lover Not A Fighter has country influenced guitar picking from Rishell and the impressive harp helps build it up to a good ‘un. Moving To The Country is an electric chugger. More of a country rocker this time and has the requisite vocal. Maybe just a little too much plodding for some people’s liking but the harp is as good as ever. Bad Credit is a vibrant, upbeat blues and Blue Shadows is mid-paced, rhythmic blues rocker with deliberate lead guitar. The show finishes with the classy Orange Dude Blues and this will leave you wanting more. Your wish shall be granted when the planned DVD comes out soon.

http://www.paulandannie.com/

David Blue.

Memo Gonzalez & The Bluescasters – Dynomite (Crosscut Records).

Texas born frontman Gonzalez and his multi-national Bluescasters have been performing their brand of blues, swing, rock, soul and funk to audiences throughout Europe and the USA for a few years now and they have transferred that craft onto their latest album for Crosscut. Bad Luck is a slightly low key opening, not normal Bluescasters fare but well played nonetheless. However, Dynomite Nitro has the big R&B sounds that the band have become renowned for and One Day, One Kiss, One Night is a pounding Dave Edmunds style rock n roll. Please Come Home is a slow, swinging blues with strong guitar work from Kai Strauss and highlights Gonzalez’s presence. Strange Kind Of Feeling is bouncy R&B from a tight band held together by the rhythm section of Erkan Ozedemir on bass and Henk Punter’s drums. Slip Away has a big vocal performance and is a soulful R&B.

The Freddie King song Double Eyed Whammy stays in the R&B field that they are comfortable in and Strauss’jagged guitar is a near match for the great man’s. Mary Lynn is an electric blues with a country feel and What’s In A Name is eight and a half minutes of superb harmonica blues -- a highlight! Gonzalez’s voice is on the mark and the harp is of classic proportions with Strauss beefing things up on guitar. D Jump is a harmonica led jump blues and is good party stuff. Lonely Boy is a swinging, electric blues and Fat Boy is a big finish. This instrumental has both guitar and drums to the fore. The only question unanswered is that of whether it is an homage to the Fat Boy Stratocaster.

An excellent follow up to Live In The UK.

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

David Blue.

Joanne Shaw Taylor – White Sugar (Ruf Records).

Joanne Shaw Taylor first burst onto the scene at the tender age of 16 when she was discovered by Dave Stewart of Eurythmics fame. The following summer she toured with Dave, Candy Dulpher and Jimmy Cliff and has been honing her blues themes ever since. Her debut album, White Sugar, has been produced by the legendary Jim Gaines and he has pushed her to the limit. She opens with Going Home, a beefy opener which suits her smokey voice. She is the complete package as she is a more than competent guitarist too. She has been described as the love child of Dusty Springfield and Stevie Ray Vaughan so just close your eyes and imagine what she sounds like. Just Another Word is a mid-paced funky rock and Bones is gritty blues rock with a scorching solo which slides along very well. Who Do You Want Me To Be? is high energy and Time Has Come is a slow, classic blues with a big solo.

The eponymous title track is a funky, biting blues but Kiss The Ground is an altogether more rock influenced sing although it is nothing out of the ordinary. Heavy Heart is soulful and a strange change of direction towards the end which is a little bit unnecessary. Watch ‘Em Burn is a pulsating rocker and shows how good a guitarist she is. She closes off with Blackest Day, a classic blues with one of her big, blossoming solos. As far as debut albums go I think that Joanne Shaw Taylor has shown that she had tremendous potential.

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

David Blue.

The Mannish Boys -- Lowdown Feelin’ (Delta Groove Records).

Los Angeles based The Mannish Boys play the blues in West Coast, Texas and Chicago styles and have a number of luminaries in their occasional line up. Lowdown Feelin’ is their fourth album and leads on from their critically acclaimed Big Plans from 2007. The opener, These Kind Of Blues, has a Spanish/Mexican intro that leads into a BB King sort of feel. It’s a good, pulsating start, an upbeat walking blues with strong harp from Randy Chortkoff. Searchin’ Blues is well performed with classy slide guitar provided by Frank Goldwasser. Lowdown Feeling is a powerful Chicago blues with a big brass input – a big performance and Chocolate Drop is a smooth track with a gritty vocal from Bobby Jones. The quaintly named If The Washing Don’t Get You, The Rinsing Will is a swinging blues with Kirk Fletcher’s snappy guitar. Need My Baby is a slow, strolling blues with a deep vocal from Jones this time and a slight Kansas City influence. The Something is smouldering and The Woodchuck picks up the pace for a good time boogie. Fine Lookin’ Woman is a straightforward slide guitar and harp offering and You Don’t Love Me is a vital 60s R&B instrumental. Figure Head is a languid, fluid blues. Rude Groove is an invigorating yet slowish R&B but it is a little too long. When I Leave is soulful yet a little out of place – a bit of a filler methinks. Good Times is a slow blues with harmonica, guitar and organ prominent. Something’s Wrong is a strong, shuffling blues and Reet, Petite And Gone has a slinky guitar solo from Goldwasser and moves along at a decent pace. They close with Dead Letter Blues, a song from the Son House archives, I think, but although this is vocally strong and musically sound, it is not as powerful as the master. Their name is from the Muddy Waters song but believe me, these guys are all men.

http://www.deltagroovemusic.com/
http://www.themannishboys.com/

David Blue.

Elvin Bishop – The Blues Rolls On (Delta Groove Music).

Elvin Bishop has used The Blues Rolls On to pay tribute to those who inspired him and gave him his start in the music business. Some of the blues royalty such as BB King, George Thorogood, James Cotton and Kim Wilson has stepped forward to help him too. The self-penned eponymous opening track is a pulsating start with Kim Wilson’s harp to the fore. Bishop is one of rock’s elder statesmen and he gets his slide out to good effect on this also. There is a good sentiment to this song and all of my heroes are mentioned. Night Time Is The Right Time is a classic song and has a classic vocal from rising star John Nemeth and Angela Strelhi. Bishop stays in the background but you know he is there. Yonder’s Wall has a minimal opening until Chris Sandoval on drums and Scott Sutherland’s bass arrive. It is a good, swinging blues with Ronnie Baker Brooks as guest vocalist. Bishop’s slide is also complimented by Brooks’ guitar. Builds well into a cornucopia of guitars. Struttin’ My Stuff is Southern funk and Bishop is in his element. He just has that certain style and class. BB King guests on Keep A Dollar In Your Pocket and he has a slight discussion that leads into and out of the song and adds that personal touch. BB’s trademark licks are there as you would expect. The Berry Gordy/Smokey Robinson composition, Who’s The Fool has John Nemeth back on vocals and fluid guitar from Bishop and Mike Schermer – a highlight.

Clifton Chenier’s Black God is slow, but authentic, Cajun while Oklahoma is a harder edged blues and is basically just Bishop and his guitar. Come On In My House (credited to Junior Wells) just feels as if it belongs here – a top electric version of this classic. I Found Out is a shuffling blues and sounds a bit like a Howlin Wolf song. Good harp from James Cotton. Send You Back to Georgia is energetic and Bishop’s guitar is unleashed along with those of George Thorogood and Jim Suler. The final track is Honest I Do, another well known one. This has piercing harp from John Nemeth and stinging slide from Bishop. The cymbals get a real bashing on this instrumental as the number of personnel highlights – Ed Earley & Larry Vann on percussion and Bobby Cochran on drums. It all makes for an excellent finish to a good album by a true slide guitar master.

http://www.elvinbishopmusic.com/
http://www.deltagroovemusic.com/

David Blue.

The Mick Fleetwood Blues Band (feat Rick Vito) – Blue Again! (Hypertension).

The granddaddy of British percussion is back with a band that is only half filled with ex-Fleetwood Mac stars. Fleetwood is returning to his blues roots with this series of songs and he has never sounded better. Rick Vito’s Red Hot Gal opens this live album. It’s a standard electric blues played by top musicians and with slide guitar to the fore. Just try and stop yourself joining in. There was always going to be a big Fleetwood Mac influence on this album and Peter Green’s Looking For Somebody is given a wonderfully atmospheric treatment by Vito (another link to Fleetwood Mac, albeit a different incarnation). The energetic Fleetwood Boogie allows the pianist to let loose and another Peter Green song, Stop Messin Around has Vito carrying on his great guitar work. Rattlesnake Shake is much heavier than Green’s version and although I have never heard of Vito’s When I Do The Lucky Devil before, I have just stumbled across a wonderful boogie – absolute class! The inclusion of another Peter Green song, Love That Burns, continues that Fleetwood Mac link and shows that Green’s songs have become standards in their own rite. Rollin Man/Bayou Queen is a great shuffling blues with little discernable seams between the songs and has Vito pinpointing the notes as he does with such aplomb. There is not a lot to be said about Black Magic Woman. The two iconic versions by Santana and Fleetwood Mac have stood as classics for years and Vito gives a more than acceptable guitar performance. I Got A Hole In My Shoe has a bayou feel and the closing track, another played by Peter Green but written by Elmore James, Shake Your Moneymaker, epitomises the drumming sound of Mick Fleetwood. It has been kept true to the original and remains a good time boogie.

There is also a four track bonus CD which includes Albatross, a difficult song to better although Vito does make a very good effort to do so. Also included are the Shadows sounding Napuli Nocturne, The Supernatural (on which Vito may even surpass Green) and La Mer D’Amour which is pleasant guitar based Hawaiian style.

There was never any way that this album was not going to link up with the early incarnations of Fleetwood Mac and I’m happy that it does. In fact, Fleetwood dedicates the album to the other original members, Peter Green, John McVie and Jeremy Spencer. British music should never be without the drums of Mick Fleetwood and the songs of Peter Green.

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

David Blue.

Various Artists – The Fine Art Of Music (CoraZong).

This is a 2 CD showcase of CoraZong’s current catalogue and has artists such as Peter Cooper, Krista Detor, Kim Carnes, Alastair Moock and Last Train Home displaying their wares.

CoraZong is well-known for their commitment to artists that are just on the edge of genres such as Americana, Folk, Blues and Country.

JP Den Tex gives us the sedate MOR The Lights Of Phoenix and ups the stakes with a tortured vocal on the piano ballad, Looking For Rosie. Alastair Moock has his usual quirky vocal on the standout live version of My Creole Belle. He exudes an old style class with excellent playing all around. He also contributes God Saw Fit To Make Tears, which is a gentle Americana with weary vocal.

The Mercy Brothers’ I Believe I’ll Make A Change tips its hat to Woody Guthrie whereas Waiting For A Better Day shows their country blues side. Peter Cooper shows he is a star on Wine and he has that great American voice so suited for the gentle country of Gospel Song.

Jeff Talmadge is on the gentle country trail with Wrong Train. He also gives us a live version of Wild And Precious Thing which shows him to be a most accomplished singer songwriter. Krista Detor’s dark Go Ahead & Wait has silver linings if you wait and More Than I Dare Say has more of her silky voice.

John Coinman throws in some Tex-Mex on Down In Nogales and a very good example it is too. However, he also gives us the strange You And Me, Oui which doesn’t really work. Inneke 23 & The Lipstick Painters gives us the topical Christmas Song. Also here is Elephant Crossing, a quirky song with bouncy fiddle and banjo.

Kim Carnes has the gentle brilliance of Goodnight Angel on which she has a great vocal partnership with her backing singer. She still has that husky voice from Bette Davis Eyes and she unleashes it on Still Warmed By The Thrill (live). However, this is so different from what she is known for as it is slow and acoustic. The excellent Last Train Home contributes Flood which is strong, moody country tinged rock. They also supply (Say) Won’t You Be Mine which has tremendous guitar and pedal steel with an old style country/bluegrass feel.

Patricia Vonne is raucous and rebellious on Rebel Bride (live in New York City). She also gives us some classic Americana on Joe’s Gone Ridin’ and this shows her strong voice and a top backing band. Jean Paul Rena & Terrawheel provide some heavy guitar R&R. It’s raw and just about ok but they show their blues and roots side on the acoustic demo of Blue Son.

As a sampler for CoraZong’s eclectic style of music, this could not be any better. I defy you not to find something that you like.

http://www.corazong.com/

David Blue.

Ruthie Foster – The Phenomenal (Proper Records).

When you name an album ’The Phenomenal’ then you’d better be able to back it up. Texan Ruthie Foster immediately dispels any doubts as she lays down her credentials on Cuz I’m Here, a sultry, soulful R&B. Heal Yourself has good vibes and more upbeat than the opener. She has a classic R&B voice (that’s original R&B). Fruits Of My Labor is a Lucinda Williams song and an emotion laden ballad as you would expect. You can just drift away on the back of this. Son House’s People Grinnin’ In Your Face is sung a capella and the power of Gospel is stamped all over it. Up Above My Head (I Hear Music In The Air) is the third cover in a row. This time it is Sister Rosetta Tharpe and Foster gives the song a smouldering contemporary feel.

She was one of the stars of the 2007 Cambridge Folk Festival and on this evidence it’s not hard to understand why. Harder Than The Fall is an uplifting spiritual and highlights Foster’s songwriting talent. I don’t think that the swamp noises on Beaver Creek Blues are totally necessary as this folk blues is strong enough to stand on its own. Special mention here to the drummer. Mama Said is an acoustic folk blues and Eric Bibb comes to mind as it has that gentle spiritual feel to it. Phenomenal Woman is sweet, powerful soul and Foster has maintained that voice throughout. Eric Bibb’s A Friend Like You is so smooth and she continues the gentle sounds through to the end on I Don’t Know What To Do With My Heart.

Ruthie Foster has a voice that will take your heart and caress it and this album will be a worthy addition to any collection.

http://www.proper-records.co.uk/
http://www.ruthiefoster.com/

David Blue.

Marc Ford & The Neptune Blues Club – Marc Ford & The Neptune Blues Club (Provogue).

This is Former Black Crowes guitarist Ford’s second album for Provogue and he has continued his growth as a songwriter and solo artist. On his last album, Weary And Wired, he was compared to guitar greats such as Clapton, Hendrix and Beck so no pressure there then! This new offering opens with Main Drain, which is an excellent way to start as it grabs the listener from the first note. Locked Down Tight is blues based R&B and shows how good a band that Ford has pieced together. This is not the best vocally but it will get you going. Freedom Fighter is a tough, blues based, slow rocker and Ford’s guitar work is just classic rock – a big stage solo. It’s very atmospheric with harp from Bill Barett and organ from Mike Malone playing their parts and Ford back on form vocally. The classy Go Too Soon is old time rock n roll and Don’t Get Me Killed is slowed down with a fuzzed vocal added. The latter is an earthy blues with stinging guitar and haunting harp, this time from Malone. Last Time Around Again is good old Southern rock, played well and Ford is on familiar ground here.

Spaceman is grinding, airy and grungy. It verges on prog rock and over 8 minutes of it too! Pay For My Mistakes has bluesy slide guitar and a great vocal as he ups the standard. Good harmonica from Barett. Shame On Me has a laconic vocal over a running boogie – good stuff, and Mother’s Day stays with the blues theme. This is very, very good and allows Ford to show all of his skills. Smilin’ is funky but weak in parts and at over 8 minutes it is a bit of a struggle. They close with Keep Holdin’ On, a slow, world weary Southern rock and this is what Ford is best at.

http://www.provoguerecords.com/

Chris Duarte Group – Vantage Point (Provogue).

Chris Duarte appeared on the scene in the early 90s and wowed industry insiders at the South X Southwest convention. Since then he, and his band, has built a reputation as one of the best blues rock guitarists around. From his debut album for Silvertone Records to last years commercially and critically acclaimed Blue Velocity, he has consistently raised his standard, album by album. The latest in that line is Vantage point, which opens with the high impact The Best I Can Do and this boogie follows on perfectly from Blue Velocity. Satisfy is another no nonsense blues/boogie with a very deliberate beat. It has a good time feel much in the Dave Edmunds style. The instrumental, Slapstak, has funky guitar and bass peppered by the drums of Jeff Reilly who has replaced Damien Lewis since the last album. The removal of vocal duties allows Duarte to really display his true guitar virtuosity. More Boogie is a title that should be easy to follow and the song itself has no airs and graces. Duarte impresses with his fleet fingered guitar. Troubles On Me is a slow Chicago blues with an explosive solo and is perfect for the power trio format.

They crank up the speed for Let’s Have A Party, another impact boogie but the one disappointment of the album is The End Of Me And You. It’s funky but it just doesn’t really hit the mark although you cannot fault Duarte’s guitar playing. They are back on form with Blow Your Mind, which is a grinding rocker. She Don’t Live Here Anymore is heavy rock and has one of the better vocals too. Pounding drums from Reilly lead to an increase of speed after a couple of minutes and the band lets loose for a good old fashioned rocker. Babylon is a Guns N Roses/Black Crowes amalgam with a little Aerosmith thrown in for good measure. What that produces is an expansive track with top guitar work from Duarte. They close with an instrumental, Woodpecker, and that’s never a good idea in my book. However, this gives Duarte a showcase for his guitar and bassist Joseph Patrick Moore, Dustin Sargent’s replacement, is given a chance to shine. His easy style comes through very well and Duarte’s guitar is as fast as Woody himself at times. There are extended versions of Blow Your Mind and Troubles On Me added as a bonus to finally close things off.

Duarte has continued his streak of ever improving albums.

http://www.thechrisduartegroup.com/
http://www.provoguerecords.com/

David Blue.

Peter Cooper – Cautionary Tales (CoraZong)

Cautionary Tales is the debut album from East Nashville singer songwriter Peter Cooper. There is a bright opening in the form of the nu-country Boy Genius and All The Way To Heaven is world weary but will be a crowd pleaser with its singalong style chorus. There is some excellent pedal guitar from the legendary Lloyd Green as Cooper tips his hat to the old timers. The word legendary is over used these days but in Green’s case it is more than justified. Just listen to his contribution to The Byrds’ Sweetheart Of The Rodeo amongst many others (he has played on more than 100 number 1 country records). Cooper’s laconic style is coming through in spades on tracks such as Wine. It’s a simple execution of a topic well discussed and has a pleasant feel, just like the feeling after a bottle of wine by coincidence!! Couple Of Lies is gentle but again covers a harder topic whereas Take Care is a bit more upbeat, musically. This fractured country gets a bit grungy at times with harp from Todd Snider and electric guitar from Cooper.

Mission Door has the addition of none other than Nanci Griffith on vocal along with Snider and Fayssoux McLean with Jen Gunderman’s accordion in the background – a masterpiece. They Hate Me is a little bit of boogie and this is about as excitable as Cooper gets. He is a very good social commentator and manages to raise a few smiles during the album. 715 (For Hank Aaron) is pure Americana. It’s about baseball, how more American can you get? Lyle Lovett comes to mind throughout and on this track in particular.

Take Cooper’s advice and take caution on the topics of his songs but there is no need to be so wary of the man or his music.

http://www.corazong.com/
www.myspace.com/petercoopermusic

David Blue.

Anthony Gomes – Music Is The Medicine (Ruf).

Young American guitar slinger Anthony Gomes serves up a dozen self-penned songs on an album co-produced by the legendary Jim Gaines. The eponymous title track is a funky opener with strong guitar. Gomes’ gruff voice is complimented by the female backing and it’s got it all – it’s the cure! Bluebird is a very strong song and Gomes shows that he is an all rounder on this soft rock offering. Now She’s Gone is more of the funk with vocal and over laden heavy guitar to the fore. War On War continues with heavy, searing guitars and I can tell you one thing – Gomes is certainly not quiet! The obligatory ballad arrives in the shape of Love Is The Answer and it is better than the average fare served up on the normal rock album. Gomes slashes his guitar through the middle.

The classy Everyday Superstar is another funk fest with the keyboards the funkiest. Testify is blues influenced and has a heavy rock feel that is blended with gospel – good Southern rock. This is a stormer as Gomes unleashes a flurry of notes. He takes a breather on Waiting For A Sign, an Elton John style ballad. However, this gives him the chance to show that he is as strong a singer as he is a guitarist. His songwriting skills are not too shabby either as his songs have a way of endearing themselves to you. There is a clever thought behind the lyrics of the blues based What If? whereas Run is a straightforward, heavy rock based grinder. When The Right Woman Does You Wrong is a blues title for sure and a blues is what you get. It is slow and moody and Gomes lifts you up and drops you like a stone in what is an excellent finish to a strong album.

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

David Blue.

Pat Travers Band @ The Ferry, Glasgow 24/10/2008.

With a flourish, Pat Travers arrived on stage and announced “I’m Pat Travers, this is my band, and we’re here to kick your ass tonight”. After this, they launched into a superb version of Life In London and had the audience in raptures thereafter. Pat was in Glasgow to showcase his latest album, Stick With What You Know. Live In Europe, and confirmed that he is still a live act of some standing. He also managed to throw in Ask Me Baby from his eagerly awaited next album but this won’t be released until next year. If this track is anything to go by then the new album will be extremely good. For those of a Pat Travers persuasion, the evening followed a familiar path with Crash And Burn, Heat In The Street, Snortin’ Whiskey and Boom Boom (Out Go The Lights gleaned from past albums. He also showed his blues side with excellent versions of Red House and If I Had Possession Over Judgement Day (a Robert Johnson song not tackled by many). The blues connection continued in the encore with a scorching Statesboro Blues. Despite being a fan of Pat Travers for some years, this is the first time that I have seen him play and I was not disappointed. He has lost none of the vitality in his playing and he currently has an excellent band of Sean ‘The Cannon’ Shannon (drums), Kirk McKim (guitar) and Rodney O’Quinn (bass). These three give Pat the base on which to build and they form such a tight unit.

If you haven’t seen the Pat Travers Band yet then don’t leave it as long as I did!

David Blue.

An after show interview with Pat follows.

Twilight Hotel – Highway Prayer (CoraZong Records).

Twilight Hotel is Canadian duo Brandy Zdan and Dave Quanbury who play a multitude of instruments between them and they also show their songwriting abilities on this album of 12 original songs plus one bonus. They open with Viva La Vinyl, which shows an early indication of the good vocal harmony that the pair produces. Their dual fragmented guitars set up the song very well and make it strangely likeable. No Place For A Woman is slow, rhythmic Americana and Impatient Love, with Colin Linden on guitar, is acoustic and remains very slow -- this nu-country song shows how well they work together. The eponymous title track is music direct from the American heartland and very strong. Slumber Queen has jangly guitars much in the style of Chris Isaak and it harks back to the 60s whereas Iowalta Morningside is pounding Americana with menacing overtones.

The Ballad Of Salvador And Isabelle has added accordion but the pleasant tune hides the sad tale of illegal Mexican immigrants. Pure Americana and Richard Bell provides telling organ backing. This album was the last recording that he ever made and capped a career of some 400 albums. Shadow Of A Man is a strange one with its Latin execution but a few listens will confirm that it is a grower. The Critic is a bit ragtime and a bit jazz. It works ok but it is just missing something. If It Won’t Kill You is barrelhouse style Americana. There is a St Louis feel to Sometimes I Get A Little Lucky, which is slow and heartfelt and is one of a few songs on the album that could become future standards. Sand In Your Eyes is slow again and Brandy Zdan takes on most of the lead vocal. This is lyrically excellent and is very much in the vein of Krista Detor. Fire is played on slide guitar and piano. It is hard to categorise and a slightly strange finish. However, a quick read of the album sleeve tells you that Colin Linden and Richard Bell played this together and is just two friends playing together and catching a groove. One thing that can be said is that Twilight Hotel is not orthodox in any way. It’s an instrumental finish and not one that I would have chosen but they do keep you guessing right to the end.

http://www.twilighthotel.ca/
http://www.corazong.com/

David Blue.

Paul Orta & Tonky De La Pena – Pawn Shop Blues (Great Recordings).

Paul Orta (Port Arthur, Texas, USA) and Tonky De La Pena (Madrid, Spain) arrived at the studio with a Hohner harmonica and a Martin D28 guitar in hand, sat down and recorded Pawn Shop Blues. There were no amplifiers used and it harks back to the old Sonny Terry & Brownie McGhee format. The eponymous opener is a slow Delta blues and is a great start to the album. Muddy Waters’ Catfish Blues features slide guitar and Tonky takes over on the vocal. Talk To Your Daughter is a full harmonica blues with Orta back on vocal. However, I don’t think that the dog noises are necessary on this JB Lenoir song. Ponme Otro Whiskey is sung in Spanish but I’d have preferred the Scottish spelling of Whisky. Otherwise, it’s a standard guitar and harp blues. Boogie The Woogie is a lung bursting stunner and the classic Jimmy Reed song Bright Light, Big City has piercing harmonica from Orta.

Voodoo Mama is in Spanish again and is strange yet compelling. Willie Dixon’s Bring It On Home has more echoes of McGhee & Terry and Feel So Bad is a classic guitar and harp blues, written by Lightning Hopkins. Oh Susanne is more of the same, only slower and the last of the Spanish songs, Vaga Bundo, is upbeat. It is appropriate that the final track is Tribute To Sonny Terry and it does exactly what it says on the tin. It is an excellent tribute and a wonderful end to a thoroughly entertaining album.

http://www.great-recordings.com/
http://home.hetnet.nl/~porta/index.html

Richard Earl – One More Song (Great Blues Recordings).

Richard Earl has shared a stage with great artists such as Little Milton, ZZ Hill and Johnnie Taylor and has forged a successful career with his band, The R&B House Rocka’s. One More Song opens with Henpecked, which has a world weary vocal as you would expect. Come on boys, we’ve all been there. Prominent guitar from Jack Edery and organ from Chris Thibodeaux make for a solid start. Comin’ Back Baby is pure soul and Earl has the classic type of voice for this slow love song. I’ll Be Right Here remains in the soul genre but is more upbeat than its predecessor. My only complaint is that it isn’t imposing enough. Back to slow soul for Baby It’s You and as heartfelt love songs go, it’s ok. Bad News means the blues and Thibodeaux gives it some in the middle. The band plays everything with soul but Earl’s vocal does desert him a bit on this. Blues Over You is a more straightforward blues yet is one of the best tracks and shows that great results can be had when you play it simple. He stays with the blues for His Old Lady And My Old Lady and this tale of bigamy is a slow burner. There is not a lot of pace about this band and Too Many Lovers confirms this. Having said that, the song will have a hypnotic effect on you. One More Song is pretty standard stuff but the excellent closing track, Riding All Night, is the sort of down & dirty blues that I wish he had provided more of.

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

David Blue.

Walter Trout – The Ferry, Glasgow 03/10/2008.

From the opening bars of Buddy Holly’s Not Fade Away, Walter Trout showed why he is considered to be in the world’s top 10 guitarists. He is no stranger to the stage at The Ferry, this being his 10th visit in as many years and he is totally comfortable with the Glasgow crowd. With a set peppered with outstanding tracks from his latest album, The Outsider, Trout and his band, Sammy Avila on keyboards, Rick Knapp on bass and the newest member, Michael Leasure on drums, ripped up the evening. Walter’s voice continues to grow as does his songwriting, as he gets older and his guitar playing is probably the best that it has ever been. This was exemplified by his impromptu recital of Eine Kleine Nachtmusik, which was note perfect.The introduction of Andrew Elt on a couple of tracks gave an added dimension to the vocal performance and when Sammy Avila took over lead duties he proved he is no mean singer himself. I’d like to think that there is a passion for the blues in Scotland and Walter Trout certainly brought that out of the crowd at The Ferry. He certainly got the crowd on his side with a quick version of Scotland The Brave. However, in an evening of standout songs, Child Of Another Time and The Next Big Thing were the true highlights.

Post-show interview with Walter Trout @ The Ferry, Glasgow 03/10/2008.

DB – What brings you back to Glasgow again and again?
WT – A van! (much laughter amongst those in attendance)
DB – Very funny, but is it something about Glasgow or The Ferry, in particular?
WT – You know something, it’s just a great audience. You know, you could feel it tonight. You could feel the energy and the enthusiasm of the people. The first time that I played this city was 17 years ago at King Tut’s Wah Wah Hut and the people went completely nuts and I thought, this is a great city. Every gig is like that.
DB – Glaswegians are a very hard audience to please but you seem to manage to win them over with no problem.
WT – You know, I’ve never had a problem pleasing them from that first gig in King Tut’s, man.
DB – If Glaswegians don’t like you, they’ll tell you!
WT – That night they went nuts and the manager of the place came out to tell us to stop playing because he thought that they were going to tear the club down. We did about four encores that night.
DB – If they had torn the club down then Oasis would never have been discovered.
WT – Yeah, ‘cause that’s where they got discovered, right?
DB – So the new album. It’s been out for a couple of months?
WT – Yeah.
DB – The title, do you feel like an outsider?
WT – No, I didn’t write that about me. I wrote it about a relative of mine who shall remain nameless, but who I saw at a party at my house for family and friends. I saw him standing across the room and everyone else was having a good time and relating. He was standing by himself and I could see sadness in his eyes. I could see that he felt uncomfortable in social situations and he is still having trouble making friends, a lot of trouble, and this was for him.
DB – Are you pleased with the reaction to the album?
WT – It’s been great.
DB – It’s been high in the blues charts in Europe.
WT – Yeah, and in the States it debuted at number 3 and stayed in the Top 10 for, I think, about 8 or 9 weeks.
DB – Very impressive. You once said and I’m going to quote here, “the blues should not be in a museum”. Do you think that the genre has expanded, say in the last 10 years or so?
WT – It depends on who you listen to. If you listen to people who are on a mission to keep it in a museum, they’re certainly not expanding it and I don’t have a problem with them. What they do is valid; it’s just not what I’m interested in doing. I want to push the envelope a little. I want to feel free of any musical constraints like it has to fit like this or it has to sound like this and that’s why that one verse on Child Of Another Day is about blues purists – “Here comes the guy I’ve met a million times before. He tells me to slow it down, he says remember less is more. He doesn’t understand it, it don’t sound just like it should. It don’t fit his preconceptions so it can’t be any good. But I just ignore him, I don’t care what he said”.
DB – Truer words never spoken. So what do you think of the young pretenders just now, like your stable mate, Joe Bonamassa?
WT – I think he’s great man. I think he’s carrying the torch for this stuff. I think it’s important that there’s young people carrying it on and he’s definitely somebody who is concerned with taking this to a new place, modernising it a little bit, not being stuck in the past, you know. So, I respect him for that, a lot.
DB – I’ve seen Joe twice now and both times he blew me away completely. He is definitely pushing the envelope. He is the young master but he is following after you. I think that you have influenced Joe Bonamassa in a big way.
WT – I think I probably have too and I think that’s kind of evident, you know, and I’m very, very happy if that is true because I feel like I couldn’t have had a better person as a protégé. He’s definitely going his own way with it too. He’s been influenced by a lot of people, I may be one of them, but he is definitely on his own path and God bless him and more power to him. He’s carrying the torch.
DB – Your instrument is the Strat, as is mine although I play very badly. Would you consider using another type of guitar? Could you get that sound from another guitar?
WT – Well you won’t get that sound but on my new album, on a song called You Can’t Have It All, I played a 1962 Gibson 345 through an old Fender Bassman amp and got an old Freddie King kinda sound out of it. But playing live I just like, I just know the Strat. I know how to control it and I’m completely at home with it.
DB – So, how is the touring schedule? Is it hectic just now?
WT – It’s as my old album says, it’s relentless.
DB – And more power to you for that. When do you get a break?
WT – I’m going home in two and a half weeks to vote and I’m home for nine days. Then I come back over and I tour through mid-December and then I’m basically home through March.
DB – So you’ll be back to Glasgow sometime?
WT – Probably the same time next year. It’s kind of a tradition now.
DB – Very much so, the last ten years or so.
WT – Yeah, and always seeming in October.
DB – Taking you back to your Bluesbreakers days. Do you still see any of the guys?
WT – I see them all the time. I get up and play with John Mayall when we play at festivals and I’ve gotten up with Coco and his band and he’s got up and played with my band. We send each other emails all the time. Coco sends me like lots of crazy videos and stuff of people.
DB – The camaraderie is obviously still there so it must have been some band to play in.
WT – It was a hell of a band and I may be biased but I still think in the last thirty years, I think that was Mayall’s best band. When he had me and Coco as duelling guitarists we used to push each other every night.
DB – Yes. I’m a big Clapton fan but it is always better with two guitarists.
WT – Well, yes I think it was for John because he would encourage competition between us and he would get fiery shows every night. It was a duel.
DB – Many people think that Thin Lizzy brought out the dual guitarists but you did it many years before.
WT – Yeah.
DB – Obviously, Sammy is playing tonight and I was speaking to him earlier and he said that he played on the album but John Cleary also played on parts too.
WT – Jon Cleary?
DB – Yeah, I recently reviewed his latest album, Mo Hippa.
WT – Yeah, Jon Cleary’s album was also produced by John Porter, I believe, because actually while we were in the studio John Porter was playing me some cuts and he said “listen to this, I just mixed this for Cleary”. He is an incredible player.
DB – Fantastic.
WT – And I’m glad you call him Cleary. A lot of reviewers and people who have been writing about the album they call him Clearly and I’m like, C’mon.
DB – No, I can read.
WT – (laughter). Yeah, that’s what I mean.
DB – I’ll let you get your food, one last question Walter. You’ve shared a stage with many, many people. Is there anyone that you have not shared a stage with that you would wish to do so?
WT – Yeah, before I die if I could get up and play a song with the Rolling Stones I could die happy. That’d be it.
DB – I’ll arrange it with Mick. I’ll get it sorted out.
WT – Please do. There you go.
DB – Walter Trout, thank you very much.
WT – Thanks Dave.

http://www.waltertrout.com/

David Blue.

Boo Boo Davis – Name Of The Gane (Black & Tan).

Boo Boo Davis is a true Delta bluesman and one of the last of his generation. A poor childhood meant he couldn’t learn to read or write not that has not kept him down. His latest album for Dutch based Black & Tan opens with Dirty Dog which is, as you would expect from the title, a grungy blues. The pounding beat from drummer John Gerritse is a sign of things to come. I’m Coming Home is even more grungy than the opener. It’s done in a John Lee Hooker style with a fuzzed vocal and added harp from Davis. This highlights how powerful Boo Boo is as a singer. There is some good advice on Stay Away From The Casino and he starts to funk things up a little with some pace also injected. However, the repetition made me take a little time to warm to it. Want Nobody Tell Me How To Live My Life is a more straightforward harmonica and guitar blues and Boo Boo finds a groove on Tryin To Get Ahead. The Chicago blues of the eponymous title track has a prominent harmonica and a beefy vocal.

Who Stole The Booty is a contemporary blues with overcharged guitar and harp. Believe me, this riff will work its way right into your brain. Why You Wanna Do It is more of a soft rock song and although slightly out of kilter with the rest of the album, it does have a very good vocal. Lonely All By Myself is a slow Chicago blues and more than meets the standard with its deep pulsating bass line, even though he doesn’t use a bass player! It’s A Shame is an upbeat blues with harp to the fore. I just love the energy! Throbbing drums herald I’m So Tired and when the world weary guitar and spoken intro join in then we have a song on our hands. It’s conducted at walking pace throughout and Davis produces one of his best vocals. Hot Foot is a funky grinder and he closes with St Louis Woman, loosely played in the St Louis style. He seems to like the fuzz effect on his vocal and he could be accused of using it too much. Nevertheless, this is a great finish to a top class album.

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

David Blue.

Matt Andersen – Something In Between (Own Label).

This is Matt Andersen’s first full length album recorded in the UK and he has used Eric Clapton’s post-Cream band (Norman Barrett on guitar, Dave Markee on bass, Henry Spinetti on drums and Dan Cutrona on keyboards) to do so. The big Canadian is also a prolific tourer and has shared a stage with Little Feat and Randy Bachman to name but two. Come By is unashamedly country but with a little Gospel thrown in. The eponymous title track continues with the country theme, acoustically this time and with a characteristically strong vocal. Working Man Blues is back to electric and is a storming blues. There is nothing flamboyant here but it is full of innuendo such as “I’ll be your mechanic, I’ll make your motor run”. He’s swapping electric with acoustic with aplomb and So Gone Now is the real Matt Andersen. Solemn voice and a touching song shows that simple is often best. Stay With Me is not The Faces classic but a country rock effort that is not unpleasant. Better Man Blues is a smooth rolling blues that drips off the tongue and produces some of the strongest guitar work so far.

Lonesome Road sounds like it should be a country song and you won’t be disappointed. It is fast paced and extremely good. John Fogerty’s Wrote A Song For Everyone is folk rock that verges on country and manages to sound like The Band at their height. Broken Man is so heart aching and shows what a consummate songwriter Andersen is. It is just him and his guitar and this is him in his element. Tell Me is country boogie, good time music with a big guitar sound. How I Wish is very, very good country and Baby Come Back Home is a jazzy blues with smooth guitar lines. Bold And Beaten is from the album taster and has that smoky tone to his voice when he needs it. He adds strings to make a great gentle folk/country crossover and an excellent finish to an excellent album..


http://www.stubbyfingers.ca/
David Blue

Jon Cleary & The Absolute Monster Gentlemen – Mo Hippa Live (FHQ).

Erstwhile Bonnie Raitt pianist, Jon Cleary also has a burgeoning solo career ably backed by the wonderfully named Absolute Monster Gentlemen. Cleary is much respected in blues, soul and funk circles and this live album confirms that status. The smooth and funky Go To The Mardi Gras is an updated Professor Longhair song with a great bass line from Cornell Williams. Cleary has a silky voice that just oozes over you and the song is just simply New Orleans summed up in 6 and a half minutes. They step up the funk on People Say and provide ample vocal harmonies at the same time. Jon Cleary is, as we know, an excellent piano player and his tight band helps him to rip it up. Cleary introduces Eddie Christmas on drums and he is a newcomer with a big future as he shines on C’mon Second Line. This is funk and boogie-woogie of the highest order. I first heard Professor Longhair play Tipitina on the Live On The Queen Mary album and have been a fan of his ever since. Cleary’s treatment of the song is more funky but manages to stick to the ethos of the Prof. Cheatin On You is so easy on the ear, as are most of his songs.

Port Street Blues is a slow and slinky barroom blues and Help Me Somebody is very soulful and understated. There is not a whisper in the crowd as Derwin Perkins plays a lovely solo on guitar. He does build things up toward the end of the solo and gets his much deserved praise. Groove Me has us back in the New Orleans groove again. Cleary’s voice is like treacle and his fingers are as quick as Usain Bolt! When U Get Back features electric piano and is soul of the highest standard. This is music to get horizontal to and the jazzy interludes make it a true joy, overall. They finish with the title track and Cleary lets the band have a couple of minutes in the spotlight before he comes in with a grinding groove. Funk, soul, this has got the lot and his voice suits it to a tee. A star has certainly been found in the form of Eddie Christmas but Derwin ‘Big D’ Perkins on guitar and Cornell C. Williams on bass are big, big parts of this band too.

http://www.joncleary.com/
www.myspace.com/joncleary