Blues Wanderings 

We made it out to the 41st annual Mississippi Valley Blues Fest in Davenport, IA last weekend for a great show.

First up on the main stage was Stefan Hillesheim Band from Chicago.

Next up was Reverend Raven & The Chain Smokin’ Altar Boys featuring Westside Andy on harmonica.

The headliner for Friday was John Németh. John had Lightnin’ Malcom with him on guitar for this show.

Also on Friday the tent stage featured The Weary Ramblers between mainstage acts.

On Saturday the show began with Shawn Holt & the Teardrops.

Next was a group called Memphis Rhythm Review. It featured 3 songwriters from Memphis, TN. The band featured Jad Tariq on guitar, Wyly Bigger on Piano, and Benton Parker on bass. All three sang songs from their album.

The tent stage featured The Soul Searchers between acts on Saturday. Guitar player Scott Eggleston was impressive. Scott was inducted into the Iowa Blues Hall of Fame in 2020.

There were storms and rain which caused main stage acts Big Bill Morganfield and headliner Shemekia Copeland to move their set to the tent stage. I didn’t get photos of them as I had to put my camera gear up due to the heavy rain but the crowd that braved the rain enjoyed a great set of music by both performers.

The Mississippi Valley Blues Festival is one of the longest running festivals in the world. Hats off the the Mississippi Valley Blues Society for their work keeping the Blues alive for 41 years!

Albert Castiglia – Grits & Glory

Gulf Coast Records

www.albertcastiglia.net

11 tracks/52 minutes

I’ve spent a couple of decades watching Albert Castiglia become an icon in the blues world.  From his early days touring and recording to today, Castiglia was and is force to be reckoned with. His music is not for the faint of heart. He delivers big and passionate music that is tastefully in you face and leave you wanting more.

Albert took to the legendary Abbey Road Studios to record this album. This record is filled with British invasion tinged blues and rock and featured Castiglia giving us, as the album title states, a gritty and glorious set of songs to savor and enjoy. The cast of players are Albert on vocals and guitar, Cliff Moore on bass, Lewis Stephens, Dave Gross and Bruce Bears on keys, Ray Haugen on drums and Deborah Michels on backing vocals.

Albert prepped for the sessions by absorbing the British scene and culture. He visited the towns where his guitar heroes came from and ended up in London and began recording his new release using his road band and some help on the keys.

“In My America” starts the album off with a throbbing and driving piece. Castiglia gives us his take on what is happening in America today and he’s not happy about it. His guitar stings as he picks out some stuff that is as poignant as his growled lyrics. Then it’s “I’m Afraid to Fall Asleep,” another big blues rocker with Castiglia playing some wicked slide guitar. It builds on the prior song that is more tribal and contrasts that with a repetitive groove and lyrics.

“Uncertainty” is next, beginning with an almost mournful slide guitar and driving, rocking groove. It hearkens to Southern rock as Castiglia sings and plays with passion, layering electric and acoustic guitars. A big, distorted guitar solo grabs at the listener. Then we have “Michigan Avenue.” This one is is a Chicago story as Castiglia takes is on a trip around the city with more hot guitar and a driving groove and lyrics.

The hot instrumental “Sack The Juggler” showcases Castiglia’s process on guitar as he takes us on a 100 mph ride across his six strings. “Slumlord Billionaire” follows that, a critical piece where he states he’d prefer to be broke and hungry than a slumlord billionaire. We all know who he’s referring to as he tells us how the slumlord millionaire takes advantage without care who he screws over. Another pair of very hot solos gives the listener another chance to savor Albert’s talent as the second solo takes us home.

“The Milk Is Still Good” gets a bit of a funky groove going as Castiglia sings about the lies we hear. His guitar rings loudly and clearly in a poignant solo. In “Don’t Burn Down The Bridge” Albert tells us what the title says because the grass ain’t any greener on the other side of the tracks. Another hot set of  guitar solos gets the blood flowing in this cut about what we hear from supposed friends. “When The Coin Came Callin’“ is another funky cut with Castiglia fully in control. There is some nice organ filling in here than adds well to the mix. A big solo and a cool outro make this one great.

Castiglia concludes with two very interesting covers. First it’s Mongo Santamaria’s “Afro Blue” which Coltrane also built upon.  A sublime and amazing instrumental with Castiglia showcasing his guitar for us. The jazz influences are evident but Albert makes it his own with his soulful and masterful playing that builds to a fantastic musical summit. The Beatles “Yer Blues“ appropriately concludes the set of tunes. Recorded in the Beatles own studio, what would be more appropriate to finish with than one of their cuts? This song from the 1968 White Album is guttural, gritty and superb, Castiglia sings with passion and makes the tune his own. It’s bare boned goodness; the trio of guitar, bass and drums make it simple and cool. It’s hard not to like this and really draws a fine album to a fantastic finish.

As I noted, I’ve watch Albert and his music grow up, so to speak. He plays with a refined edginess, and the gutsy and gritty stuff is complemented by his raw and unabashed talent and feeling. He never pulls a punch and I’m glad he doesn’t. This is a wonderful set of tunes that deliver on what he intended. Add this one to your collection and listen to it as it garners accolades for award consideration!

Blues Blast Magazine Senior writer Steve Jones is president of the Crossroads Blues Society and is a long standing blues lover. He is a retired Navy commander who served his entire career in nuclear submarines. In addition to working in his civilian career since 1996, he writes for and publishes the bi-monthly newsletter for Crossroads, chairs their music festival and works with their Blues In The Schools program. He resides in Byron, IL.

Ghost Hounds – Justified

Independent

www.ghosthounds.com

11 Tracks – 45 minutes

The Ghost Hounds were originally founded in Los Angeles but now has relocated to Pittsburgh.  The band is led by vocalist SAVNT (Stephen Marcellus Sertima) who was a season 13 contestant on The Voice. The other band members are Tyler Chiarelli and Thomas Tull on guitar, Joe Munroe on piano and keyboards, Kristin Weber on fiddle, Bennett Miller on bass, and Sydney Driver on drums. Their self-titled debut album was released in 2009. They then jumped to 2019 before releasing their follow-up, Roses Are Black. Four more studio album followed, the most recent being Almost Home in 2025, with one live album in 2021. Their music has been featured in the current Lioness TV series from Taylor Sheridan on Paramount.

The band describes itself on their web site as “a country rock band with a heavy blues influence that proved the genre is not only alive but thriving for the next generation of rock fans.” The band has performed in support of many famous bands including The Rolling Stones, ZZ Top, Garth Brooks, Guns ‘n’ Roses and Bob Seger.

The album kicks off with a powerful opening instrumental on “Something Wicked” and SAVNT delivering a descriptive, and perhaps alarming picture, ” Low winds started howling a few hours ago, the old dogs restless, storm clouds hanging low, shadows across the mountain like I ain’t never seen, the air tastes like copper, smells like kerosene.” My Pappy told me “Something wicked is headed this way, coming on like a freight train sealing all our fate. The land is turning black.” “Warning of the end of days”. Next a “Sinner’s Prayer” is offered, “Done plenty I am not proud of and Lord you know it’s true, spent my nights carousing, turned my back on you.”  “So, my father was a good man, and I broke my mama’s heart and it will never mend. I kept an angel waiting, but she finally let me through. Just trying to find a way to get back home. So, here’s my lonely prayer, from a man who is in despair. I don’t deserve your mercy, but I am asking anyway.” Kristin’s fiddle plays strongly aside of the guitars throughout the song.

They then present an excellent cover of The Rolling Stone’s “Gimme Shelter”. Chanel Haynes, currently performing as a backing vocalist with The Rolling Stones, joins SVANT in a duet on the song. The title song follows with Kristin’s fiddle providing a looming sound leading into an acoustic guitar before SAVNT announces, “This is my side of the story. Most of it is true.” “I can’t take back what you took from me. I am justified and done”. ” I will face my reckoning when the day has come”.

On the “War Inside” he says, “I am laying here wanting, trying to get some peace. Can’t stop my self’s despair, can’t get no relief. Standing at the old crossroads I can’t get free.” “There is a war inside in a battle with my shadow with no end in sight.” He then cites “There’s a “Pale Horse”, pale horse riding.” “I can see the angel of death appear.” All an obvious Biblical reference to the Four Horsemen of the Apocalypse with the last of the four horsemen on our threshold.  They provide another excellent cover on Freddy King’s 1971 song, “Going Down” delivered with blazing guitars in a powerful rock kick and Joe’s organ also a standout.

“Chasing Yesterday” is sung in a slight falsetto amid a quiet, slightly countrified acoustic reminiscence as he says, “Don’t go chasing yesterday as it is never coming back.” “The World keeps on turning and it’s turning awful fast”. He sings, “Here No More”, “gone too soon”. “I know they say you’re in a better place. I am not sure if that’s the case.” ” We make plans like people do. but gone too soon. Nothing lasts” with Kristin’s fiddle getting a workout. “After You” gets things rocking again. “Think I am crying, think I am blue. But there ain’t no crying after you.” Don’t ask how I am, but I sure ain’t alone. “I have my whiskey, baby, and all the time to drink it.”. They conclude with a soulful cover of the traditional “Amazing Grace”.

The band elevates the blues rock genre with a top-notch vocalist and instrumentation that brings forward the classic sound of that music with a modern bent to shove it forward again with lyrics that apply to current situations mixed with more standard, but well-presented love-lost songs. A great effort that leads me to want to hear more from their earlier releases.

Writer John Sacksteder is a retired civil engineer in Louisville, Kentucky who has a lifelong love of music, particularly the blues. He is currently the Editor of the Kentuckiana Blues Society’s monthly newsletter.

Ma Rainey – Mother Of The Blues: The Complete Paramount Recordings 1923-28

Black Swan Records

https://blackswanrecords.org

118 songs – 344 minutes

At the dawning of audio recordings in the 1920s, there was no one more important than Gertrude “Ma” Rainey. Truly the Empress of the Blues, she rose to prominence through the vaudeville circuit, introducing the world to what would be known as “classic blues,” which portrayed life within the black community like never before. And while there have been several retrospectives of her music in the past 100 years, there’s never been anything like this sensational set, which – believe it or not – contains four never previously released songs.

An over-the-top production, it includes five CDs bearing 118 tracks, all of which have been comprehensively remastered from the best 78-rpm discs available. The end product remains faithful in presenting the sound as it did in the ’20s, occasionally including some of the surface noise that existed in the acetates of the era. Simply stated it’s the best audio representation of Ma to date.

The music is great, but the collection also includes an accompanying book that runs more than 100 pages and includes introductions penned by blues artists Don Flemons and Gaye Adegbalola, a lengthy, meticulously researched biography written by David Sager, a three-time Grammy nominee for essays that accompany collections about OKeh Records, Louis Armstrong and the jazz band recordings of King Oliver.

Audiophiles will also be delighted because Sager also includes in-depth notes about each of Ma’s recording sessions during the era, transcribed lyrics of all 118 songs in the package. Doug Benson, who oversaw the restoration also discusses his work. There are track-by-track liner notes, and everything is illustrated with dozens of interesting photos of Rainey, her band and other ephemera that breathe new life into the woman who was immortalized in 2020 in the Oscar-winning film, Ma Rainey’s Black Bottom.

Ma had a great eye for spotting talent, and the grooves you’ll hear here are infused with several future jazz and blues giants, including Armstrong, Coleman Hawkins, Fletcher Henderson, Blind Blake and Tampa Red. Both Sunnyland Slim and T-Bone Walker toured in her band, and Georgia Tom – aka Rev. Thomas A. Dorsey, the father of gospel – did, too.

A feast for your ears, highlights include “Bo-Weevil Blues” — which truly introduced her vocal style to the world, “Moonshine Blues,” “Bad Luck Blues,” “See See Rider Blues” – a song inducted into the Grammy Hall of Fame, “Jelly Bean Blues,” “Countin’ the Blues,” “Stormy Seas Blues” and “Sissy Blues” – a lyrically bold statement about feminism and her sexuality.

Other classics of note include “Soon This Morning,” “Ma Rainey’s Black Bottom” – the basis of the play written by August Wilson, which became the film, “New Bo-Weevil Blues,” “Prove It on Me Blues” – a number chockful of gender-bending lyrics, “Here Me Talking to You” and “Black Eye Blues.”

Not cheap, but the five-plus hours of recordings are definitely worth the price.

Blues Blast Magazine Senior writer Marty Gunther has lived a blessed life. Now based out of Mason, Ohio, his first experience with live music came at the feet of the first generation of blues legends at the Newport Folk Festivals in the 1960s. A former member of the Chicago blues community, he’s a professional journalist and blues harmonica player who co-founded the Nucklebusters, one of the hardest working bands in South Florida.

Big Harp George – No Short Cuts

Self-Released

www.bigharpgeorge.com

16 Tracks – 68 minutes

San Francisco’s singer, songwriter, and chromatic harp player Big Harp George Bisharat returns for his eighth album consisting of sixteen original songs all written by him. The former criminal defense attorney and University of California Law Professor now focused on his music kicked off his professional solo recordings in 2014 with his debut album, Chromaticism, which gained him a Blues Music Award nomination for Best New Artist.

George plays the chromatic harp and sings on all tracks. The album has a long list of guest performers playing with him, but some of the key players are Aaron Lington on baritone sax and Chris Burns on keyboards on all tracks. Kid Andersen plays guitar on all tracks and adds banjo, bass and fretless bass on individual tracks. Derrick D’Mar Martin plays drums on all but one track and adds percussion on several tracks. Doug Rowan also plays tenor sax on all but one track and adds the alto flute on one track. Joe Kyle plays bass on all but one track. Marcel Smith, James Morgan, and Dwayne Morgan provide additional vocals on ten tracks.

The aptly named “Come out Swinging” does exactly that with George propelling the jazzy instrumental with his chromatic harp dominating with Aaron’s sax also taking a solo shot. George’s songs frequently toss in humor. “Supplemental Life” adheres to that premise as a guide to what store-bought health products (and others – “Mushroom powders can do wonders for you”) can “increase my longevity”. “Yes Dear” has doo-wop backing vocals and offers the marital advice that “your every wish is my command”. Kid gets an extended guitar run on this song.  George shifts back to a slow blues instrumental on Sun Drifting” with Chris Burns’s piano setting the initial tone.

With tongue not too deeply in his cheek, Geroge compares carnival life with political rhetoric as he notes “Carnival barker strutting in his booth spouting lies through a megaphone, red, white & blue…throwing church to the crowd and calling it news”.  “Rubberneckers clap when the tightrope sways. gasping and shouting when they fall on their face”. “I Will Find You” grows more serious with a middle eastern sounding guitar opener as he addresses, “They came from lands of cross and crown where prayers were hushed and books burned down”. He pledges, I will find you and guide you to land”. Charlie Bisharat plays violin on “Bury My Head” as George expresses his frustration for daily life and declares “I need to take a break, I’m gonna bury my head in the sand”. “Everyone tells me you have to face facts someday, but no one tells me why it has to be today.”  He determines that he “Struck Out Again” in a “stormy night in Oakland and I cannot seem to find me a friend”. The first one was so sweet, ain’t seen such beauty in God knows when. She just laughed and walked away.” He runs through a list of his additional failures and determines “Well, I drain me one last double. Slide off my Barstool to face the rain…knowing that I struck out again.”

Mike Olmos guests on trumpet and Lisa Andersen provides backing vocals as George offers the advice with some Dixieland swing “If you want to be adored “Be Adorable”. “Honey, ain’t no shortcuts to love.”  “If you want to be loved, it must be earned.” Lisa joins George for a duet on “Do You Remember”, a soft romantic blues with Chris’ tinkling piano sliding things along as they look back at “everything we once held dear”.  “I guess we know that beauty cannot last”. They further throw in “Now prices are soaring. ” Do you ever remember before AI was a thing? No robot was lurking to crown themselves as king”.  “Last Trip to Itaipu” is a Latin-based instrumental dedicated to George’s late friend Roberto Kant de Lima who introduced him to Brazil’s musical traditions. In another whimsical and jazzy number, he asks “What’s Wrong with Dying?” “All of you trying to pass a century, gotta  a question for you, maybe it’s just me, what’s the point of trying to last past your prime. We are all living on borrowed time”.

” Mista Boins!” offers a final bouncy instrumental with Chris’ organ supporting George’s harp. Cahrlie Bisharat rejoins on violin on “Rusty Spoon” which is dedicated to world -wide political prisoners citing “You can chain the body, cage the mind, breath of freedom the soul will find. Every wall’s just misery spoken, ain’t no lock can’t be broken.”  “Death Rattle of The Republic” begins with a lean rendition of the  opening notes of “The Battle Hymn of The Republic” and quickly shifts to a more somber tone as he expresses his political views of the nation as he proclaims “Ain’t no glory here, no truth marching on, just a death rattle dressed up as a song.” “All of God’s party launching their rockets, lying politicians lining their own pockets. When the planet dies and it’s coming soon. They’ll leave us all, here and fly up to the moon”. The song closes with “Taps” He concludes with a melancholic warning that “One Day” “you will be judged” and offers the observation “Pray to your Gods while bombing babies, never once touched by shame”.

Big Harp George and his entire musical team deliver an excellent album. George’s well-written lyrics whether whimsical or cynical are nonetheless always thought provoking. Come early for the fun and stay to learn the many concerns he is feeling alongside so many others in today’s environment. His messages are clear and meant to stimulate your mind.

Writer John Sacksteder is a retired civil engineer in Louisville, Kentucky who has a lifelong love of music, particularly the blues. He is currently the Editor of the Kentuckiana Blues Society’s monthly newsletter.

The Anthony Paule Soul Orchestra – What Can We Do?

NOLA Blue Records

www.anthonypaule.com

12 tracks/43 minutes

After nineteen years, seven albums and nineteen Blues Music Award nominations, The Anthony Paul Soul Orchestra (or APSO for short) continues to tour the globe and produce fantastic music for us all to enjoy. Willy Jordan now fronts the band which had the likes of Wee Willie Walker, Frank Bey, and Terrie Odabi lead the fray for them. This 12-piece band is a marvelous group of talented musicians who can play with the best of them because, frankly, they are the best. This is their first release for NOLA Blue Records.

Of this dozen tracks, one is a delightful cover of a classic and the others are original material. Jordan leads the vocals and Paule handles lead guitar. Also appearing are Tony Lugrano (keys), Tim Walker (bass), Ethan Pires (trumpet), Nona Brown (backing vocals), Charles McNeal (tenor sax), Larry Batiste (backing vocals and who also produced the album), Omega Rae (backing vocals), Bowen Brown (drums), Johnny Bamont (baritone sax and also flute on a cut), and Derek James (trombone), along with a few other guests.

“Still Smellin’ Smoke” kicks things off, a song that reflects on the burning bridges left behind. It’s a soulful and funky cut. The horns and organ are sublimely fun, the guitar rings and the vocals are primo. The solos featured are on sax and guitar, both to great effect. ”Next is “Too Late,” a somber ballad with thoughtful guitar, organ, and horn accompaniment. The organ and horns get featured sweetly and Jordan and the trio backing him are stellar.

“Stranger” is next in line. This one is a cool midtempo-ed track. The guitar work is pretty, Jordan sings with passion, the horns and keys are super. “You Lie Like a Rug” follows, a piece that swings. Jordan chastises his woman as the horns and organ give their all.

“Bigger Guitar” is a jumping and jiving instrumental featuring Paule laying out some very pretty licks for us to savor. The support behind him is excellent, with a slick set of solos on piano, trombone, and trumpet. It’s a wild ride! The Sons of the Soul Revivers join in behind Jordan on ”What Can We Do?” This one is a old school, early R&B/rock tune that takes you back to the 1950’s. Jon Otis adds percussion. It’s a beautiful number that sings about the demise of our planet and what we must do to help. Great sax, horns and organ are featured here. Endre Tarczy and Kevin Hayes fill in on bass and drums respectively.

“The Heart Never Says Goodbye” follows; this is a slow and thoughtful cut about lost love. Jordan sings with passion as all the players and singers work to flesh out a wonderful and touching piece. Rob Sudduth adds baritone sax on “Secret,” and it’s got the sound of a spy TV or movie theme song as Jordan sings of his creeping around in secret.  Paule’s guitar rings, the organ fills in nicely, and the horns are outstanding.

“If It’s Not One Thing It’s Two” is a swinging track with a pretty opening by the boys.  Jordan enters vocally and they solidly delivering the goods together. The horns are strong, the guitar vibrant, and  the organ is excellent. Jordan swings and even skats a bit. “Walkin’” is next in line, taking it slow and easy as Jordan sings with feeling. Another pretty cut, Jordan howls out the lead and the backing vocals add to the emotion. The guitar and accompaniment add to the mix well for an overall quite satisfying piece.

The classic “You’re Nobody ‘Till Somebody Loves You” is the next track. Jordan delivers the message with aplomb. The tenor sax solo is well done here and everyone plays cooly into the mix to make this a fine and memorable rendition. The finale is “Blue Moon Indica,” another very cool instrumental. The organ opens and then we get some throaty and nice tenor sax. We then get horns helping to transition us to the guitar solo, another sweet listen. The organ and horns help take us home. Sudduth returns on the baritone sax for this number.

This is the kind of set of tunes that made me want to applaud after each song as I sat listening by myself. It’s superb stuff. Willy Jordan is an amazing vocalist. Paule’s guitar is sublime and cool.  Lufrano on organ, piano and keys is exceptional. All the horn players are wildly great. The backing vocals are stellar, and the back line keeps a steady groove throughout. These guys and gals are pros and delivery a wonder set of tunes. Go get this; you won’t regret it and you’ll be listening to it over and over again because it’s amazingly good stuff!

Blues Blast Magazine Senior writer Steve Jones is president of the Crossroads Blues Society and is a long standing blues lover. He is a retired Navy commander who served his entire career in nuclear submarines. In addition to working in his civilian career since 1996, he writes for and publishes the bi-monthly newsletter for Crossroads, chairs their music festival and works with their Blues In The Schools program. He resides in Byron, IL.

Sometimes we meet people who have so many varied talents and who have accomplished so much that we are tempted to ask them why they didn’t leave some talent for the rest of us.  Canadian born Angelique Francis is one of those people.  Beginning as a child prodigy who can play piano, guitar, bass (both upright and electric) and harmonica, she also writes songs, produces her own albums, designs her own merchandise, creates/edits music videos, and is a professional actor.   She played her first blues festival at the age of thirteen and has won Bassist of the Year and New Artist/Group of the Year at the Maple Blues Awards, along with earning several other nominations including Female Vocalist of the Year and Recording/Producer of the Year.  Also, in 2023, she won the prestigious Juno Award for Blues Album of the Year…and she is still only in her twenties.

Angelique came from a very music-focused family.  When she expressed the desire to play the bass, her parents insisted that she first learn piano and guitar, which she did with ease.  She started initially performing as an acoustic solo act, inspired by Delta blues, and had the opportunity to open for some blues royalty before starting her own band.  She was highly influenced by Koko Taylor, Sister Rosetta Tharpe and Big Mama Thornton.

“We always had music in our home.  My parents used songs to teach us about ourselves and about the world, and we would jam after dinner every night. When I was thirteen, I played my first blues festival and got to open for Beth Hart.  It was amazing to have that experience and to get to watch her performance skills and musicality.  I feel very fortunate to have had that experience, and to have had opportunities with many other artists as well.”

Angelique reported that she was a shy child but surprisingly felt no fear once she stepped on stage.

“I was very introverted as a child, and my first major performance was a televised performance, so I thought I would be scared.  But instead, I realized I was confident on stage.  It felt like I was where I was supposed to be.  It allowed me to express a different part of me that didn’t come out in ordinary life.”

Many bass players find the double bass too challenging to attempt.  It not only has a fretless fingerboard, but the large size requires more strength, endurance and a highly demanding posture.  However, Angelique learned it before she learned the electric bass and considers it her primary instrument.

“I love the physicality of the instrument.  As a bandleader who is also a bass player, it’s wonderful because I get to lead the groove of the band.  To also feel that groove while you play the music on that physical level with the vibrations is an amazing feeling.”

Angelique’s sisters later joined her band, which has become a become a highly supportive family affair, notably lacking in any sibling rivalry.

“As my sisters got older, they expressed their interest in joining the band too, and now family is the heart of everything we do. My sister, Kharincia, plays alto and baritone saxophone and sings backing vocals, Kira, plays trombone and sometimes keys.  Kayla plays trumpet, percussion and provides backing vocals, and my father, Kiran, is on drums.  I am very fortunate not to have sibling rivalry.  There are ways in which we challenge ourselves, but we do it in love.  We challenge each other to be better.  I would say our biggest fights are over food—like who gets the last slice of pizza!  The band also consists of other band members who are like family.  Dave Williamson on electric guitar, and Trumpet/keys players, Ed Lister and Andrew Knox.”

It is often difficult for musicians to learn the business side of the industry and young artists often find themselves unhappy because they had impulsively jumped at the first offer from a record label.  Angelique has received offers from record labels but chose instead to maintain her independence with her business.  Her supportive family helped her make this important decision.  In addition to the support of her biological family, Angelique expressed gratitude for the mentoring she received from fellow Canadian artist, Shakura S’Aida.

“I learned by some trial and error, but I was lucky to have family support from a very young age.  They were able to make sure I wasn’t taken advantage of, and we realized the offers I received weren’t really to benefit me, they were to benefit the company.  So, the road we have chosen as independent artists may be longer, but we have more control over what we do.  We have more creative freedom.  We decide where we play and with whom we work.  We have a studio, a vinyl cutter and a T-shirt press in our home.  We book many of our own shows and do our own art for the albums. I’m so happy that we’ve been able to reach our fans directly.  And yes, Shakura is like our second mom.  She is absolutely amazing.  She taught us a lot about fashion and how to protect ourselves from long-term health problems that often come with touring.  Her family members are absolutely beautiful people.  Her parents, Gloria and Carl Schmed, and her sister, Kyla Schmed, owned a piano bar and gave us our first start as a family band with a residence at that piano bar.”

Similar to artists such as Eric Gales, Angelique’s music transcends one genre label.  She is known for artfully combining genres, including blues, folk, jazz and gospel.  And she is always on the alert for inspirations for potential songs.

“Genre labels may make it easier for fans to find your music.  However, it is amazing to have the ability to transcend those boundaries that have been articulated. The originators of the blues weren’t thinking, ‘I’m going to make a blues song.’  They were just expressing themselves.  Later on, it was given the label ‘Blues’.  Like those who came before me, I don’t create for a specific genre, but everything we do is kissed by the blues, rooted in the blues.  I am always writing, although not necessarily always writing it down.  Sometimes I’ll dream about a song, or I’ll hear a rhythm in the dishwasher that I want to use, or I really want to just tell a story.  I must have thousands of completed songs.  The most difficult thing is choosing which songs will actually go on an album.”

Angelique co-writes and co-produces her music with her father.  She has released three albums of all original songs, Kissed by the Blues (2018), The Long River (2022), and Not Defeated (2025).  A few of the songs tell stories of failed relationships.  For example, the song ‘Ashamed’ from Long River cleverly pokes fun at the bad choices people make regarding relationships that they know are not good for them:

              The other night I ran into my ex-boyfriend

              You know the type, the type that you never, ever, ever wanna see again

              He was such a dirty so and so.  Lord, I had to let him go

              ‘Cuz he the type, the type, that try to sleep with your

              mama, your sister, your cousin, and even your uncles too

              If you let him, there ain’t nothin’ this man won’t do

              Put lipstick on a pig, he’ll try to mess with that too

              But tonight, he comes in looking just right

              Lord he my kryptonite

              I’m ashamed…I’m so ashamed

And one track, ‘That Gun’ from Not Defeated, tells the story of a man’s choice to turn to violence:

              He’s from a dark and lonely world,

               Where the sun don’t shine…

               A world full of hate and violence

               A world that’s filled with crime…             

               One day he got a gun, and said

               ‘I’m gonna get what’s mine’…

               Now his mama cries.

“That song is about how violence begets violence, and how sometimes people are led down the wrong path and make bad decisions. That helps promote the cycle of violence.  What we wanted to do with this song was to recognize some of the things that are happening in our society and to help stop that cycle from perpetuating.”

The majority of Angelique’s songs, however, seem to be inspirational songs about resilience and healing.  In the title track to Not Defeated, she exclaims her determination, “I may be down, but I’m not defeated—I got my strength, I got my skills, and I got my will!”  In the song ‘Escape,’ she talks about conquering inner struggles:

              I just can’t escape my tears, and I can’t erase these fears…

               But I can stand.  I will face it and git it all I can…

               Anxiety haunting me every day of my life…

               But I won’t give up the fight…

               I know I’m the master of my own life!    

“That whole album (Not Defeated) is about overcoming challenges and coming together as a community.  It’s about all the different ways we can strengthen ourselves, whether it be through self-love, through relationships with others, or through lifting each other up.”

 Like many artists, Angelique has had the experience of fans being so inspired and moved by her lyrics that they tell her how it has changed their lives.

“I have received those messages, and it means the world to my family and me.  It’s one of the reasons I got into music. It is the way I was able to connect with people.  It transcends the boundaries of language and background. Music has the amazing power to change the world.  I believe no matter the challenges we have to face and overcome, as long as we have love, music and care for one another we can make it through anything and will Not Be Defeated.”

For the Not Defeated album, Angelique is joined by some superstar special guests, Eric Gales and Christone ‘Kingfish’ Ingram.  She was asked how she decided on which tracks they should join her.

“I was very excited to have the ability to work with those fantastic musicians.  I love how dynamic they are with their creative expression, and I wanted to give them the chance to express a different side of themselves.  So, for Kingfish, he has said in interviews how much he loves gospel music. The song ‘Escape’ is a blues tune, but it has many different types of influences in it.  It has a rock blues influence a gospel influence, an R&B influence.  I wanted to have an incredible player like Christone on it who would be able to express all those different sides of things.”

“With ‘Train Coming’ it was a stylistic as well as a metaphorical decision.  That song is about the power of leaving your burdens behind and facing the bright path ahead of you.  Sometimes that comes roaring down the track!  It begins as more of a mellow tune, with a sense of something to come and then it explodes into being like the headlights of a train coming towards you.  Eric, with his many different emotions and variations that he can bring into his playing was able to ease it in and then create that explosive dynamic playing that he’s so well known for.”

Unfortunately for those of us who are fans of the many talented artists across the border, it is quite the challenge for Canadian artists to come play in the US.  The paperwork for the P-2 visas has become more difficult, and the expenses are often a minimum of $5000 for a band.  If the procedures are not strictly followed, the artists face a consequence of being banned from entering the US for ten years.  Luckily, festival organizers and promoters recognize Angelique’s exceptional talent, and she has recently had enough US bookings to make such an ordeal worthwhile.  And, while she has opened for and collaborated with many American superstars already, she hopes someday to share the stage with certain other blues greats.

“I’ve been so fortunate to have the opportunities I have already had.  I was very fortunate to open for and play with Buddy Guy, and he brought my sisters up, and it was so much fun.  And I got to play with Keb Mo.  But I would love to someday play with Bobby Rush.  We’ve met Bobby Rush but haven’t yet had the chance to play with him.  I’d also love to play with Taj Mahal.  I’d love to play with these legends who have done so much to build the foundation of this music.”

As would be expected, Angelique is already actively planning several new projects in the coming months.

“We have a lot of great performances lined up for the coming months.  We plan to come out with a new album in early 2027 and there will be some singles released soon.  We’re also doing the finishing touches on some music videos.  And we’ve loved doing Joe Bonamassa’s cruises so we are very excited that we will have the opportunity to be on the Legendary Rhythm and Blues Cruise next January.  You can head to our website to see what’s coming.”

If you get the chance to see Angelique Francis in the United States, it’s an opportunity you will not want to miss.  And if not, you can be sure that the extraordinary talent of Angelique and her incredible family/band members will definitely be worth that road trip across the border into Canada!  You can see tour dates for the Angelique Francis Band and purchase her albums at https://angeliquefrancis.net

Writer Anita Schlank lives in Virginia, and is on the Board of Directors for the River City Blues Society. She has been a fan of the blues since the 1980s. She and Tab Benoit co-authored the book “Blues Therapy,” and she and Mike Zito co-authored “Blues Therapy: Volume Two”. Profits from both books go to the HART Fund (which pays for medical expenses blues musicians cannot afford to pay) and can be found at http://www.bluestherapybook.com.

Jenny Kerr – The Girl Who Swallowed The Moon

Okey Doke Records

www.jennykerr.com

11 songs time – 39:56

San Franciscan Jenny Kerr is a provocative singer-songwriter and multi-instrumentalist who draws from the blues, roots music, folk, gospel, old time country and rock and roll traditions in various configurations. Besides her expressive voice and creative songwriting, she plays fingerstyle guitar, dobro, Clawhammer banjo, piano and harmonica. She wrote ten of the songs and co-wrote one with Eric McFadden. The various musicians supply sure-fire support at every bend in the road.

“Girl Who Swallowed The Moon” enters with twangy “Secret Agent Man” guitar, harmonica, a strong drumbeat and Jenny’s powerful vocal with attitude. Distorted guitar and devilishly haunting harmonica drive “Cash Is King”. Slow and atmospheric are the words for the meandering “Devil Moon”, that features guitarist Eric McFadden on second vocal and more of Jenny’s infectious harmonica. That is until it shifts into high gear and chugs along briefly, before returning to earth. Henry Salvia’s moody organ along with Phillip Milner’s bluesy guitar and the lone horn section of the recording enhance “Shadow Of You”.

“Saint Geronimo” seems to be a tale of a saloon. Henry Salvia’s sprightly piano and Dave Zirbel on pedal steel guitar liven up the tune. Jenny’s prominent banjo alongside sliding strings lend “Elijah Said” a more Southern religious vibe. That feeling carries over to “I Ain’t Gonna Work No More” with banjo, guitar, fiddle, harmonica and piano going on. Country blues combined with gospel come into play on “Pont Neuf Blues” with Jenny playing slide and Resonator guitars. Henry Salvia’s lively piano once again picks up the spirit along with gospel backing vocals. More of the country blues influence on “Jenny’s Blues”. She plays slide guitar against the electric guitars of Eric McFadden and Phillip Milner. Slide and harmonica along with Phillip Milner on electric and baritone guitar on “Lost My Way”. It takes some wicked talent to write a song that sounds like it is a religious song from bygone days. That is just what Jenny has achieved with “May Angels Guide Your Every Step”. It is just her voice, Jules Leyhe on baritone and slide guitar, with backing vocals by Loralee Christensen and Phillip Milner. A lovely spiritual close to a magnificent musical statement.

Great care and creative insight are surely at work here. Every element gels perfectly. Truly a moving and thoroughly enjoyable listening experience for all that take a chance. You won’t be disappointed!

Reviewer Greg “Bluesdog” Szalony hails from the New Jersey Delta.

Dustin Arbuckle and The Damnations – Fight Like The Devil (or Run Like Hell)

Self-Released

www.dustinarbuckledamnations.com

11 tracks- 48 minutes

Dustin Arbuckle says he modeled his blues-oriented Wichita, Kansas band on Los Lobos, citing that he admired the band because they played blues but easily mixed their sound with rock & roll, country, and soul in very tasteful combinations. He is not trying to mimic their sound, just their freewheeling approach to the music.

Dustin was born on December 25, 1981. He discovered the blues as a teen which led him into playing music. He previously sang and played harmonica in the duo Moreland and Arbuckle for fifteen years. The duo were finalists at the 2005 International Blues Competition. Their 2016 album, Promised Land or Bust, was nominated for the Blues Music Award Best Blues Rock album. They traveled considerably over the years including a two- week stint in Iraq entertaining US troops. Their travels took them all over the US, Canada, and Europe. In 2018, Dustin determined that he was tired of all the touring and decided he wanted to form a more homegrown band. Thus, the Damnations were born. But the pandemic put a damper on their start and delayed their activities until after things settled down.

Brandon Hudspeth is another seasoned veteran of the music business. He was born in Muskogee, Oklahoma and moved to Kansas City to pursue his music where he formed the blues group, Levee Town. which released nine albums. More recently, he played guitar for the duo Hudspeth and Taylor. He has been nominated three times for a Blues Music Award and six times for the Blues Blast Music Award.  In addition, he has played with many blues musicians including Curtis Salgado, Tommy Castro, Ana Popovic, Albert Castiglia, Mike Zito and many others.

The band is completed with bassist Caleb Drummond and drummer Colby Aiken. Both are music school graduates. Caleb has played in bands playing jazz, bluegrass and heavy rock. Similarly, Colby has experience playing rock, jazz, funk, and reggae. Their diversity in supplying the rhythm aids Dustin’s vision for a widespread approach to their music. Dustin writes most of the song lyrics, but the band comes together to develop the instrumentation for each song.

They open with a searing blues, harmonica blazing, as Dustin announces, “Heaven Forbid” “I will meet you in hell”. ” I swear by the moon and the stars above, I will bury your love.” The title song continues the driving blues rock as he warns to be ready to deal with life’s issues. He cites, ” It’s easy come and boys it’s easy go. Now, time to reap the things you have sewn. But when no one’s buyin’ what you’re tryin’ to sell, you better fight like the devil or you run like hell.”  “Desperate Love” opens with a pensive moan mixed with a crying harmonica as he discusses a love that was not meant to be and says, “Life’s too short for this kind of love.”

“Must Be Travelin’On“ details a musician’s life. “I woke up in the evening, and I lay back down at dawn” and notes “My whiskey is all gone”. That story continues with “Small Branch Motel”, an energetic tale with a touch of country noting that it is a traveler’s “temporary home” and concludes “There’s a highway sound ringing in my ears. I’ve got to leave this place before it disappears.”  They get things rocking with Brandon’s fiery slide guitar as troubles “Make me feel just like I’m “Out of Time”. He returns to the musician’s life on “Always Gone” as he cries “I miss my love, but I still have a mind to roam” and begs her “Keep the fire burnin’ til I find my way back home”.

A cover of Bob Dylan’s “Tombstone Blues” puts power into Dylan’s rhythmic poetry. While trying to find his audience, he shows optimism as he tells “You’re Gonna Hear Me on the Radio”, in a quieter acoustic tune. “Jumbo Frets” is a rocking instrumental. They conclude with a cover of the gospel blues driven “Didn’t I” written by Gillian Anderson and David Rawlings in 2020 that examines the things he did to try to make her happy.

This is a formidable blues alliance who certainly deserves their time to be heard on the radio.

Writer John Sacksteder is a retired civil engineer in Louisville, Kentucky who has a lifelong love of music, particularly the blues. He is currently the Editor of the Kentuckiana Blues Society’s monthly newsletter.

Mike Dangeroux – Still Dangerous

Red Dawg Records

www.mikedangeroux.com

13 Tracks – 60 minutes

Mike Dangeroux was born in Chicago but is a graduate of the Berklee College of Music in Boston.  He returned to Chicago to further his musical career, which has included playing with many famous Chicago musicians including Koko Taylor and Buddy Guy. Mike’s web site establishes that he performs as a solo or duo all the way up to a ten-piece band, playing across many genres of music and even offering DJ services. “With a repertoire of over 500 songs across multiple genres, we seamlessly move between timeless classics, Motown, jazz, pop, rock, R&B, reggae and contemporary hits.” Blues is not mentioned, but his credentials are solid in that genre as cited above as ones above he has played with and further recognized by his induction into the Chicago Blues Hall of Fame on August 16, 2026. The induction stated, “This prestigious honor recognizes his decades-long contributions to Chicago’s blues scene, particularly as a master blues guitarist whose music has been a voice for the city’s rich musical heritage”.

On this album, Mike wrote all songs, produced and engineered the album, does all vocals and plays guitar, bass drums, and keyboards. Vince Varco is the only other musician on the album playing piano, organ, and strings on the album on tracks 1-5, 7 & 10). Vince is also listed as a co-producer for the album. Casper is listed as a drum consultant and co-writer on the final track.

The album opens with “Feels So Right”. as he notes “you move around my morning like you own the day and every crooked worry just dissolves away, just feels so right.” It is “like the world bends softer whenever you’re around”. On “Where’s My Money”, he implores a borrower to return his money “said you’d settle up soon”. “You took my last quarter.  You promised me the rest. Talked like a preacher, but my dollar is in your chest.” He declares “Nothing is Going to Keep Me Away” including “not the miles, not the years, not the shame or the skeptical tears. Nothing is gonna make me turn and walk away”.  “Through the rain and thunder, through the long and lonesome blues, nothing’s gonna keep me away from you.” A fervent guitar solo cements the pain he is feeling in reaching out to her.

He tells her that he is “Still Wondering About You”. “Streetlight pours whiskey down the pavement like a hymn. I trace the cigarette smoke where your shadow used to spin. The barroom clock keeps laughing at the promises I break, and every empty glass reflects the shape of your mistake.” “If love is a highway, I missed the exit, driving on the shoulder with a headlight full of woe.” He then tells her that he is no “Mind Reader” and demands she tell him, “What you mean”. “I can hear the thunder, but I can’t feel your pain.” You have a suitcase full of maybe and a suitcase full of why”. “I can’t fix your picture if I don”t know where you’ve been”.  He explains to her “My Snake Don’t Bite” and advises “Folk thinks he’s trouble, he’ll steal your pride” “He slides through the night like a whisper.” “Don’t sink his teeth in your heart, no way. My snake don’t bite, he just sways”.

He asks, “Do You Still Love Me” with an ominously sounding bass leading off. “Your picture in the doorway makes the room stand still. We had words like thunder, left the porch light burning low. I keep turning to the doorway, baby where did you go?” “You used to love me, am I on your mind? You used to love me or did that feeling fall behind?”  Continuing the story, Mike tells her “You Can’t Break Me”.  “Woke up to thunder, your shadow at the door. Said you’d leave me lonely, leave me on the floor. Poured out my pockets, tried to steal my name.” You can break the bottle, burn the bridge behind me.”  “But you can’t break me. No, you can’t shake the tree.” “Dust On My Boots” is a wanderer’s tale. “Every mile I’ve walked leaves a story in the sand. Dust on my boots, a restless tired man.” My maps a crumpled mess, torn at the seams. But the only love I’ve found is the road’s mean dream.”

Mike lets his guitar do the talking on the opening of “The Silence is Talking” before warning “The silence is talking, it don’t sound like hope. It’s a slow, slow heartbeat, an anxious hollow rope. Whispers in the static saying we’re unmade. Silence is talking, and it’s heavy as the shade.” “Sirens sound like lullabies on broken strings”. “Headlines keeps repeating like a needle on the track.” Mike’s description of his “Delta Girl” paints a beautiful picture. “She walks like the river slow and sure, mud on her boots and a heart that’s pure. Eyes like storm clouds, lips like a hymn. When she laughs the night leans in. Got that old porch sway in the heat of June, a lover’s lullaby under a midnight moon. Every step she takes makes the cypress bend.” ” Sweet Delta girl, don’t let me go, you’re the river’s song, you’re the undertow.”

On “First Light (What Are We Doing Here)” he offers an ode to a fresh love starting in a smokey opening whisper before asking “What are we doing here, baby? learning how to be close. Letting all the edges soften, going where the feeling flows. What are we doing here darling? Finding something fine. Slow and easy, heart to heart, taking one small step at a time.” “If you’re ready, I am ready”. He closes with “Right Love Wrong Time Again” offering the return of a former love only to discover that old pains still exist. ” We laughed like the years had only paused for a while, two old hearts walking to a familiar smile. Your hand found mine like it knew where to begin, like every road we walked still lived beneath our skin. For a moment it felt like nothing had changed, just two lost lovers standing in the rain. But silence tells the truth that words can’t defend, Some stories circle back but never quite mend.”

Mike provides a rich tapestry of lyrical poetry embodied in metaphorical swaths splashing deep details of life. His songs are blues, but certainly are the blues of a modern age. His chosen instrumentation is equally adept in establishing the moods of his vocals and the theme of his songs. His vocals are not what I would consider classic blues, but he certainly delivers his intent with the feelings he wants to present from the wails of despair to the smoothing taste of love.

Writer John Sacksteder is a retired civil engineer in Louisville, Kentucky who has a lifelong love of music, particularly the blues. He is currently the Editor of the Kentuckiana Blues Society’s monthly newsletter.

Paul Barry – Pure Blues

Self – released

www.paulbarryblues.com

10 Tracks – 47 minutes

Twin Cities based harmonica player, Paul Barry, has been playing professionally since the early 1980’s.  In 1983, he met West Coast Bluesman William Clarke and became a protégé of the late, legendary harmonica player, and lived with him in Los Angeles in 1985. Paul became active in the blues scene in the Twin Cities area and served as a back-up player in Chicago’s Otis “Big Smokey” Smothers band. He also recorded with Smothers on his final album That’s Alright in 2016. Barry subsequently released two albums under his own name: Talk is Cheap in 2016 and Blow Your Cool in 2018.  Both albums were well received, and Blow Your Cool was selected as Best Album of 2018 by the Minnesota Blues Society.  In 2023, as a tribute to his mentor, William Clarke, Barry released the internationally acclaimed biography Blowin’ Like Hell, The William Clarke Story. Barry’s book was inducted into the Minnesota Blues Hall of Fame in 2024 for Blues Art, Literature and Media.

This is Barry’s third album. In addition to Barry on harmonica and vocals, he  Igor Prado guests on guitar on three tracks (1,4,5) and Bruce McCacbe, Jonny Lang’s piano player, guests on six tracks (2,4,5,8,9,10). Marty Bryduck plays the drums on all tracks. Tim Wick plays the organ on several tracks and adds piano on track 7. In addition to Pardo, guitarists Jeremy Johnson, Dan Schwalbe, and John Franken and bass players Chris Matheos, John Etzell, and John Schroder appear on various tracks, and Jim Greenwell plays sax on tracks 2,5,6,7,8.

he album is meant as a homage to the blue master that came before him. He includes three original songs among seven covers. He opens the album with Otis Spann’s 1969 “I’m a Bad Boy”.  He proclaims, “I’ve got the blues”. “I’m going to pack my clothes and down the road I go”. Igor provides some excellent guitar with an unidentified piano player joining Barry’s harmonica. “Coming Home Baby,” is a jazzy instrumental written by Ben Tucker and first recorded by the Dave Bailey Quintet in 1961. Tucker was the bass player for the band. Bruce on piano and Bruce on sax both have significant leads on the song. William Clarke’s 2008 song “Pawnshop Bound” is next, as he identifies “I need some money in my pocket. Mister pawnshop broker, I need to talk with you”.

His first original song, “Waiting for Your Love” features some funky guitar to start the song. Tad Robinson guests on vocals and asks, “Will you ever love me or am I wasting my time?” “No Money”, written by John Alexander is a jumping blues with Barry advising “I have no money, baby. No place to call my own. I have no one to love me. I am in this world alone”. He turns to a second song, “Chromatic Jump” by William Clarke which Clarke first recorded in 1985 at a live session at “Battle of the Harmonicas” in San Francisco. The instrumental clearly features Barry on the chromatic harp.

The next two songs are Barry’s remaining originals. The first “Fair Weather Woman” finds him searching for his baby “Where can my baby be? When the sun is shining down, she’s always right next to me.” He says I “Feel Like Jumpin'” “My baby is back in town. Her kisses are sweet as wine. I can’t wait for her to press her lips against mine”. Otis Spann’s 1960 “Lightnin” was first recorded with Robert Lockwood Jr. and vocalist Jimmy Oden in August of that year. In November 1960, Otis recorded it again with Lightnin’ Hopkins on guitar and vocals. Barry presents the song as an instrumental. Barry concludes the album with Jimmy Witherspoon’s “Time Gets Tough”. Barry says “I make a lot of money, but I just keep spending that stuff. Times just keep getting tougher than tough.” “I can’t afford to live, but I guess I have to try. The undertakers have a union and costs as much to die” A song that was probably true over 60 years ago but resonates equally again today.

The album title calls the music correctly. This is pure blues with Barry’s dominant harmonica playing with solid backing by all the musicians on the album. Barry’s vocals are comfortable and well suited to his blues presentation.

Writer John Sacksteder is a retired civil engineer in Louisville, Kentucky who has a lifelong love of music, particularly the blues. He is currently the Editor of the Kentuckiana Blues Society’s monthly newsletter.

Writer John Sacksteder is a retired civil engineer in Louisville, Kentucky who has a lifelong love of music, particularly the blues. He is currently the Editor of the Kentuckiana Blues Society’s monthly newsletter.

All Night Boogie Band – Shut Your Eyes and See

Self- Released

www.allnightboogieband.com

7 Tracks – 37 minutes

The Burlington, Vermont band first formed in 2021 and won the 2023 Vermont Blues Challenge and represented them at the International Blues Challenge in Memphis where they were a semi-finalist. They have received numerous accolades in the New England area and in 2022 was featured in Relix magazine’s July 2022 issue as an “Artist on the Rise”. This album is the band’s third release following a debut album in 2022.

Jesssica Leone is the lead vocalist and adds percussion. Guitarist Brendan Casey, bassist Evan Barker, drummer Zach Santos with Brendan Casey playing piano and organ are the main musicians in the band. They are joined on a few tracks by Sam Atallah and Connor Young on trumpet, Jon McBride on tenor sax, and Avery Cooper on baritone sax.

The group starts out with a tight acapella recital advising “You’ve only got one life, and you’ve got to see it through” and “Keep on Rolling” before the guitar kicks in and get things rocking with fervent high-energy.  “I won’t give up and this world keeps on turning.” A definite rousing start guaranteed to get you moving.  They move on into a slower, reflective “Always on My Mind” that will bring to mind old time R&B songs. “Nothing compares to having you in my arms.” Avery’s sax shines in the middle of the song. “I Think They Called It Peace” continues another soft, smooth reflection noting that “You can find it in a sadder place, somewhere out of reach. There is so much hate in this world, it breaks my heart to see. Some of us look away, trying not to hear their pleas.” Jessica questions, “Are you just going to stand there and watch it all burn away.” Van’s organ underscores the song, and Brendan’s guitar increases in sound as Jessica wails for our attention in the end.

“If You’re Blue and Lonesome” opens with a tinkling piano as Jessica sings “When your heart needs mending, here I am “. “if you are all alone, I will be there.” “Sit right down and share your heart with me”. Van continues with some fine piano playing before leading into a guitar solo from Brendan. She assures, “When your soul needs a light, let it shine”.  “Stuck in the City (You’re Not Alone)” paints a very gloomy, but descriptive picture as Jessica moans “Stuck in the city, snow’s coming down. Wind blowing lightly, train’s leaving town. Run to the station, crowds passing by. Tired and broken, a man questions why.” “So, when you see someone knocked down, lend them a hand”.  Brandon has another excellent guitar solo mid-song. The song extends for 8:15, but it never feels like a jam song, but rather a continuing story with a conclusion “We’re all going to struggle, we’re all going to fall but if we stick together, we can stand tall”.

Ali McGuirk joins in a duet on “Spirits High” in another smooth, emotional pull with Brendan adding some gentle slide. “Will you remember the good times we had with laughter and spirits high”.  They conclude with a 6:30 live recording of Slim Harpo’s 1966 classic “Shake Your Hips“, which is their sole move into boogie mode, which is not a criticism, but rather an observation about an expectancy based on the group name.

Jessica demonstrates that she has the pipes and power to handle any song, and the soft edge to bring the tenderness to the more sensitive songs. She is complemented by an obviously talented group of musicians. And all that is built around lyrics that reflect life and develop a story without repetitive verses. Shut Your Eyes and See asks you to tune into yourself and really feel what is occurring around us. There is certainly despair in many areas, but there is also joy that can be found if we just reach out to one another.

Writer John Sacksteder is a retired civil engineer in Louisville, Kentucky who has a lifelong love of music, particularly the blues. He is currently the Editor of the Kentuckiana Blues Society’s monthly newsletter.