Cover photo © 2024 Arnie Goodman

 In This Issue 

Rev. Billy C. Wirtz has our feature interview with Coco Montoya. We have six Blues reviews for you this week including new music from Chris O’Leary, Franck L. Goldwasser, Foghat, Doug Duffey and Badd, Sue Foley and Wayne Nicholson. Our Video of the Week is Tom Holland & The Shuffle Kings. Scroll down and check it out!

Chris O’Leary – The Hard Line

Alligator Records – 2024

https://thechrisolearyband.net/

12 tracks; 52 minutes

Howling, wailing, fast shuffling harmonica gives Chris O’Leary’s 6th solo album, The Hard Line (2024) a distinctive flavor. From the onset, with the first saucy track, “No Rest”, O’Leary demonstrates his chops as a blues harp virtuoso and masterful storyteller. Throughout the album, O’Leary’s gritty, funky sound pours through.

O’Leary’s harp style is clearly an amalgamation of influences; Charlie Musselwhite’s gritty and rough approach, the diverse, dynamic, electric sound of James Cotton, the thick and haunting distorted sound of Little Walter, and the upbeat shuffling harp of Paul Butterfield. Cotton was an idol and transformative influence who O’Leary would later go on to play with.

In the best track on the album, “I Cry at Night”, O’Leary shows a vulnerable side, crooning “I cry at night so no one sees my tears” amidst a torrent of electric guitar progressions and an eerie organ (Jeremy Baum) backdrop. The guitar work is commanding and enthralling in a tragic, wounded flow, with precision and emotion.

Several tracks on the album showcase excellent storytelling of the gritty and sordid kind, likely stemming from O’Leary’s background as a former Marine and federal police officer. “Thing’s Ain’t Always What They Seem” contrasts an upbeat, high tempo instrumentation with a low down tale of a femme fatale that grew up on the streets with “eyes as black as midnight”. The grooves are undeniably catchy and the seedy tale sticks in the mind. (No spoilers).

Among O’Leary’s various blues on display, he moans about insomnia, love, guilt, divorce, New Orleans, and robbery.

The guitarwork on the album is versatile and robust. On the first track, O’Leary and Chris Vitarello deliver a strong, electric presence with excellent solos in the style of Stevie Ray Vaughan. “Ain’t That A Crime” boasts steady guitar with wailing harmonica as O’Leary sings about a broken heart. The rhythm is hypnotic and passion pours through in the slow burning song.

The production of the album, done by O’Leary himself, is smooth and polished. Most of the tracks were recorded in Cupola Studios by Dan Vitarello, who plays drums throughout the album, and Alligator Records is releasing the project.

One of the strengths of the release is its eclecticism. From slow-burners, to ballads, to New Orleans grooves, to high tempo jams, the album meanders through the canon of the blues. The blues harp and O’Leary’s storytelling are the constants.

“Lost My Mind”, the second track, merits special attention. Boogie-woogie guitar presents the backdrop as O’Leary belts out about losing his mind (due to a woman, according to blues tradition). The real treat in this track, however, is the powerful harmonica– a grooving, sliding, slick tour de force.

The horn sections, featured on four songs, offer fresh sounds. Andy Stahl on tenor sax and Ron Knittle on baritone sax prove to be quite capable.

Two tracks, “Need for Speed” and “Funky Little Club on Decatur” are highly danceable. Ragtime piano in the vein of Scott Joplin dominates “Need for Speed”, accompanied by swinging electric harmonica. Brooks Milgate has an absolute performance on the piano with dazzling, frantic, high tempo playing. It’s a good rocking tune reminiscent of Ry Cooder’s upbeat blues tune “Speedo”.

“Funky LIttle Club on Decatur” sounds like a New Orleans party— jubilant, get down, clown around music. Snappy horns slide as O’Leary sings “gotta let the good time roll.” The song was inspired by a club owned by Levon Helm in NOLA. O’Leary toured with Helm’s Barnburners for 7 years and has said New Orleans is one of his favorite places on earth.

Make no mistake, The Hard Line is filled with mournful ballads, high tempo rockers, and brilliant storytelling, all of which make it a must listen, and one of the most exciting blues albums to be released in 2024.

Writer Jack Austin, also known by his radio DJ name, Electric Chicken (y Pollo Electrico en Espanol), is a vinyl collector, music journalist, and musician originally from Pittsburgh.

Franck L. Goldwasser – Who Needs This Mess?

Crosscut Records – 2023

www.bluesisgold.com

15 Tracks; 57 minutes

Franck L. Goldwasser may not be a well-known name, but he has been acknowledged by many as a master of the guitar ever since he moved to the U.S. from France over 40 years ago.  He has regularly worked with such legends as Lowell Fulson, Percy Mayfield, Sonny Rhodes, Pee Wee Crayton, Sunnyland Slim, James Harman, Elvin Bishop, and many more.  Some of the most respected blues musicians are eager to collaborate with him. For example, guests on his first album included Jim Pugh and Risk Estrin, his second album was produced by Joe Louis Walker, he and Alastair Greene recorded a joint album, and he has recorded with Kid Andersen.

Goldwasser’s latest album, Who Needs this Mess? contains fourteen songs written or co-written by Goldwasser, and one cover of a Bobby Robinson/Elmore James song.  And, like his past albums, it includes an impressive array of guest artist friends.  The tracks show a diversity of tempos and influences, with several of the songs containing a seemingly hill-country-inspired rhythm.  And, throughout each, Goldwasser’s brilliant guitar technique can be heard.

Who Needs this Mess? opens with a shuffle and then leads into the brutally honest non-love song, “I Don’t Want Your Love, I Just Want Your Lovin’”. Guest artist, R.J. Mischo, joins Goldwasser with chromatic harp on the third track, an excellent instrumental number.  And the lyrics of “Had a Dream Last Night” are amusing and quite clever, noting “Had a dream last night—Donald Trump got kicked out of the NRA.  Kanye West said, ‘Don—don’t worry.  You’ll always have a place to stay’.  And they ran Ben Carson out of the KKK.”

The true stand-out track on this album is the title track, which includes contributions from Charlie Musselwhite on harmonica, Jim Pugh on Keyboards, Kir Fletcher joining Goldwasser for dual guitars, and Sugaray Rayford’s amazing vocals.  The lyrics note, “Life is too complicated in these modern times.  Anyone who says different has got to be blind, or they’re lyin’!  That’s how they get you.  That’s how they trap you in the net.  You’ll be making payments until you’re laid to rest…I’m gonna buy me a big screen TV.  Put it on my credit card.  For all these things I own, I’ve got to work so goddamn hard!   Who needs this mess?”   An additional highlight of this album is the classic slow blues cover that is the final track.

There are very few weaknesses to the album.  The track, “Monkey Junk” seems a bit odd and possibly out of place on the album and, while Goldwasser is a solid vocalist, he is not an exceptionally powerful singer.  However, overall, this work demonstrates excellent musicianship, clever lyrics and wonderful collaborations and would be a welcome addition to your collection.

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.

Foghat – Sonic Mojo

Foghat Records

https://foghat.com/

12 tracks/43 minutes

2023 was the 53nd year of Foghat and this November release features the band in superb form.  This is in their vintage rock style with some blues and rocking bluesy stuff, the kind of sound Foghat was famous for. The album pays tribute to Kim Simmonds of Savoy Brown who died just over a year ago. He’d written some songs with the band, and they are featured here along with some classic blues cuts and their own originals.

Foghat now consists of Roger Earl on the drums, Bryan Bassett on lead and slide guitar (also played with Molly Hatchet and Wild Cherry), and bassist Rodney O’Quinn (from the Pat Travers Band). Scott Holt is the newset guy on the block, a member of their side project band Earl & the Agitators for 8 years, on vocals and guitar; he’s worked with Buddy Guy.

Starting us off is one of Simmonds’ co-authored songs, “She’s A Little Bit of Everything.” This one is a driving rocker with howling vocals and big, ringing guitar. One can close their eyes and be transported back to their earlier stuff and sound, truly some cool stuff that hearkens back to their early days and to Savoy Brown. “I Don’t Appreciate You” is an original that could be today or from the 1970s.  Bouncing rock with a driving beat and more big, bold guitar licks.

“Mean Woman Blues” follows, a song written for Elvis and his 1957 film Loving You. It was also covered in 1963 by Roy Orbison and is a staple cover for many rock and blues bands. Foghat delivers it in their signature sound and style with ample guitar licks to savor. Next is another cool Simmonds’ tune entitled “Drivin’ On.” Guitars and drum rim shots provide the groove for the song for about a minute and half and then all hell breaks loose with a big, guitar solo and the band fleshes whings out fully.

Willie Dixon’s “Let Me Love You Baby” was first recorded by Buddy Guy in 1961 and gets a rocking rendition here. Guitar licks abound and get traded back and forth as the band lets loose. Things then slow down for Howlin’ Wolf’s “How Many More Years.” More ample guitar soloing and support are featured here.

Rodney Crowell’s “Song For The Life” is next, a big change of pace. Originally recorded by Seldom Seen, a blue grass band, Crowell later recorded it, and then Allan Jackson has a top ten hit with it in 1995. This version is more rock and is done with some cool slide. The original tune “Wish I’d Been There” follows, another slower, midtempo piece with even more slide and a true country vibe. The pedal steel and slide are up front as the band pays tribute lyrically to Hank Williams.

Simmonds’ “Time Slips Away” is up next, a softer, rock ballad with big, ringing guitar. They then grind out “Black Days & Blue Nights,” a hard, rocking piece. Growling vocals, heavy guitar licks and a big, rocking sound are what this song is all about.

B.B. Kings “She’s Dynamite” is up next and is given a full rock cover. They offer some restraint as they rock out; it’s certainly not the old B.B. version (which was very much in the style of Louis Jordan with swinging guitar, sax and piano), but this one’s also well done. The album concludes with “Promised Land,” a jumping cover of Chuck Berry’s hit. Done in a more rockabilly style, Foghat finishes off with a cool rendition and caps off a fun album of great stuff.

A half dozen originals and a half dozen super covers give an enjoyable listen as this version of the band pays tribute to Kim Simmonds and delivers some fantastic music in the Foghat style. I was not sure what to expect but I was not disappointed. I gave this many a listen and I and sure I’ll be giving it many more spins- well done!

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.

This video is Tom Holland & The Shuffle Kings performing “Long Road to Tomorrow” Live on WNIJ. (Click image to watch!)

Tom & the Shuffle Kings are performing at the Winter Blues Fest in Des Moines, IA  on Saturday, February 10th, 2024.

For tickets and info on this great Blues event visit https://cibs.org or click on their ad in this issue!

Drummer turned guitarist, Henry “Coco” Montoya, was born in 1951 in Santa Monica, to parents of Mexican heritage.  He immersed himself in his parents’ record collection at an early age, and first started playing drums at age eleven, obtaining a guitar two years later.

“My parents separated when I was very young, and my mom worked as a waitress and in a factory. My dad would come by to visit but mom had to work two jobs to keep us going.  I grew up in West Los Angeles till about third grade and then we moved to Mar Vista California down by Venice.”

Coco’s mother listened to a wide variety of both American and Mexican first artists and the first concert he went to, was to see the legendary “God of Ranchera “Miguel Aceves Mejia. Mejia recorded an album called “The Man from Mexico.”

“I couldn’t understand a word he was saying but I felt this incredible soul from this man’s voice. My mom took me to see him, and I loved the feeling and the music, it was amazing. I’ve never forgotten it.  Then I heard La Bamba by Richie Valens. I loved that guitar intro, and I still do. That was the first record that made me want to emulate somebody like that.”

Coco admits that music became an eight-cylinder engine that drove him past a long list of obstacles and “no thank yous” in his early years. Athletics and sports were only two of the activities he couldn’t care less about.  All that mattered to him was music.

“I was a very insecure kid. If you critiqued or criticized me, I would just quit. Music was the only thing where I would not let anyone defeat me. That’s why I never took lessons, I was too sensitive to take them as criticism. I was the weird kid that stayed in the garage trying to play his drums and driving the neighborhood crazy. The same with guitar, it was my brother’s. I just picked it up and noodled around on it when I could. My first band happened when I was around fifteen. We played ‘Gloria’ and ‘Dirty Water’, and ‘Baby Please Don’t Go’. We actually got halfway proficient, and I was all over the place.”

For the young man with a music addiction, Los Angeles was paradise, with early R&B groups like Thee Midnighters playing almost every weekend. Thee Midnighters featured the incredible voice of Little Willie G, a huge influence on Los Lobos and other later groups.

“I opened for them at a park in Inglewood and I was just in awe. I could not believe how great they were. They were so, so good and they were nice to us, real encouraging.”

He continued to play, soaking in the sounds and style of everybody from R&B pioneer Johnny Otis, to Cream, to the Doors, and then one fateful night he went to see Iron Butterfly with Credence Clearwater Revival and in the middle of them was a blues singer named Albert King.

“I had no idea who this man with the patent leather shoes, and sharp suit was. How come he’s not reeking of Patchouli oil like me and everyone else there? When he got done, my whole life had changed. I couldn’t care less about CCR and-or Inna Gadda Da Vida.   I was totally into this man who had just played something that affected me emotionally. That was magic. We all know there are other attractions, girls, notoriety, prestige, all that, but when came down to the music all I cared about was that it affects me emotionally.  I started buying all the British blues records. I became obsessed with Eric Clapton, Peter Green, and Mick Taylor. Eric would say in his interviews, ‘I did not invent this, go look in your own backyard!!’ So, I got Livewire Blues Power (an all-instrumental album by Albert King containing some of the best blues guitar playing in history). I played it over and over and wore it out. Then I found Live at the Regal by BB King and wore that out. The British blues guys steered me back to America, and I love them for it.”

“So, I was playing drums in a band at a joint in Culver City and playing Top 40 for a mostly Mexican crowd playing ‘Evil Ways’ and lots of Santana. Apparently, the club owner had met the legendary blues guitarist Albert Collins, was blown away by him, and talked him into doing a Sunday matinee kind of thing. Meantime, all my gear was there. I had not packed up my drums. When I got there, all my drums had been moved around and I wasn’t really happy about that. The club owner and I got into an argument, but Albert was there and said he would get some other drums.  He was so nice, and I felt bad and ok’d it. Albert asked me to sit in and I was by no means any kind of a blues drummer with any real blues knowledge, just the English stuff. He took my number down and I never thought any more about it.”

“Several months went by and he called me up. My mom said there was a guy named Albert Collins wanting to talk to me on the phone. I was in the backyard with some buddies trying to figure out what to do today and here’s Albert.  Albert asked, ‘I need a drummer, are you available? You know I’m going up to Oregon in the Northwest and all the way up to Canada.’  I said, ‘Well sure,’ which was unusual for me because I never had a confidence level that would just say ‘Yeah, I’ll take the gig’, I would shy away from it. Anyway, I said yes figuring there would be a couple of weeks of rehearsals or something. Albert said, ‘I’ll pick you up in about three hours.’  I stayed with him until ’75 or ’76. I was just so enthralled with his music and every night we played it was a new deal because I wasn’t playing “Evil Ways” or “Born on the Bayou.” I was playing this guys’ own music. I was at an entirely different level.”

“The first day I was with him we were packing my drums, and they had a bass player that knew me from the clubs. He saw me and said, ‘Oh no, you got Montoya.  He can’t play!’  Albert said, ‘Mind your own business Tommy, and shut your mouth.’ He looked at me and said, ‘don’t worry we are going to be fine, I called you for a reason.’  I was pretty hurt but one of the first lessons he taught me at the age of twenty-one was to persevere. That was a big, big message.”

Collins would serve as both a mentor and a guide to the world of national blues musicians.

The former top forty drummer found himself in the company of artists like John Lee Hooker. They were at a festival at Six Stadium in Seattle and unlike Tommy the bass player, Hooker loved Coco’s playing, teasing Albert and saying, “That drummer, he’s a burner, I’m gonna take him from you!”

“Kim Wilson was on that gig and we were just like two kids going to Disneyland.”

During that time, the self-conscious young man who feared criticism continued to learn and grow by keeping company with the legends. He would sneak Big Joe Turner drinks and run around with Pee Wee Crayton. Players like Collins and Pee Wee were also self-taught and anything you picked up off of them came from being allowed to watch them close-up if they deemed you worthy of their attention. For years it was “Living the Dream” but by the eighties the constant touring had taken its toll upon the Man from Montoya, and he needed a break.

“I virtually got out of the music business. I tried doing a Top 40 thing again, but I just didn’t have the technical ability. I did not have the formal training to even find a way to learn how to do that. I had reached a place where playing drums I was not getting any better.  I became a weekend warrior. It was nice to have a regular paycheck and enjoyed the freedom. I saved some money, bought a Super Reverb, a Gibson Explorer Copy and would just go to jam sessions. I went to a great session in Hollywood run by Keith Robertson who used to roadie for all the English bands, Eric Burdon, Phil Collins and all the great guys used to come in and play. That’s how I met John Mayall. I helped move a Yamaha CP70 piano into his house. Later, I went to that jam session, and he showed up and heard my version of an Otis Rush tune and when Mick Taylor left to join Bob Dylans’ band He got ahold of me. He called and I thought it was a joke, but he said, no, no this is a job. I went and auditioned, and he asked if I wanted to join the band. I figured If I lasted a month, I could always say I played in the same band as Eric Clapton, I mean Mayall was my hero it was like being asked to join the Beatles. I ended up staying ten years. I had a second career as the result of a phone call.”

“It was exciting and amazing but there was the whole other side I wasn’t prepared for. There was Walter Trout on one side of the stage and me on the other, dealing with egos learning to just make music together. John did some great things for me; he called me on the carpet. I was trying to emulate all those great guitar players, and I had become a parrot.”

“So, John sat me down and said, ‘I need you to be that guitar player I hired from the club in L.A. You’re trying to be Eric, or Peter Green or Mick Taylor. I need you to start playing like Coco Montoya.’ It freed me up and opened everything to me. I stayed with him for ten years until things began to get a little stale and I left John not knowing what I was going to do.”

By the early nineties, his time had come to sink or swim as a bandleader. Three lessons learned from Albert and John would prove invaluable.  Lesson Number One was an easy one. Sobriety would be necessary for survival and success. Coco began to follow the path in late 1992 and has stayed on it ever since.

Lesson Number Two: This lesson began the day he was hired by Albert Collins. Collins instilled in the young protégé the need to persevere. Never give up. Always persevere. Perseverance proved to be the number one key to success for Mr. Montoya.

Lesson Number Three: Finding a sound that was unique. Coco’s favorite story on the subject goes to Albert who used to tell this one:

“I was in record store when ‘Frosty’ (a Collins song) came on the in-store stereo. This guy standing next to me, says ‘Man. That’s Albert Collins. I can’t stand the way he plays.!!!’ Rather than take it as an insult, Collins smiled and thought to himself, ‘How cool, he knew who I was didn’t he!’”

In 1995 Albert Molinero, the owner of Guitars R Us, a high-end music shop on Sunset Strip offered to finance an album for Coco to help jumpstart the solo career.

“He didn’t care about making money, he just wanted to recoup the investment if possible.   I called it Gotta Mind to Travel. We called in favors, I had guest appearances by John and a number of stars including Mayall, Richie Heywood of Little Feat, Debbie Davies, and Albert Collins.”

Blind Pig Records released Gotta Mind to Travel, giving him much needed label support for riding the Blues Highway. That ride has continued since 1995, with seven albums on Alligator Records, (including his latest, Writing on the Wall),  and worldwide recognition. However, COVID almost derailed it all.

His voice was trembling as he recalled:

“Man, I had to dip deeply into my savings, it was brutal, I’m still feeling the effects. I’ve had to do bar gigs for the money I was making back in my thirties just to stay alive. It has been a real struggle and it’s not done yet.”

However, he has managed to weather the storm, and following the teachings of Albert Collins, persevere. His tight, emotional style of guitar harkens back to past masters like Otis Rush, and a lack of politics or a social agenda sets him apart in the world of today. He described his nightly approach to the live show.

“They need something to take their mind off all this going on in the world. For the 90 minutes I’m playing I just want them to have a good time and take their minds off of all that other mess.”

“I’m steeped in tradition, and if I play what I love, I know I’m going to stand out. Good or bad, they’ll know it’s me. The biggest, hardest thing is to find your own identity. You find your voice, find your place, they know it’s you, and that’s the ultimate prize.”

You can learn more about Coco Montoya at www.cocomontoyaband.com

Writer Rev. Billy C. Wirtz is a performing artist, teacher, radio personality and recovering addict. He is a former Special ED Teacher and Pro wrestling manager. The Rev is the author of two books and numerous articles on music and culture. He lives in Florida with his wife and a houseful of animals.

Doug  Duffey and Badd – Trapped in the Blues

Independent

www.lancecowanmedia.com

9 Tracks – 41 minutes

Louisiana native Doug Duffey says, “There has never been a time in my life when I wasn’t making music”.  He started playing in clubs in local clubs over 50 years ago and released the first of several albums under his own name in 1994. He has written songs form any other artists including Marcia Ball, George Clinton, Funkadelic and Rare earth to name a few.  More recently, he joined with his band, Badd and released their first album in 2019. The liner notes call the music “100% Original Louisiana Blues, Delta Soul, Bayou Funk, Gumbo Jazz, producing a sound best described as Swampedelic”. Rather his music is a cross breed of music from the deep south ranging from Memphis to New Orleans and the Delta region.

The band consists of Duffey on vocals, acoustic grand piano, Hammond B3 and Fender Rhodes; Dan Sumner and guitar, bass, percussion and vocals; Benjamin Ford on bass; and Adam Ryland on drums. Lisa Spann joins with the band for some additional vocals on this album. Doug and Dan self-produced the album.

“All Your Time”, a piano-driven blues with a carefully laid in guitar, kicks off the album with a bit of rock as he tells his woman that he wants her “to spend all your time with me.” The title song opens with a smooth guitar and Doug offering “When you are down and discouraged and nothing seems to be going right / all alone broke, sick, and worried, don’t think you can make it through the night”. He continues to say that he “will be there to give a helping hand”. No question that he defines everything that would cause someone to be “Trapped in the Blues”. Dan’s guitar defines the song with Doug’s B3 floating in the background.

Doug cries that they tried too hard to hold onto a “Good Love Gone Bad” as they “have waited too late to fix it”. He tells her to “Talk to Me” as he demands she “come over here, open your ears, let me make things perfectly clear.” “You seem to be upset, but you won’t tell me why”.  On “Somethin’s Gotta Give”, a smooth, jazzy guitar carries the song as Doug’s piano underscores his concern that sometimes you “feel like you are banging your head against the wall / you do your best, but nothing ever gets better /everything you make never pans out no matter how hard you try.”

Doug proclaims, “Nobody Cares About You” as “it’s a damn, sad fact…unless you got something they want”. “People will stab you in the back while grinning in your face”.  “Let ‘er Rip” really gets the music jumping as he finds some positive directions. Lisa Spann adds to the vocals bringing to mind songs from Delaney and Bonnie. Here he is ready to “party like I lost my mind”.

On “Every Dog Got It’s Day” he states, “When I first started sniffing around your door, it was love at first scent / when I got a taste I wanted more, but you slipped the collar on and off you went / you kept me in the doghouse tail tucked between my legs / always making me beg.” The song is certainly cliched and Doug even acknowledges in the song that the title is an “old saying that people used back in the day”. The album ends with Doug’s organ dominating the sound on “and leads into a fine guitar solo by Dan.  On the song, Doug tells the tale of individuals that might look or act a little different, but they are “Gettin’ Along Just Fine”.

The band is never less than top-notch with Doug’s smooth vocals and well-conceptualized lyrics identifying many of the concerns that leads to individuals suffering the blues. The pandemic certainly caused many to suffer the doubts and depression expressed in the initial songs on this album. While he establishes in the notes mentioned earlier that his music comes from the Delta, I find this album might have more in common with The Atlanta Rhythm Section than New Orleans. It is a very enjoyable album, but perhaps moving into a more current, popular sound. Not a bad thing, but maybe a shift in the band’s sound that should be recognized.

Blues Blast Magazine Senior writer John Mitchell is a blues enthusiast based in the UK who enjoys a wide variety of blues and roots music, especially anything in the ‘soul/blues’ category. Favorites include contemporary artists such as Curtis Salgado, Tad Robinson, Albert Castiglia and Doug Deming and classic artists including Bobby Bland, Howling Wolf and the three ‘Kings’. He gets over to the States as often as he can to see live blues.

Sue Foley – Live In Austin Vol.1

Guitar Woman Records

www.suefoley.com

11 tracks/44 minutes

Sue Foley is a guitar goddess. She has been at her craft since age 13. She began the major part of her career touring her native Canada and North America with Mark Hummel, but it was Clifford Antone who owned the famed club in Austin that probably put Sue on the map. He saw her at the Blues Music Awards in Memphis one year and he recognized true talent. She moved to Austin and recorded her first record there in 1992 entitled Young Girl Blues. That was the impetus for her amazing career, and here three decades later she’s still at the top of the game creating fantastic music.

On the album are Sue on guitar and vocals, John Penner on bass, Corey Keller on drums, Derek O’Brien on guitar, Angela Miller on backing vocals and tambourine, and Lauren Cervantes on backing vocals. Three originals to begin the album and one later in the set along with a half dozen tasty covers make up the album. The music was recorded live at the Continental Club in Austin this past June.

After her introduction, Foley songs and plays in her highly charged manner on “New Used Car” from her album of the same name. It’s a great kick off with Foley laying our some mean licks. “Walkin’ Home” from Young Girl Blues is next. She sings with passion and lays out a great groove while playing some mean licks. “Highwayside” from Ten Days in November slows things down a bit. Foley again sings with her unique style with cool backing and plays more great guitar.

She makes Willie Dixon’s “Howlin’ For My Darlin’” into her own with a super and emotive cover. She does the same with “Queen Bee,” making that into a great, modern Texas-styled Foley blues. “Hooked On Love (AKA Lucky Lou)” features ringing and stinging guitar, a fine rendition of this Jody Williams instrumental.

Dylan’s “Positively 4th Street” follows, giving this classic her sound and feel. Well done! “Me And My Chauffeur Blues” gets a howling and rousing cover here by Foley. “Better” from Walk In The Sun is next, a slick shuffle with more vibrant guitar licks. The album concludes with “High Roller,” a Cheap Trick cut she plays often and has recorded.  She and the backing vocalists sing with great feeling and the cut gets a nice and sultry re-work.

This is a cool live set and since it’s Volume 1 I expect to see and hear more from Foley. It’s a great little album that showcases her outstanding skills. Foley’s fans with love this as should any blues rock lover. Few can handle an electric guitar as Sue can and this is well worth many a listen!

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.

Wayne Nicholson – Gin House

Grindstone Records – 2023

www.shuckincornboil.com

11 tracks; 48 minutes

Wayne Nicholson is a veteran of the Canadian scene, a vocalist who has performed with several East Coast acts over the years. He is equipped with that classic rock voice (think Paul Rodgers of Free as a benchmark) and handles these songs with consummate ease. The album covers a variety of styles, containing seven originals and four covers, Wayne writing in collaboration with several others, including band mates. The experienced band is Wayne on vocals, James Logan on guitar, Kim Dunn on keys, Bill Stephenson on piano, Bruce Dixon on bass and Neil Robertson on drums; in addition MonkeyJunk members Tony Ditedoro (guitar) and Steve Marriner (harp) also contribute, as well as Lisa McDougall on backing vocals. Tony D. also produced the album.

The album is bookended by “Gin House Blues”, a song that dates back to 1925, written by bandleader Fletcher Henderson with lyrics by Helen Troy. Originally recorded by Bessie Smith, it was also covered by Nina Simone. Wayne gives us a hard-rocking version with a strong guitar riff and heavy harmonica; in complete contrast, the album closes with a different arrangement, just Wayne and pianist Bill, entitled “Wayne And Bill’s Gin House Blues”. Bill’s jazzy chords return the song to its origins and it is interesting to compare Wayne’s vocal approach on the two very different versions.

Apparently based on Wayne’s dream put to music by Tony D’, “Shucking Corn With Muddy Waters” has terrific harp from Steve over a throbbing rhythm as Wayne tells of seeing Muddy in front of “two girls shucking corn and dropping them in a big pot of boiling water”. The acoustic guitar intro to “Mother Earth Blues” prepares us for a more melodic track featuring plenty of keyboards and some good slide work on the later part of the track before “She’s Not My Angel Anymore”, a tough blues ballad with some torrid guitar work. Upping the tempo, “When Trust Turns To Dust” is a full-pelt rocker that rattles along with great rock n’roll piano and a powerful guitar riff, the perfect vehicle for Wayne’s voice; at 2.33 it’s the shortest track here but packs a considerable punch!

The cover of Jimmy Reed’s “Honest I Do” is something of an oddity on the record with its country-tinged approach and gentle harmonies between Wayne and Lisa but is followed by the outstanding cut, an epic song entitled “The Night Train Is Coming”. Prefaced by a superb piano intro, slide brings in Wayne’s tough account of the battles that veterans have with PTSD: “my demons were summoned and there’s nothing I can do or say. The night train is coming, taking me through hell, the night train of darkness I know so well”. Given the references to Muddy in the earlier dream song, a cover of “Forty Days And Forty Nights” is very appropriate. Written by Bernard Roth, Muddy released it in 1956 and Wayne does a great job on this version, as does the whole band, with special mention to Steve Marriner’s blazing harp work here. “Invisible Blue” is a rock ballad with angst-filled vocals and plenty of swirling keys and, to complete the selection, “Blue Funk” does what the title suggests with sterling work from bassist Bruce.

Plenty of variety here, blues present alongside elements of rock, funk and even a hint of country and jazz, so something for most music lovers to enjoy. Wayne Nicholson proves himself a competent vocalist across all those styles.

Blues Blast Magazine Senior writer John Mitchell is a blues enthusiast based in the UK who enjoys a wide variety of blues and roots music, especially anything in the ‘soul/blues’ category. Favorites include contemporary artists such as Curtis Salgado, Tad Robinson, Albert Castiglia and Doug Deming and classic artists including Bobby Bland, Howling Wolf and the three ‘Kings’. He gets over to the States as often as he can to see live blues.