Bucky O’Hare – The Sun’s Light Is Hazy

Self-produced CD

www.buckyohare.bandcamp.com

9 songs – 51 minutes

Based out of Southeastern Massachusetts and a fret master who terms his music “slide guitar soul jazz” — an improvised style that often incorporates elements of funk, bluegrass and more, Bucky O’Hare cuts new ground and serves up a treat with this sophomore release, exploring his love for electronic percussion and indulging in his love for hip-hop, too.

A familiar face across the New England blues scene — and in the pages of Blues Blast where he’s been on the writing staff for years, Bucky produced this effort during the pandemic, but the six originals and three covers contained within are free of the usual subject matter that those discs often contain. Instead, it gives the world a chance to hear the sounds that represent his unique style of attack, voice and songwriting skills for the first time.

It was recorded in various basements and home studios in Norton, Weymouth and West Newton, Mass., Narragansett, R.I., and Tampa Bay, Fla., mixed by Andre Cantave and David Messier at Same Sky Productions in Austin, Texas, and mastered back home by Bobby Kane at The Bauchery in Mansfield, Mass.

O’Hare handles guitars, vocal and percussion programming here with backing from Antonio Forte on keys, Matt Mahoney handles bass on the first five tracks and contributes nylon string guitar on another, and Mike Tworoger contributes the bottom on the remaining four numbers. Both bassists provide backing vocals throughout, and Shelley Tworoger lends her voice to one song, too.

A cover of the Albert King classic, “I’ll Play the Blues for You,” opens the action in a style that you’ve never heard before. In O’Hare’s hands it turns into a sultry solo number punctuated by his deep and smoky baritone delivery and single-note guitar runs. His approach to percussion ranges from a rock-simple, steady beat at the open that progresses through interesting changes making the six-string throughout. A brief instrumental run introduces the original, “See You in the Rain,” a medium-paced, syncopated shuffle that offers encouragement and offers up a meeting with a lady when she’s feeling down.  O’Hare has a  somewhat limited but adequate vocal range.

The mid-tempo, eight-minute instrumental, “Patricia’s Theme,” gives Bucky a chance to bring his six-string talents to the fore, infusing elements that hint at gypsy jazz and giving Forte and Mahoney space to workout, too, before Howlin’ Wolf’s familiar stop-time pleaser, “Three Hundred Pounds of Joy,” receives a hip-hop overhaul that maintains the blues element in such a manner that lovers of the medium will find interesting.

The dark “My Lady Switchblade” – which first appeared on O’Hare’s debut 2014 release — gets new life and a haunting new arrangement to follow and flows into the dissonant “Collapse Depth,” a number that envisions stealing a submarine and exploring the ocean’s bottom to escape pursuit. Then O’Hare delivers an acoustic and instrumental, seven-minute version of Stevie Wonder’s “Cause We’ve Ended as Lovers,” successfully adapting stylings first laid down instrumentally by Jeff Beck in the ‘70s.

The rhythm’s slow and steady for the cautionary “When Your Number Comes Up,” which promises someone facing punishment for an unspoken offense that Bucky will serve as a witness at the reckoning when justice is served. It gives way to the upbeat “Evolving Heart,” which opens with an observation about lovers to open and shifts to a promise of a better life to close.

Bucky O’Hare serves up something that’s different here. His ideas and his fretwork are

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.

John Primer & Bob Corritore – Crawlin’ Kingsnake

Vizztone Records – 2024

www.bobcorritore.com

12 tracks; 52 minutes

This is the fourth time since 2013 that John Primer and Bob Corritore have combined to record an album and it’s everything that fans of classic Chicago blues could want. The pair pay tribute to mentors like Muddy Waters and Magic Slim (Primer played with both for years), as well as giants of the blues like Howling Wolf, John Lee Hooker and BB King. Recorded over four sessions between 2021 and 2023, the album benefits from a stellar band of seasoned veterans, all steeped in the Chicago tradition: John Primer is on guitar and vocals, Bob Corritore on harp, Anthony Geraci on piano, Jimi ‘Primetime’ Smith on rhythm guitar and occasional backing vocals, Bob Stroger on bass and Wes Starr on drums. Needless to say, the playing throughout is exemplary.

The album opens with ‘Take A Message, written by Dave Steen (a frequent collaborator on Coco Montoya albums). John’s vocals and solo are excellent while Bob channels James Cotton who recorded the tune on his 1994 album Living The Blues. The title track is, of course, a JLH tune, superbly covered here, check out Anthony whose playing is the epitome of what blues piano should sound like. Next up it’s the Wolf with Willie Dixon’s ‘Down In The Bottom’, a song often covered, but rarely better than here, the familiar “pull and push” rhythm present and correct. John offers just one original in the set and it fits like a glove with the covers as he invites his girl to join him in his ‘Hiding Place’, accompanied by plenty of strong harp, pounding piano and searing guitar.

The middle portion of the album contains a run of four tunes from the greats of the blues: BB King’s ‘Chains And Things’ comes from Indianola Mississippi Seeds and is a classic slow blues; the band sets a furious pace on Muddy’s ‘Stuff You Gotta Watch’, then covers a second, less familiar Muddy tune, the slow grinder ‘Rosalie Blues’; Jimmy Rogers’ ‘You’re The One’ rattles along with jagged guitar and another strong vocal from John.

‘Bow Down On Your Knees’ is a traditional gospel tune, performed here by just John and Bob while A.C. Reed is the source for ‘This Little Voice’ which rolls along brilliantly, one of the best cuts on the album. John pays tribute to Magic Slim with ‘Gravel Road’ before the band returns for a third time to the Muddy Waters catalogue for an extended take on ‘Feel Like Going Home’ that gives space for all the front line players to shine, John leading on some cutting slide, Bob and Anthony demonstrating just why they are such in-demand players.

Fans of Chicago blues played in the traditional way should buy this album without hesitation – highly recommended!

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.

 Blues Blast Music Awards Submissions 

Submissions from artists and labels for the 17th Annual Blues Blast Music Awards are open until May 31st, 2024.

Albums released between June 1. 2023 and May 31, 2024 are eligible this year.

Submit your music now. Click this link: www.bluesblastmagazine.com/blues-blast-awards-submission-information

Walter Trout – Broken

Mascot Records / Provogue

https://www.mascotlabelgroup.com/collections/provogue

www.waltertrout.com

12 Tracks – 54 Minutes

Much as has been written about Walter Trout’s health issues resulting from years of abuse to his body from addictions. When you look at Walter’s web page, the opening quote is “Walter Trout: Blues Rock’s Resilient Icon”. Walter came back from the precipice of death to become once again one of the most formidable players in the blues rock format today. At 72 years old, Walter continues to deliver driving blues that deliver many profound thoughts. After his near-death experience, his songs have indicated a renewed spirit of hope. Walter has transitioned many times in his career, starting his career playing with John Lee Hooker, Big Mama Thornton, Percy Mayfield and others. Then he shifted to be a band member in Canned Heat from 1981 to 1984, which then followed a stint with John Mayall from 1984 to 1987, where he replaced previous guitarists Peter Green and Eric Clapton.

With Broken, he shifts gears to examine his past and identifies that he is still broken from the past traumas. But he says that we are all broken in some ways and further elaborates that our society has also become broken and expresses concerns about where we all are heading. But this is not to say that he is delivering a somber, down-turning album. He does provide a look at the concerns of today but mixes it with songs of quiet serenity and healing.

The album opens with Beth Hart providing a duet with Walter on the title song. Beth is another person that has suffered through much turmoil and has come out with a fresh attitude about life. The pairing of the two is one that seems to have been inevitable as they sing “Now I Pay the cost and I ‘m only trying to see just how much I have lost from the way I used to be. Now it’s every day these pieces break away and all that I have left is out here on display. ” Walter’s crisp guitar work and smooth vocals shifts into Beth’s raspy vocals and both crying “I don’t want to be broken anymore”. Skip Edwards’ Hammond organ underscores the song.

Walter adds the harmonica to his repertoire on “Turn and Walk Away”. A failed relationship is at the heart of the song as his sensitive lyrics explain, “The nights will be so long and I’m afraid I’m not that strong. You closed the door behind you as I watched you turn and walk away.” Walter delivers a message of hope on a slow shuffle, “Courage in the Dark” that says “A little bit of self-respect, it can brighten your day, and the fear and the trepidation seems to fade away.” The song is built on the back of a well-thought-out guitar solo that feels healing in itself.

Will Wilde guests on a harp driven boogie, “Bleed”, a powerful down and dirty blues rock number that tells the story of a man recovering from a failed relationship but fearful to enter into a new love noting “But you’re too scared to proceed. You know to be prepared for love you must be prepared to bleed.” Once again, Walter’s teaming with Wilde seems to be a fantastic complement between two performers. Walter plays an electric sitar on “Talkin’ to Myself” as he sings “I bear the scars of the life I’ve led, and all I’ve taken and all I’ve tried to give”.

Walter again pulls out his harmonica as he sings “You never get back to who you were before coz there ain’t “No Magic (On The Street)” anymore”. Walter is ready to rock and pulls in Twisted Sister frontman Dee Snider to mix in vocals on a powerful declaration that “I’ve Had Enough” with “Too many preachers, too many rules, too many politicians, too many fools, too many lawyers, too many banks, too many soldiers, too many tanks.” From the harder rock song, Walter segues into a quiet interlude with the instrumental “Love of My Life”, which includes a beautiful piano solo from Skip Edwards and Walter’s touching guitar.

On “Breathe” he offers the advice “when you’re wondering who you are and life rushing in from all sides, and you’re walking home alone, and the world just beats you down, just breathe”. Walter lets his guitar rip again on the rocker “Heaven and Hell”.  An old blind man offers Walter a life lesson as he proclaims “it ain’t what you say, it’s about what you do. It’s not what you take, but what you give. And it’s not what you preach, it’s about how you live.”

Walter moves into a love song on “I Wanna Stay” “laying here beside you. Now I know where I belong. Now I understand when I’m here so close to you.” The album ends with “Falls Apart ” that feels like a drop into despondency, but Walter’s soaring guitar and a rousing choral arrangement belays a side message that perhaps brings everything together.

Walter’s guitar continues to be just as powerful as ever as are his vocals, whether it is with solo work, in a duet, or backed by others. But every line of his lyrics should be carefully listened to and examined. many life lessons can be found here. Seven of the songs were written by Walter. But three songs “Broken”, “Turn and Walk Away”, and “I Wanna Stay” were written by Marie Trout, his wife. The final song, “Falls Apart” is written and arranged by Michael Edward Brandengard Trout. “Breathe” was written by Richrd Gerstein.

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 Maple Blues Band – Let’s Go

Cordova Bay Records

www.maplebluesband.com

LP version

Side A – 5 tracks 18:34

Side B – 5 tracks 16:34

Formed 25 years ago, The Maple Blues Band was started to provide the music for the annual Maple Blues Awards showcase, a national program which honors Canadian blues artists, as sponsored by the Toronto Blues Society. After the 1998 event, there were some people who felt the music at the show could, and should, be better.

One of those people was Gary Kendall, a veteran bass player with decades of experience. The band he put together has featured some of the finest blues players in the country, including members of the long-running groups like the Downchild Blues Band and Fathead. Mixing in some horn players with impressive jazz credentials, The Maple Blues Band members have been honored with numerous Maple Blues Awards as well as Juno Awards, which celebrates Canadian musical artists in all genres.

After several decades, the band has it’s first release. With an all-instrumental program of original material, the album radiates with the energy that this ten member aggregation can conjure up. In addition to Kendall, other members include Teddy Leonard on guitar, Lance Anderson on keyboards, Al Lerman on harmonica, Jim Casson on drums & percussion plus Rashane Wright on percussion for two tracks. The horn section features Pat Carey on tenor saxophone, Alison Young on baritone & tenor sax, Howard Moore on trumpet, and Meirion Kelly on trombone.

“At The Corner” is a great opening track, an upbeat tune with a tight arrangement and some stirring piano from Anderson, doubling on the Hammond B-3 organ. The band easily captures the spirit of the Crescent City on “Hey Nola,” with an easy-flowing rhythm underneath solid blowing from the horn section. Anderson, Carey, and Leonard all shine in their solo segments. Kendall lays down on thundering bass line to drive “Savona Shuffle,” Lerman gets the chance to show off his harmonica skills, and Kelly blows a brawny trombone solo.

The blues come knocking on “Baker’s Groove,” a rousing number with more fine blowing from Lerman, who resists the urge to fill every bit of space with notes. Anderson’s rollicking piano playing gets encouragement from the riffing horns, then Leonard tears into a blistering guitar solo that takes the proceedings to a new level. “Sumlin Around” is a tribute to Howlin’ Wolf’s guitar player, Hubert Sumlin. Leonard gets extended solo space, wisely playing in his own style with plenty of taut notes.

Flipping the album over, the mood shifts dramatically on the first track, “If I Should Lose You Again”. Written by Leonard, the country-tinged ballad has a sensitive piano break from Anderson, who adds to the laid-back feel playing accordion in the background. Leonard’s slide guitar finishes things off in fine fashion. Thanks to the outstanding horn chart, “Stop Talkin’” is brimming with spirit, brought home by some hearty harp blowing by Leonard.

“Mating Cry” veers into a swinging jazz groove, with Anderson leading the way on Hammond organ, then Young gets her opportunity to shine, and she makes the most of it with a dynamic tenor sax solo.

The longest track, “Zannzibar,” would make a great opening number for the band’s live shows. It features solo contributions from a variety of members, illuminating the all of the band’s instrumental strengths. Ending on a lighter note, “Let’s Go” is a breezy tune punctuate by a driving best from Casson.

A well-recorded project cut on heavy-duty vinyl, the album is a delight to listen to, every instrument heard in all its glory. Listeners can feel the weight of the horn section and easily imagine Leonard or Lerman as they tear it up on their instruments. Kendall likes to refer to it as “big band blues”. Call it what you want, when music is played this well, there is plenty to enjoy. Don’t let the lack of a vocalist deter you from checking out this beautifully crafted musical statement.

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!

Shawn Kellerman is a man with serious respect for the blues. While a skilled, versatile guitar player and songwriter in his own right, Kellerman offers constant praise to the blues musicians who came before him and particularly the iconic frontmen who took him under their wing and trained him on the road.

Kellerman released Kell’s Kitchen (2024) on March 29, a significant return to the blues airways, and his first album since his 2009 release Blues Without a Home. He said the writing evolved since the last LP and he took over responsibilities on the production side giving him control and the ability to tweak the music when it didn’t sound just right. The album contained 12 originals and 2 covers, and Kellerman said he was proud to use more original material.

Following in the footsteps of his mentors Bobby Rush, Sherman Robertson, and Lucky Peterson, Kellerman does not play “straight blues” on Kell’s Kitchen. Kellerman said the record will not sound traditional but his roots– Mel Brown, Lucky Peterson, Albert King, Albert Collins– show through.

“You know, it’s still blues, like that’s the story of the song. Iit may be a little funky, but this is I’m a blues man,” Kellerman said. “I’m a blues guitar player. So there’s gonna be some different aspects on this record. It kind of goes a little rockier. There’s a soul groove.”

Kellerman said that Rush constantly tried a variety of styles but it was obvious that he was steeped in the blues – and even won 3 grammys for best blues album in recent years. Similarly, Kellerman said he hopes people enjoy the record and can hear that his roots are blues.

Starting in his teenage years with Mel Brown, Kellerman has almost constantly been on the road touring with a variety of blues bands for 30 years.

With so many years on the road, burnout seems only understandable. After a long 19 year stint, Kellerman took a small break, changing his mindset to allow himself to rest and gain energy. The joy of performing, however, has always propelled him.

“Because people love music. So it’s it when you do that that’s the joy. It’s a part of me. It is hard work and you just have to balance it – it’s all in moderation,” Kellerman said. “It’s hard but it’s rewarding. It’s fun because you’re pouring your heart out.”

For Kellerman, playing the blues onstage serves as an emotional release. Over the years, his love for the music and playing live has not subsided.

“It’s great to get up here. Play these grooves, sweat it all out. And because you’re improvising solos, it’s like you’re talking right? So you’re like getting your feelings out,” Kellerman said. “And it’s like, it’s so satisfying, right? So you just seem to do that and you get all your emotions out on stage. That’s how it is for me, so it’s very emotional. So after all these years I still love doing it.”

During his lifetime of touring, Kellerman has played in 46 countries. He appreciates how the music is received in different ways in Morocco and Central Europe and Russia. Kellerman’s band played with a Gnawa band in Africa who utilized a two chord sequence, percussion, and a singer who Kellerman said sounded like Donny Hathaway.

Kellerman said he is impressed that blues has endured outside of North America, it’s source, after so many years. While France largely became introduced to blues in the 1960’s, the fans still appreciate the music today.

Repeatedly, Kellerman attributes the blues player he is today to the band leaders that brought him on the road. Of immediate and early impact was Mel Brown – Kellerman joined Brown’s band as a teenager. Kellerman said that playing with someone of Brown’s caliber two to three times a week demanded excellence and that even after becoming a professional and leading his own groups, when he would return to play with Brown, it was a “super humbling experience.”

Bobby Rush and Lucky Peterson were no less talented or influential to Kellerman. All 3 humbled and inspired a young Kellerman.

“One thing about all these guys, their internal rhythm just exuded out of them. It’s just like, when you’re in their presence, it’s like some sort of perfection. So when you’re playing with them, their precision and time (exceeds) and you just want to feel that. You want to feel what’s coming off of them. When you’re jamming with them you want to try and be that good. It’s like, I gotta be better. I gotta be better. I have to try and be as proficient and as good as these people. It was just always, always a very humbling experience.”

With experience as a band member and a leader, Kellerman enjoys both roles, seeing advantages and drawbacks with both. As a front man, there is more pressure and anxiety on one side, Kellerman said, but on the other he enjoys being in touch with the community and interacting with the audience.

At 21, Otis Clay (another blues influence) told Kellerman he needed to learn from a strong leader like himself or Bobby Rush. Kellerman accepted the advice, playing with a collection of high powered bluesmen, including Bobby Rush, who he described as “definitely in control.”

Kellerman, capable of leading, learned how to shut it off – to “keep my mouth shut and do my job” to collaborate with others in a way he said a lot of musicians are unable to do.

Before touring the world, and before even gigging in his native Canada, Kellerman fell in love with the blues through his father’s record collection, which included 60’s rock, jazz, and blues. Freddie King, Luther Alison, and Johnny Winter were early favorites.

In the 70’s, Kellerman relished listening to Albert Collins and Clarence “Gatemouth” Brown on Alligator records. As he said, it was the “music story book” of his childhood.

Kellerman’s strong relationship with his father had a deep basis in music and some of Shawn’s fondest memories were going to blues concerts in Toronto seeing names like Muddy Waters, and even once a triple bill of Koko Taylor, Buddy Guy, and Albert Collins.

Together, the father and son pair traveled to American music hubs like Memphis, Austin, and New Orleans. Blues cassettes were an integral part of road trips. On top of this, Kellerman’s father played piano as a weekend musician, and let a young Kellerman, at just 16 start to play guitar in Toronto clubs. The family was full of music indeed– even Kellerman’s stepmother sang in the clubs with them.

Kellerman’s father invited blues legends – like Buddy Guy, Robert Cray, and Jimmy Johnson – to come by the family’s home in Toronto when they toured Canada for a meal or to hang out. From their presence, Kellerman emerged humbled and inspired. The young guitarist even received lessons from the musicians.

“Jimmy Johnson really kind of gave me a real heads up and guitar lesson. Like you’re not doing it right,” Kellerman said. “He really showed me how to do it. It was cool to meet all these guys that were on the road from Chicago, Mississippi, Austin.”

While his guitar playing style has changed over the years (and he has memorized both the Little Walter and Tiny Grimes catalogs), a hard work ethic has remained consistent. A 1995 Freddie King video instilled a desire to give 100% to every performance.

“It was mind blowing. And I’m like, I will never give up on stage ever. Like it’s always give 100%,” Kellerman said. “And then being with Lucky Peterson.. your first note had to start at 150%. It was just right from beat one. Give it your all and no matter how you feel that day. When you hit the stage, there’s no excuses.”

For each of his major influences, Kellerman owns a guitar, in a large collection. Among the axes are a Telecaster for Albert Collins, a Flying V for Albert King, an Epiphone hollow body for Mel Brown, Little Milton, and B.B. King, a custom guitar from Nick Page, a Supro slide guitar from the 50’s, a vintage Gibson Melody Maker, and a Firebird.

On a road tour, Kellerman takes a minimum of 5 guitars, carefully picked for specific sounds.

“I just have a bunch of guitars and it’s fun. I love the different sounds. It’s weird because I get so connected to it,” Kellerman said. “It’s like if I don’t have the right sound I just can’t make my fingers function and that’s the wrong way, definitely the wrong way to think about it.”

In terms of his song-writing process, Kellerman said he typically starts with a melody or rhythm and later creates lyrics as he realizes what he wants to write about. “SKB” (Shawn Kellerman Band), the first track on the new album started out as a fun party song but grew to reflect on life on the road and the blues scene around the world.

Although he plays the blues, Kellerman (“a white guy from Canada”), has no misconceptions about living the blues, or the importance the Blues had for musicians experiencing systemic racism throughout the U.S. He said he also learned a lot by talking to the Black musicians who visited Toronto and who mentored him.

“It wasn’t just music for them. It was their life. And so I just feel connected to it. I’m gonna be honest, I feel connected to it musically, but I’ve respected the heritage of it. I have the utmost respect,” Kellerman said. “I will definitely get off stage if some someone else more deserving because of their own life experience (asks). I would hand it over to them in a second. But I appreciate the opportunity to play the music.”

Kellerman also said his father instilled a compassion in him in how to treat other people and cultures. Playing with Bobby Rush, Kellerman said he learned about life in the American South – Rush grew up in Louisiana and Arkansas in the 30’s and 40’s.

“It isn’t going to, obviously, not going to relate to me. So the way I relate to it is a little more musically,” Kellerman said. “ It’s obviously not my life, but I’ve tried to respect it as much as I can through how my dad taught me to treat other people.”

As the Blues strays from its roots – of the Mississippi Delta, Chicago, Memphis, New Orleans, Piedmont, etc. – of an earlier time, Kellerman said he is unsure of where the genre is headed. For Kellerman, the power of the blues is to transform suffering and negative experiences into something joyful.

“They kind of blended all this negativity with positivity. You can feel the pain but it’s positive. It’s like, ‘wow, it’s so soulful. But I feel great at the end,’” Kellerman said. So they’ve taken this heartbreak and these life tragedies, even in the 30s and 40s. Then when it got to the more electric shows, it just seemed like we’re gonna try and get people dancing. I got a little bit of tragedy, but I’m trying to make a positive thing out of it.”

Kellerman said that some of the soul and feeling is being lost, unfortunately.

“So I hope to hopefully, like, maintain some of that,” Kellerman said. “Like, make sure there’s a lot of soul in it. Hopefully people come away with a positive feeling at the end.”

With lots of material built up over his years of touring, Kellerman plans to release another new full length album within a year.

Additionally, Kellerman said he wants to work with Eric Schenkman, the Spin Doctors guitarist on a recording project.

After working as a band member for Lucky Peterson for 8 years prior to COVID, Kellerman aims to build back his own name and tour extensively on Kell’s Kitchen.

To see his touring schedule and find a show near you, visit Shawn’s website at https://shawnkellerman.com/

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.

Shelley King – Madam Mystic

Lemonade Records

www.shellyking.com

12 Tracks – 44 minutes

Shelly King was born in Arkansas and moved around in Little Rock and some over in Oklahoma, later moving to Amarillo, Texas and Houston. She received her first guitar at age 7 and started writing songs, although she admittedly says they were sappy love songs, at age 13. She sang gospel in church and also jazz, but when she heard down and dirty blues, she determined that was the music she loved and wanted to pursue. She began her professional music career during a stint at Sam Houston State University where she transitioned from community musical theater to performing solo gigs.

In the late 80’s, Shelly attended the South by Southwest music festival in Austin and fell in love with the music vibe of the city. In 1992, she made the move to Austin. On her first night there, she was invited to La Zona Rosa, a Mexican restaurant owned by Marcia Ball and her husband, Gordon Fowler. She ended up at a table with Joe Ely, Jimmie Dale Gilmour and Jimmy LaFave and Marcia was in the house and kept coming to the table to talk. With that inspiration, she began writing her own songs and in 1998 released her first album, Call of My Heart. The title song was then recorded by Toni Price, which won Best Song at the 2002 Austin Music Awards. This gained Shelly attention in the music community and led to her own AMA in 2005 for Best Roots Band. In 2008, Shelley became the first female artist to be named the official Texas State Musician.

Madam Mystic is her tenth album release on which she plays an acoustic guitar, sings lead vocals, and produced the album which is on her own label.  On previous tours, she shared billing with New Orleans’ The Subdudes. John Magnie and Steve Amedee of that band formed a group with her. That connection continues on this album with John playing acoustic guitar, piano, organ, percussion and providing vocals; and Steve playing drums and percussion. Eric Thorin on electric and upright bass completes the core group.  She also has been sharing billing with Carolyn Wonderland. I recently was on the Delbert McClinton Sunny Beaches Cruise, where both artists had their individuals shows, but both took the time to play several songs in each other’s shows and both had extremely well-received appearances. Carolyn plays electric guitar on six songs on this album with Will McFarlane playing guitar on the remaining six. With the addition of a few additional guests, Madam Mystic explores a vast diversity of songs for a captivating album.

Shelley opens the album with a love song, “Time Means Nothing” noting that “we have forever”. She follows with a soulful plea to “Help Me Please” “…won’t you set my soul at ease”. On “I Believe”, Shawn Camp guests on vocals, mandolin and baritone guitar as Shelley acknowledges “I’ve walked a crooked path, never believed I would find a home” but “believe I have been forgiven”.

Horns lead into the R&B, “You Got That Right”, as she says, “you make the chills go up and down my spine”. Carolyn joins on guitar with a guest shot from Cindy Cashdollar on dobro and steel. Carolyn continues on guitar and whistles on the title song with John’s funky piano and a little kazoo thrown in for an old- fashioned fun touch of a bouncy bar-styled music. Shelley then invokes “The Truth” “that opens up my heart to let you in”.

” That’s What I’m Gonna Do” is a slow pledge of love with Matt Skinner providing a calm duet with Shelley and taking a solo on both the vocals and acoustic guitar. “A Crash of Thunder” lets Carolyn rip on a rocking number as Shelley questions “Where are you now…you don’t live here anymore…you can save your alibis”. “Texas Eagle” is a biographical tale of Shelley’s move to Austin as she takes the train to go “where there’s soul”.

“It Was New Year’s Eve in 1993, you were making promises to me” as we were going to “Ring in the New”. “It Was New Years’ Eve 2003… we had promises to keep, stars were all aligned.” “New Years’ Eve 2013, we were living for each other just trying to make it last.” “New Years’ Eve 2023 counting down the final hours, all the promises we made, now it’s long walks, big talks.” The pieces deliver a sentimental story of life as we grow beside each other. “The Power” “is at your command” as she lays out all of the joys you can experience if you let them in.  The album concludes with “Mississippi” a bouncy, country song with Carolyn again on guitar and providing a duet and backup vocals.

Shelley’s warm alto voice is constantly engaging and should be more out in the public attention. She travels nationally and internationally and is well-received wherever she plays. Give it a listen.

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.

Wailin Walker – All Fired Up

Jitterbug Records

www.wailinwalker.com

17 songs time – 57:34

Al Walker aka Wailin Walker is a singer-songwriter-guitarist from Vancouver, British Columbia whose music borrows from the sounds of 50s and 60s rock with a dash of blues thrown into the mix. He most definitely knows his way around his guitar as he offers employs various tones, as well as wearing his influences on his sleeve. Mister Walker is also in possession of an effective nicely rough-hewn voice. The two bass players occasionally contribute lead vocals as well. The remainder of the band-drums, keyboards and horns are up to the task. As no liner notes are supplied, all songs appear to be written by Walker’s own hand.

He surely has an affinity for early rockers like Little Richard and Chuck Berry, but by infusing their sound into his, not by imitation. The Richard vibe makes an appearance in “She Can Rock” with its’ musical structure very similar to “Good Golly Miss Molly” and “Long Tall Sally”. His pleasing voice is used to good effect along with his blazing guitar. Chuck Berry’s ghost rear its’ head on “All Fired Up”.

His admiration for early 60s guitar instrumentals come in to play as well. The Ventures tone is put to good use on the instrumental “Freedom Rock” with its’ “Secret Agent Vibe”. Link Wray spars with Jerry Cook’s wailin'(no pun intended) sax on “Mambo Wray”. The Ventures meet blues-rock on the exuberant “Devil’s Ride”.

“Cherry Red” is a hard arena rock rocker with brief uncredited harmonica. “Tired Of Begging” is a bit tamer rocker featuring slide guitar and boogie-woogie piano. They show more versatility by doing the 50s-ish rocker “Hold Me Baby”. They rockabilly it up on the authentic sounding “The Stuff I Use”. These guys can really do it all, witness the charging boogie blues-rock of “Smarten Up”. The slow blues-rock guitar instrumental “Napkins Noir” conjures up some of the great smoldering classics of the seventies. The simmering guitar rides atop an organ cushion.

Their influences help them create something refreshingly new. Al is very much a guitar wiz as he masters many styles. Al and the other two vocalists are on the mark, but unfortunately there are no liner notes to tell who is doing what, but it is all good. If you like music that is well played you have come to the right place.

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