Issue 17-29 July 20, 2023

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Cover photo © 2023 Laura Carbone


 In This Issue 

Bucky O’Hare has our feature interview with Bernard Allison. We have ten Blues reviews for you this week including new music from PJ O’Brien, John Németh and The Blue Dreamers, The Nick Moss Band featuring Dennis Gruenling, Jeremiah Johnson, Dudley Taft, The Flying Burrito Brothers, Lightnin’ Malcolm, D.K. Harrell, Brother Ray Lemelin and Mose Allison. Scroll down and check it out!


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 Featured Interview – Bernard Allison 

image“We’re very unpredictable, that’s the thing because I do like to go outside the box. But everything I do is still rooted in Blues. It’s just the grooves are different. I try to explain that to a lot of my fans. They’re just like ‘how do you go from that to that?’ (laughing) A lot of practice (chuckling). And it’s not just me. When we get in the overall group and play the arrangements, all my guys they’ll say ‘let’s try this groove.’ My thing is you have to be open minded and take criticism and use it to your advantage. That’s what we do, we do it as a unit.”

It is this spirit of adventure and open minded collaboration that permeates the music of Bernard Allison. A veteran Bluesman and artist, Bernard is one of the guiding lights of an eclectic style of Modern Blues that injects the music with Funk, Rock, R&B and Soul. Bernard delivers his Blues all within his own unique voice as a guitarist, singer, songwriter, recording artist and live performer. The son of legend Luther Allison and having learned at the feet of the Queen of the Blues Koko Taylor, Bernard is now a pillar of the Blues and the bearer of the legacy of live music his fore fathers and mothers passed down.

First and foremost Bernard Allison is a guitarist. With a deep robust tone, Bernard alternately wrestles and caresses seemingly endless creativity from his six strings. The man also thinks critically about his guitar tone. There are almost countless variables in a guitar tone that can be tweaked and adjusted – types of guitars, guitar pickups, string width, types of amplifiers, pedals, how the guitar is set up, etc. These little choices are not immediately recognizable to the average listener but it is what makes someone notice Bernard’s guitar sound, what makes it stand out. In spite of all of this it always starts with the guitar itself and the musician’s hands on the strings.

“Over the years I pretty much played my custom blade which was pretty much a spin off of a Strat with a preamp in it. I just wanted to change my tone a little bit so mainly now I’m using Gibson. I use a Gibson SG for my slide playin’, majority of the time. My main Les Pauls: my white one is a Les Paul Standard and then my lemon is a professional with pretty much stock pickups. I don’t really go for the heavier pick up sounds. I can typically pick up a guitar and make it sound like me. I use a heavy bottom set 10-52. I get a lot of fans ask ‘why can’t I play along with your record, it’s not in the same key?’ (chuckling) I tune a whole step down so the E’s are D’s. It also fits my vocal range a lot better.”

Bernard plays a mean slide guitar. He learned how to play in open tunings (that is when you re-tune a guitar to make the sound of a chord) from the slide genius Johnny Winter. Slide adds a different angle for Bernard to approach the guitar and yet another variable, a different variety of Blues for him to mix in.

“I do open D, open E and open G. When I was in my Koko Taylor years we toured with Johnny and every show we did he’d bring me on the bus and first of all teach me how to tune the guitar to open because I was just playing slide straight up. He said you gotta try this, you gotta try this. He showed it to me and I picked it up fairly easy. Slide guitar for me is fun. I couldn’t do it all night long, it becomes a little bit monotonous. We throw in a couple slide songs because my fan base they say ‘okay we want to hear some slide.’ Here you go, here’s a little bit of Johnny Winter’s style slide.”

imageThe music that a guitarist makes with their fingers on the strings, or slide on the strings, then needs to be amplified. For an electric guitarist like Bernard it is important to have that guitar signal to go through the right equipment. Bernard uses one of the more coveted guitar pedals in the world, the Analog Man King of Tone. These are premier overdrive pedals made by a small boutique company in Connecticut owned by Mike Piera and revered by guitarists of international caliber to the novice bedroom dreamer. They are so universal because they are kept at a low price, only available from Analog Man and such are in high demand. The waitlist for one of these pedals is 5 years, but an artist such as Bernard is able to have 2 on his board.

“I’ve been endorsing Analog Man for 10 years now. I have 2 King of Tones and I don’t use any other overdrives at the moment. I really like the Analog Man because I’m not one to get a lot of grit or dirt. I like to keep it clean and the Analog Man has something in that mid-range frequency that I just love. It depends on what the track is but I’ll just leave the clean (boost) side on full time. I’m A/B so I’m going to 2 different amps. When I need more overdrive I can hit either the red channel or both once I balance my tone out.”

This is some high end fine tuned gear. Bernard also uses a series of pedals to get a washy underwater organ sound and a classic wah pedal. He also has a nod to a Classic Rock gimmick that Peter Frampton made popular:

“I have a talk machine on my board also.” Bernard explains, “it can simulate a Talk Box without the tube. I tried the tube early on and it freaked me out. I heard too many stories, you gonna blow out your teeth if you don’t do it right.” (laughing)

Bernard pairs his emotive vibrant playing with his expressive singing. One can hear some of his father’s rough hewed voice, but Bernard’s singing is very much his own. Although deeply influenced by his father in many ways, Bernard’s humble approach to singing is shaped by the music of his time.

“At first when I first started playing I hated to sing,” Bernard admits, cracking up laughing. “I sound like Michael Jackson with a very high voice.”

Bernard remembers his dad saying to him: “‘well your voice is gonna change over the years. But, if you’re gonna be a player I don’t want you to be just a guitar player. You’ve gotta be able to sing and play, utilize both. Because they compliment each other and you’ll be able to find your vocal range.”

Bernard goes on to say about his singing: “I listened to a lot of my Dad, obviously. But one of my favorite singers is Lonnie Brooks and Tyrone Davis, more on the R&B scale. So I grew up with all this so a lot of this comes naturally for me. I can hear their phrasing, I can hear if they need to sing soft or do the Howlin’ Wolf growl. Just kinda balance it out to the song that you’re trying to get your message across. Over the years I’ve really focused more on singing than the guitar. Okay I can play both but I got to be able to answer them evenly, not one better than the other. They have to compensate each other very well.”

Bernard matches all his guitar slinging and emotive singing power with a prolific original song catalog. A keen observer of the human condition, Bernard tries to craft his songs so they connect with everybody’s experiences and lives. He also, maybe surprisingly, writes against the guitar and gives his songs their own lives outside of his guitar mastery. 

image“I’m constantly writing. Typically if you’re going 12 bar Blues you’re talking about someone. Where my songs aren’t necessarily talking about someone. It’s more or less lyrics that everybody can relate to because they’ve been through those types of situations. Cause even if I’m touring I’m in the back of the bus I’m writing things as I see it. I just kinda look through those notes, it’s kinda shorthand. Then I make sense out of it. Typically I find titles in those notes and then start to get really deep into the lyrics. We need a strong hook line, you know the hook line could be the guitar riff or it could be the vocal. I combine all of that and go back into my notes again. A lot of it can be personal. I really focus more on the lyrics than the guitar parts cause I don’t want to just flood it with guitar. I don’t want to step on something important.”

Bernard has recorded his many fine songs throughout a now over 30 year recording career. Out the gate with a bold statement in 1990’s The Next Generation, Bernard has upped the ante every project. His most recent album 2022’s Highs and Lows finds Bernard joyously living within his eclectic mix. His approach to recording is simple:

“Not to clutter it with guitar everywhere,” this guitar master tells us. “We make sure we write good lyrics and make sure there’s room for the music to breathe. Otherwise if you start stacking things, I’ve found you can do a lot in the studio but can you reproduce it live? Just play 10 guitar parts (chuckling), you know what I mean. It’s pretty simple”

Highs and Lows is Bernard’s post-pandemic album. Working with legendary producer Jim Gaines, Bernard didn’t want to deliver something solemn, he wanted to create something reflective but also joyous. 

Highs and Lows we kinda prepared it through the pandemic. Once we knew we needed to do a new studio album the first thing I told the record company is I do not want to do pandemic record talkin’ about the lockdowns and all this (chuckling). They said no, just do what you normally do.” 

“‘Highs and Lows,’ actually the title song, that basically explains the pandemic but not touching that pandemic topic. It’s the highs and lows of life. Seeing the highs and seeing the lows. Yes the low point was obviously the pandemic, but the high point is we’re back on the road again. That’s why I followed it with ‘So Excited.’ It’s basically telling the audience we’ve been locked down for so long now we’re on our way back up again. So the 2 count kinda played off of each other and Mr. Jim Gaines he really loved the idea because they are 2 different types of songs. Ones more rocky the other’s more on the funky bass.”

“Before recording an album we do a lot of pre-production. I’ll do everything myself at home on my multitrack, you know put down a bass part, guitar parts, organ parts. Just kinda create the grooves. I’ll work the arrangements out with Jim Gaines. There’s a lot that goes into putting the piece together and not get there (the studio) and waste time. Let’s get in there and knock it out. Cause Highs and Lows, I know it took the rhythm section 4 days to record the album. Once they’re done with their parts I’ll sit with Gaines and do my vocals and guitars. But, I’m always playing a rhythm track through the whole session and a lot of it we actually kept. I think one song we had two takes, other than that it was all one take because we were prepared for the arrangements. Just knock ‘em out.”

imagePlaying live is an important part of Blues music. The communion between artist and audience, the community building. Bernard is always thinking about his fans and keeping his music exciting and appealing. Leading his band more like a Jazz leader, Bernard keeps his music fresh and spontaneous as it moves from the recording studio to the live stage, not an easy task.

“We as a band, we pretty much mix ourselves on stage. Yeah we can record Highs and Lows, but a lot of those tracks are too short or some maybe too long. So what we try to do is show as much versatility as we can by choosing fan favorites verses trying to play the whole album down. I have so many songs and someone’s always howling let’s play this, I want to hear this, or this. Which you can’t just combine in a set. We’ll piece our ideas, our plan, together and there’s not a lot of stoppage. So there’s a lot of interluding or transpose right into the next tune which gives it almost a rollercoaster effect. You can start high but you can’t just drop the bottom out, the vibe can’t do it (chuckles). We’re very aware of what we can do and what makes our show more interesting. Where we need the power tunes, where we need the ballads, it’s actually a fun process for us because we love to do it.”

The pandemic was so hard on musicians and Bernard was no exception. But he was thoughtful about how he came back out onto the road.

“Once the pandemic lifted we chose not to go out right away. I chose to get Highs and Lows done and wait to come out to make our reappearance rather than rush out. Cause it was still not back to normal overseas or anywhere per se. But now, my first tour we were just shocked because we pretty much sold out every venue that we played.”

Bernard has stripped back his touring unit. He used to bring out a rhythm guitarist and horns. He is now traveling in a smaller more in tune quartet featuring George Moye on bass, Matthew Mwangi on drums and Eric Roberts keyboards. Bernard says:

“I can cover a lot of these parts. I’ve got the organ pedal, I can play organ, Eric can play piano or horn parts. It’s really cool, there’s always something goin’ on. You look and it’s like who did that? (laughing) All that sound coming from minimum people it’s pretty intense. You can fill up a lot of the holes.”

Bernard Allison is a real artist. Filtering all his influences through his inheritance of the Blues, Bernard makes music that is honest and true to his muses but also accessible and thoughtful of the community of people who have found joy and solace in his art. This balance is a tightrope act for many that Bernard makes look easy. But it is not. Bernard works hard and looks deeply into his music, he is confident and clear about what he does and open minded enough to be engaged with his music wherever it travels, whatever groove it lands on.

“What I try to do intentionally is not just play the 12 bar Blues. I grew up a little Rock, a lot of Funk, we try and label ourselves Groove, it’s all about the Groove for me.”

You can find Bernard Allison out on the road at: https://www.bernardallison.com/

Writer Bucky O’Hare is a slide guitarist, songwriter and singer. Based out of South Eastern Massachusetts, Bucky plays Slide Guitar Soul Jazz and Funk Blues inspired by the music of the 60’s and 70’s all around New England.




 Featured Blues Review – 1 of 10 

IMAGEPJ O’Brien – High Cost

https://pjobrienblues.com

Jefferson Records

9 songs, 42 minutes

Australians got the Blues. The down under is a thriving Blues hot bed and PJ O’Brien is one of the more pleasant and good time practitioners. O’Brien’s newest High Cost is a perfectly sized 9 song, just over 40 minutes, of Blues Rock. All original material that leans more accessibly to a more Pop side of Blues, O’Brien plays and sings with confidence and precision.

High Cost was recorded during the Covid lock down but it is no dour slog. Co-produced with drummer George Brugmans, O’Brien offers his own take on the hardships of the times through up beat chameleon-like runs through the styles of B.B. King, Chuck Berry, 70’s Soul Blues and even more modern influences. Drummers Dave Fester and Chris Nable share tracks with Brugmans. Bassists Al Britton, Mike Rix and Ray Beadle (who also adds some acoustic guitar) lock in. Danny Tsun, George Bibicos and Ray Woolftickle the ivories piano and organ. Jessie Wagner and Rachel McMullan sing backing support.

The relative deep bench of musicians doesn’t detract from the cohesiveness of the music. O’Brien has a pretty singular tenor singing voice and lyricism. The shades of James Taylor in his voice and his matter of fact plain spoken writing style lend themselves to Adult Contemporary Blues. Soul charged ballad “Silence is Golden” could be on a Bonnie Raitt record while title track “High Cost of Living” would easily fit into Keb Mo’s repertoire. Rockers like “Cash” with its direct Chuck Berry nod and “Devil You Know” bring the music into the roadhouse. Kitschy instrumental “Molly’s Kitchen” doesn’t really go anywhere but it is a tasty backing track for some sun kissed beach drinking.

PJ O’Brien is a great player. He has chops to spare and a clean delivery that is both vocal and fiery. Even when playing straight ahead signature riffs of the past, there is a personality and uniqueness that shines through. He plays with fluidity and has mastered the syncopated triplet stacking that allows a player to seemingly riff on forever without ever resolving the line. This record is fun and light, and a good through listen. It’s great stuff.

Writer Bucky O’Hare is a slide guitarist, songwriter and singer. Based out of South Eastern Massachusetts, Bucky plays Slide Guitar Soul Jazz and Funk Blues inspired by the music of the 60’s and 70’s all around New England.


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 Featured Blues Review – 2 of 10 

IMAGEJohn Németh and The Blue Dreamers – Live from the Fallout Shelter

Nola Blue Records

http://www.johnnemeth.com

13 tracks – 74 minutes

John Németh has been in the front of many awards in his twenty-year career. With this year’s Blues Blast Magazine Awards nominations, John is perched to add to his awards case. He is nominated in six categories in this year’s list. The nominations include Male Blues Artist, Harmonica Player of the Year, Vocalist of the Year, Blues Band of the Year, Traditional Blues album for May Be the Last Time and Live Blues Album Live from the Fallout Shelter. 

But John’s recent story runs deep starting with a debilitating case of infectious arthritis in 2019, which then spun into the pandemic shutdown, and finally a determination that he had a benign but aggressive tumor that would require amputation of his lower jaw . This led to the applicably named studio album May Be the Last Time, which referenced the possibility that he would be unable to sing following the surgery.

John then launched into a whirlwind final tour that was completed immediately prior to his scheduled surgery.  The final concert on that tour at The Fallout Shelter in Norwood, Massachusetts on April 16, 2022, was recorded for posterity with no idea what the future might bring. As might be expected, the concert reflects a high energy performance driven by the emotions from both John and his band. The band members consist of Jad Tariq and John Hay on guitar and harmony vocals, Matthew Wilson on drums, acoustic guitar and harmony vocals, and Max Kaplan on bass and harmony vocals.

The album opens with a bit of Caribbean flair, which quickly moves into a funky rhythm and leads into John singing he needs to “Sweep the Shack” “to get back to loving you.” He pulls out the harmonica on “Work for Love” which also features some laid back guitar solos. The concert shifts into a shuffle, “Come and Take It” which has a touch of John lee Hooker as he finishes with “boom, boom, boom.”

“Testify My Love” is a quiet acoustic slow blues with tight harmonies and a feel of a kickback to an old school R&B song. He picks up speed on “Elbows On the Wheel”, a slightly countrified song about a truck driver. “Chain Breaker” is another shuffle allowing for John’s harp to burst out among some strong guitar runs.

He questions his woman “do you feel the same about ” “Deprivin’ a Love” which allows John’s run on his harp and Matthew Wilson to provide a strong drum beat to drive the song.  Max Kaplan’s bass moves out in front to start “I Can See Your Love Light Shine” which has a ska-like rhythm running through it. The guitars let it rip on “My Baby’s Gone”.

“Feelin’ Freaky” starts very quietly with some solo guitar work which slowly builds up and then explodes with the drum kicking in and John’s vocals leading into some excellent harp and the guitars taking turns burning up the frets. John then tells everyone “Get Offa Dat Butt” in a steaming boogie demanding everyone to “Go ahead and dance, you know you want to.” and certainly delivers a rhythm that encourages you to start moving.  The blues rock “Country Boy” features slide guitar while John states he “left his country home to live in the fine lights of the city”.  The album closes with another boogie, Fountain of a Man” that lets the band let loose for a big finish.

John is a very pure soul vocalist with a constantly exciting harmonica and a strong band that delivers behind every note. A majority of his songs focus on love as can be easily seen with the song titles. And the good news is that a year after his surgery, John is now back out on the road performing again.

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.



 Featured Blues Review – 3 of 10 

IMAGEThe Nick Moss Band featuring Dennis Gruenling – Get Your Back into It!

Alligator Records ALCD 5013

www.nickmoss.com

14 songs – 52 minutes

The Nick Moss Band featuring Dennis Gruenling were at the pinnacle of the blues world prior to COVID, capturing band, song and album-of-the year honors in 2020, and they pick up exactly where they left off with this sensational CD. It’s a tidal wave of 14 intense originals that venture into new territory as they add their own, updated take on jump blues and swing to their usual mix of traditional Windy City stylings.

It should come as no surprise for fans of either of these larger-than-life characters and longtime friends. They’ve steadily found common ground after coming together officially in 2016. It’s truly a marriage of talent from opposite regions of the blues world. Guitarist and Chicago native Nick is the last student of Jimmy Rogers — one of the architects of the golden age of the city’s sound, while New Jersey native/harp player extraordinaire Dennis has made a career out of putting his own spin on music born in café society nightclubs in the ‘40s and ‘50s.

A meeting of the minds of instrumentalists who’ve both won BMA awards at their positions, their stage presence is an interesting mix of Moss’ powerful, but understated Midwest cool with Gruenling’s high-energy flash. Combine that talent with the rest of their lineup — Brazilian-born Rodrigo Mantovani, one of the most revered bass players in the world today; St. Louis-born Taylor Streiff, a star in his own right on keyboards; and the rock-solid Pierce Downer,  who just turned 21,  on percussion — and it’s impossible to find a better group anywhere.

Co-produced by Moss and Mantovani and recorded by Pete Galanis at Rancho de Rhythm in Elgin, Ill., with additional work at 3011 Studios and The Boiler Room in Chicago, this set also includes appearances by “Sax” Gordon Beadle and “Brother” John Kattke, who sits in on organ for one cut.

The heat’s on high for “The Bait in the Snare,” a rollicking jump number propelled by a stinging guitar run to open. It’s a smooth, lilting serving suggests it’s best to avoid trouble if you want to survive in this crazy world. “Aurelie,” a steady-driving blues, pays tribute to the nation of France and one of its finest femmes then gives way seamlessly to “Get Your Back into It,” which deals with love at first sight and encourages a lady into an immediate hook-up. It’s powered by standout mid-tune solos from Gruenling and Streiff.

Gruenling takes center stage on mic and reeds for the rousing jump, “Man on the Move,” which initially finds him fueled by coffee and with a full plate of chores but then describes the constant travels of a very busy musician. Listeners can catch their breath a little as Nick launches into the slow blues, “Living in Heartache,” a number that would have fit hand-and-glove into the setlist of Robert Nighthawk in the ‘60s, before Rodrigo and Taylor get space to shine in “It Shocks Me Out,” a stop-time number that also comes with classic blues appeal.

Kattke and Gordon join the lineup for “Out of the Woods,” adding a classic ‘40s jazz edge to a jump instrumental unlike anything Moss has recorded before. And his single-note mid-tune solo swings from the hip. It’s back to the oh-so-smooth blues for “Choose Wisely,” however, with Nick delivering more cautionary advice: You’re going to have to live with the consequences of bad decisions, so think before you decide. It gives way to “Your Bark Is Worse Than Your Bite,” a straight-ahead boogie delivered by Gruenling, before Moss is back in charge for “Losing Ground,” which states that it’s definitely better to be in a rocky romance than no romance at all.

Downer’s rock-solid rhumba beat drives the instrumental, “Bones’ Cantina,” steadily forward as Nick and Dennis pay tribute to a fallen friend before “Lonely Fool” serves up a brokenhearted lament about sleeping in an empty bed. “The Solution,” a deep-azure tip-of-the-hat to guitarist Jimmy Johnson, follows before Moss adopts a surf-guitar sound for the instrumental, “Scratch ‘n’ Sniff,” to close.

The Nick Moss Band has been on a steady trajectory into the heavens since joining the Alligator roster in 2018, and Get Your Back into It! is their best release yet. You’re going to wear this one out!

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.



 Featured Blues Review – 4 of 10 

IMAGEJeremiah Johnson – Hi-Fi Drive By

Ruf Records

www.jeremiahjohnsonband.com

10 Tracks, 42 minutes

http://wordpress.rufrecords.de/

With each new album, St. Louis-born blues rocker, Jeremiah Johnson just keeps getting better.  His 2018 album, Straitjacket, was nominated for Rock Blues Album of the Year by Blues Blast Magazine, as was his album Unemployed, Highly Annoyed.  His latest release, Hi-Fi Drive By has just earned a nomination for the same award, and it’s not difficult to understand why.  Paul Niehaus IV and Tom Maloney produced the album, and Paul Niehaus IV also played bass on the album.  In addition to Niehaus and Johnson, there are some other exceptional musicians on the album, including a guest appearance by Victor Wainwright on the fast-rocking opening number, and a guest appearance by Brandon Santini on a song about bad decisions in “Young and Blind”.

The excellent sound mix makes it easy to appreciate the quality of the vocals, with this being especially notable on “Ball and Chain”, which includes the fine backing vocals by Allie Vogler, Mattie Schell, and Emily Wallas.  And Johnson’s vocals on “The Squeeze” are so successfully emotive that one almost physically feels his pain.

Johnson also recruited a phenomenal horn section, using two saxophones, a trumpet and a trombone.  And surprisingly we hear strings added to the final track, which is a beautiful song about tolerance and unity.  “Brother to brother, sister to sister, woman and man.  One voice in harmony, united in faith, the circle, the band…cast away the hate and greed and join the band.”

One of the most memorable tracks on the album is “Skippin’ School,” a swinging number with clever lyrics about a man wanting to take the place of a woman’s unappreciative partner.  “I know you got a man, but that man, he’s a fool. While you were teaching class, that sucker’s skipping school.  I ain’t tryin’ to lie.  But don’t you forget.  I’m top of the class—honey, I’m the teacher’s pet.”

Johnson is an impressive guitar player, but equally as important, he seems to have a natural ability to perfectly place tasteful solos.  He seems to be at the top of his game with this album, and the recent nomination earned by Hi-Fi Drive By is certainly well-deserved.

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,” with all proceeds from sales going to the HART Fund.



 Featured Blues Review – 5 of 10 

imageDudley Taft – Guitar Kingdom

self release

www.dudleytaft.com

11 songs time – 49:40

Ok, welcome to air guitar heaven. Kids, get your cigarette lighters blazing for a master of arena rock-meets-blues-rock-meets-heavy metal as delivered by Cincinatti’s own guitar God Dudley Taft. I previously reviewed his “Simple Life” CD and he is still at it with the same energy and skill. His axe rages, save for a few moments of more mellow fare. His sound mainly harkens back to heavier bands from the 70s such as Montrose, Black Oak Arkansas, etc. He is backed by the usual bass, drums and keyboard. His guitar antics fly all over the place, but under control. He composed ten of the eleven songs.

For the most part his sound can best be classified as “Crunch Time”, as portrayed on the ode to kick-ass rockers, “Old School Rocking”. “Guitar Kingdom” carries the same sentiment. “Guitar’s a way of life, it’s where my spirit guides and it makes me feel alive”. His skill on guitar more than backs up his credo of the guitar. “Favorite Things” extends his list to cars and his girl.

The noisy “Get Stoned” is self-explanatory. The heavy riffing “I Want More (Wild Young Days)” has him longing for his past against screaming guitar notes. The last original song, “The Great Beyond” is an all-out guitar assault on the senses. He does a slow take on Tinsley Ellis’s “A Quitter Never Wins”.

Now for the softer side. “Still Burning” is, um…A slow burner. Andy Smith lays down an organ cushion under Dudley’s melodic guitaring and yearning vocals. “Darkest Night” is slow with melodic acoustic guitar for a change of pace.

Guitar freaks and plain old music fans will get their fill of this self-produced, energy blast tempered by a few softer moments. Dudley’s mannered, gruff vocals fit perfectly throughout this project. He has enlisted a sturdy cast of musicians for the foundation to his axe excursions. Clearly his lyrics weren’t an afterthought. Not overly deep, but thoughtful. He breathes new life into guitar-rock.

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



 Featured Blues Review – 6 of 10 

imageThe Flying Burrito Brothers – Live At The Bottom Line NYC 1976

Liberation Hall

www.liberationhall.com

14 Tracks – 49 minutes

By the time of this recording, the Flying Burrito Brothers had undergone numerous line-up changes including Gram Parsons, who had since passed away under mysterious circumstances, Pedal steel guitarist “Sneaky Pete” Kleinow was the only remaining member of a group that arguably was at the forefront of the country-rock explosion, although the band never achieved the same level of fame as the Byrds, the Eagles, and Commander Cody & the Lost Planet Airmen.

Over the years, the Burrito Brothers built a fan-base for their high energy live shows, as witnessed by this exciting set by a reconstituted line-up that included Kleinow, Skip Battin on bass, Joel Scott Hill on guitar, Gene Parsons (no relation to Gram) on drums, and Gil Guilbeau on guitar and fiddle. Parsons and Battin were former members of the Byrds while Hill had served a stint with Canned Heat. Each member of the band contributes on vocals.

Kicking things off with a brief, rowdy version of the instrumental “Hot Burrito Stomp,” the band rolls through a selection of beer-drinking music mixed with several romantic ballads. The next selection, “Hot Burrito #2” from the band’s The Gilded Palace of Sin debut album, offers a taste of their harmony vocalizing as Parsons lays down a sturdy beat. The song “Quiet Man” is introduced as disco reggae, with Battin establishing a jaunty pace with his thick bass lines. The vocal drops out at the start, but quickly recovers on a song that preaches, “…don’t pin your blues on me…”. Overall, the sound quality is acceptable for a concert recording, with a few brief sound dropouts sprinkled throughout

The classic tune “Dim Lights, Thick Smoke” puts the audience in the middle of a honky tonk as Guilbeau channels his Cajun heritage through his fiddle. Even better is rousing version of “Diggy Diggy Lo,” originally a hit for Rusty & Doug, that featured Cajun superstar Doug Kershaw on the fiddle. The Burritos version finds Kleinow and Guilbeau trading inspired solos, making the track a standout. “Border Town” is a tear-in-your-beer ballad about lost love, down south of the border. Once again, the combination of Guilbeau’s fiddle and Kleinow’s steel guitar add several layers of emotional resonance to the performance.

Other highlights include a feature for Guilbaeu on his original “Toe Tappin’ Music,” perfectly summed up by the title. Their cover of a Leadbelly tune, “Take A Whiff On Me,” also covered by the Byrds, takes listeners back to a time when cocaine was legal, with a call for “blues time” announcing the fine, drawn-out ending. “Close Up The Honky Tonks” was originally recorded by Buck Owens & The Buckaroos. It is plea for help from a man who has lost his woman to the allure of music and beer.

The final three tracks showcase the Burritos at their best. They tear through “Truck Drivin’ Man,” the requisite trucker song. Kleinow and Guilbeau fashion fiery solos around more fine vocal harmonizing. The energy level gets stoked even higher on “Six Days On The Road,” with Hill ripping off a taut guitar foray before the rest of the band joins the fun. They finish things off with a incendiary run-through of ‘Orange Blossom Special,” the band’s collective instrumental talents on full display, to the delight of the big city audience.

The intersection between country and rock music has  been fertile ground for artists for decades. And the blues is always lurking whenever they meet, being a cornerstone for both. This version of the Flying Burrito Brothers was adept at mixing elements of all three forms of music, ending up with what was then a hybrid brew that still sounds relevant today. Fans of country-rock will definitely want to check out this album of a fine band having lots of fun in front of a live audience.

Blues Blast Magazine Senior writer Mark Thompson lives in Florida, where he is enjoying the sun and retirement. He is the past President of the Board of Directors for the Suncoast Blues Society and a former member of the Board of Directors for the Blues Foundation. Music has been a huge part of his life for the past fifty years – just ask his wife!



 Featured Blues Review – 7 of 10 

imageLightnin’ Malcolm – Eye of the Storm

Whiskey Bayou Records

www.lightninmalcolm.com

11 Tracks, 50 minutes

Blues fans who frequent Clarksdale, Mississippi are likely already familiar with the raw stomp music performed by Lightnin’ Malcolm.  He has played with RL Burnside, T Model Ford, and Cedric Burnside, just to name a few, and was briefly with the North Mississippi Allstars, although he is most often heard as a powerful one-man-band.  Malcolm’s latest release, “Eye of the Storm”, (which is produced by Tab Benoit and released on Whiskey Bayou Records), is sure to increase his popularity with those less familiar with hill country blues. Some excellent musicians join him, including Brady Blade and Tab Benoit both on drums, and Tony Hall (from Dumpstaphunk) on bass.  This gives his performance a slightly fuller sound, although still somewhat minimalistic, as the genre tends to be.

Nine of the tracks offer variations on the hypnotic traditional hill country sound, while “Too Many Nights” interestingly seems to have been influenced by country music.  The one drastically different song on the album is the title track.  “Eye of the Storm” is the most melodic track and stands out as being a slow, sweet number that could have easily been an old school R&B song.

Benoit records his artists playing live, with little to no chance to go back and correct any errors.  Therefore, none of the artists on the Whiskey Bayou label ever sound over-produced.  That technique can probably best be heard in the final track on the album, “Let’s Get Together”.  When you have a song that is basically about hitting on women, that also includes spoken-word sections, it could have easily ended up disastrous.  However, this song makes the listeners feel as if they are right there in studio, witnessing Malcolm ad lib.  At one point you can even hear band members laughing faintly in the background, as they were evidently surprised at Malcolm’s spontaneous lyrics.  The overall effect ends up being actually quite charming.

Of course, there will be some people who are simply not huge hill country blues fans, as some may find what is often a pounding, hypnotic beat too repetitive.  But fans of the genre will surely want to add this album to their collection.  You really can’t go wrong with Benoit’s approach to production and the excellent musicianship of Malcolm and the guest artists.

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,” with all proceeds from sales going to the HART Fund.



 Featured Blues Review – 8 of 10 

imageD.K. Harrell – The Right Man

Little Village Foundation LVF 1055

www.dkblues.com

11 songs – 49 minutes

The fastest rising talent in the blues today, D.K. Harrell exploded out of the ether two years ago, going from a youngster who drew his inspiration as a musician from YouTube videos to sharing the stage with Bobby Rush, Gary Clark Jr., Mr. Sipp and Susan Tedeschi and Derek Trucks. Listen to a few notes on this debut CD and you’ll understand beyond a doubt that he belongs in that lofty stratosphere. It’s simply…just…that…GOOD!

Now 25 and someone who grew up an only child in tiny Ruston, La., as a self-admitted loner, D.K. began life singing in the church choir and picked up harmonica at age eight after falling in love with the blues. Eventually switching to guitar, he pored over YouTube videos throughout his youth, not only building an encyclopedic knowledge about the music and teaching himself how to play like his heroes but also learning skills about band leadership and an understanding about how to relate to an audience, too.

The third-place winner in the 2022 International Blues Challenge, Harrell plays and sings in a style reminiscent of B.B. King but one that’s unmistakably all his own. He displays the confidence and skill of a man twice his age here. A collection of 11 originals imbued with strong grooves, mature lyrics and personality that mirror D.K.’s plus-sized frame, it was produced by Kid Andersen at Graceland Studios in California with the usual all-star lineup of backing musicians that Little Village Foundation’s released have come to be known for.

The roster includes Kid on rhythm guitar and a trio of Grammy winners — LVF founder Jim Pugh, Jerry Jemmott and Tony Coleman – on keys, bass and percussion. Neil Levonius and John Halbleib (trumpets), Mike Rinta (trombone) and Mike Peloquin, Aaron Lington and Stephen “Doc” Kupka (saxes) compose a six-piece horn section. They’re augmented by Jon Otis on congas, Don Dally on strings and backing vocals from Tia Carroll, Lisa Leuschner Andersen, Quique Gomez and Alabama Mike.

D.K.’s stinging, single-note guitar run hits like a hurricane after a brief horn flourish to open “The Right Man.” Like his six-string attack, his rich tenor swings like a pendulum as he announces to his lady: “I know you’re gonna cry when I leave this broken home…and keep asking yourself: ‘Why did I wrong the right man?’” As the basis of this tune alone, Harrell already establishes himself as part of the forefront of the blues, and he doesn’t disappoint on the 12 numbers that follow.

The mood brightens and cooks from the bottom up with “You’re a Queen,” which sings praises of every lady who carries herself in a royal manner, displaying all she can be without need for makeup, wigs or whatever. The ballad “Get These Blues Out of Me” follows with D.K. describing sitting at his desk and thinking about his upcoming gig both nervous and excited and knowing he’s either going to “sing about my sorrows or I may sing about my new fling” while guaranteeing he’ll sing until he’s hoarse and play with all his force as he frees himself of the turmoil that rages inside him.

The funk and heat for “You’d Be Amazed,” which stresses the need to do your homework and be true to yourself if you want to succeed at anything before Harrell looks forward to breaking a few hearts and making a few starts in the medium-paced shuffle, “While I’m Young.” A fat bass run from Jemmott opens the percussive “Not Here for a Long Time,” a tune that’s delivered in two parts, bookending the deep blues, “Hello Trouble.” The set-up states that D.K.’s only in town for a heartbeat, a good time and a show while the middle number describes “trouble” as accompanied by a smile and short dress and fleeting at best. The reprise serves as an extended jam that allows space for all the principals to shine.

“Honey Ain’t So Sweet,” an unhurried take on unrequited love, “Leave It at the Door,” advice to party instead of obsessing about past troubles, and the minor-key pleaser, “One for the Road,” bring the disc to a pleasant close.

Run — don’t walk — to pick up this one. A new star is born!

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.



 Featured Blues Review – 9 of 10 

imageBrother Ray Lemelin – Dark/Out of Phase

Self-release

www.brotherraylemelin.com

11 songs – 65 minutes

Brother Ray Lemelin is an Alberta musician, born and raised in the Eastern townships of Quebec. He has played with or worked with a veritable roster of great blues musicians over many years, including Clarence “Gatemouth” Brown, Lowell Fulson, and Fenton Robinson.  His latest release, Dark/Out of Phase, is an almost-all-acoustic offering, featuring five self-penned tracks, and impressively intriguing interpretations of some classic material from the likes of Muddy Waters, Jimmie Rodgers, and Bill Withers.

Lemelin sings in a gloriously weary but assertive style and plays guitar. He is ably backed by some subtle and intelligent playing from Bob Richardson on bass and backing vocals, Howard Schmenge Carter on accordion and backing vocals and Tim Williams on mando cello, mandolin, electric slide guitar and banjo.

The opening track is Jimmie Rodgers’s “Any Ol’ Time”, which lazily but enticingly slopes off with Lemelin successfully channeling a vocal style from 60 or 70 years ago and some lovely slide guitar from Williams. It is immediately apparent that this is an album to pay close attention to.  “Any Ol’ Time” is followed by an even slower track, Ray Bonneville’s “Gust Of Wind”. Lemelin’s original, “Little Boy”, features some lovely banjo playing from Williams, while Carter’s accordion again provides delicate support.

This is not an album with any fast-paced, or even mid-paced numbers. But it is deep, alluring and has a very distinctive world view. It’s also a relaxed album: the shortest song is over four minutes’ long and four of the songs last longer than seven minutes. Bill Withers’s “Grandma’s Hands” eschews the funky elements of the original, focussing instead on the the deep blues heartbeat underlying the song, with superb accordion from Carter and another top notch slide solo from Williams.  The instrumental,  “Los Hombres Del Norte”, brings Carter’s accordion to the forefront, while the frankly lyrically bleak “Out Of Phase” is redeemed by some fine finger picked guitar and more excellent accordion.

The Latin-tinged “Best Of Friends” benefits from an infectious rhythm, but it’s nothing compared to the dismembering of Muddy’s “You Gonna Take Sick and Die Some of These Days”, which has an airiness and brooding quality of despair that has to be heard to be believed.

The album ends with three self-penned songs, “Really Isn’t Just About Me” with some fine stop-start bass from Richardson and a fascinating Rap verse,  the instrumental “Late Night Rendezvous”, which sounds like something one would hear in a Paris boulevard late on a Saturday night, and “Ain’t No Use In Worryin'” (with a neat guitar solo).

Recorded at Slaughter House Studio, in Calgery, Alberta, Dark/Out Of Phase was produced by Lemelin, recorded by Mike Fournier, and mixed by Lemelin and Williams. Together, they capture a great sound.

Dark/Out Of Phase is a beguiling album, with plenty to engage a discerning ear. Warmly recommended.

Reviewer Rhys “Lightnin'” Williams plays guitar in a blues band based in Cambridge, England. He also has a day gig as a lawyer.



 Featured Blues Review – 10 of 10 

imageMose Allison – Live 1978

Liberation Hall

LP Release

Side A – 7 tracks/19:05

Side B – 6 Tracks/20:17

Mose Allison was indeed a unique artist. Growing up in rural Mississippi, his original songs were steeped in the blues music he heard in his early years. Once he made to New York City in 1956, he was playing piano with jazz saxophone legends like Stan Getz and Zoot Sims. His intricate piano work pushed the limits of the standard blues fare, yet jazz fans often dismissed his work as too simple and too “country”. Allison’s laid-back vocal style allowed him to bring plenty of southern charm and insights to his often humorous examinations of life.

Blues fans certainly will recognize a number of Allison’s songs. Bonnie Raitt did a exemplary rendition of “Everybody’s Cryin’ Mercy,” while the Who made “Young Man Blues” a feature of their live shows. One of his best known classics, “Parchman Farm,” borrowed the title from a Bukka White song, relating Allison’s thoughts on existence at the infamous Mississippi prison farm. The Yardbirds, with Jeff Beck on guitar, were the first to record a cover of “I’m Not Talking”.

According to the brief liner notes included on this Record Store Day vinyl release , Allison only recorded one album from 1973 through 1981, making this album a rare glimpse of his artistry at that point in his career. Backed by Tom Rutley on upright bass and Jerry Granelli on drums, Allison delvers an inspired performance over six of his originals and seven covers. He gives Percy Mayfield’s “Lost Mind” a jaunty run-through with Rutley’s bass featured prominently in the mix. “Wildman On The Loose” is a fast-paced ode to grabbing all the gusto you can, complete with Allison’s fleet-fingered piano work. Next, he unveils a witty tribute to the female form on “Your Molecular Structure,” again with intricate piano playing over a solid rhythmic foundation.

The audience at the Showboat Lounge in Silver Springs, Maryland undoubtedly enjoyed two more originals, with “It Feels So Good” rolling along on Rutley’s impressive bass groove while “Swingin’ Machine” is rapid-fire, swinging affair with the trio delivering some exciting instrumental interplay. The group digs into two Willie Dixon songs, starting with “I Live The Life I Love,” which gets a spirited take complete with cascading piano runs from the leader. The classic “Seventh Son,” first recorded by Willie Mabon, finds Allison demonstrating the extent of his impressive piano skills, as Granelli pushes him along every step of the way.

Listed as an Allison composition, “Wild Man” is actually a cover that finds Allison having fun with the increasingly boastful lyrics, the opposite of his reserved nature offstage. Both members of the rhythm team get a turn in the spotlight, a moment of glory both take full advantage of, then Allison brings the song home with some inspired keyboard playing. Delving into the point where blues and country intersect, Allison covers the Hank Williams classic ‘Hey Good Lookin’,” taking the song uptown for a spin in the bright lights culminating in a swirling piano interlude that is a definite highlight.

On “If You’re Goin’ Up To The City,” Allison offers some advice that may have sprung from personal experiences, warnings for those making the move north as he did. The ending slows into a decided blues vein, with two final pieces of hard-spun wisdom. The closing tune is another top flight Allison composition, “Your Mind Is On Vacation,” which remains as relevant today as it was when it was written. This version has a harder edge than the original, perhaps because Allison was already realizing how prophetic his lyrics were. The trio really dig in between the verses, then Allison ends the proceedings with one final emphatic declaration.

The sound quality is what you might expect for a live recording in this era. The notes do not provide information of the source of the material. The high end is lacking, especially when it comes to Granelli’s cymbals. The piano tones come through loud and clear, as does Allison’s vocals. It is a noteworthy addition to the Mose Allison discography, certainly a fine starting point for anyone who has yet to discover this under-appreciated artist.

Blues Blast Magazine Senior writer Mark Thompson lives in Florida, where he is enjoying the sun and retirement. He is the past President of the Board of Directors for the Suncoast Blues Society and a former member of the Board of Directors for the Blues Foundation. Music has been a huge part of his life for the past fifty years – just ask his wife!




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