Eugene Hideaway Bridges – Live In San Antonio (Armadillo).

It’s about time that Eugene Hideaway Bridges released a live album because his reputation as a live performer was building so much that he couldn’t afford not to. Recorded at Chango’s Havana Club in San Antonio, Texas, it captures the essence of Bridges’ talent. He opens with I Got The Blues, which is an electric performance that sets up the listener for what is to come. Next up is Woke Up This Morning, words often used by blues singers but none to more effect t than here on this energetic blues. Little Boy Blue – is he singing about me? Maybe so, but this is a funky blues which keeps up the energy with such power. Learn How To Let You Go is performed in a Motown style in the vein of The Temptations and brings to the fore his lovely guitar work. Giving Up On Love shows Bridges lightning fingers as he funks it up big time and Real Hero is a Chicago blues with attitude. The horns in the background on the latter, which is an homage to the workers, are superb. Rome Wasn’t Built In A Day is classic soul and when you know that it’s written by Sam Cooke then it isn’t any wonder – fantastic.

Won’t Be Your Fool is an up-tempo blues which showcases Bridges’ prodigious guitar work. Sam Cooke’s Movin’ And A Groovin’ is played as a slinky Kansas City style blues and it works so well. This is followed by I Know That You Love Me, which is funky soul with frantic trumpet from Justine M. Miller. I Found It has the horns coming more and more to the fore as his soulful side comes out – superb. Bluesman is a punchy bold blues whereas How Can I Win has a spiritual soulful feel although both are vocally excellent. You’re The One is happy and Jump The Joint is a big finish. This jump blues is energetic, as you would expect. A great way to finish and it shows Bridges to be the consummate artist.

http://www.bluearmadillo.com/


David Blue.

Recorded live in the studio over 2 days, without any overdubs and mainly taking only one take, Ain’t Gotta Dime is Boo Boo Davis’ 6th album for Dutch label, Black & Tan. Silvermine is a grizzly, grungy, throbbing opener. There is no level of pace injected into Ten Thousand Dollar either but the quality is already shining through. Watch Yourself is a mid-paced R&B with a fuzzed vocal and a certain earthy feel. The quality continues with My Baby Got Me Fixed and The Man Who Be Around evokes feelings of the past and confirms Boo Boo as a true blues man. The eponymous title track is deep, down in your soul music and Boo Boo Blues is a romping, stomping boogie. Boo Boo certainly knows how to have a rollicking good time.

Cake Lady is a Delta blues with a drumbeat and this will touch your hidden depths. The repetition on Don’t Wait Too Late will hypnotize you but you will be brought crashing back to earth by the superb blowing harp and fuzzed vocal of Standing At The Fishbank. Let Me Ride With You is a hi-energy, swinging blues and he goes all Bo Diddley on Got My Loving, Now You’re Gone. Cryin’ Blues is slow and wailing, well what would you expect? He finishes it off with the fast paced R&B of the quaintly titled There’s A Roach Crawlin’.

Boo Boo Davis has an air of authenticity that some of his peers lack.

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

David Blue.

Popa Chubby – The Fight Is On (Provogue Records).

This is Popa Chubby’s first release in two years and he says that this is blues rock for the people. He started out with some cool riffs and a house full of vintage guitars and The Fight Is On and a transfer to the superb Provogue Records is the result. The eponymous opener is pure Popa, gritty subject matter and top detuned guitar. The pulsating, anthemic We Got Some Rocking To Do is standard fare but Locked In A Memory harks back to the best rock ballads of the 70s. Popa says that he thinks that this has some of his best guitar work to date and I’m not about to argue. One hearing of his scintillating Les Paul confirms his thoughts. He goes all Motown on The Right Time!! This could easily have been a Temptations or Four Tops song. Rock & Roll Is My Religion is another standard mid-paced rock offering and Greedy For Gold attacks you on two levels -- fast and ultra fast.

NYC 1977 Till is Popa’s homage to Lou Reed as he intertwines Walk On The Wild Side with his own words. He rocks out on Holes and Steelhorse Serenade is a strong instrumental with the man on top form. It’s Over has Popa at his brooding best before ZZ Top come to mind on Wicked Wanda and he wraps the whole thing up with a storming version of Ace Of Spades.

Love him or hate him, you certainly can’t ignore him!

http://www.popachubby.com/
http://www.provoguerecords.com/
David Blue

Marcus Bonfanti -- What Good Am I To You (The Guitar Label).

This is 27 year old Londoner Bonfanti’s second album and follows on from 2008s promising debut, Hard Times. That debut gave rise to a new British voice demanding to be heard and the follow up confirms that the voice has arrived. Bonfanti was once described as the love child of Tom Waits and Van Morrison and also the person to fill the gap between Seasick Steve and Jack Johnson. Time will tell (not on the love child thing though!) The grinding opener, Will Not Play Your Game is acoustic led and Bonfanti’s silky voice will win you over immediately. He then slips seamlessly into Goin’ Down, a mid-tempo boogie which will have you believing that you are listening to someone from the deep South (USA, that is). Messin’ Round No More is a strolling blues whilst Devil Girl is more of a contemporary acoustic blues.

Don’t Wanna Come Home is so laid back and superbly understated whereas Tweed Blazer is a high octane rock and roller much akin to Pat Travers Hot Rod Lincoln era. This guy is not all front, he can really can play. Get Behind Me confirms that I can do little pigeonholing on him as he can turn his hand to anything and can be quite unique when he wishes. The eponymous title track has him switching from acoustic to electric effortlessly and the superb God Only Knows is played on harmonica only with Bonfanti’s soulful voice a classy counterpoint. Give Me Your Cash is a pulsating blues rock which confirms his excellent vocal range. The gentle acoustic tones of Bleecker Street and Sweet Louise finish the album off in old style magnificence.

I would say that Marcus Bonfanti has arrived.

http://www.marcusbonfanti.com/
http://www.theguitarlabel.com/

David Blue.

Luther Allison – Songs From The Road (Ruf Records).

It’s hard to believe that Luther Allison died over 12 years ago as I remember reviewing him just around the day he died. This latest set, recorded for Canadian Television just 4 days before he had to cancel his tour in 1997 and never to return to the stage again, runs for 90 minutes on CD and 56 minutes on DVD. Cancel My Check has a long guitar intro that sets the scene. Luther then adds his dulcet tones to his outstanding guitar for a storming start to this CD & DVD set. Living In The House Of The Blues is a standard electric blues performed by an above standard musician. What Have I Done Wrong (an often asked question) has Luther funking it up a little and he plays with such energy and Will It Ever Change has some superb guitar work as he sets the fret board on fire.

You Can, You Can is a swinging blues whereas There Comes A Time has a bit of audience interaction as Luther virtually talks his way through the song. The latter adds some funky keyboards and a bit of swing. Allison’s guitar always reminds me of BB King and sometimes even his voice does too. He even makes his guitar talk towards the end. (Watching You) Cherry Red Wine is a big, powerful instrumental that shows Allison at his best. Low Down & Dirty, written by his son, Bernard, is energetic and adds to a great build up to the end of the album It Hurts Me Too is a famous old song and Allison treats it well and he finishes with the funky and gritty Serious, keeping it short, unlike most of the others.

http://www.rufrecords.de/

David Blue.

Danny Bryant’s Redeyeband – Just As I Am (Continental Blue Heaven).

British guitarist Danny Bryant has released six albums prior to his latest, Just As I Am, and the new album contains 8 new songs along with a cover of John Hiatt’s Master Of Disaster. Shut Out The Light is a standard rocker to open with and Bryant sets the standard with a searing guitar solo. Blues For Buddy is a big, ballsy blues, just like Buddy Guy. For The Last Time is a rock ballad and Every Time The Devil Smiles is a slow, blues rocker to rival the best in the genre.

The big production on the eponymous title track leads into John Hiatt’s Master Of Disaster, which is not a heavy rocker as you may have expected from the title. It has a strained vocal but it is appealing in a certain way and this will be a grower. The raunchy Day By Day is an excellent example of Bryant’s guitar work and he will beat you into submission as he slugs his way through The Hard Way. The 8 minute epic, Alone In The Dark is slow and powerful with a big guitar solo to finish. Bryant’s voice may not be the greatest but it is strangely effective and he has honed this and his superb guitar playing over a career that has yielded in excess of 2,000 live shows so far. I think Danny Bryant will be around for quite some time yet.

If you want to find out how far Danny and his band have come then check out his excellent 2002 debut album, Watching You, which was recently re-released on the Roots Collectibles label. Highlights on the album are Since You’re Gone and Purple.

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

David Blue.

LZ Love & Lightning Red – Gut Bucket Blues (Own Label).

LZ Love has an impressive list of artists that she has sung and toured with including Joan Armatrading and Luther Vandross but she has returned to her blues and gospel roots to team up with guitarist Lightning Red. The opening Been Lonely is drawled out and LZ has such a soulful voice. Red strums away in the background and adds some background vocals towards the end. You can feel her pain with every syllable. Wang Dang Doodle is the famous old Willie Dixon song with Howlin’ Wolf’s version being the best known. This version is earthy and highlights LZ’s powerful voice. Live No More is a pleasant Country blues with Red taking the lead vocal but LZ returns for the plodding Something Good. The title doesn’t really fit the song as this is nothing special.

Backyard Boogie is a bit more like it. A slide blues instrumental and well played by Lightning Red. Baby, What You Want Me To Do is a Jimmy Reed song and Red deals with it is a suitably stand off manner. Can’t Help Myself tends toward Delta blues – a good track with an ethereal feel. Cotton Pickin’ is another slide instrumental and Red keeps up the high standard. He takes the vocal again on Gates Of Heaven, a Southern blues rocker which could easily be a big Lynyrd Skynyrd style song given the correct production.

http://www.lz-love.com/
http://www.lightningred.com/

David Blue.

Blue Mother Tupelo – Heaven & Earth (Diggin’ Music).

Tennessee husband and wife duo Ricky and Micol Davis’ third album has been mastered by Motown legend Bob Ohlsson who worked on many of Stevie Wonder’s hits. Heaven & Earth bears the Ohlsson stamp but is very far removed from those Wonder tracks. Always Lookin’ is a mid-paced Country rocker with a little funk on the side. A rasping vocal from Micol Davis makes for a good opening. The slow and hypnotic eponymous title track is played on piano and there is something spiritual about it. Give It Away/Hard Times has a grinding boogie slipping into a rhythmic Delta blues before reverting back to some grinding to finish the duet of songs off. The War is a beautiful piano ballad and their voices work well together on Goin’ Down Midnight, a mid-paced rocker. Wandering Soul is gentle Americana and so easy to listen to. Tupelo sees the introduction of saxophone to back up the slide guitar all played in a laid back Southern US style.

Ramblin’ Train is a bit heavier and darker than its predecessors although it is a bit out of sorts with the rest of the album. There is some more gentle Americana in the form of the Jesse Winchester written Biloxi and their strong harmonies underpin a classic Southern Country rock on Hand In Hand. The traditional I Wish I Was In Heaven Sitting Down brings Janis Joplin to mind and the gentle High In The Sky is much akin to Krista Detor in its execution. Runnin’ Around is rousing, rocking Country and they finish with the swamp music of Gustard Bellue. This is a jaunty end to an overall excellent album and it is split into two tracks, in effect. There are children singing on the second part and dogs barking in the background which gives a homely feel. To give more of a background, Gustard Bellue is the dog of the story – imagine calling out for him in the park!!

http://www.bluemothertupelo.com/

David Blue.

Patrick Vining Band featuring Mike Bourne – Atlanta Boogie (Blues Boulevard).

An Atlanta native, Patrick Vining has been playing music since he was a child but it was only when a friend played him a Muddy Waters record that he knew that he had to sing the blues. That love of the blues continues with his latest album, Atlanta Boogie, which opens with a Kansas City style blues, Everybody Knows. Vining has one of those lived-in voices and Mike Bourne’s sharp guitar compliments it very well. Chicago blues man Bourne is steeped in the styles of Chicago and Kansas City and has now relocated to Atlanta to join up with Patrick Vining. Last Night is another shuffling blues with New Orleans overtones and highlights Vinings perfect voice for the blues. There is some good piano work from Matt Wauchope on this one. Tommy Brown joins on vocals for Atlanta Boogie and his is good time music in a rock n roll vein. I’m So Glad is a boogie-woogie and a classy one too with Wauchope is sparkling form.

30,000 Dollar Millionaire is a strolling blues/swing effort and very pleasing to the ear whilst the very good Money’s Getting Cheaper is a mid-paced swing blues. Something is upbeat R&B and Late At Night is a standard slow Chicago style blues. They then throw in Man Of Clay, a fast paced boogie that shows they are comfortable with all forms of the blues. There is a Gospel feel to the beginning of Last Meal. However, this then turns into a rolling blues but it is the organ playing of Wauchope that makes it feel like Gospel. A good, strong finish from a tight band.

http://www.blues-boulevard.com/
www.myspace.com/patrickvining

David Blue.

Philip Sayce – Peace Machine (Provogue).

As a teenager, Philip Sayce was held in such high regard as to be invited to join the Jeff Healey Band and played with them at the Montreux Jazz Festival and many other sold out gigs around the world. After moving to Los Angeles he joined Uncle Kracker and was with the band when they had their massive US number 1 with Drift Away. He then joined Melissa Etheridge’s band and was with her until 2008. Now temporarily on his own, he releases his debut solo album on Provogue, a label that is getting a reputation as the home of guitar players. Peace Machine opens with One Foot In The Grave (not the theme to the popular sitcom), a high energy rocker. Save Me From Myself continues the hard rocking – classic stuff. Slip It Away is a Jimi Hendrix style hard blues which speeds up as Sayce launches into a solo that will take your breath away. The title says it all on Powerful Thing – think Lenny Kravitz and you’ll almost be there. This is followed by the acoustic led Angels Live Inside before he turns the power back on for the ballad, Dream Away and the rock with Sweet Misery.

Blood On Your Hands is a standard rocker but a classy example of one. Sayce doesn’t go in for too many solos but he puts in a good one here with touches of Bon Jovi. Cinnamon Girl is a classic Neil Young song and Sayce stays very close to the original feel. It flows well with archetypal riffs helping it to do so – psychedelia lives! The acoustic led Over My Head is a classic American MOR rock tune and Sayce finally unleashes his guitar as he builds the song layer by layer. Alchemy is a slow, bluesy instrumental which showcases his playing ability and it works very well. All I Want is another Lenny Kravitz style rocker and Morning Star stays in the same mould. Sayce is very easy to listen to although he is getting more and more adventurous as the album goes on. The title track has echoes of Foxy Lady at the beginning before going onto a heavy blues riff. This is a big, blues rocker and a feast of guitar playing. The bonus track, Arianrhod is another instrumental to satisfy the guitar lovers. Sayce uses just about every effect pedal in his collection. At over 7 minutes, it has a bit of a break just after 4. He then goes off into what is effectively a reprise of the title track, this time played on dobro.

Philip Sayce is a worthy addition to Provogue’s excellent stable of guitar players.

http://www.philipsayce.com/
http://www.provoguerecords.com/

David Blue.

Roy Rogers – Split Decision (Blind Pig Records).

Roy Rogers is one of the finest slide guitarists around today. Always in demand, he has a number of credits to his name, most notably as a member of John Lee Hookers Coast To Coast Blues Band and you will have heard his talents if you have ever seen the film One Flew Over The Cuckoos Nest as he features on the soundtrack. His sixth solo album begins with Calm Before The Storm, a grinding, shuffling opener with Rogers’ signature slide. Patron Saint Of Pain features his swinging, laconic delivery and Little Queen Bee is a bouncy boogie. Bitter Rain is another shuffling blues based rocker and confirms that Rogers improves with age. Someone Like You shows more of a country influence but is a little weak. The jazzy Rite Of Passage has an excellent sax input from George Brooks but the follow up Rivers Of Tears is a bit nondescript. Your Sweet Embrace is a gentle acoustic instrumental whilst Requiem For A Heavyweight is just bog standard by Rogers’ standards. I Would Undo Anything is unashamedly country and won’t offend anyone but he’s back to what he does best on Holy Ghost Moan. This electric slide boogie is played in a CCR style. It’s good fun and it’s the highlight of the album. Rogers closes out the album with the grinding rock of Walkin’ The Levee. Brooks’ sax and Rogers’ guitar vie for top billing but there can be only one winner. Many take on the slide guitar but only a few become masters. Roy Rogers is most certainly in the latter group.

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

David Blue.

Samuel James – For Rosa, Maeve And Noreen (NorthernBlues Music).

I reviewed Samuel James’ first album and proclaimed it to be one of the best debuts that I have heard so when his new release fell through my letterbox I wondered how he was going to deal with the difficult second album. Bigger, Blacker Ben opens that difficult second album. He’s certainly maintained his guitar playing standard and his knack for being a sublime storyteller is still there too. Cryin’ Blind shows a man out of his time yet strangely contemporary. He’s not trying to be a 1930s Delta bluesman but he could fit in there very well. His laconic delivery is beautiful on this more traditional song. Joe Fletcher’s Blues is slightly more up-tempo and is another gentle track. A Sugar Smallhouse Valentine continues the slightly quicker pace as James revisits a character from his first album. A good country blues. I’ll Break Your Promise is intimate and if you are looking for fireworks then Samuel James is not your man. However, if finely crafted tunes and expert playing such as Rosa’s Sweet Lil’ Love Song is more your bag then come on down. With the correct backing I can see Samuel James doing the same for acoustic blues that Joe Bonamassa has done for the electric genre. Darlin’ Maeve is again a bit more up-tempo but also goes to confirm that James doesn’t really conform too often.

The prize for pun of the year has to go to I’ve Haddock Up To Here. This easy going country blues is played in such a way that makes you believe that you could pick up a guitar and join in. This is one of James’ qualities – he makes everything sound so easy. He turns to the banjo for the rambling, stomping superb Miss Noreen. Trouble On Congress Street Rag is an instrumental that showcases his not inconsiderable finger picking talent. He varies the tempo well and the guitar is reminiscent of a train at times. John Ross Said is low key and moody, the opposite of many of the others on the album. The mood doesn’t hide the consummate storytelling however. Those who bought his first album will know his propensity for a long title and The Waters Always Changing But The River… is the latest in that line. This is his strongest vocal performance so far. Wooden Tombstone will have you making sure that the pills and razor blades are out of arms reach. This is simple in its execution with only his voice and foot taps present – superb! The ambling country blues of Path Of Ashes finishes things off well. Difficult second album? Done!

http://www.sugarsmallhouse.com/
http://www.northernblues.com/

David Blue.

David Gogo – Different Views (Cordova Bay Records).

Canadian singer/guitarist David Gogo has released nine albums prior to Different Views but this is his first in three years. Too Late To Stop Now is a high energy rocker with Gogo excelling on slide guitar. There are blues and Cajun influences all over this. Don’t Bring Me Down is a Goffin & King song, but not that you’d recognise it after the David Gogo treatment. This rocked up R&B is excellent. There’s a big vocal performance on Lies and the overall feel of the album so far, is that it is earthier than his last. Erase Any Trace is an acoustic led blues rock that is very classy and Gogo returns to slide guitar with panache. I’ll Get Over It has a big, big production and Gold is pure West Coast acoustic rock – excellent from the first note.

Where The Devil Won’t Go has echoes of John Lee Hooker and it’s a big, ballsy blues. There is a real maturity to Gogo’s songwriting and this is personified by Gunslinger, which is a bouncy soulful example. The following track, Relax, is an instruction, so do as the title says and just enjoy some beautiful sounds. Over And Over is a strolling, swinging blues with soaring guitar – a classy track. He’s building up to a strong end to the album and Since You’re Gone is a beefy R&B. He follows it up with I’ll Do It Myself and this all out rocker is the perfect way to round things off.

http://www.davidgogo.com/
http://www.cordovabay.com/

David Blue.

Govt Mule – By A Thread (Provogue).

To say that Govt Mule is a success would be a bit of an understatement. 2 million paid song downloads from their website, 7 critically acclaimed albums and sold out coast-to-coast US and European tours are testament to that. They open their 8th album with a bit of a Texas stomp and that’s no surprise when you hear that ZZ Top’s Billy Gibbons has added his not insignificant skills. Broke Down On The Brazos is bass heavy, thanks to new bassist Jorgen Carlsson, and this adds to the all round grungy feeling. Erstwhile Allman Brothers Band and Grateful Dead member Warren Haynes is a bit special (voted in Rolling Stone’s Top 25 guitarists) and his gritty voice is still as vibrant as ever. This is followed by Steppin’ Lightly, which is chunky, funky and very heavy. Good stuff! The blues influenced Railroad Boy also has cowboy flecks and maintains the high standard set by the opening two tracks. The cowboy influence may be from recording in Willie Nelson’s studio in Texas

Monday Mountain Meltdown is more of a prog rock style and after what has gone before, is a little disappointing but Gordon James is a classic acoustic rock that would hold its own in a large stadium or a small club. Any Open Window is another top class song and Lenny Kravitz comes to mind whereas Frozen Fear is a bit more run of the mill than the others and its alt country vibes are just not consistent enough. Forevermore is a return to the big ballsy acoustic ballads and it works well and Inside Outside Woman Blues #3 is a Jimi Hendrix/Joe Bonamassa style heavy blues with psychedelic undertones. The band is a class act and can grind it out – I could listen all night. Scenes From A Troubled Mind is another grinding blues with a big rock chorus and fills. World Wake Up is a lower key finish than I would have expected. However, this is an excellent ballad to end with and shows the softer tones in Haynes’ voice. They are only playing one gig in the UK on their upcoming European tour and that is a pity. Maybe next time they’ll let more of the country get the chance to see them.

http://www.provoguerecords.com/

David Blue.

Billy Walton Band – Neon City (Own Label).

New Jersey native Billy Walton has paid his dues on the blues circuit but the addition of bassist William Paris and drummer Marcus Croan has taken him to a different level. This is his debut album and Radio is a hi energy, hi impact opener – good blues rock. There is no doubting his fretboard skills on the eponymous title track but the song is a little nondescript. Hypnotized has a funky reggae beat with a rock base. Walton sets the frets on fire on this surprising highlight. The title says it all on Soul Song. It’s another song and another genre. On its own it is fine but I wish he would just pick a style and get on with it. He gets back to blues rock with Set Backs and you can chant along to this until your heart is content.

Treat Her Right is a speedy R&B with another shout along chorus. Walton’s guitar drives this along very well. Spreading The Blues is the kind of heavy blues rock that the Billy Walton Band excels at and air guitar players should look out their plectrums. This is short, sweet and solid. Distorted Views is a mid-paced blues ballad of a style similar to that of Gary Moore. This is more restrained than others but that lets you pick out his superb technique more. However, he can’t help himself and eventually lets it rip. He’s not up to it vocally at the start of Jersey Devil but he does eventually come onto his game on this Bon Jovi style rocker. He’s not in Bon Jovi’s class vocally but he does have claims to rival Richie Sambora on guitar. They finish with a strange choice, The Temptations’ Papa Was A Rollin’ Stone. I had reservations when I saw it listed on the sleeve and my fears were partially founded. Thankfully, it’s not a rehash of the original (why try to match perfection). There’s a strange end to it with a voice box over Walton’s guitar but it is a valiant effort nonetheless.

http://www.billywaltonband.com/

David Blue.

Rick Derringer – Knighted By The Blues (Provogue).

Knighted By The Blues opens with The Mess Around, a famous song (written by Ahmet Ertegun) and Derringer is a famous artist, having played with the McCoys as far back as 1965 on Hang On Sloopy. He went on to be an able sideman for Johnny and Edgar Winter as well as launching his own solo career. He plays this at high pace with searing guitar as you would expect. Derringer doesn’t over complicate things and when you do that, things are unlikely to go wrong. The gritty Sometimes is a bit heavier and Derringer’s voice is superb as is his guitar playing. He has certainly stood up to the test of time. Give Me Some Money is a stylish blues that swings along just fine and he delivers a fine version of If 6 Was 9, a Jimi Hendrix written chugging blues. He has certainly not lost any of his panache through the years and he delivers a big solo. The eponymous title track is a strolling blues – sophisticated night club stuff and exquisitely performed.

Jenda is not up to the standard of the rest of the album but we’ll forgive him one average track. The lively instrumental Cat On A Hot Tin Roof is jazz rock with intricate runs and able backing from Ron Reinhardt on keyboards. My Gals Kinda Crazy is a classy hard core Chicago blues and Derringer lets rip. Time To Go is a driving blues that is let down slightly by the vocal but that’s only a small criticism as the guitar work is superb and more than makes up for it. He finishes with the sultry Funny I Still Love You, which is the kind of slow blues that Clapton excels at. Written by Ray Charles, it sounds a bit like Hard Times.

You don’t last as long as Rick Derringer without being good and Knighted By The Blues shows how good.

http://www.rickderringer.com/
http://www.rickselectricguitar.com/
http://www.provoguerecords.com/

David Blue.

Jeff Healey – Songs From The Road (Ruf)

Trawled from three concerts in 2006 and 2007, Songs From The Road is the perfect way to remember Jeff Healey. He was the consummate live performer and this DVD/CD set is a must to have in your collection. The opener, I Think I Love You Too Much lets us hear what we are missing since Jeff’s untimely death. This is a scorching version of the Dire Straits song and has some of his best work ever. What a guitarist he was. I’m Ready tends towards a Kansas City style with this strolling blues and barrelhouse piano. Stop Breaking Down is a good old stomping version of the Robert Johnson song. Slide guitar and harp and you didn’t hear them on a Johnston version. This has been recorded by many but this is one of the best rock versions that I have ever heard. There is the obligatory trademark solo and a well deserved big cheer at the end. He cools it down for his biggest hit, Angel Eyes, and shows that he did have a voice too. This big rock ballad has an equally big chorus and dual guitars. It is so well played that you forget that you are listening to a live recording. The Beatles’ Come Together is played in the menacing manner that it should be. Plenty of audience participation and the electric piano is in there too. It stays very true to the original, well almost. Jeff rips into a superb solo at the end – no surprise there then.

Hoochie Coochie Man is excellent but slightly overdone. It’s been done so many times but there is no need to mess about with it. There’s a harp solo and Waters would have liked that. Guest guitarist Randy Bachman launches off into one this time as does Healey. I can just visualise him bouncing about on stage with the guitar at its usual angle. White Room – another version of the classic Cream song. This is full of energy and is as good a cover of any song that I’ve ever heard. Pounding drums and a sensational solo sum this up. This is one of my favourite Cream songs and Healey has not disgraced it. He keeps up The Beatles and Clapton theme with While My Guitar Gently Weeps. It’s an audience favourite with a big participation from them. I think that this is the first song that I saw Healey play. Whipping Post is a pulsating blues rock with jazz and prog inflections. Teach Your Children Well is a strange one to include, considering Healey’s blues/rock credentials. There are deep tones to his voice an he comes across surprisingly well. The band adds excellent backing vocals to give an all round country feel. Santa Bring My Baby Back To Me is a pretty daft one to include in an album that was released in the Summer. Seriously, it must have been from the November 2007concert in Toronto that this one came from. The band was having a good laugh anyway and as the man says “That’s what it’s all about”. A fitting epitaph. The bonus DVD has versions of Shake Rattle and Roll and Like A Hurricane. Worth having for those two alone.

http://www.rufrecords.de/

David Blue.

Jack Bruce & Robin Trower, Gary Husband On Drums – Seven Moons Live (Ruf)

Two legends get together for the first time, performing live. Jack Bruce and Robin Trower have a number of years on the clock, playing in some of the most famous bands ever but this is the first time that they have played live, together. This album was recorded in Nijmegen, Holland on the third date of a short tour and must have been a sight to have been seen. Seven Moons opens with very grateful thanks from the band. Jack Bruce just loves his power trios and this one is up there with the best. Bruce’s voice hasn’t suffered too much over the years and Trower is playing just as good as ever. Lives Of Clay is blues influenced with a big solo just like days gone by – stunning stuff. Distant Places Of The Heart is morbid, morose and any other m’s you can think of. Everyone plays Sunshine Of Your Love so why not Robin Trower? It’s only Bruce singing so it’s different vocally on the chorus. The solo is where Trower puts his stamp on it but he doesn’t muck about too much with this classic. Bruce’s bass is top notch. There is some awesome note bending from Trower on Carmen with So Far To Yesterday, another stunning track which confirms the trio’s power.

Just Another Day is slow and bluesy with Bruce’s world weary vocal a highlight. Perfect Place is a funky blues with Trower on form. This is one of the top tracks on offer. The blues theme continues with Bad Case Of Celebrity and Trower shines again. Jack Bruce is just Jack Bruce; I can’t give him any higher accolade than that. The Last Door has a faster pace but there is no loss of quality. Come To Me has signs of deterioration in Bruce’s voice but musically they are still on top form. Trower lets it go on the solo and the rhythm section keeps things going very well. White Room is the first of two classic Cream songs to finish the set. This is subtly different from the original and although Trower’s solo is great, Clapton’s is still better. It’s good to hear the old song again though. Politician has that classic bass line and guitar riff. There’s another big solo from Trower as they go out with a bang.

http://www.rufrecords.de/

David Blue.

She Keeps Bees – Nests (Names Records).

She Keeps Bees were only formed in 2006 but they have been making great strides ever since. The Brooklyn duo’s style of music has been described as primal thumping and hollering, bluesy riffs & gritty and downright sexy so you are assured of almost anything. The opener, Ribbon, is pared back blues inflected genius with a no nonsense vocal and percussion. This is followed by the acoustic, throbbing yet understated Wear Red. They don’t do long songs and this is at the very short end of their range. Release is electric this time but still in that understated vein and they stay electric on Gimmie though they are not out of second gear yet. The latter builds well and is simple in its execution with a tumultuous finish in a crash of cymbals. The very earthy Get Gone continues the raft of short songs. My Last Nerve reminds me of a favourite t-shirt. That’s in ‘I’ve got one nerve left and you’re getting on it’. However, She Keeps Bees are unlikely to get on your nerves. On the contrary, you are likely to want to hear more. Bones Are Tired is world weary with vocal only but at just over one minute, they are taking short songs a bit far. Focus is powerful yet pedestrian and You Can Tell is more of the same. They are a good band but they would be better if they could just change gear once in a while. Strike sounds a bit like Siouxsie at times while Cold Eye finishes the album off in the way that most of it has gone. Believe it or not, the two longest tracks are at the end and they are still under 3 minutes. She Keeps Bees don’t hang about much on their songs – I just hope that they manage hang around a bit longer.

http://www.namesrecords.com/
http://www.shekeepsbees.com/

David Blue.

James Yorkston & The Big Eyes Family Players – Folk Songs (Domino).

James Yorkston takes a break from his usual band The Athletes and teams up with The Big Eyes Family Players to release an album of traditional folk songs, done the Yorkston way. The opener, Hills Of Greenmoor, is Lo-Fi folk and will bring a new wave of interest in the genre. As with a number of the songs on this album, Yorkston first heard it sung by Anne Briggs. Just As The Tide Was Flowing has melancholy and gentle tones. Very short, like most of the songs on the album, at just over 2 minutes. James Green of The Big Eyes Family Players says it leaves you with feelings of longing and sadness and resignation – not a barrel of laughs then. Martimas Time is another Anne Briggs one. It’s Old English and has been recorded often. Yorkston’s plaintive vocal is off set by gentle backing from the band. Mary Connaught & James O’Donnell has a bit of a faster pace with even a drumbeat! Irish tune but Yorkston has replaced the melody with one of his own. Thorneymoor Woods has an eerie opening and is a poacher’s song. Quintessential English folk with harmonium and too-ra-eh’s but don’t expect a lively tune though.

I Went To Visit The Roses is another Irish one. Interesting harmonium on this one – it was found on an Edinburgh street and has mouse proof pedals!! Pandeirade de Entrimo is a Galician instrumental which is led by the violin and recorded by Yorkston before on his The Lang Toun single. It’s a bit of a Tango in its execution and has a very Latin feel. Little Musgrave is from the 16th century, at least. It’s often been changed and Yorkston has changed it again – it’s such an organic song. Rufford Park Poachers is another that Yorkston has changed the melody on. He learned it during his many long train journeys but couldn’t replicate the guitar from the Nic Jones version that he was learning it from. Sovay is a famous old song and this is such a sorrowful version of it. A tale of a woman who dresses up as a highwayman and robs her own man, as if you didn’t know. Low Down In The Broom is a galloping finish and was rattled off in a day at the end of recording. I’m so glad that they had time and energy left to do this because it’s one of the album’s highlights.

http://www.jamesyorkston.co.uk/
http://www.dominorecordco.com/

David Blue.