The Groove: Jul-Aug 2015

of each month. Details for

those shows can also continued on page 2

Our annual harmonica work-shop will be hosted this year by local musical prodigy Justin “Boots” Gates. At 3:30 PM in the Pavilion you can get an hour long free harmonica lesson. The first 25 kids 10 and under get free harps. Adults can buy harps for $5. The 2 PM show is the return of Stormcellar from Sydney, Australia. Jo Fitzgerald, the great female vocalist, will join them on the stage for some blues from down under! A fan favorite, Stormcellar will keep you on your feet danc-ing! continued on page 2

2015 Crossroads Blues Festival at Lyran Park

Inside this issue:

News 1-11, 25-27 Music Reviews 12-24

Playlist, Members 27

Membership Application 28

Upcoming Events 28

The 2015 Crossroads Blues Festival approaches! On Sat-urday, August 29th at Lyran Park the gates will open at 11 AM for a fantastic day of mu-sic. The music goes non-stop from noon to after 9:30 PM! Advanced tickets remain only $5; tickets at the gate are $10. Children 6-18 can get in for $5 at the gate, 5 years old and under are free. Headlining the event is none other than Albert Castiglia, the guitar ace from South Florida. He and his power trio take the stage at 8 PM for a set that we predict will be hotter than all get out!

At 6 PM we have the ever cool and spectacular Dave Specter on guitar and Sharon Lewis on vocals. Brother John Kattke appears on keys and vocals with them. These great Chi-cago artists are teaming up to give blues fans a performance to remember. Mike Wheeler and his band take the stage at 4 PM. Mike is a great guitar player with a fantastic band and they also hail from the Windy City. Playing a modernized version of classic Chicago blues with a little funk here and there, they are a great ban that eve-ryone will enjoy!

2015 Crossroads Blues Festival

Gate Opens at 11 AM on August 29th

Albert Castigila 8 PM

Dave Specter and Sharon Lewis with Brother John Kattke 6 PM

Mike Wheeler Band 4 PM

Stormcellar with Jo Fitz-gerald 2 PM

Jimmy Nick and Don’t Tell Mama Noon

Dan Phelps in the Pavil-ion between acts

Harmonica workshop with Justin “Boots” Gates at 3:30 PM

$5 advanced tickets, $10 at gate

Friday & Saturday primi-tive camping available (tents $10, campers $20)

$4 beer, $1 pop and water

Free parking and food available for purchase; no coolers or pets please

Tee shirts $15 / 2 for $25

Upcoming Crossroads Live Music Events

Second Saturdays, first and

third Fridays, first Sundays,

Sundays in the park– it’s a

busy time for us and our live

music events as we work to

keep the blues alive in

Northern Illinois!

The Hope and Anchor shows

up in Loves Park and booked

to year’s end. They are on

the second Saturday of each

month. See page 22 for de-

tails on these

great events

at Rockford’s

only English

Pub!

Our friends

at the Lyran

Club have

expanded

their fish fry

and steak dinner band nights

to the first and third Fridays

The Crossroads Blues Society Newsletter

TheGROOVE July-August 2015

Altered Five at the Hope and Anchor Saturday, July 11th

Albert Castigilia Festival Headliner

be found on page 22. The New Savages

will appear there monthly on the first

Friday of the month starting in Septem-

ber!

Blues in the Park at Blackhawk Meadows

Park in Byron continues with free shows

by Jimmy Nick and Don’t Tell Mama on

Sunday, July 23rd and Bobby Messano

on Sunday, August 23rd. Shows are from

3 to 6 PM. See the ad on page 20 for

details.

First Sunday Blues at All Saints Church in

Byron are from 4 to 6 PM. July 5th is

Macyn Taylor and August 2nd is Justin

“Boots” Gates. See the ad on page 19

for more details on these free shows.

All these free shows enable music fans to

get out and hear some great music with-

out having to bus their budgets, so

please come out and support these ef-

forts! We are making an effort to keep

live music available for Blues fans!

Opening the day will be Jimmy Nick and

Don’t Tell Mama. This high energy band

won our blues challenge and will amaze

attendees. Featuring Jimmy of vocals

and guitar, the band also includes the

great Rodney Brown on tenor sax.

The Groove- Crossroads Blues Society Newsletter

Upcoming Crossroads Live Music Events

continued from page 1

2015 Crossroads Blues Festival

continued from page 1

Dan Phelps who won our Solo Duo blues

challenge will appear between sets in

the Pavilion, playing his great Delta

Blues for us!

Advance tickets are only $5 and are

Crossroads Blues Society Officers

and Board Members Contact Info President: Steve Jones [email protected]

Vice-President: Bill Graw [email protected]

Secretary: Bonnie Fox [email protected]

Treasurer: Terry Keller [email protected]

Board of Directors:

Denny Barker [email protected]

Rick Davis [email protected]

Bob Haendler [email protected]

Ken Pearson [email protected]

Rick Hein [email protected]

July-August 2015


#131 – Johnny Winter – The Progres-sive Blues Experiment – 1969 (1944-2014) This is an early LP for Johnny, originally released before the Columbia early releases. The power of “Rollin and Tunblin’” and “Black Cat Bone” show he is the real deal. This is a good place to start with Johnny. For more, try out 1973’s Still Alive And Well.

#130 – Sonny Boy Williamson – His Best – 1997 - Compilation (1899-1965) This is Sonny Boy II with his remarkable Chess output on a single CD with 20 cuts. “One Way Out”, “Checkin' Up On My Baby” and “Don't Start Me Talk-ing” are essential cuts. To go back further try 1990’s Sonny Boy's Rhythm (1953-54).

#129 – Sonny Boy Williamson – The Real Folk Blues/More Real Folk Blues – 2002 - Compilation (1989-1965) This is the combination of 2 compilations containing “One Way Out”, “Nine Below Zero”, and “Bring It On Home”. Also try the Arhoolie’s 1989 offer-ing King Biscuit Time.

available at these locations:

Rockford

Woodman’s Supermarket

Alpine Bank (Main Office, Spring Creek,

East State Street and Cherry Valley)

Culture Shock Records and Clothing

Just Goods Fair Trade Store

Toad Hall

CD Source

Guzzardo Music

Lyran Club

Winnebago

Snyder’s Drugs

Byron

Snyder’s Drugs

Byron Bank

Felker’s Value Fresh Supermarket

Oregon

Snyder’s Drugs

Beloit, WI

Gary’s Guitars

Madison, WI

The Badger Bowl

Food vendors will have a savory selec-

tion of foods! Smokehouse BBQ of Rock-

ford will bring their great BBQ back to

the festival again. Anjan’s Eats returns

with their fabulous bourbon glazed

chops and so much more. Tom Seeling

will be there again with his Italian sau-

sage, Italian beef, corn on the cob and

more. This year we added Fork'n'Stein,

a superb food truck venue with craft

beer infused foods that are delicious.

Tee shirts for the 2015 fest will be $15

and two for $25. Another cool design!

Admission at the gate is $10 for adults

(18 and over). Children 6 to 17 are $5

and 5 and under are free (accompanied

by an adult). No coolers and no pets,

please! Free parking. Golf carts avail-

able for those needing assistance get-

ting about. Water and pop is only $1,

beer only $4. Limited primitive camping

available Friday and Saturday, $10 per

day for tents and $20 per day for camp-

ers. Call the Lyran Club for reservations

(815) 964-0511. Call (779) 537-4006 or

email [email protected] for in-

formation.

This is revised from last issue and con-tinues the list. Our reviews are of recently issued blues music, new and compilations. Many re-cords/cds/downloads have come before them. But what is the best of the older stuff? Best of Lists are always interesting and never accurate to all our tastes. Re-cently I came across a 132 Best Blues Albums of All Time. The compiler (erikfish) looked at 10 “Best Of” lists and combined them into one overall list. Those with more mentions are higher on the list. The list goes alphabetical for those releases with the same amount of hits on the lists. I will share with you this list with my thoughts on each album. I hope we all look back into our collections or add to them to revisit these classics. http://rateyourmusic.com/list/erikfish/best_blues_albums_of_all_time___10_lists_combined/ Mark Nelson

On 2/10 Lists

#132 – Johnny Winter – Third Degree – 1986 (1944-2014) Johnny Winter will always be in the upper echelon of blues/rock gui-tarists. This is his 3rd release on Alligator Records he is joined by Tommy Shannon and Red Turner, with a guest spot by Dr. John. “Tin Pan Alley” and “Third Degree” are enjoyable. Need more, try his first Alligator release Guitar Slinger.

Top All Time Blues Albums by Mark Nelson, courtesy of John M. Becker

http://rateyourmusic.com/list/erikfish/best_blues_albums_of_all_time___10_lists_combined/



July-August 2015

#123 – Various Artists – The Roots Of Robert Johnson – 1990 - Compilation Most people know of Robert Johnson. You might think he started things, but there were bluesmen before him. This collection gathers some of the works that would have influenced Robert Johnson. Skip James provides “Devil Got My Woman”, along with “Milk Cow Blues” from Kokomo Arnold. Overall the 14 cuts are a bit short, but they are really good. For more, try Robert Lockwood Jr.’s Plays Robert and Robert. This 1982 LP is a solo LP by Robert Johnson’s mentor him-self.

#122 – Chicago- The Blues Today – 1966 - Compilation Samuel Charters recorded this ground breaking body of work. It changed music as time went by bringing current urban blues to the rock groups of the world. All songs were recorded for the project spe-cifically. Cotton, Spann, Wells, Rush, and more played their tails off here. This is on a 3 disc CD now. For more, give Alliga-tor’s 1978 four disc Living Chicago Blues a try.

#121 – Big Mama Thornton - Hound Dog - The Peacock Recordings (1951-1957) – 1992 - Compilation (1926-1984) The singer of the original “Hound Dog” predating Elvis is Big Mama Thonton. She did other fine music, includ-ing “They Call Me Big Mama” and “Yes Baby”. She later went on the record “Ball And Chain” before Janis Joplin made it famous. There are 18 cuts here to be enjoyed. For more, try out her later music

#128 – Sonny Boy Williamson – The Essential Sonny Boy Williamson – 1993 - Compilation (19889-1965) This is the big 2 disc, 45 cut set from the Chess vaults. This is a wonderful set of the Chess sides. For something else, try the 1989 set from Alli-gator Clownin’ The World, exploring SBW’s Trumpet Records sides.

#127 – John Lee “Sonny Boy” William-son – The Bluebird Recordings 1937-1938 – 1997 - Compilation (1914-1948) The original SBW is repre-sented in this set from the leading prewar harmonica player. He put the instrument out there as a lead in the song. On this CD is “Good Mornin’ Little School Girl”, “Bluebird Blues” & “Sugar Mama Blues”. I also recommend Sugar Mama (1995) and Stop Breaking Down (2000) on Indigo from.

#126 – Junior Wells – Southside Blues Jam – 1970 (1934-1998) This is the follow-up to the historical Hoodoo Man Blues LP. Buddy Guy, Otis Spann & Fred Below appear on it. It includes “Blues For Mayor Daley” and “Stop Breaking Down”. You will also

enjoy 1975’s Harp Attack.

#125 – Eddie “Cleanhead” Vinson – Kidney Stew Is Fine - 1969 (1977-1988) As an alto sax player, Vin-son often swayed between jazz and blues. John Coltrane was once in his band. This outing features T-Bone Walker and Jay McShann with Vinson on this Delmark recording. Best cuts include “Juice Head Baby” & “Just A Dream”. For more try 1982’s Eddie Cleanhead Vinson and Roomful Of Blues.

#124 – Various Artists – Masters Of The Delta Blues – 1991 - Compilation This is a great sampler of the delta coun-try blues masters. Son House, Tommy Johnson, Bukka White & others are repre-sented here. This is a great place to start on this era of musicians on the Yazoo label. Son House provides us "Walking Blues," "My Black Mama," "Dry Spell Blues," and "Preachin' the Blues". Also includes are Kid Bailey's "Rowdy Blues," Tommy Johnson's "Maggie Campbell Blues," & Bukka White's "I Am in the Heavenly Way." Also enjoyable is Char-lie Patton, Louise Johnson, Son House & Willie Brown - The Legendary Delta Blues Sessions (1930).

#115 – Bessie Smith – The Collection – 1989 - Compilation (1984-1937) She is probably the best female blues singer ever. This is the short and sweet version of her large overall output. “Taint Nobody's Bizness If I Do”, “Do Your Duty” and “Nobody Knows When You're Down and Out” are part of the 16 cuts included. Bessie is a corner-stone of any blues collection. If you want more, but not all, gather up 1997’s The Essential Bessie Smith 2 disc collection.

#114 – Bessie Smith – The Essential Bessie Smith – 1997 - Compilation (1984-1937) One of the greatest blues singers. This is a 2 disc set of her best. The quality ios good for the age of the recordings. If you want it all there is a 5 volume (10 CDs) The Complete Re-cordings issued in the early 90’s.

#113 – The Rolling Stones – The Rolling Stones - 1964 (1964 – Current) Yes, this is the Stones

as a blues band. In the beginning that is

all they wanted to be. The name comes

from 1965 called With The Muddy Wa-ters Band.

#120 – Koko Taylor – What It Takes: The Chess Years – 1991 – Compilation (1928-2009) The Queen of Chicago Blues accomplished a great deal. This is her best sides from the Chess era where she works close with Willie Dixon. The 18 cut single disc includes “Wang Dang Doo-dle, and “I Got What It Takes”. For more of the queen, try out Alligator’s 1987’s An Audience With The Queen.

#119 – Koko Taylor – I Got What It Takes – 1975 (1928-2009) This is Koko’s first Alligator release. She growls out the opening cut “Trying To Make A Living” with great fero-ciousness. The reworked “Mama, He Treats Your Daughter Mean” is top notch. She is supported by piano and sax (Abb Locke). This started her career to blos-som and helped the fledgling label stand on its own. To get more Queen Of The Chicago Blues enjoy 1980’s Jump For Joy.

#118 – Hound Dog Taylor – Beware Of The Dog – 1976

(1915-1975) This guitar great was the first artist on Alligator Records. His raw powerful style has influenced many a gui-tar player since this record. This is a live recording with his trio (Brewer Philips (g) and Ted Harvey (d), and opens with my favorite “Give Me Back My Wig”. For more, check out the first recording 1971’s Hound Dog Taylor And The Houserock-ers.

#117 – Tampa Red – The Guitar Wizard – 1975 - Compilation (1904-1981) This is a great collection of pre war slide guitar blues. Tampa Red was one of the early greats, as both a player, but also a vocalist. Enjoy “Big Fat Mama” on this disc. For more Tampa Red, give Don’t Tampa With My Blues (1961) that includes “Don’t Play With My Poodle” that you will hear with Marcia Ball.

#116 – Otis Spann – Otis Spann Is The Blues – 1960 (1930-1970) As a long time piano player with Muddy Waters, Otis Spann is a part of history. He also built quite a solo ca-reer which holds its own in the history of the blues. Robert Lockwood Jr. joins him on guitar for this rookie release. “The Hard Way” and “Otis In The Dark” are my favorite works here. Go for Otis with The Blues Is Where It's At from 1967.


July-August 2015

#107 – Robert Nighthawk/Houston Stackhouse – Masters Of Modern Blues (1964-1967) – 1994 (1909-1967) Nighthawk helps pull the delta blues into the more modern Chicago blues. He was a fine guitar player, and songwriter. Houston Stackhouse is Robert’s cousin. On this release “Black Angel Blues” and “Crying Won’t Help You” really stand out. I like his rough sounds, and quality playing. Like what you hear, try his 1977 release Bricks In My Pillow (1951-1952).

#106 – Robert Nighthawk – Live On Maxwell Street 1964 – 1980 (1909-1967) Here is Robert Nighthawk in his element. Playing on Maxwell Street was a way to make a living and to impress the crowds for future club dates. “Take It Easy Baby” and Goin’ Down To Eli’s” are treasures to be enjoyed. If you seek more Robert Nighthawk, try 1991’s Robert Nighthawk & Forest City Joe - Black Angel Blues.

#105 - Big Maceo Merriweather – The Best Of Big Maceo - The King OF The Chicago Blues Piano Vol. 2 1984 (1905-1953) This is the companion piece to Volume 1. Some of the works include

from Muddy Waters, and the early music was from the blues. “I’m A King Bee”, “Little By Little” and “I Just Want To Make Love To You” are included. For more Stones blues, find their 1964 recordings at Chess Studios Look What We've Done.

#112 – Jimmy Reed – Big Boss Man – 1968 (1925-1976) His music was loved by all. He was a top artist in the 50’s. The music was blues with just a hint of country, but still urban. This LP was on the Bluesway label. It’s hard to find. There is an import CD too. “Run Here To Me Baby” and “My Baby Told Me” are top notch Reed. I’d recommend 1961’s Jimmy Reed at Car-negie Hall for more Jimmy Reed.

#111 – Ma Rainey – Ma Rainey’s Black Bottom – 1975 – Compilation (1886-1939) A great early blues singer, named “Mother Of The Blues”. She flour-ished in a man’s world at the time, and was an influence on Bessie Smith. I like "Booze and Blues," "Shave 'Em Dry", and "Lucky Rock Blues”. For all of her stuff, see JSP’s 2007’s 5 disc Mother Of The Blues.

#110 – Professor Longhair – Crawfish Fiesta – 1980

(1918-1980) I don’t know what New Or-leans R&B would be without ‘Fess and his music. This piano playing writer influ-enced all of the music to come from New Orleans in the 50’s and 60’s. Everyone should own this recording. The classic “Big Chief” and “Bald Head” are wonder-ful. Once you taste this one, you will want more. You will also love his first real al-bum Rock ‘N Roll Gumbo from 1977.

#109 – Professor Longhair – Fess: The Professor Longhair Anthology – 1993 - Compilation (1918-1980) Here is a wonderful set of CDs. Professor Longhair is a big part of New Orleans history. This set takes you through the early singles and the later albums. Get it and enjoy! For more try 1978’s Live On The Queen Mary re-corded at a Paul McCartney party on the ship.

#108 – Charlie Patton – Founder Of The Delta Blues – 1969/1995 – Compilation (1891-1934) A focal point of the delta country blues, Patton recorded many sides and helped other player get a chance to record. Quality is typical for the era, but it does give you the passion of the music. This was the first compilation of his tunes. “Mississippi Bo Weavil Blues” and “Pony Blues” are my favorites. Mnay of his tunes were recorded in Grafton, WI. For the whole enchilada get 2008’s His Complete Recordings 1939-1934.

July-August 2015

#99 – Little Walter – The Essential Little Walter – 1993 – Compilation (1930-1968) Little Walter brought the harmonica to a new urban level with his work with Chess records. This double CD is the best songs of that era, including “Juke”, “Boom Boom”, & “Dead Presi-dents”. At 46 cuts, you get a great cross section of his work. Enjoy it! If you need more, pick up 2009’s The Complete Chess Masters: 1950-1967 5 CD set.

#98 – Lightnin’ Slim – Rooster Blues - 1960 (1913-1974) Swamp blues at it’s best.

These Excello recordings are top notch.

Lazy Lester is on harmonica joining Light-

nin’ Slim on guitar. “Rooster Blues”, “Bed

Bug Blues”, and “It’s Mighty Crazy” are

top notch tracks. If you need more, pick

up 1965’s Bell Ringer for more blues

including “Love Me Mama”.

#97 – J. B. Lenoir – His J.O.B. Re-cordings – 1951-1954 – 1989 - Compila-tion (1929-1967) This collection has 21 of Lenoir’s earliest cuts. Lenoir handles gui-tar and vocals with Sunnyland Slim joins on piano on many cuts. I enjoyed “Let It Roll”, “Mojo Boogie”, and “Louise”. There is a nice use of sax on some tracks. His offering have a bit of jazz and certainly some boogie woogie. For more, try Viet Nam Blues:The Complete L&R Ses-sions (65-66) from 1995.

Tampa Red. “Texas Stomp” and “Flying Boogie” are top notch cuts. Check out 2009’s Echoes From The South with Tampa Red for more fine work.

#104 - Big Maceo Merriweather – The Best Of Big Maceo - The King OF The Chicago Blues Piano Vol. 1 1984 (1905-1953) Big Maceo paved the way for the blues piano tradition in the 50’s and 60’s. He worked mostly in the 40’s, until a stroke crippled him in 1947. “Worried Life Blues” and “ Detroit Jump” are highlights on the collection. 1975’s Chicago Breakdown has a few extra cuts not on the King Of The blues volumes.

#103 – Memphis Slim – At The Date OF Horn – 1959 (1915-1988) A strong purveyor of boogie-woogie styling, Slim put his own styling to the music. Matt Guitar Murphy helps out on this recording. I like “Wish Me Well” and “Mother Earth”. For more, grab Blue-bird Recordings, 1940-1941 released in 1996.

#102 – Mississippi Fred McDowell – I Do Not Play No Rock ‘n’ Roll – 1969

(1904-1972) This is a great guitar player who influenced many a young player in-cluding Rolling Stones and Bonnie Raitt. This recording has Baby “Please Don’t Go”, “Kokomo Me Baby” and “Good Morning Little Schoolgirl” as highlights. You can hear him in a live setting in 2000’s Live At The Gaslight Club.

#101 – Percy Mayfield - Memory Pain: Vol. 2 – 1992 - Compilation (1920-1984) Percy played on some of the greatest labels Specialty, Chess and Imperial. These are early Specialty cuts, including the fantastic “Please Send Me Someone To Love” and “Kiss Tomorrow Goodbye”. For more, grab Volume 1 Poet Of The Blues for more this great music.

#100 – Big Maybelle – The Complete OKeh Sessions (1952-1955) – 1994 - Compilation (1924-1972) Big Maybelle brought us “Whole Lotta Shakin' Goin' On” before Jerry Lee Lewis. She was quite the R&B belter, and her entire OKeh output is on this 25 song disc. If you like this, pick up Blues, Candy & Big Maybelle (1958) which holds her work on the Savoy label.


July-August 2015

#92 – B. B. King – Blues Is King – 1967 (1925)This is live B. B. King from the In-

ternational Club in Chicago in 1966. We have seen many live King re-leases over the years. This one shows him in his stride before the even greater popularity hits. He is in control and a fine entertainer. “I Know What Your’re Puttin’ Down” and “Buzz Me” are favorite tracks. For more, go get 1969’s Live And Well.

#91 – B. B. King – His Definitive Great-est Hits (1964-1993) – 1999 - Compila-tion (1925)Packed into 2 CDs are 34 of King’s

best. Live and studio cuts are in-cluded. This is a great place to start if you have none in your collection. If this is not enough go for 1992’s 4 CD set King Of The Blues.

#90 – Albert King – Live Wire/Blues Power - 1968

#96 – Leadbelly – King Of The 12 String – 1991 - Compilation (1888-1949) Folk blues starts with Lead-belly (Huddie Leadbetter)and his great story of playing in prison and the recrdong by the Alan Lomax. “T.B. Blues”, “Yellowjacket”, and “Packin’ Truck Blues” are stars here. Everyone should listen to this. Also enjoy Absolutely The Best from 1990 containing the original “House Of The Rising Sun” and “Goodnight Irene”.

#95 – Freddie King – Just Pickin’ – 1989 – Compilation (1934-1976) Freddie King’s work influ-enced both blues players and rockers. His instrumental touch is top notch. This CD is all instrumentals from his first two LPs on the King label (Let’s Hide Away & Bonanza). Hideaway and San-Ho-Zay are included in the 24 tracks. For a live feel, grab 1996’s Live At The Electric Ball-room CD.

#94 – Freddie King – Hideaway: The Best OF Freddy King – 1989 – Compila-tion (1934-1976) It is curious that they used

his original spelling on this one. A classic career spanning 20 cut CD of great music. “Have You Ever Loved a Woman”, “Hide Away”, “You've Got to Love Her With a Feeling” are all included. We get vocals that were missing in #95. A great one stop shopping spot for this King of the blues. If you want more, try 1995’s King Of The Blues 2 disc set on Capital Re-cords

. #93 – B. B. King – Indianola Missis-

sippi Seeds – 1970 (1925)B. B. is in full swing of popularity

and respect. This is not as much straight blues, there is some rock here. Carole King, Joe Walsh, Leon Russell and Russ Kunkel all help out. With the success of “The Thrill Is Gone” producer Bill Szymczk assem-ble this cast to push King towards a wider poplarity. The album package won a grammy. Best cuts are “Nobody Loves Me But My Mother”, “Hummingbird”, and “Ain't Gonna Worry My Life Anymore”. Enjoy this one, and you just might just like 1969’s Completely Well with “The Thrill Is Gone”.

July-August 2015

July-August 2015

street corner evangelist who played great bottle neck guitar. He sang with a gruff bass voice. Best known tunes here are “Dark Was The Night-Cold Was The Ground” and “Jesus Make Up My Dying Bed”. He only recorded 30 songs in a three year period. To get them all, find 1993’s The Complete Blind Willie John-son on Columbia.

#83 – Blind Lemon Jefferson – King Of The Country Blues – 1990 – Compila-tion (1893-1929) Blind Lemon was one of the earliest recorded country blues singers. He died early and young. He still man-aged to record nearly 100 songs in that short time. Songs of his are remembered, including “Easy Rider Blues”, “See My Gave Is Kept Clean” and “Matchbox Blues”. The highlights are all here. IF you want more, then grab the 4 CDs of the Complete Recorded Blues from the early 90’s.

#82 – Skip James – Devil Got My Woman – 1968 (1902-1969) Skip James made a set of recordings for Paramont in 1931. In-cluded there is “I’m Glad” later recorded by Eric Clapton. He was rediscovered in the 60’s and released quite a few songs during that decade. On this recording he plays solo guitar and piano. This was his last recording before his death. “Devil Got My Woman” and “Sickbed Blues” stand out here. For more try out Live Boston 1964 & Philadelphia 1966.

#89 – Albert King – The Ultimate Col-lection – 1993 – Compilation (1923-1992) This is a superb 2 disc, 39 cut collection of great Albert King music. “Crosscut Saw”, “Phone Booth”, “Blues Power” and “Born Under A Bad Sign” are included. This should be owned by all of us.

#88 – Junior Kimbrough – Sad Days, And Lonely Nights - 1993 (1930-1998) This is the second release for Kimbrough on Fat Possum. It takes us back to bare bones juke joint blues. It grinds you with it raw energy. “Lord, Have Mercy on Me” and “Leaving in the Morn-ing” are my favorites. It’s not a big discog-raphy, but also give Most Things Haven’t Worked Out a listen.

#87 – Junior Kimbrough – All Night Long - 1992 (1930-1998) “All Night Long” was the second disc issued on Fat Possum Re-cords. It brought a new life to these Mis-sissippi blues from his appearance in Deep Blues movie and soundtrack gar-nered lots of attention. The music was the show with “All Night Long” and “Slow

Lightning” leading the way. For more try 1997’s Do The Rump.

# 86 – Tommy Johnson - Complete Re-corded Works in Chronological Order (1928-1929) – 1994 – Comp (1886-1956) Tommy only recorded for 2 years, but they helped to shape things that led us to Robert Johnson. “Canned Heat Blues”, “Maggie Campbell Blues” and ”Cool Drink OF Water Blues” are highlights. He only recorded these 17 sides, so this is what we can enjoy!

#85 – Lonnie Johnson - Steppin’ On The Blues – 1990 – Compilation (1899-1970) Quite the guitar player, Lonnie Johnson set a standard for the guitar that helped it develop in its impor-tance. The songs were cut in the 20’s, and remain in very good sound quality. I enjoy “Sweet Potato Blues” and “She's Making Whoopee In Hell Tonight.”. See 1992’s collection He’s A Jelly Roll Baker for later Bluebird material

#84 - Blind Willie Johnson – Praise God I’m Satisfied – 1977 – Compilation (1902-1947) Blind Willie Johnson was a


July-August 2015

#76 – Lightnin’ Hopkins – Mojo Hand: The Lightnin’ Hopkins Anthology (47-74) – 1995 - Compilation (1912-1982) Lightnin’ Hopkins was a great Texas country bluesman. He was one of the last great country blues sing-ers. His popularity dropped, but was re-vived in the 60’s with the new blues push. This 2 disc 41 cut set of music is the best place to start. It crosses over many labels and time periods. “Black Cat Bone”, “Baby Please Don’t Go”, and “Blues Is A Feelin” are all included. Need more from Lightnin’, then try the Swarthmore Con-cert recording from his 1964 comeback time period.

What Do you Know About the Blues? Knowledge Cards– A Quiz Deck by Cary Wolfson (aka the Red Roster) Pommegranite Communications, Inc. ISBN 0-7649-3686-7

This is a cool deck of blues trivia cards I found. Retailing for $9.95, this 48 card deck has got some easy but mostly tough blues history trivia that fans will enjoy! The information is interesting and I learned a lot reading through them. Each issue we’ll feed you one question to test your blues knowledge. Here’s an easier one to start...

This Memphis guitarist was a much-respected sideman for Howlin’ Wolf, Jun-ior Parker, and Memphis Slim, but gained his greatest popular recognition by lending his blues credibility to John Belushi and Dan Aykroyd’s Blues Brothers.

Answer in the Sep-Oct 2015 Issue! Steve Jones

#81 – Elmore James – Blues After Hours - 1960 – Compilation (1918-1963) One of the most celebrated post-war guitar players is Elmore James. This is an early collection of singles re-leased on Meteor and Flair labels. “Dust My Broom” and “Blues Before Sunrise” are included in the 18 in cuts. For more Elmore from a different period try 2005’s Best Of The Modern Years.

#80 – Elmore James – Let’s Cut It, The Very Best Of Elmore James - 1986 – Compilation

(1918-1963) This is similar to Blues Af-

ter Hours, but put together at a later date.

“Sho’ Nuff I Do” is included. The overall

best one disc is Rhino’s The Sky Is Cry-

ing, which spans all his labels. There are

several 3,4 or 6 disc sets that five you

even more.

#79 – Howlin’ Wolf – The Chess Box – 1991 - Compilation (1910-1976) A big box of Howlin’ Wolf on Chess is pretty special. “Smokestack Lightnin'”, “Howlin' for My Darling”,

“Spoonful” and “Red Rooster” are all heZre. There are 75 cuts in all. This one you can really sink your teeth into it. Eve-ryone should own this or 2011’s Smoke-stack Lightning The Complete Chess Masters 1951-1960 (97 cuts 4 CDs).

#78 – Howlin’ Wolf – His Best – 1997 – Compilation (1910-1976) If the Chess Box is too much to start with, then this 50th anniversary release of Chess material is a good starter. The hits are here, and that may be enough for you. Enjoy this and add 1987’s Howlin' For My Baby and get Wolf’s Sun Recordings.

#77 – Son House - Delta Blues: The Original Library of Congress Sessions From Field Recordings 1941-1942 – 1996 – Compilation (1902-1988) These are the Alan Lomax recordings. Son House is one of the greats, and this was is him in his original element. It is a recording to appreciate. Try out his live disc from 1995 (a 1970 recording from London) Delta blues And Spirituals.

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July-August 2015

True & Blue Hans Theessink & Terry Evans Blue Groove www.theessink.com 14 tracks Sometimes simple is better, a proverb that certainly applies to this live show recorded in Vienna featuring Hans Theessink and Terry Evans combining their distinctive voices along with some stellar acoustic guitar picking that flows through fourteen performances equally divided between original material and covers. Musical magic occurs when Evans weaves his soul-stirring vocals around Theessink’s baritone voice on “Mother Earth,” Cross Roads Blues,” and “Maybelline,” the latter two tracks featur-ing vibrant slide guitar work from Theessink. Evan’s excels on “Talk To Your Daughter” and “Don’t Let The Green Grass Fool You,” his tenor soaring in bold outbursts of expression, just as he has done for decades backing Ry Cooder. Theessink offers a sturdy lead vocal and cutting slide licks on Leadbelly’s “Bourgeois Blues,” adding some harmon-ica as well. They perform the standard “Glory Of Love” in the Piedmont style with a hint of ragtime. “Vicksburg Is My Home” is a haunting track with Evans reminiscing about his hometown. Not to be outdone, Theessink delivers a lively tribute to the same area on “Delta Time,” the title track from one of their studio releases. The tasteful laying of the twin guitars forms a forceful rhythmic accompaniment to their fervent plea on “I Need Money,” eliciting a spontaneous reaction from the audience. Evans is magnificent on the backing vocal on “Shelter From The Storm,” a memora-ble Theessink original that could serve as a Sunday sermon. They close the pro-gram with a spritely run-through of “Tears Are Rolling,” trading the lead vocal, and then joining together for more joyous har-monizing over fast-fingered guitar. At the end, the audience erupts in a display of genuine appreciation. Don’t miss out on what they experienced that evening. This is an award-worthy release of blues in its purest form! Reviewed by Mark Thompson

Back Porch Party The Nighthawks EllerSoul Records http://thenight-hawks.com 12 tracks/44:58 Following up on the success of their Last Train To Bluesville release that garnered a 2011 Blues Music Award for Acoustic Album of the Year, the Nighthawks offer another acoustic project recorded in the studio with a live audience providing plenty of support. Mixing covers with a handful of originals, the group once again showcases its mastery of the acoustic idiom. Original member Mark Wenner’s rough-as-gravel vocal style works well on songs like “Tiger In Your Tank” and a menacing rendition of “Rollin’ Stone” but struggles a bit on “Walkin’ After Midnight”. The magic happens every time he starts blowing his harp, drawing a series of forceful solos out of his instrument. Guitarist Paul Bell con-sistently plays tasty accompaniment while also adding backing vocal assistance. His wicked slide guitar work on “Tiger In Your Tank” and intricate picking on “Back To The City” highlight his contributions. When the band wants to rock, they turn things over to their bass player, Johnny Castle, who belts out his originals “Jana Lea” and the rockabilly-tinged “Hey Miss Hey”. Not to be outdone, drummer Mark Stutso is featured on “Matchbox” and “Down To My Last Million Tears,” his ex-pressive voice particularly moving on the latter number. That song and other’s like “Down In The Hole,” the theme song from The Wire television series, benefit from having four singers in the band, enabling them to spice things up with impressive vocal harmonizing. It has been forty-plus years since the Nighthawks started out. The current line-up has been together for five years and is one of the best in the band’s history. You can hear that for yourself once you pur-chase a copy of this release that comes highly recommended! Reviewed by Mark Thompson

The Picnic Sessions Ian Siegal Nugene Records http://iansiegal.com 16 tracks Ian Siegal met up for two days in the studio with Jimbo Mathus, the Dickinson brothers, and Alvin Youngblood Hart in June 2013 after performing at the North Mississippi Hill Coun-try Picnic, a festival near the town of Oxford MS and home turf to many of these artist (who with Siegal also comprise the Missis-sippi Mud Bloods. The CD opens with a discussion over the first song and an offer of a pistachio to the other band members. “Stone Cold Soul” is the first song, a Siegal original where the boys do a little vocal harmonizing and pick out some mean stuff in a gritty little ditty. “How Come You’re Still Hear?” follows, is another original and it’s a swinging picking tune. Banjo and guitar strut their stuff. Some talking about the next song to approach leads us to “Heavenly Houseboat Blues” where Siegal sings to us about exactly what the title says. He growls out the lyrics of this cowboy song written by Townes Van Zandt; pretty cool! “Beulah Land” is up next, mixing spiritual with blues, Siegal gives us a nice little cut. Another vocal dis-cussion leads us into “Keen and Peachy” where Ian gets very low and gritty and I must say rhyming seviche with peachy is some I never really considered but he pulls it off as he sings of his woman with foxy moxy. “Wasted Freedom” is a Dylanesque cut penned by Siegal and delivered directly and with panache. Another discussion gets us into “Gallo Del Cielo” which is another cowboy cover about a champion fighting cock. Siegal is up to it and delivers this rooster story with credibility and flair. “Hard Times (Come No More)” is an old Stephen Foster song that Siegal drags into the hills and dirties up nicely. The original “Overseas Pirate Blues” is a humorous tome where Ian tells us a bit of a modern pirate tale. Some more party talks brings us to “Only Tryin’ To Survive,” the final song and an original to boot. It’s a shucking and jiving tune of survival. The boys say their goodbyes and the CD closes. Siegal mixes some of his stuff from before the sessions with some good covers and songs he wrote enroute to the sessions and he and the Dickensons, Hart and Mathus produce a fine hill country, finger picking set of tunes that fans of the acoustic will enjoy. Well done! Reviewed by Steve Jones

Music Reviews


some different people which add to the historicalness of the release (although no dates are shown). With the Vol.1 in the title, I hope we see Vol. 2 soon. So on to the music. The CD opens with “Let’s Get High”. Willie “Big Eyes” Smith played drums on this one, with Henry doing the vocals. It’s a straight ahead blues tune that fits Henry well. Bob Margolin joins “Blues Won’t Let Me Take My Rest” for the 2nd song. It’s a strong Chicago blues number. The CD stops in New Orleans with Henry taking on the Fats Domino clas-sic “I’m In Love Again”. The classic delta blues number from Robert Johnson is next. Robert Lockwood Jr. sings on “Ramblin' on My Mind”. It has a different feel with the piano and harp added than the original. I’ve always like Big Maceo’s “Worried Life Blues”. Nappy Brown handles these vo-cals, and Kid Ramos adds guitar work. I’d like the piano a bit more in front of the mix, but this is a solid version. Kid Ramos remains on guitar for “They Raided the Joint” that goes back to Louis Jordan. This is a very good cut. Up next is “Ride with Your Daddy Tonight”, a Scotty Moore penned tune. Dave Riley handles the vocals, and Chris James handles the fretwork on this up tempo tune. They band grabs a west coast tune from Lowell Fulson next. Bob Margolin returns for “Trouble Blues”. The band grabs the slow grinding groove of the tune very well. Henry Gray wrote the next tune “I’m Gonna Miss You”. Johnny Rapp adds guitar to this fine tune. John Brim adds guitar and vocals for “It Ain’t Right”. Big John Atkinson handles the drums here on this fine slow blues tune. The last 4 tunes have been issued before. The first of these is “Can’t afford To Do It”. Big John Atkinson handles guitar this time. Things really take off with Henry playing her tail off on “Boogie Woogie Ball”. This was written by Taildragger, and Kirk Fletcher handles guitar work. This one rocks the charts! This disc closes out with the B.B. King song “You Don’t Move Me No More”. Bob Margolin and Johnny Rapp are back on guitar. It’s a slow piano based tune that Gray handles quite well. Bring on Volume 2 and Volume 3 if there is one. I have liked Henry Gray for many years, and this adds to his fine body of work. He is one of the last players from the heyday of the blues. This is all blues, with no treks into other genre. Listen to this one any day any night, and you will love it. Thank you Bob for bring this material for-ward. Reviewed by Mark Nelson

Southside

Sugaray Rayford Nimoy Sue Records www.sugarayblues.com 9 tracks/45 minutes Sugaray Rayford de-scribes himself in one of the tunes here as “six foot five, 300 pounds” and he is most certainly a giant of a man in the blues world - literally as well as metaphorically. As the lead singer of the Mannish Boys he has been introduced to a far wider audience than in his earlier career and all the evidence is that he is now on a strongly upward path. This is his third solo release and it builds on previous releases by showing that he is equally at home with the sounds of Memphis soul as he was with Chicago blues on 2013’s “Dangerous”. This album was recorded with his regular touring band: Sugaray on vocals, Gino Matteo on guitar, Ralph Carter on bass, Lavell Jones on drums, Leo Dombecki on keys, Allan Walker on sax and Gary Bivona on trumpet. Jade Bennett, Zara Davis and Rachele Quiogue provide occasional back-ing vocals and there are guest perform-ances from John Thomas on keys, Bob Corritore on harp, George Pandis on trum-pet and Bill Bixler on baritone sax. Suga-ray and Ralph Carter wrote all the songs here apart from “Texas Bluesman” which is Sugaray on his own. The CD is front-loaded with four out-standing cuts. “Southside Of Town” is uptempo and sophisticated with Ralph’s strolling bass and the light keys/horn ar-rangement which reminds you of Albert King’s “I’ll Play The Blues For You” (a song that the band often open with in concert). However, that is not all the tune has to offer as at the half way point Gino delivers a superb solo that ranges far and wide across the second part of the song. Rais-ing the tempo a notch Sugaray tells us about “Miss Thang”, clearly a lady who left a vivid impression on him: “You oughta see Miss Thang when she’s walking down the street. She walks like an old fishing boat in a very rough sea. I like it when you’re walking to me baby, I love it when you turn and walk away”. The horn arrangement is terrific and the addition of the baritone pushes the tune along, Gino taking another fine solo. Probably the pick of the songs here is “Live To Love Again”, a classic piece of Memphis soul with a wonderful horn arrangement and a great hook in the chorus – impossible to stay still when this one is playing! Sugaray’s voice is great throughout the album but nowhere better than on this one which also benefits from the backing vocalists on the chorus and another exciting solo from Gino. The horns are absent from “Texas Bluesman” as

Sugaray tells us how he sees himself fol-lowing in the footsteps of the heritage in his native state as he namechecks the many great Texas players such as Lightning Hopkins, T-Bone Walker, Stevie Ray Vaughan, etc. It’s a churning blues with appropriately tough guitar and bass back-ing Sugaray’s strong vocal. After that opening salvo “Take It To The Bank” acts as a sort of acoustic interlude which sounds as if it was recorded in a bar at the end of a long evening, complete with chinking glasses. Bob Corritore adds his harp to give a downhome feel alongside Gino on dobro. “Call Off The Mission” re-turns to the soulful tunes but carries a seri-ous message as Sugaray decries the hy-pocrisy of attacking others when “we’re in no position to say we’re wrong or right” – a strong song with catchy horns and vocals but serious intent. “All I Think About” adds a touch of funk to the mix as Sugaray ad-mits that he cannot get his girl off his mind: “It’s a serious addiction, I think I’m going mad. All I think about is getting next to you”. The horn choruses scream Memphis on another strong track. The pace drops on “Take Away These Blues”, Sugaray’s crystal clear vocal right in the centre of another fine horn arrangement and the album closes on the longest cut, almost seven minutes of moody soulfulness as Sugaray lets us know in no uncertain terms how well he plans to treat his lady: “If you rub my back I sure enough will rub yours. I’ll bring the lotion, rub you in slow motion”. With several outstanding tracks, Sugaray Rayford has shown his mastery of the soul blues genre. This is a very good CD which deserves to get a lot of attention and comes recommended by this reviewer. Anyone who is lucky enough to have Suga-ray passing through their town should book their tickets immediately – he and his band are on fire! Reviewed by John Mitchell The Henry Gray/Bob Corritore Sessions Vol. 1: Blues Won’t Let Me Take My Rest

Delta Groove www.bobcorritore.com 14 Tracks Henry Gray is a national treasure. He hits 90 years this year, and is still active and playing. I just saw him at Jazzfest in a few months ago. He was the piano player for Howlin’ Wolf and has made many of his own recordings. The CD represents tracks from the last 19 years. Ten of the 14 have never been issued. They were done with

July-August 2015

infused blues rock with huge, distorted guitars and a blaring harp. Quite interesting and cool! “Cajun Sun” is a driving and flowing tune with a deep groove that makes you want to dance. An intense set of varied guitar lines and a throbbing beat make it quite interesting. Things slow down for “Riverside Blues” where the slide guitar moans and wails to set the tone for this darker blues song. It’s got a bit of a twang to it, adding some interest to the mix. “Low Hangin’ Fruit” features snare, harp, acoustic guitar, bass and some organ. The approach is a little minimalistic feeling and the tone is dark in-tense. Then the electric guitar comes in and makes you take notice; broodingly cool. Then the winds come for “Howling Out Your Name” where Davis’ voice is distorted and the instru-mental mix is mysterious as he builds to a howl-ing vocal chorus. Davis also does all the parts here. “Find Me A Blackbone” gets off to a throbbing beat with bass, guitar and drums setting a tone for Davis’ wail. Tribal and primal in nature, the reverb and echo on the vocals and he fuzz on the guitar gets into your psyche. Very weird and interesting stuff. ”Nothing Changed At All” goes acoustic with some fiddle with, of course, Davis big old electric guitar layered on it before the band comes in with the vocals. It’s a mid tempo Americana rocker with some nice back-ing vocals adding harmonies. Davis guitar is always interesting and that is certainly the case again here. Another tone and tempo switch as Davis goes funky with “Music in the Streets.” It’s an abrupt style change, but his vocals and guitar are the common thread, with some dis-tortion on the vocals and sting to the guitar. “You Gotta Wait” slows it down and Davis deliv-ers us some bluesy stuff as he tells his girl “she’s gotta wait this time” because “she was not the right one (to his dismay).” A country rocking blues, it’s well done and, of course, we get another big guitar solo. The organ is pre-dominant and nicely done here, too. “Laughin’ Out Loud” concludes the regular tracks, a low keyed and softer piece with emotion. Two bonus tracks, “Void’ and “You Wanna Know Why” follow. “Void” feature Davis singing mostly in a lower octave and playing all the parts again. Interesting stuff, and then he fin-ishes with a nice, more orchestrated piece with fiddle, organ, and piano. More big guitar stuff punctuates this and they build together before taking it down only to close with a big finish. “Riverside Blues” is also included as a music video. I loved the song, so getting to watch the video is a sweet, added bonus. If you like raw and emotional guitar and gritty vocals in blues done in a not-so traditional way, this is your album. I found it to be interesting and exceptionally good. Davis’ blend of blues, rock, and jam band stuff with Cajun and folky underpinnings makes for a very different and still highly listenable album. His guitar ap-proaches being over the top, but I found myself intrigued by it. If you’re looking for something new and different that pushes boundaries, then look no further! Reviewed by Steve Jones

Off the Grid Luca Giordano Band GGRecords www.lucagiordano-band.com 13 tracks Italian blues ace Luca Giordano and his band offer up a great new album with nine super original cuts and two thoughtful and well-done covers. Blending blues, jazz and funk in a very soulful manner, Giordano shows us he is one of the premier bluesmen from the European continent and that he can hang with the best of them in the blues world. The album starts off with a little swinging origi-nal instrumental tune called “Jumpin’ Eye.” Giordano picks out a beautiful melody on his guitar and Fabrizio Ginoble musically tussles with him as he nimbly offers up some sweet lead and accompaniment on the Hammond organ. “Never Enough” follows and introduces us to the horn section of Sax Gordon on tenor sax, Mark Earley on baritone sax and Doug Woolverton on trumpet. They and Luca provide listeners with a nice little intro before Luca takes the lead on vocals. Walter Cerasani on bass and Alessandro Svampa on the drums lay out a great groove here and throughout the album. Ginoble appears on organ again, too; it’s a well-crafted and bluesy swinging song! The title track is next; Luca gives us a soulful delivery and Ginoble is again very impressive on the organ and keys. Blending blues and jazz themes, the song has a great solo by Giordano on his guitar. “When I’ll Be Gone” is another tasty instrumental featuring the duo of Giordano and Ginoble again. These two guys are really in synch and can really deliver the goods when they play together! A beautiful cover of “Since I Met You Baby” is soulfully rendered by Giordano on guitar. Gino-ble’s piano and the horn section add a sinfully sweet set of musical layers to this cut, but Giordano is the star here with a great guitar lead. “Curly Hair Woman” is a jumpy original where Giordano grits out the lead on vocals and spars with the keys and horns in this rock-ing blues song. The instrumental “Cold Valley” follows. Organ and horns give us a really grooving intro as the bass also picks out a big groove and the drums punctuate and drive the cut along smartly. Luca comes in for a dra-matic solo about halfway through; another im-pressive cut! “One Way Road” is a funked-up song with Luca looking for a way out of life’s one way road. More great work on the organ and another well crafted guitar solo demon-strate Giordano’s songwriting and the talents of this fine band. The dreamy “Pami” blends jazz and blues as Giordano’s guitar and Ginoble’s organ wistfully interplay on this song that seems specifically made for slow dancing with your woman. The final two cuts are labelled “Organ Trio Ses-sion” and feature Giordano, Ginoble and Fabio Colella on drums. “Flyin’ Back To My Baby” features Giordano crooning (with a little call and response from the other two guys) in this

swinging tune. The three really hit things off well and Colella makes the snare an intimate part of the proceedings along with Ginoble’s organ work. Giordano does not leave us dry; he gives us another savory solo on his six-string. Singing to his woman about coming back home, we get the feeling this is Giordano and the band talking and playing to us in a heartfelt manner about going home after a long tour in the US or Europe. It builds to a nice, big and beautiful instrumental finish. They close with a slow Carlos Johnson blues tune. A very cool, long instrumental intro starts things off thoughtfully, and then Luca guts out an impas-sioned vocal lead as he also picks out some dirty blues on his ax. Ginoble offers another outstanding solo as he, too, bares his soul for us. The minimalist sound of the trio is just spectacular. This is a really great album showcasing Giordano and the fine musicians he has sur-rounded himself with. Singing in his lilting Ital-ian accent, we get some great vocals and play-ing by Luca and his band. This is Luca’s best album to date. His songwriting shows maturity and complexity. His musicianship is faultless and the band is up to his challenge as they, too, deliver each song with gusto and intense feeling. I highly recommend this album to blues lovers who want to hear what the blues is all about and what the blues can be! Reviewed by Steve Jones Midnight Mist Voo Davis Butter and Bacon Records http://voodavis.com 14 tracks & one video Voo Davis is a gravelly voiced singer who was raised in Chicago (after being born in Alabama) and delivers a very Cajun flair in his approach to his music. Per-haps recording in Bogalusa, Louisiana’s Studio in the Country is his influence, perhaps that’s just his approach; either way, it makes for a tasty gumbo of music. He smatters a little jam band and Americana as he blasts his guitar and sings with abandon. In this, his third album, he has Craig Borchers on drums, Michael Burkhardt on B3 organ, Reggie Winterland on bass, Calvin Conway on harp and fiddle along with backing vocalists Carolyn Broussard and Dorian Rush. Davis plays an assortment of vintage guitars, pedal steel, mandolin, and keyboards. The album was recorded in three days, two that were spent in instrumentation, so it has a freshness and directness to the ap-proach. Davis opens with “When I Get Back to You: which is a driving medium tempo swing ing song that blends cajun and rock to give us an modernistic sort of swamp blues rock. His gui-tar is right out front and he does some impres-sive soloing. The title song follows that, a sting-ing and ballad-y sort of piece where Davis shows some restraint. It’s a good cut, but then when “My Love Starts” it’s jam band, hip-hop


Live In 1967 John Mayall's Blues-breakers Forty Below Records 13 Tracks John Mayall's Blues Breakers launched many careers for musicians who contin-ued on their own to seek fame and ce-ment their name in the blues and rock 'n' roll world. Along with those individuals, the group spawned other legendary groups. The individual list is almost endless with 18 guitar players, 13 bass players, 11 drummers, a violin and flute player, 2 saxophone players, 2 trumpet players, a trombone player, and 2 keyboard players, not to mention Mayall's current band. Names like John Mayall himself, Eric Clapton, Peter Green, Mick Fleetwood, John McVie, Mick Taylor, Jack Bruce, Harvey Mandel, Walter Trout, Larry Tay-lor, Roger Dean, Coco Montoya, Buddy Wittington, and Andy Fraser left for suc-cessful solo careers and joined or formed new groups like Cream, Fleetwood Mac, The Rolling Stones, Free, and Canned Heat just to name a few. Although their tenure was short, The 1967 band John Mayall's Blues Breakers con-sisted of these four artists with John Ma-yall on vocals, harmonica, and organ, Peter Green on guitar, John McVie on bass guitar and Mick Fleetwood on drums. Unfortunately this group was together for only three months. John Mayall stayed as the founding father and leader to continue the British blues group, still touring today. Green, and Fleetwood joined forces with Jeremy Spencer and temporary bassist Bob Brunning to form the early British blues group Fleetwood Mac, with McVie later playing bass for the group. The 1967 Bluesbreakers never released a live album but performed live for those three months. One loyal fan from Holland, Tim Huissen, was able to slip a one chan-nel reel to reel tape recorder into five Lon-don clubs to record this piece of musical history. After nearly 50 years, the unre-leased tapes were acquired by John Ma-yall and with the help of technicians at Forty Below Records, these historical re-cordings are now available to the public. Even if the recording is rough and lacks the use of professional recording person-nel, it is the only known live recording of The 1967 Bluesbreakers as they existed in the spring of that year. This group went on to form two of the most powerful blues bands in British Blues history. What the CD lacks in clarity with some distortion, it makes up with an hour of the hottest blues

Hawk Squat J.B. Hutto & His Hawks Delmark Records http://delmark.com/ 18 Tracks At an early age, Joseph Benjamin "J.B." Hutto started singing in the gospel group The Golden Crowns with his six siblings and father in Augusta, Georgia. The family relocated to Chicago, where he played drums with Johnny Fer-guson and his Twisters. He also played piano before making the decision to change to guitar, playing in the streets of Chicago with percussionist Eddie 'Porkchop' Hines. The band developed into The Hawks after adding Joe Custom on a second guitar and George May-weather on harmonica. They played local clubs and headed into the studio for their first recording session in 1954 on the Chance label with Johnny Jones on piano. In the late fifties, Hutto left the music busi-ness only to return in the mid 60s with his declamatory vocals and his unique slide guitar style inspired by the famous blues guitarist Elmore James. His new lineup for J.B. Hutto and The Hawks featured Her-man Hassell on bass and Frank Kirkland on drums. His recording sessions contin-ued with a session for Vanguard Records released on the compilation album Chi-cago/the Blues/Today! Vol. 1, and then albums on the Testament and Delmark labels. The 1968 Delmark album, Hawk Squat!, featuring Sunnyland Slim on organ and piano, and Maurice McIntyre on tenor saxophone, is regarded as one of his best albums up to this point. After the death of Hound Dog Taylor in 1975, Hutto replaced him as band leader, releasing a raw and steamy live album J.B. Hutto and The Housrockers 1977, recorded from a Boston jazz club on a cassette deck. In the late 70s, after mov-ing to Boston, he formed the New Hawks and recorded on the Varrick label. In 1983 his recording career ended with the Var-rick album Slippin' & Slidin', later reissued on CD as Rock With Me Tonight. In June of 1983 Hutto passed away at the age of 57 but his blues style lives on with his nephew Lil' Ed Williams (of Lil' Ed and the Blues Imperials), who has carried on his legacy, playing and singing in a style close to his uncle's. Leon Kelert recorded J.B. for the first time on Delmark Records at Mother Blues in Chicago's Old Town and later released a CD in 2004, titled Stompin' At Mother Blues. The 1968 Delmark album, Hawk

Squat!, was recently released on CD with six previously unissued tracks, a twenty page booklet with new liner notes, and never before seen photos. In 2014, The National Blues Foundation selected this historic blues recording into its Hall of Fame for "Classic of Blues Recording: Album." Hawk Squat originated at Turner's Blues Lounge on 39th and Indi-ana on Chicago's South side, where fifty cents would get you in the front door and buy you a beer. The recordings were started in 1966 and completed in 1968 with the majority of the songs recorded in two studio sessions at Sound Studio and Ter-Mar. Hutto on guitar and vocals was joined by Lee Jackson and Herman Has-sell on guitar, Alabama Jr. Pettis and Dave Myers on bass, Frank Kirkland on drums, Maurice McIntyre on tenor sax, and Sunnyland Slim on organ and piano. The CD opens with "Speak My Mind," really focusing on J.B. and his raw vocals combined with the very distinctive slide guitar style matched with that of Elmore James and Hound Taylor. There are also two slower alternate outtakes of this tune and well as 3 other alternates of tunes included on the recording session. "If You Change Your Mind" and "Too Much Pride" feature the talent of the other Chicago musicians, especially that of Sunnyland on piano and McIntyre on sax. Other su-perlative performances of Hutto's scorch-ing slide guitar style can be heard on "What Can You Get Outside That You Can't Get At Home," "The Same Mistake Twice," "The Feeling Is Gone," "Notoriety Woman, and "Too Late." "Send Her Home To Me" and "20% Alcohol" capture more a straight ahead Chicago blues guitar style. If you listen closely, you can draw a very definite parallel between J.B. and his nephew Lil' Ed Williams on the tunes "Hip Shakin'," "Hawk Squat," and "I'll Cry To-morrow." The title song "Hawk Squat" is the single track that features award win-ning solos from J.B., Sunnyland, Lee Jackson, Dave Myers and Frank Kirkland, and Maurice McIntyre. "Hip Shakin'" is the only track with Herman Hassell on guitar. Hawk Squat does a superb job of taking you to Chicago's South side in the 60s and serving up a main course of rough, raw Chicago blues. If you are a fan of electric slide guitar masters like J.B. Hutto, Elmore James, or Hound Dog Tay-lor, you owe it to yourself to pick up this CD and relive this bygone blues era cap-tured by Bob Koester of Delmark Records. You will be amazed at the quality of these recordings. The LP version is soon to be reissued and available.

Reviewed by Rick Davis

July-August 2015

pace on "Vitamin Big Daddy," Billy pumps in stirring slide guitar solos as he rides the wah petal like a NASCAR ace on the ac-celerator. "Come On Home" combines Delta slide guitar with Zydeco and harp solos provided by Ken Sorensen. Billy's gritty vocals are perfect match for his roadhouse style guitar on "Evil, Slick 'N Sly," an original tune as frightening as Screamin' Jay Hawkins' "I Put A Spell On You." You can almost hear Albert Collins on guitar as you listen to the funky song "Hammer" written by Hector. "Rita," is haunting, spirited ballad about a vamp who is "three steps from nowhere, just a step from me," with backing vocals from Suzan Lastovica and Joshua Mark. "Short and Sweet Blues," is a straight, down home blues instrumental, that will remind you of the guitar style of the late great guitar slinger SRV. To complete this sen-sational album, funky guitar once again sets the stage on "People Of The World," bringing in the alto sax of Mel Taylor to complement this extraordinarily tight band. After listening to this album, you will be compelled to attend a live Billy Hector concert just to experience a jazz, blues, and funk band with the level of excellence like The Billy Hector Band. Review by Rick Davis

on the planet laid down on 13 tracks! It is loaded with classic blues tunes taken from the vaults, with songs written by some of the legends in blues history. This is a collection of live performances from the 1967 UK venues of The Manor House, Bromley, The Marquee Club, and Klook's Kleek. The live CD opens with "All Your Love," the 1958 blues tune written by Otis Rush and one of the most widely covered Rush songs played by other blues artists. This tune and Rush's ever popular tune "Double Trouble" were covered live on this CD. "Double Trouble" was made fa-mous not only by Rush but also by artists like Eric Clapton and Stevie Ray Vaughan and was inducted into the Blues Founda-tion Hall of Fame in 2008, labeled a "minor-key masterpiece." After listening to Peter Green live on guitar, recorded on these two tracks, you will get a good idea just how phenomenal he was in the 60s. Recordings written by John Mayall include "Brand New Start" and "Streamline." Ma-yall takes center stage on keys and Green tears it up once again on guitar on these tunes. Also on the CD is the group's ver-sion of the Billy Myles tune "Have You Ever Loved A Woman," first recorded by Freddy King in 1958. This 1967 version takes on a whole new musical characteris-tic, heard only by the 1967 Bluesbreakers. Mayall's vocals are quite muffled on Johnny Guitar Watson's "Looking Back," but Green's guitar solos come through loud and clear. The next tune covered is Paul Marshall's "So Many Roads." The classic Robert Higginbotham up tempo, twelve-bar blues tune "Hi Heel Sneekers" is one of the tracks included from The Manor House. The recordings would not be complete without Willie Dixon's soulful tune "I Can't Quit You Baby," which is a little rough in places but still stands out as a classic here. The live collection is not without the Freddy King/Sonny Thompson instrumentals "The Stumble," "Someday After Awhile," and "San-Ho-Zay." There is nothing holding the band back on these three tunes, with Green absolutely explo-sive on guitar. The collection is completed with a stellar performance by the 67 Bluesbreakers as they perform the Aaron "T-Bone" Walker's "Stormy Monday." If you are a blues historian or blues fan you owe it to yourself to pick up this col-lection of blues history. You can only imagine what this group sounded like without picking it up and experiencing it for yourself. It gives blues fans a sample of one of the most extraordinary blues bands ever assembled. Review by Rick Davis

Old School Thang Billy Hector Ghetto Surf Music 11 Tracks Winner of the Asbury Park Music Awards for "Best Guitarist," "Best Blues Band," and "Living Legend" awards, Billy Hector offers some of the best blues the East has to offer. He is also a two time winner of the East Coast Rocker's "Best Guitarist" award and has been invited twice to the Rock & Roll Hall of Fame's American Music Masters Se-ries, which is a celebration of Robert Johnson and Muddy Waters. To add to his list of accolades, Billy was also selected as the winner of the Jersey Shore & Blues Foundation's "Lifetime Achievement" award. Starting his career in the late 70s as a guitarist for The Shots, an R&B band that took over as the house band at the re-nowned Stone Pony, replacing Southside Johnny and The Ashbury Jukes. He then received New York City radio air play for his original material as guitarist for the group Hot Romance. In the 80s, he formed the band The Fairlanes, releasing three albums on the Blue Jersey label. In 1993 he regrouped as a power trio nam-ing the band The Billy Hector Band. Over the years Hector has written and composed many tunes with 14 albums released primarily on the independent Ghetto Surf label, with his latest titled Old School Thang. His live performances have been labeled as "one of the best shows you'll ever see." Old School Thang opens, in my opinion, with one of hottest songs on the album. An all-star horn section with Tommy Labella on sax, Steve Jankowski on trumpet and trombone, David Nunez on organ, and the superb rhythm section with Tim Tindall on bass and Sim Cain on drums, blended with Billy's tantalizing, red hot guitar riffs and vocals make "She's Gone" explosive! Hector tears it up with the Don Nix classic "Goin' Down," with the keys and horn and rhythm sections ar-ranged to perfection, yet not overpowering Billy's fiery guitar solos. The title track "Old School Thang" screams with funk and rock 'n' roll guitar solos, fused with tight basslines from Wilson Roye and thundering drum solos by Sim Cain. Micky Melchiondo and Hector jam together on guitar for some creative Southern swamp blues on the original tune "Fake ID." Billy slides up and down the fretboard with ease on this tune and the next. Along with a powerful horn arrangement setting the


Veenstra drums on most tracks with Jim Shaneberger on two cuts on bass and Glenn Giordano, Karl Schantz and Dave Gross play-ing drums on a few tracks each. Four backing vocalists are featured: Marcia Allen, Jen Sygit, Heather Jones and Donny Jones. Zach Zunis (another Janiva Magness band member) guests on guitar on one track.

Warning to the ‘Blues Police’; this is not a blues album! There are plenty of soulful tunes and sad lyrics but straight blues are pretty well absent. The opening song “Stranded” sounds autobiographical, given what we know about Greg’s marriage, but is from Jeff Paris and Rick Whitfield. It fits the theme of the album like a glove with lines like “Stranded with noth-ing to show for this life torn apart”, Greg sup-plying some bluesy licks to complement the lyrics. Jim’s “Walk Out That Door” ploughs similar ground as Greg sings of broken prom-ises and things never being the same over a gorgeous melody. “Ain’t No Love In The Heart Of The City” never sounded sadder when the great Bobby ‘Blue’ Bland sang it than it does here in Greg’s hands and the song again fits perfectly with the theme of lost love. The ar-rangement is very different though, with Greg singing the first verse accompanied only by Scott’s drums before the band joins in to sup-port Greg from verse two, Greg giving us a jazz-inflected solo on guitar. “I Won’t Give Up” was released in 2013 as a digital single and a sort of ‘work in progress’ report for Greg’s fans. The ballad fits perfectly with the rest of the album but also gives a sense of Greg overcoming adversity: “these scars have had their day…but I’ll make my own way”. “Run Away With You” appears to offer some hope for the future as Greg may have found a way forward, dreaming of starting over with some-one new in another soulful ballad with some nice harmonies from the backing singers and a fine organ solo from Jim. Greg’s guitar groove on the next tune offers that in a slow-burner with some distorted vocals which state that “It’s a Long Way To Memphis just to pawn a second-hand soul”.

After a run of slower, sad songs the listener probably needs some relief and “Still Doing Fine” is a co-write between Greg, Joseph and Scott which has a soul groove, an excellent electric piano solo from Jim and some funky guitar playing from Greg. “Been Such A Long Time” is another funkier number and “Sometimes” (probably the ‘bluesiest’ song here courtesy of Zach Zunis’ guitar) carries on in that vein. The album closes with the posi-tive “Welcome Home”, a great piece of soul-blues which was covered by Tad Robinson on his 2004 album “Did You Ever Wonder”. Kevin McKendree and Steve Bassett wrote the song and it really demands a soulful vocal which Greg supplies very well.

Greg’s fine voice particularly suits the soul-blues style of which there is plenty here. With a strong band and good songs this is an al-bum well worth investigating for those who have a reasonably broad idea of what consti-tutes “the blues”.

Reviewed by John Mitchell

Boom Town Victor Wainwright & The Wildroots Blind Pig Records www.vwwroots.com 13 tracks/44 minutes ‘The Piana From Savan-nah’ returns with his large band The Wildroots on a first release for Blind Pig (who also is-sued the Southern Hospitality set in 2013). As always Victor is the larger-than-life frontman on vocals, piano and organ with regulars Stephen Dees on bass, Nick Black on guitar, Billy Dean on drums, Patricia Ann Dees on tenor sax and occasional vocals, Ray Guiser on tenor sax, Charlie DeChant on baritone sax and Stephen Kampa on harmonica. Guests include guitarists Robert ‘Top’ Thomas, Ernie Lancaster and fellow SOHO bandmate JP Soars, Chris Stephenson on Hammond, Beth McKee on backing vocals and Juan Perez on percussion, each of whom are present on one track. The material is all original and was mainly written by Stephen Dees who also produced, arranged and engineered the re-cordings; Victor co-wrote two tracks and pro-duced one on his own. The album opens with the title track, Victor on piano and Chris Stephenson on swirling Hammond and the horns beefing up the sound. Victor’s deep and gruff vocals evoke Dr. John as he sings of the boom town where a good night out seems guaranteed. After “raising hell on Saturday night” Victor recom-mends going to church in “Saturday Night Sunday Morning”, a terrific piece of rock and roll with Victor weighing in with some great boogie piano and the horns offering fine sup-port. Victor then seems to be in some bother with his lady in “Stop Bossin’ Me Baby” as he shares vocal verses with guitarist Nick and then sings some scat along with Nick’s guitar. “If It Ain’t Got Soul” follows and is credited as ‘Part 1’ though no second part appears here – one for a future album? It’s a standout track too as the band conjures up memories of Little Feat in their prime, Victor supplying some tough vocals and twinkling piano, the harp and horns feature and it’s a whole band piece which concludes that “if it ain’t got soul, it don’t roll”. In complete contrast “When The Day Is Done” goes back to the oldest traditions of gospel with a very simple accompaniment of Juan’s percussion, harp, acoustic guitar and bass, Beth McKee’s backing vocals adding a real gospel feel. A song that might have been perfect for Vic-tor’s other band Southern Hospitality is the very enjoyable “Genuine Southern Hospitality” which rolls in with Ernie Lancaster’s slide, horns and Victor’s great piano. However, as this is one of Stephen’s solo compositions it may not be eligible for SOHO, which is their loss as it’s one of the best tracks here. “Two Lane Blacktop Revisited” is a boogie-woogie tune with Victor singing of his love of Memphis with drummer Billy setting a furious pace that Victor is more than capable of following throughout! “Wildroot Farm” takes things

down as Victor shares the vocals with Patricia who has a very pleasant voice which contrasts well with Victor’s gruff tones, harpist Stephen providing a fine backporch feel to celebrate this fictitious farm. Victor gives us a solo boogie-woogie in “Piana’s Savannah Boogie” which, combined with the earlier duet with his drummer certainly shows the man’s piano talents. On “The Devil’s Bite” Victor sounds like Tom Waits and the song bears some similarities with Tom’s work as Victor sings of the dangers that lie in wait for the unwary. This is an acoustic tune with JP Soars on lead acoustic and Nick playing the basic rhythm, also on acoustic. The horns return to the fore on the last three cuts: “Reaper’s On The Prowl” finds Victor again in Dr John mode (suiting the rather ominous lyrics) and playing a fine swirl-ing organ solo, the horns adding their support discretely in the background; “Back On Top” is more of a conventional blues with Robert ‘Top’ Thomas being name-checked at the start and the horns taking a larger role on a pleasantly swinging number; the closing instrumental “Wildroot Rumble” has a latin feel and pro-vides an opportunity for everyone to feature – Nick’s rumbling rhythm part is backed by the horns and there are solos for Stephen’s harp, Victor’s piano and, in particular, Nick’s guitar, really the only time he gets to cut loose on the album. Even the rhythm section gets to fea-ture towards the end! This album is sure to cement Victor’s position in the piano section of the blues world and there are several good tracks though this re-viewer would have liked to hear more of the fine horn players who are mainly used in a supporting role. However, all credit to Victor and, in particular, Stephen Dees for having the courage to issue an entirely original set. Reviewed by John Mitchell Stranded Greg Nagy Big O Records 2015 www.gregnagy.com 10 tracks; 42 minutes

Michigan-based Greg Nagy’s third album reflects the difficult circumstances he has lived through following the break-up of his marriage after 24 years. The resulting songs reflect those circumstances but Greg still manages to sound positive, supported by some fine play-ing and arrangements. The album was pro-duced by Greg and fellow former bandmate in Root Doctor, Jim Alfredson, whose day job these days is as keyboard player for Janiva Magness. Greg and Jim are to be congratu-lated on a superb production job as the songs are beautifully recorded and mixed. Greg had a hand in six of the ten songs, Jim five and three songs come from outside the band. A large cast of players contributed to the album with Greg on guitar and vocals and Jim on keyboards throughout. Bill Vits plays percus-sion, Joseph Veloz plays bass and Scott

July-August 2015

Blues” from Sleepy John Estes. This clas-sic is well done. On the 4th cut we have one of the original songs from Bert. “Black Nanny” is a quick paced tune with fine playing. Up next is the 2nd of 4 Sleepy John Estes tunes on the CD called “Special Agent”. It’s a train song about getting thrown off the train by the special agent. It is a real catchy tune. “Drop Down Mama” (another Estes tune) slides closer to bluegrass than blues. The second Dievert original is “Cuckoo Crowed”. I like the delta feel to it, and its fine musicianship. It is a mid-tempo storytelling type of song. The final Estes penned tune is “MIlkcow Blues”. It’s all right, but not as good as the other Es-tes songs. Delta performer Paul “Wine” Jones penned the hill country song “Rob And Steal”. You get a bit of the feel of the mu-sic we normally would hear a whining gui-tar sound. For the 19th cut, the guys get a mandolin blues original with Yank Rachell’s “My Baby’s Gone”. They jam away on it, maybe even too much. The sound gets a groove with the Bo Carter (Mississippi Sheiks) song “Blood In My Eyes For You”. I like the feel here. The interplay of the band members is great. They close out the CD with R. L. Burn-side’s “Poor Black Mattie”. The hill coun-try feel is better than the cut from Pal “Wine” Jones. Overall this is a good CD. If you are a blues rock or traditional blues lover, it may not be your cup of tea. For some softer listening, this is a good CD. I can imagine them playing in a small club and enjoying a few beverages to their fine musician-ship, and love of the older delta blues. Reviewed by Mark Nelson

Low Down Delta Moon Jumping Jack Re-cords www.deltamoon.com 12 tracks; 46 minutes Atlanta’s Delta Moon won the IBC in 2003 and have produced a steady flow of al-bums ever since. In their first incarnation they had a female singer alongside main writer and singer Tom Gray and I must confess that I have missed out on their more recent releases, so this is the first CD I have heard from the band without a female vocalist. That places a lot on Tom’s shoulders, but with his world-weary voice, clever songs and multi-instrumental talents (Tom plays lap-steel, guitar, key-boards and harp) he more than copes. Long-time colleague Mark Johnson is on slide guitar and backing vocals and his duelling with Tom’s lap-steel is very much at the centre of the Delta Moon sound. Completing the lineup are Franher Joseph on bass and b/v’s and Marlon Patton on drums. Anna Kramer and Francine Reed add backing vocals to five tracks. Tom wrote seven of the tracks, two more are by Tom, Mark and Franher together and there are three covers. Opener “Wrong Side Of Town” typifies the DM sound with the two guitars playing off each other, Tom’s gruff voice delivering his own lyrics about the girl seeking thrills ‘on the wrong side of the tracks’. “Afterglow” is one of the two collabora-tions between Tom, Mark and Franher, a rhythmic tune with a modified Bo Diddley beat and some nice picking; the second joint effort is “Mean Streak” which opens with some melodic organ filling out the sound beneath the guitars. The lush sound belies the lyrics which are distinctly black in spirit: “You got a mean streak, running through and through; I got a mean streak, I’m just as mean as you”. The rest of Tom’s songs offer a wide variety: the jaunty “Nothing You Can Tell A Fool” ad-vises us that “you can tell if a man is lying by the way he turns his head” while the short rocker “Open All Night” has a bubbly bass line with more of the band’s trade-mark dual slide playing. “Spark In The Dark” has a great core riff and a memora-ble chorus where Tom declares that “then there’s you, the only one who lights me up like a spark in the dark, when you do what you do”. The positive and upbeat “Mayfly” is country-flavoured with Anna’s gentle vocal support on the chorus whereas “Jelly Roll” has more definite blues DNA in the ample serving of slide work from both men. Closing track “Jacky Ray” is brood-ing in tone with Tom doubling up on organ

and lap-steel and Mark producing some menacing chords on electric slide. The three songs that DM have chosen to cover come from the top echelons of writ-ers though not all necessarily associated with blues. Dylan’s “Down In The Flood” was reinvented a few years ago by Derek Trucks and here DM take another angle on the tune with a slightly funky feel that is increased with Francine’s backing vocals. Tom Waits’ “Lowdown” rocks along nicely with Tom’s organ again providing warmth to the production as Mark’s slide weaves its magic across the track. A genuine bluesman is Skip James and his “Hard Time Killing Floor Blues” is played in acoustic style with a gentle brush on drums and some ethereal slide set against plucked guitar, Tom’s voice suiting the sorry tale perfectly. There is plenty to enjoy on this album which is definitely worth seeking out. Good to reconnect with Delta Moon! Reviewed by John Mitchell Bert Deivert & Copper-head Run Blood In My Eyes For You Rootsy www.deivert.com/blues/Bert_Deivert_-_Blues_Mandolin.html 12 Tracks Here is some blues from Sweden, and mandolin based blues to boot. The band is made up of: Bert Deivert – vocals resonator mandalin & guitar Janne Zander – resonator guitar, acoustic & electric guitar, slide Per-Arne Pettersson – bass Fredrik Lindholm - Drums Though not your usual blues band instru-mentation, especially when they mix the electric instruments with the mandolin. They bring a lot of experience and feel for the genre. Deivert was born in Boston, moving to Sweden in 1974. At 16 he saw Son House on TV, and was hooked on the blues. This is Bert’s 12th album. Overall he has performed in 23 countries. So let’s get into the music. The CD opens with Big Joe Williams’ “Baby Please Don’t Go”. The band picks a fast pace for the tune, with pretty good vocals. Bert covers one of his favorites with Son House’s “Death Letter”. It’s smoother than the original with the added instruments. The mandolin takes center stage on “Mailman

http://www.deivert.com/blues/Bert_Deivert_-_Blues_Mandolin.html




AWOL Blues

JC Crossfire WaxEater Records www.jccrossfire.com/ 10 Tracks From south Florida via New York we get to listen to Joe Cannizzo and his band JC Crossfire. This is his 4th release, and all the tunes are blues origi-nals. JC has played guitar since his youth, and led a SRV tribute band at one time. The other band members are Tony Calabria (b), Al Rich (d), Steve Lombardelli (k, sax), and Joe Beard (p). The group plays with high energy. The final track on the CD was co-written with Matt “Guitar” Murphy. Let’s get to the music. The CD opens with “Is That What It Is”. This is a regular blues shuffle, with JC’s fiery fretwork. The blues continue in a Chicago 12 bar form with “One More Day”. It’s well paced, but does not jump out at you. The pace picks up with “Working Man”. It is a more modern blues song, with JC’s guitar working hard. The 4th cut is “Black Hole”. This one slows down with some acoustic guitar, and a bit more southern music feel. This is a nice change of pace. Up next is the title cut “AWOL Blues”. The song features nice slide work by JC. It is a song about starting over. Marybeth De-Sarle duets with the band on the next num-ber. “Sweet Thing” is a fine soulful ballad. The sax work by Steve Lombardelli adds a soft touch to the song. The band jumps over to a New Orleans feel on “I Can Still Pump”. This group plays together well. The rocking blues come out with “Plain And Simple”. The pace picks up with some stinging slide work. The band really does well with “What Could Have Been”. It’s a slow grinding blues tune, done very well. At nearly 5 minutes, the band stretches out nicely. The final tune is “Sunflower Missis-sippi”. I thought they would use a higher octane song to close the CD. This one did not hit the mark for me. Overall, this was better than I might have thought before listening to it. JC can play guitar, and there are not a bunch of gim-micks here. I imagine they do well in their local shows, with this pretty straight for-ward blues playing. I’ll give this another listen, and will check out his other CDs if I get a chance. If you like blues guitar, slide guitar and straight forward playing, give this a listen. Reviewed by Mark Nelson

Honey For My Queen

The Josh Garrett Band Self Released www.joshgarrett-music.com/ 10 Tracks Today we have the 4th recording from the young singer, song-writer and guitar player Josh Garrett. He has spent most of his life in Louisiana, with a short detour to Nashville for a few years. Josh and the band wrote 9 of the 10 songs here. There is support from Waylon Thibodeaux on fiddle on the CD. The mu-sic has a soulful, blues feel, with a sprinkle of Cajun thrown in. He is joined by James Johnson for one track. Johnson played with the great Slim Harpo. The opening track is the title cut, “Honey For My Queen”. It is a mid-tempo guitar/keyboard and harp blues song. Your toe will start tapping along with this one. “Memphis” has a slow southern feel with a bit of soul. I like this one! The 3rd cut is “Same Boat”, which features James John-son contributing vocals and guitar. It is a very crisp mid tempo blues tune. “Goodnight, Goodnight” is a slower acous-tic instrumental cut. Clay White joins Garrett with his harp for this tune. This one is well done. Up next is “Slide in G”. It is a fiery instrumental tune with contributions from all of the band members, especially CR Gruver on keys. “Easy Chair” keeps the coals of the fire glowing. I like Garrett’s vocal delivery here. CR Gruver set the pace with the B3. I like “Whole Bottle Of Whine”. It has great lyrics, and fine guitar playing. It bluesy, its funky, and has a great pace. The blues standard “Ain't Nobodys Busi-ness” is the 8th cut and the lone cover. Garrett puts his blues licks right out front on this great standard. He stays pretty true to the original here. The train is running down the track with the country blues “Dat’s Alright With Me”. The pace is fast but not frantic. The band closes the CD out with “Moonshine & Cigarettes”. Grab an Abita and your dancing shoes when you hear the nawlins inspired tune. The key-boards are great, and the drummer keeps the beat going. This is a fun song, that Marcia Ball would sound great doing. This is a fine disc of blues and Americana, with that Louisiana feel mixed in. Give this one a listen. I’ll have to go back to Josh’s prior discs to see what they are about. I hope he gets to play Jazzfest next year, because I’ll be there for it. Reviewed by Mark Nelson

Elevator Man

Scott Ellison Red Parlor Music www.scottellison-blues.com 13 Tracks

Scott Ellison is a blues and music veteran. He hails from Tulsa, OK. He has played with Gatemouth Brown, The Box Tops, The Coasters, and The Shirelles among others. His band on some of the CD includes Jon Paris (Johnny Winter), and Marcy Levy (Eric Clapton). Elevator Man is his 9th CD. Walt Rich-mond ( Eric Clapton & Bonnie Raitt) pro-duced the CD. All the songs are written or co-written by Ellison.

The disc opens with “Holler For Help”. This rocker has a bit of Clapton in the guitar playing, and the snarl of Howlin’ Wolf in the vocals. “Arlene” jumps out the Chicago blues style. Ellison’s gruff vocals and fine harmonica work by Jimmy Markham take center stage. Marcia Levy and Charles Tuberville add fine background vocals on “Behind That Smile”. At just of 5 ½ min-utes, this tune gets stretched out nicely. The acoustic guitar leads the way for a fun song about a strange taste treat “Fishsticks And Jelly”. I like the song, but don’t think I’d like the menu choice.

The title song is next. A funky opening leads us into “Elevator Man”, and it is aug-mented by Marcia Levy backing up the vocals. The band is firing on all points on “Jesus Loves (Baby Why Don’t You)”. I hear some Chicago in this tune, and like it. A bit of the Crescent City mingles with the blues on “School Girl”. The guitar lays a bit of chicken scratch over a strong Latin beat. Chicago meets Howlin’ Wolf occurs in “Put You Down”. Not the highlight of the disc, but an OK song. I hear a big Texas influ-ence in “Hit It, Git It And Go”. I like the drums/cymbals on this cut.

The 10th cut is “Wear Out Your Welcome”. This one is a slow crawling blues driver. A strong guitar solo drives this tune. “I Thought I'D Be Gone” is a blues rocker. It’s a love song, a rocking beat. A string delta beat brings out the best in “My Little Sheba”. There is some hill country influ-ence here. I knew this one would rock out just from the title. The recording closes out “She’s On My Trail”, and it is a good choice. It is a driving song with some juke blended in.

This CD is pretty good. No excesses, but strong powerful playing. Ellison, who tours a lot, should bring this to your town. Go see him live. Until that happens, enjoy this fine CD of blues.

Reviewed by Mark Nelson

July-August 2015

country put into the music, quite a change from the hit version. Things roar back with the Gary Clark Jr. penned “Don’t Owe You A Thing”. This version reaches into hill country blues influences. John Martin keeps the pace with his drumming. The rock ballad type song returns with “Heart With A Mind Of It’s Own” . The Gary Vin-cent penned tune could almost cross into what we call country music today. Bernie Marsden wrote “Place In My Heart”, the 8th cut of the CD. Mussel-white’s harp adds a great deal to this cut. It is a slow blues number with room to stretch out and give the band room to play it. The disc heads back to a country style with Chris Isaak’s big hit “Wicked Games”. It stays pretty true to the original. This CD closes out with another Rory Gallagher tune “A Million Miles Away”. Certainly this is another UK/blues influenced number. The recording is crisp and clear, showing off some fine fret work. The CD wants to highlight the UK/Delta intertwining. You gotta love your rock to really get into this. I’m not sure “Wicked Games” fits, nor “Heart with A Mind Of It’s Own”, though they are good recordings. I’m not sure they totally hit the mark here, but they gave it a go. Blues purists types should not go here. If you are a blues/rock listener, you may enjoy it, even with the 2 country type numbers. It Is a well recorded set of music. Reviewed by Mark Nelson

Love Mechanic The JC Smith Band Cosmik Records http://jcsmithband.com/ 12 Tracks The JC Smith Band brings the full music load of blues, funk, and R&B. They not only play the San Francisco Bay area, but tour regularly each year in South America, Russia, and other parts of Eastern Europe. Love Me-chanic is their 4th CD, and was recorded in Tiki Studios in San Jose, CA. It con-tains 5 originals and 7 cover tunes. Prior releases date back to 2001, so they have been together for awhile. This recording has the band playing with a 4 piece horn section to support the normal 4 piece band. So let’s dive under the hood and check out this release. A self penned tune “Jump For Joy” blasts out on the first cut. It is a fine jump-blues tune, and really gets things going. The band brings a bluesy spin to James Brown’s “Cold Sweat”. The horns are there, but there is driving guitar work in it. The 3rd cut is another original, “Come On Home To Me”. The music is a soul ballad, bringing Sam Cooke in Memphis to mind. Next we dive into the title cut, “Love Me-chanic”. This song has a nice groove, reminding me a bit of Mem Shannon. The lyrics are fun to listen too also. “Ring Around the Tub” is a groove laden break-up song. I like the guitar work, and the lyrics. The stinging guitar work contin-ues with the band’s version of Elmore James’ “Yonder Wall”. This is a bit funkier version then we normally hear. The horns add to the song very well. “Sad, Sad, Feeling” is the last original on the CD. Certainly this is a change of pace for the CD with its country picking and more stripped down style. I am not sure it really fits well into the CD. Little Walter’s “Last Night” gets us back to another blues stan-dard, served up with a different feel. Gui-tar work and the horn section take center stage. It retains the slow grinding feel, without a harmonica taking center stage. Todd Reid does some nice keyboard work here. Another Elmore James tune “Talk To Me Baby” is next. Chris Cain guests on guitar for this tune. The band picks up the pace on this classic. The faster pace continues on the Colin James/Colin Nairne tune “Rocket To The Moon”. The horn section really cuts loose on this one. I am not sure we need another cover of Eddie Boyd’s “Five Long Years”, but we have a

pretty good one here. As with many of the covers here, they have really done some different spins on the songs. This is a very guitar oriented soulful version of the classic. The CD closes with a Toronzo Cannon cover. “Ain’t No Stranger” is from Toronzo’s 2007 release My Woman. JC does a nice job on this tune. This was an enjoyable disc, except for the foray in country blues. I appreciate their work on some of the covers to not just do a lick for lick of a classic. There is nothing groundbreaking here, but it is an enjoy-able listen, especially if you like the soulful and jump type blues. Let’s hope the play in your area one day soon to see if the live show is as hot as I think it might be. Reviewed by Mark Nelson 8 O' Clock in the After-noon Jim Singleton Self Released http://www.jimsingleton-band.com/ 10 Tracks Jim Singleton knows guitars, both playing them, and selling them. He spent time in Europe during his formative years. He heard and learned the blues listening to the British blues in-vasion. During his youth, guitars he bought in the America were shipped to friends and musicians in Europe. Today he runs a vintage guitar shop in Pennsyl-vania, and still plays the instrument he loves. While making a film about Clarks-dale, it was decided to make a record in tribute to the rock influences from the UK and USA. Much of recording and produc-tion work was in Clarksdale MS. There are some great guests, including Charlie Musselwhite and Fiona Boyes. The CD includes 7 covers and three originals. The disc opens with the oft recorded Fleetwood Mac classic “Rattlesnake Shake”. The guitar work is fine on this rocking blues number. Keyboards and guitars dominate the 2nd cut, “Nothing To Do With Love”. It’s a slow 7’s blues rock grinding number, with some soulful harp work added too. Things slow down with the mostly acoustic “Don’t Take”. Nice vocals and some with tasteful support from the band later in the song. Things start to rock on the 4th track with Rory Gallagher’s “What’s Going On”. There is some blues in this rock! Next is a rock ballad from Bernie Marsden and Coverdale “Here I Go Again” that a big hit for Whitesnake. There is some blues/


Wonder Man Rusty Wright Band Sadson Music www.rustywright-blues.com 10 tracks The Rusty Wright Band hails from Michi-gan and offer up here their fifth release on Sadson Music. They are a band not made for the faint of heart, featuring blazing dual guitars and a sound that blends blues and southern rock into a mélange of hot sound. Featuring Rusty Wright on guitar, lead vocal and keys, Laurie LaCross-Wirght on guitar and vocals, Dennis Bel-linger on bass and vocals, Robert John Manzitti on keys, and Marc Friedman on drums, this quintet makes a huge driving sound that I’ve heard that crowds love (I’ve not had the opportunity to have seen them live yet myself). The husband and wife duo spar on guitar in the style made popular by the Allman Brothers and taken to heart by the blues infused southern rockers who followed them in the 1970’s. All original songs are featured here. The cover song “Wonder Man” opens the set. It’s a big, well orchestrated piece with lots of synthesized horns and a big pro-duction sound that drives 100 mile an hour. The band really showcase their individual talents and work well as a team as they set the hook and open the album with a really nice song (my favorite, to be exact). “Ain’t That The Blues” is a cool little shuffle that tells us about a life filled with the blues. Rusty gets into a couple of big solos, including one that takes us out with a fade into the “Black Hat Boogie.” This is odd but fun number with Rusty yelling out the choruses as the band joins in backing him; he does a spoken set of verses in an interesting style. The dual guitars go stratospheric and the beat is frenetic. “You Know I Know” is a mid-tempo tale of love gone bad where keys and guitar swap solos back and forth; piano, guitar, organ and then guitar blaze and then Wright returns to bellow out how his women is, “Doin’ me wrong.” “Loves Gonna Treat You Right” is basically a 1970’s arena rocker a la Lynard Skynard with big guitar sound and the band doing a little harmonizing on the choruses. Cer-tainly not blues- this is a big, monster rock song. They take a bit of a breath with “Gonna Come a Day,” going into a slow blues that begins with a long, stinging guitar solo intro. Wright then testifies about heart-break as the song builds and builds for impact. “Corvette Sunday” is another rocker with blazing dual guitars; Wright

Ding Dong Daddy John Cocuzzi Eller Soul Records 13 Tracks

Growing up with fam-ily ties to New Or-leans Dixieland jazz, this CD immediately got my attention with the superb musicians performing on the album. As a musician, John Cocuzzi showed great versatility both in the studio and performing live for audiences around Washington, DC area. Now living in North-ern California and entertaining crowds in the Sacramento area as both a soloist and bandleader, John has worked with some of the best musicians in the business. The multi-talented Cocuzzi has gained recog-nition worldwide as a premier pianist, swing vibraphonist, and vocalist. Cocuzzi has played piano for Jimmy McCracklin, "Weeping" Tommy Brown, Jimmy "T-99" Nelson, Floyd Dixon, and Earl King, and shared the stage with jazz legends like Harry Allen, Houston Person, Eddie Locke, Barbara Morrison, Peter Appleyard, boogie-woogie piano great Bob Seeley, Howard Alden, Dick Hyman, John Pizzarelli, Johnny Frigo, Jake Hanna, Butch Miles, Russell Malone, Joe Wilder, Red Holloway, Bob Wilber, George Masso, Chuck Redd, and a host of others, including Louis Bellson, Barrett Deems, Snooky Young, Marshal Royal, Billy Butterfield, Milt Hinton, and Keter Betts. While working in the DC area, he played piano with the swing, blues, and jump band, Big Joe And The Dynaflows, led by Big Joe Maher, who appears on his latest release Ding Dong Daddy. John started as drummer, then a piano player, and then added the vibraphone to his repertoire of skills in his late teens. John's father, Frank Cocuzzi, had been a percussionist for the U.S. Marine Band and was an accomplished professional jazz drummer. John would sit in at jam sessions with his dad, meeting many jazz greats and eventually chose a musical career himself. Starting on drums, al-lowed him to establish rhythmic versatility on piano and vibes. Inspired by pianists Jelly Roll Morton, Thomas “Fats” Waller, Mead “LUX” Lewis, Professor Longhair, Nat “King” Cole, James Booker, and Erroll Garner and contemporaries Gene Harris and Dave McKenna as well as the vibra-phone influences of Lionel Hampton, Red Norvo, and Milt Jackson, he learned by listening to some of the best. New Orleans blues and jazz styles became the basis for his vocals.

Ding Dong Daddy opens with John play-ing an intense, lively version of "Swanee River Boogie," the boogie-woogie style tune composed and recorded in 1946 by pianist Albert Ammons and again re-corded by Fats Domino. For the next track, Cocuzzi allows for a piano arrange-ment of "Reconsider Baby," the 1954 song both written and performed by the West Coast blues artist Lowell Fulson. The band takes you for stroll down Bour-bon Street with the Dixieland title track "Ding Dong Daddy." With John opening on vibes, Dan Levinson joining in on clari-net, and Paul Keller riding that bass, Big Joe Maher takes it home with a rousing drum solo for a taste of New Orleans. The band turns the tune "That's Alright," origi-nally written and performed by blues singer Arthur Crudup, into a slow piano bar tune with John in the driver's seat on his piano solos. He brings the 21st cen-tury into his soulful tongue-in-cheek ballad "Just Call Me," with both piano solos and words of wisdom for cell phone junkies. Big Joe Maher handles the brushes well, backing Cocuzzi on vibes, Levinson’s mellow tenor sax, and Keller's smooth base lines on the slow jazz instrumental "Come Sunday," made famous by Duke Ellington. Put on your dancin' shoes be-fore you swing and sway for the 1913 classic Burris/Smith tune "Ballin' the Jack." Grab a partner for the slow, steamy, sultry 1952 Alter/Drake classic tune "Nina Never Knew." John offers alter-natives for the aging with the song "Kambucha Boogie," guaranteed to "rejuvenate your system." The band takes you back to a Dixieland jamboree as they strut down Rampart Street with the lively instrumental "You Do Something To Me." They combine traditional and a little con-temporary jazz on the instrumental "The Boss," with Cocuzzi leading the way on vibes. With a switch of gears, they cap off a superb album with the 1946 Stewart/King country tune "Tennessee Waltz," performed on the piano Cocuzzi style. Making the album a family affair, Ding Dong Daddy wraps up with John's dad Frank taking center stage on drums and vocals for the finale, Cole Porter's "They Say It's Wonderful." With the additional support of musicians Jerry Krahn on guitar and Kevin McKen-dree on acoustic guitar, Ding Dong Daddy offers a tasty blend of both blues and jazz, appealing to a wide range of listeners. You will be in awe with both the vocals and the musical genius of Cocuzzi and his band. Review by Rick Davis

http://en.wikipedia.org/wiki/Jimmy_McCracklin

http://en.wikipedia.org/wiki/Jimmy_McCracklin

http://en.wikipedia.org/wiki/Floyd_Dixon

http://en.wikipedia.org/wiki/Earl_King

http://en.wikipedia.org/wiki/Harry_Allen_(musician)

http://en.wikipedia.org/wiki/Houston_Person

http://en.wikipedia.org/wiki/Eddie_Locke

http://en.wikipedia.org/wiki/Barbara_Morrison

http://en.wikipedia.org/wiki/Peter_Appleyard


http://en.wikipedia.org/wiki/Boogie-woogie


http://en.wikipedia.org/wiki/Boogie-woogie

http://en.wikipedia.org/wiki/Bob_Seeley

http://en.wikipedia.org/wiki/Howard_Alden

http://en.wikipedia.org/wiki/Dick_Hyman

http://en.wikipedia.org/wiki/John_Pizzarelli

http://en.wikipedia.org/wiki/Johnny_Frigo

http://en.wikipedia.org/wiki/Jake_Hanna

http://en.wikipedia.org/wiki/Jake_Hanna

http://en.wikipedia.org/wiki/Butch_Miles

http://en.wikipedia.org/wiki/Russell_Malone

http://en.wikipedia.org/wiki/Joe_Wilder

http://en.wikipedia.org/wiki/Joe_Wilder

http://en.wikipedia.org/wiki/Red_Holloway

http://en.wikipedia.org/wiki/Bob_Wilber

http://en.wikipedia.org/wiki/George_Masso

http://en.wikipedia.org/wiki/Chuck_Redd

http://en.wikipedia.org/wiki/Louis_Bellson

http://en.wikipedia.org/wiki/Barrett_Deems

http://en.wikipedia.org/wiki/Barrett_Deems

http://en.wikipedia.org/wiki/Snooky_Young

http://en.wikipedia.org/wiki/Marshal_Royal

http://en.wikipedia.org/wiki/Billy_Butterfield

http://en.wikipedia.org/wiki/Milt_Hinton

http://en.wikipedia.org/wiki/Keter_Betts

http://en.wikipedia.org/wiki/Keter_Betts

https://en.wikipedia.org/wiki/Blues

https://en.wikipedia.org/wiki/Arthur_Crudup

https://en.wikipedia.org/wiki/Chris_Smith_(composer)

July-August 2015

Hurricane Unleashed

Bobby “Hurricane” Spencer R. Music, Inc. www.bobby-hurricane.com 12 tracks/49:88 Bobby “Hurricane” Spencer began his ca-reer blowing his sax in the rough-and-tumble Bay Area “chitlin circuit,” playing just about anything that was asked of him. He now lives in L. A., and his latest release is titled Hurricane Unleashed, shows the various styles and genres’ that this seasoned veteran cut his teeth on.

This one kicks off with a shot of funky blues that bemoans California women—yep, “I Gotta Get Back To Chicago to find a woman whose love is true!” A humorous request by Bobby to a no-good lover is to “check me in to Camarillo, baby, ’cause loving you has made me lose my mind,” Camarillo being a noted mental institution. Bobby and guitarist Lester Lunds get back to their roots on the guitar-and-sax call-and-response reprise of Bill Doggett’s “Honky Tonk,” while there is a definite gospel feel to the tale of forlorn lovers who go to “Lover’s Hill” to rekindle passion with a different person.

Mostly over this set, tho, Bobby is all about a good time. Check out his ode to “Little Mama’s skinny jeans,” set over a rhumba-fied beat, which makes her “queen of the dance floor!” At the other end of the spec-trum is Bobby’s love for a plus-sized woman named “Big Maybelle,” and “when she squeezes me, she’s gonna break me in two!” And, the set closes with a New Orleans-style rocker, “Call Your Dogs Off, baby!”

One favorite number for those of us who came of age in the Seventies, it didn’t mat-ter if you called it “mackin,” ‘making out,” or just plain “hookin’ up,” there wasn’t a better song to do it to than one of the baddest-@@@ lover’s jams of all time, Grover Washington, Jr.s instrumental classic, “Mr. Magic.” Bobby recreates it here in a more uptempo version, and, as he says, “puts some dirt on it!”

Bobby “Hurricane” Spencer keeps that sax blowin’ and shows no sign of slowing down. He covers both contemporary music and the music of his roots in this highly-energetic set, “Hurricane Unleashed!” Bobby’s back so sit back and enjoy some fine sax! Reviewed by Bill Graw

and company seem to have the Southern rock sound down to a science. This time it’s a huge instrumental where the keys and even the bass get aired out for some solo work. The ballad “Arms of Another” is more rock than blues, but effectively deliv-ers another message of love gone wrong. Dirty, rocking stuff is next with “Whiskey Drinkin’ Woman;” the one-sheet included with the CD called it “a Lo-fi vibe” and I must say that is a succinct descriptor. Huge, rocking sound, a little distortion on the vocals and they play around with the guitar pedals for effect. “Chinfoot Ball” closes the set with another huge rocker. Electric companies must have to increase capacity when they play songs like this; big-assed rocking stuff.

It’s not all blues; a huge infusion of rock and country with the twang of Skynard, Marshall Tucker and perhaps even Charlie Daniels make for an interesting ride. Blues “purists” may not get on board, but those who enjoy a rocking and rolling sound from south of the Mason-Dixon line will enjoy this band from the Great Lakes State. They might be “nawtheners” but the sound certainly is not, melding blues and southern rock into a Normandy Beach sort of full frontal assault. As I said, it’s not for the faint of heart, but if you like the blues in-fused into an arena rock sound, check these guys out!

Reviewed by Steve Jones I Got The Blues For Ya

Michael Falzarano & Extended Family Hypnotation Records Woodstock Records www.woodstock-records.com www.hypnotation-records.com 12 Tracks/59.31

I Got Blues for Ya is an album by guitarist and singer Michael Falzarano, who is best known as a member of the New Riders of the Purple Sageand, before that,Hot Tuna. His first album in six years, it features Fal-zarano and his "extended family" of fellow musicians playing ten originalblues rock songs and twocovers. It was released on the Hypnotation Records label, distributed by Woodstock Records, on July 22, 2014.

Opening with “The Night King Curtis Died,” a lumbering 12 bar number, features strong vocals, lead and rhythm guitar from Fal-zarano, bass by Chris Matheos on bass, Ray Grappone on drums and excellent slide work from Kane Daily who has a lot of the feel of slide master Rod Price. Title track, “I Got Blues For Ya,” is structured along the Bo Diddley beat with a swampy feel and guitar not unlike Peter Green.

Klyph Black joins on bass and Christian Cassan joins on drums. Josh Colow takes the lead guitar on “I Never Think About You,” a bluesy ballad. Professor Louie adds a cool piano runs and Miss Marie gives the track a warm texture on backing vocals. Colow lays out a few really nice compact solos on this track and the Profes-sor rides the B3 high. A hot riding boogie, “Snake Box Boogie,” has a super beat and Falzarano really grinds this one out with the Professor and Colow for one of my favorite tracks on the release. “Big Fish” is one of those great laid back tracks with the Elvin Bishop saunter. Vasser Clements' unmistakable sound on fiddle joined by Kerry Kearney on slide and super chops gives this track a real authentic country blues rock feel. Very cool. Shuffle track, “We Got A Party Going On,” has really hot rolling piano work by the Profes-sor and cheering backing vocals. Colow lays in a pinched guitar solo backed nicely by Frank Campbell on bass and Gary Burke on drums. “Good Good Lovin” has a cocky beer chugging Lynyrd Skynyrd feel. Daily lays on a slick melodic "Lindley" style slide solo with Jon Marshall Smith on organ and Lisa Bouchelle on backing vocals. Very nice! One of my favorite blues vocalists, Alexis P. Suter joins Falzarano on vocals for a darker, Hooker style boogie, “Crossroads Avenue.” Jimmie Fleming on mandolin, Pete Sears on piano, Charlie Wolfe on harp, Frank Celenza on bass and Eileen Murphy provide instru-mental texture behind this boogie jam track. Slick blues strut, “The Devil's Gone Fishin',” featuring Kerry Kearney on lead guitar and the Professor on Hammond and piano has a really nice groove. Kearney smokes the strings up pretty good on this one... enjoy! One of my favorite Rev. Gary tracks caught live, “Death Don't Have No Mercy,” has a life of it's own here with Fal-zarano on vocal and acoustic guitar, Mike Miz and Tom Circista on acoustic guitar, Freeman White on keys, Klyph Black on bass, Dave Diamond on drums and featur-ing Barry Mitterhoff and Jason Crosby with excellent mandolin and fiddle work, respec-tively. Upbeat shuffle, “Trouble,” is a cool blues number with rolling piano by the Pro-fessor, Farfisa organ by Harley Fine, and fine guitar and slide solos by Falzarano, Daily and Kearney. Wrapping the release is a rocking cover of Wilbert Harrison's “Let's Work Together.” A nicely blended cover featuring concluding solos by Daily and Falzarano and vocals by Falzarano and Miss Marie make this a super closer.

Highly recommended. This guy and the “family” have been collectively making good music for many a year. Reviewed by Bill Graw

July-August 2015

piece takes on an almost Japanese sound before moving into another ethereal mo-ment with the electric guitar and organ taking the lead. It’s a short version that then takes us into “Cold at Midnight,” where the driving guitar groove takes charge and Taylor describes a life of lone-liness and infidelity. Alone late at night, Taylor describes the thought processes where worries for his woman’s safety tran-sition to a belief she has run off to Mexico. The tempo and volume increases as fear turns to anger. The album finishes with “Sunday Morning (C),” a concluding in-strumental which begins with some very special guitar, synthesizer and organ. The violin emerges from this cacophony and then the entire band builds into a re-petitive sort of groove that slowly grows until the cornet appears, fluttering and flying above the ever-growing groove. Then it all stops for a brief moment for the guitar and then the cornet to escort us out of the Opus. I’ve listened to this several times now. To even think I’ve begun to understand Tay-lors’ complete intent would be insane; this is a huge and marvelous work. Taylors’ fans will laud all over Taylor for this in its brilliance and emotion. Some will listen once, leave it and be confused or even upset. I find it to be intriguing and en-thralling, building on what Taylor does best in his idiosyncratic songs and also in the trance-like jamming that is his other trademark.

Hey Joe Opus/Red Meat Otis Taylor Trance Blues Festival Records www.otistaylor.com trancebluesfestival.com 10 tracks/48 minutes Otis Taylor is an iconic musical prodigy who presents us with a 10 part grand suite to debut his trance blues festival record label. The Hey Joe Ops/Red Meat CD features the classic Jimi Hendrix song twice and Taylor’s original cut “Sunday Morning” is presented three times along with five other songs written by Taylor. The songs weave a psychedelic web of Taylor’s trance blues that blend hypnotic guitar and instrumental work along with Taylors’ iconic vocal style. Intended for presentation and listening as an Opus from start to finish, Taylor perhaps re-minds us of early Pink Floyd where they use recurring musical themes to blend a coherent sound for the listener. Taylor takes that approach in this Opus. The work opens with “Hey Joe (A),” where Taylor is accompanied by frequent com-panion musician Anne Harris on violin. This is a song that is a staple to his live performances. Warren Haynes appears both here and on the first rendition of “Sunday Morning.” The blending of War-ren Haynes guitar and Ron Mile’s cornet is ethereal and almost mind blowing. Haynes attacks and Miles parries with his horn, and later they wind their way to-gether in a latticework of beautiful musical complexities. Taylor returns to remind us of the murderous story and then the ac-companiment delivers a melodious ending that blends into the intro for “Sunday Morning (A).” Haynes finally breaks into a tornado-like whirlwind of a solo that is later accompanied by Miles and the rest of the band in an interesting instrumental. They begin somewhat ethereally but then deliberately build up to a crescendo and then fade into “The Heart is a Muscle (Used For The Blues).” A pulse-like beat opens and then drives this cut throughout. It is a song about love and its’ effects on the heart. Taylors delivers some poignant vocals as a sort of call and the response to the call comes on his and Larry Scott’s guitar; it is an interesting effect. “Red Meat” features Taylor’s huge acoustic guitar in the forefront as he sings, “Sometimes you eat the steak, sometimes the steak eats you,” and then, “Sometimes you take the love, sometimes the love takes you.” Taylor tells us the things we do and enjoy can benefit us and they can

also hurt us, whether it is food or love. The acoustic guitar is full and beautiful behind the repetitive lyrics driving this point home. The first half of the album closes with a song about transexuality entitled “Peggy Lee.” A man named Lee becomes Peggy and Taylor sings, “Peggy Lee can’t go back and undo what you done,” and “Now it’s time to live a new life.” It appears to be a song about both regrets and hope; nothing in life is black and white. The change perhaps leaves doubt in Peggy’s mind and some potential regrets, but it also offers hope in the life ahead. There is beautiful acoustic guitars and banjo interplay on this song. The transition to “They Wore Blue” is somewhat seamless, marked only by the switch to electric guitar from the ending instrumental of the prior song. This instru-mental blends the guitar, bass and cornet with layers upon layers of the cornet cre-ating an intricate wall of sound. “Hey Joe (B)” follows in a somewhat simplistic man-ner with Taylor in the lead, then the organ, synthesizer and violin come into play to build into a larger sound and help paint a dark picture for the “Hey Joe” story. The violin goes stratospheric and then the song breaks with Langhorne Slim taking the vocals. Then the guitar takes over to create it’s on intricate sound and then the next break has Taylor again on vocals with a little banjo thrown in sweetly. The song closes with a whirl of guitar and then the acoustic guitar and violin move us into “Sunday Morning (B).” The instrumental

The mix of musicians here is quite good. As noted, Anne Harris appears on violin. She is spectacular as she always is. Warren Haynes layers his exceptional guitar into the mix in his two ap-pearances. Langhorne Slim provides backing vocals on Hey Joe (A) and then takes the lead for part of (B) and also appears on “Peggy Lee.” Todd Edmunds on bass, Larry Thompson on drums, Ron Miles on cornet, Taylor Scott, Bill Nershi and Daniel Sproul on guitar, David Matthew Moore on banjo, Steve Vidaic on organ, and Gus Syinas on the Moog are all superb in support of Otis, but it is Taylor who is out front and in charge. He has taken his Trance Guitar Festival and used that name to create a record label to showcase him and his work in this, it’s inaugural release. In the CD liner there is a statement: “These songs explore the decision that we make and how they effect us.” Perhaps in proper gram-mar that should be affect, but we understand the intent of the statement. From killing one’s girlfriend to sex changes to how food and love can both fulfill and hurt us to the effects on the mus-cle of our heart, we see our decisions creating the path for our lives. Taylor master-fully weaves this all together with some intriguing instru-mentals and creates for us a complete work. I will listen to this many more times this summer. With each listen I pick up a new twist. As I said, I think Taylors’ fans will love this and they should. It is both interesting and musi-cally intriguing. I enjoyed this thoroughly; it ranges from traditional in sound to psy-chedelic (and everything in between). It is Otis Taylor at his wildest and best. Most highly recommended! Reviewed by Steve Jones


July-August 2015

Crossroads Shows and Members at Events

Dan Phelps at Blackhawk Dan Phelps at Blackhawk Dan Phelps at Blackhawk

Meadows Park in Byron, ILMeadows Park in Byron, ILMeadows Park in Byron, IL

Doug MacLeod at Blackhawk Doug MacLeod at Blackhawk Doug MacLeod at Blackhawk

Meadows Park in Byron, ILMeadows Park in Byron, ILMeadows Park in Byron, IL

Dan Phelps at All Saints Lutheran Dan Phelps at All Saints Lutheran Dan Phelps at All Saints Lutheran

Church in Byron, ILChurch in Byron, ILChurch in Byron, IL

The Jimmys at the Hope and The Jimmys at the Hope and The Jimmys at the Hope and

Anchor in Loves Park, ILAnchor in Loves Park, ILAnchor in Loves Park, IL


Jimmy Nick at Gilberts Jimmy Nick at Gilberts Jimmy Nick at Gilberts

Community Days (photo Community Days (photo Community Days (photo

by Bob Haendler)by Bob Haendler)by Bob Haendler)

Doug Deming and Dennis Gruenling at Muddy Doug Deming and Dennis Gruenling at Muddy Doug Deming and Dennis Gruenling at Muddy

Waters (Bettendorf, IA) (Rick Davis photo)Waters (Bettendorf, IA) (Rick Davis photo)Waters (Bettendorf, IA) (Rick Davis photo)

Brandon Santini, Rick Davis (CBS), Nick Hern on Brandon Santini, Rick Davis (CBS), Nick Hern on Brandon Santini, Rick Davis (CBS), Nick Hern on

bass and Bob Haendler (CBS) at Potters Mill bass and Bob Haendler (CBS) at Potters Mill bass and Bob Haendler (CBS) at Potters Mill

(Bellvue, IA) (Rick Davis photo)(Bellvue, IA) (Rick Davis photo)(Bellvue, IA) (Rick Davis photo)

Steve Ditzell at the Lyran Steve Ditzell at the Lyran Steve Ditzell at the Lyran

Club in Rockford (photo Club in Rockford (photo Club in Rockford (photo

by Bob Haendler)by Bob Haendler)by Bob Haendler)

Macyn Taylor at the Hope Macyn Taylor at the Hope Macyn Taylor at the Hope

and Anchor (photo by and Anchor (photo by and Anchor (photo by

Maria Gates)Maria Gates)Maria Gates)

Juston “Boots” Gates at Juston “Boots” Gates at Juston “Boots” Gates at

the Hope and Anchor the Hope and Anchor the Hope and Anchor

(photo by Maria Gates)(photo by Maria Gates)(photo by Maria Gates)

Dan Phelps at the Hope Dan Phelps at the Hope Dan Phelps at the Hope

and Anchor (photo by and Anchor (photo by and Anchor (photo by

Maria Gates)Maria Gates)Maria Gates)

Blues Across the Generations with Steve Ditzell, Justin Gates Blues Across the Generations with Steve Ditzell, Justin Gates Blues Across the Generations with Steve Ditzell, Justin Gates

and Bob Levis at the Hope and Anchor (photo by Maria Gates)and Bob Levis at the Hope and Anchor (photo by Maria Gates)and Bob Levis at the Hope and Anchor (photo by Maria Gates)

Otis Taylor, Anne Harris and Mato Nanje at Blues on the Fox in Aurora, ILOtis Taylor, Anne Harris and Mato Nanje at Blues on the Fox in Aurora, ILOtis Taylor, Anne Harris and Mato Nanje at Blues on the Fox in Aurora, IL

Toronzo Cannon at the Toronzo Cannon at the Toronzo Cannon at the

Chicago Blues FestivalChicago Blues FestivalChicago Blues Festival

Top Blues Releases June 2015

Sunday Morning Blues WKGL-FM 96.7 The Eagle

Rockford, IL

Omar Coleman / Born & Raised / Delmark Victor Wainwright & The Wildroots / Boom Town / Blind Pig Charles Wilson / Sweet & Sour Blues / Blues Critic Daddy Mack Blues Band / A Blues-man Looks at Seventy / Inside Sounds The Kentucky Headhunters with Johnnie Johnson / Meet Me in Blue-land / Alligator Billy Price - Otis Clay / This Time for Real / Bonedog - Vizztone Larry McCray / The Gibson Ses-sions / Self-Produced James Harman / Bonetime / Electro-Fi Sonny Landreth / Bound by the Blues / Provogue Joey Gilmore / Brandon's Blues / Mosher St The Texas Horns / Blues Gotta Holda Me / Vizztone Dr. John / Ske-Dat-De Dat The Spirit of Satch / Proper - Concord This list is submitted to Living Blues Magazine for inclusion in the June 2015 National Radio Chart. This list is compiled from actual radio air play statistics. WKGL-FM broadcasts 2 hours of the blues per week.

Rich Gordon Sunday Morning Blues WKGL-FM 96.7 The Eagle 3901 Brendenwood Road Rockford, IL 61107


We continue to grow with new members

and renewals continuing to sign on!

Thank you for supporting live music and

keeping the blues alive to all our new

and returning members!

New members:

Darlene Currens

Paul & Flo Haschke

Brian and Michel Williams

Renewing Members:

Ernie and Mimi Leombruni

Bill and Pamela Graw

Elizabeth and Wayne Martin

Ken Moore

Ted Schulz (2 years)

Ross Youngberg

New members get a CD upon joining;

family members get two CDs. Member-

ship has been $15 (individual) and $25

(family) for over 15 years. Mail newslet-

ter members have a $5 surcharge to

help with printing and postage costs; it’s

expensive to produce and distribute

newsletters.

We produce six newsletters a year with

25-30 reviews and all sorts of other great

information related to the Society and

our events.

Again, we thank our members for their

support and helping us to keep the blues

alive!

Membership News

July-August 2015

Hope & An-chor English

Pub Monthly Sec-ond Saturday Blues

The Hope and Anchor Saturday Blues

Schedule is set through April 2015.

From 8 PM to Midnight, $5 cover after 8

PM or free prior to that for dinner guests.

Featuring fine English pub fare, the

Hope and Anchor is a great spot for din-

ner, craft beers, liquors, and great live

music! At 5040 N 2nd Street, Loves Park

IL, USA, phone 815.633.2552 for info!

7/11/15 Altered Five

8/8/15 New Savages

9/12/15 Liz Mandeville

10/10/15 Josh Hoyer

Lyran Society Friday Blues

The Lyran Society has decided to add

blues to their Fish Fry and Steak Dinners

with performances generally twice a

month on the first and third Friday of

each month at their club. August is a

special month with three shows! Lo-

cated half a block east of 7th Street at

1115 4th Ave, Rockford, IL 61104, you

can call (815) 964-0511 for info. There is

no cover charge, it’s a free show. Open

to the public, all ages are welcome!

July 3: Collins-Grayless Band

July 17: Recently Paroled

August 7: Martin Lang with Billy Flynn

August 14: Rob Stone

August 21: Trinadora Trio

September 4: New Savages

September 18: Dave Fields

October 2: New Savages

October 16: Roy Orbison Tribute

www.bluesblastmagazine.com

The Groove is a bi-monthly publication of the Crossroads Blues Society. The PDF version (typically 14 to 24 pages) is emailed to members of Crossroads. Hard copies (12 pages) are sent out members without email ($5 membership surcharge). Editor in Chief: Steve Jones

Music Reviewers: Dennis Barker, Rick Davis, Bill Graw, Rick Hein, Steve Jones, John Mitchell, Mark Nelson, and Mark Thompson

All un-credited content by Steve Jones

May 14th marked the passing of the king of

the blues, Mr. Riley B. King. Many greats

have passed as the years have gone by, but

few have made an impact like BB has. His

name was a household word. His guitar

Lucille is legendary. His love of music had

him on the road through late last year, well

into his 88th year on earth. He was, is and will

always be the blues to many people. He will

be missed.

BB’s last visit to Rockford was in the fall 2014,

featuring Anthony Gomes opening for the

King. Many local fans had

the chance over the years

to see him in his tours in

and near Rockford. His

music and joviality en-

deared him to generations

of music lovers. There are

no words that can express

the gratitude we have for

his music nor the pain we

feel from his loss. God

bless BB King!

News and Upcoming Events

Crossroads Blues Society P.O. Box 840 Byron, IL 61010

News Blog with our Latest Info: http://crossroadsbluessociety. blogspot.com

Music Reviews: http://crossroadsreviews.blogspot.com

Crossroads Blues Festival at Lyran Park: www.crossroadsbluesfestival.com

Email us at: [email protected]

Also on the web at: www.crossroadsbluessociety.com

Keeping the Blues Alive Since 1994 2014 Blues Foundation Keeping the Blues Alive Affiliate Award Recipient

2014 Chicago Blues Hall of Fame Inductee

Blues on Local Radio WNIJ - 89.5 FM

Friday evenings from 9 PM to midnight with Harold Brown

Saturday afternoons from 1 to 4 PM with Patrick Sheehan

Saturday evenings from 9 PM to midnight with David James

The Eagle - 96.7 FM

Sunday Morning Blues now from 8 AM to 10 AM with Rich Gordon

Membership Application

www.crossroadsbluesociety.com

Yes! I’d love to be a part of the Crossroads Blues Society!

Name_____________________________________________

Street Address___________________________________

City________________ State______ Zip Code________

Phone_____________________________________________

Email Address____________________________________

New -or- Returning Member

This will be a membership for an/a:

Individual ($15) -or- Family ($25) -or-

via email via email

Individual ($20) -or- Family ($30)

via regular mail via regular mail

Please cut out or copy and mail this form and

payment to:

Crossroads Blues Society Bring this to

P.O. Box 840 our next meeting

Byron, IL 61010 and get a free CD!

The Crossroads Blues Society Newsletter

The GROOVE

The Groove: Jul-Aug 2015

Documents

Transcript of The Groove: Jul-Aug 2015