Timothy R. Hoover – Soul Serenade: King Curtis And His Immortal Saxophone

University of North Texas Press

www.timothyrhoover.com

352 Pages Hardcover edition

Curtis Ousley was one of those rare individuals born to play music. Even in high school, his all-out efforts on the tenor saxophone quickly marked him as a rising star. Soon, he was dominating the local Ft. Worth music scene with his intense dedication and undeniable talent. When he decided to bill himself as King Curtis, it wasn’t boasting, simply a way to make sure people remembered him.

From that point, author Timothy Hoover expertly tracks the course of Ousley’s life and career. Born to an unwed teen-aged mother, King Curtis was adopted as a baby, taking the last name of his new parents. Growing up, he heard music on the radio, with hit-maker Louis Jordan making a big impression. But once King Curtis got his first sax, his talent was quickly apparent. Playing in the clubs, he often earned more than $200 a week, and would regularly pack the Paradise Club, the main Black venue in town.

With his ambitions growing, it took a visit to see his uncle in New York City to open up a whole new world of opportunities. Already a fully grown man brimming with confidence, the high school senior entered an amateur talent contest at the Apollo Theater, winning two weeks in a row. He also took part in his first recording session. It was tough to return to Ft. Worth, but Lady Luck came knocking when Lionel Hampton and his band were touring the Southwest. Hampton’s sax player took ill, and Ousley was quickly recommended as a replacement, leading to a three month tour. Despite college scholarship offers, King Curtis knew he needed to return to New York City to realize his dreams of musical stardom.

At first, it was the usual story of working in clubs for long hours and low pay. But Ousley stayed motivated, building his reputation while befriending key artists like songwriter/singer Doc Pomus and session guitar legend Mickey Baker. Soon his bold tone and clean notes captured the attention of Ahmet Ertegun, the founder of Atlantic Records. There were plenty of brawny sax players like Sam “The Man” Taylor, Big Jay McNeely, and Hal Singer working the recording studios. But King Curtis had a fresh sound that quickly led to him working as many as 16 sessions in a single week.

His big break occurred when he was paired up with the vocal group the Coasters. The quartet was scheduled to record a Jerry Leiber – Mike Stoller penned song aimed at the teenage market. The group’s vocals were fine, but once “Yakety Yak” was released, everyone went crazy over the King Curtis sax break, delivered in his staccato “chicken scratch” style. Atlantic continued to use King Curtis on the group’s records, with Ousley soon being tagged the fifth Coaster.

Now the toast of the town, Ousley’s influence and impact continue to grow. Hoover traces his participation on other hit records like “Tossin’ & Turnin’” by Bobby Lewis through a session with Buddy Holly and Waylon Jennings to recording his own hit record, “Soul Twist,” which made to the top of the Billboard Magazine R&B chart in 1962. He puts together his formidable band, the Noble Knights, consisting of Cornell Dupree on guitar, Chuck Rainey on bass, and Ray Lucas on drums. In short order, the band is backing the sensational Sam Cooke on a tour, with the classic album Live At The Harlem Square Club capturing the magic they created, although it wasn’t released for over 20 years.

In an easy rolling style, Hoover delves into the many highlights of the saxophonist’s growing career. Jimi Hendrix serves a brief stint in the King Curtis band. That is topped when he is tabbed to open the Beatles US tour, including the famous Shea Stadium show. Even that was eclipsed when Aretha Franklin decided to sign with Atlantic Records after her contract with Columbia Records expired.

Producer Jerry Wexler decided to make King Curtis her new band leader, and along with his new drummer, the legendary Bernard Purdie, they create the tracks that became Franklin’s first classic Atlantic album, I Never Loved A Man The Way I Love You. The lead-off song, “Respect,” was a monster hit that continues to resonate. In 1971, both artists went on tour together, culminating in live records from dates at Bill Graham’s Fillmore West that showcase the musical mastery that flowed from their collaboration. The sax player continued to expand his musical horizons, getting opportunities to produce records for other artists, recording a jazz album with fellow tenor saxophonists Oliver Nelson and Jimmy Forrest on Prestige Records, and jamming with Delaney & Bonnie alongside Duane Allman.

The author also touches on more personal aspects of Ousley’s life including his love for his family, his penchant for gambling, and a warm personality that made him a favorite of many of his contemporaries. Sprinkled throughout the book are B&W photos taken throughout Ousley’s life. Also included are several appendixes – Recommended Listening, Top Ten Accompaniments, and Ten Must-Listen King Curtis Songs.

Just as his influence was reaching epic proportions, the end came with shocking finality. The tragic death of King Curtis is laid out in detail, but even now it can be hard to believe. Hoover does a masterful job of telling the story of a man, a musician who was changing the world, one of those shooting stars that burns out far too quickly. As Hoover reminds us, we are left to marvel at the legacy of King Curtis, and ponder what he might have accomplished had fate not cut him down.

Long live King Curtis!

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!

Eddie Cotton – The Mirror

Malaco Music Group

http://www.malaco.com

12 tracks/54 minutes

Mississippi bluesman Eddie Cotton Jr. is the son of a clergyman and was raised on Gospel music. His journey moved to the blues and the long time electric bluesman from Mississippi plays his soulful music with funk, feeling and exuberance. He dropped his Live At The Alamo (his second album) in 2000 which got him noticed, won the International Blues Challenge in 2015, was nominated for a Blues Blast Music Award that year, too, and, with this release, has delivered seven superb albums for us to enjoy (along with being featured on another by Grady Champion).

When I got this album and put it on my CD player I had to listen all the way through. This is an amazing soul blues release. Without question it is the best soul blues album I’ve heard in at least a year, and probably longer. His vocals and guitar work are really something to enjoy and even revere. It is that good.

The album starts with “Woman Satisfied,” a song were Cotton admits to us that he can’t keep his woman satisfied. Funky and soulful, it’s got a great groove, super vocals and guitar and some nice organ work. Next is “Your Specialty,” another funky soul cut that Cotton delivers with authority. Fine guitar work and his effervescent vocals grab the listener’s attention. “Don’t Move From The Mirror” is the title cut of sorts, slow, soulful and just a pretty song with thoughtful guitar, organ and restrained but howling vocals.

“Double Down On A Nine” is a pretty shuffle with stinging guitar licks and warns us of what not to do in Blackjack. “Gimme What I Paid For” is the next track, a funky and driving cut that will make you want to get up and dance. Cotton’s vocals are powerful and make you take note. Of course he delivers more super guitar licks. Then we have “I Want You,” a somber and soulful ballad that is a perfect belly rubbing dance cut. Restrained and thoughtful guitar and passionate vocals are the order of the day here.

Cotton continues in the slow, soulful mode with “Leaning Towards Leaving” He’s smooth and cool in his delivery. “My Good Thing” follows, and here were get some harp and organ backing Eddie. They all get time out front as does his outstanding guitar.

“No Crime No Time” follows, featuring some dramatic piano and stellar guitar on this slow and savory blues. He kills it on the guitar and give us a truly memorable performance.

He gets funky again “No King No Queen” as his silky vocals and poignant guitar deliver another exemplary performance. He sings of every king having a queen standing by his side, a love partnership that will conquer anything. “Sweet Science Of Love” gets us back to pretty and slow blues in this outstanding love song. He sings with passion and plays with a beautiful ringing style. Eddie concludes with “Under The Cover Of Darkness” where guitar and harp open the track with some greasy and beautiful stuff.

Eddie Cotton is a master of soul blues. At 54 years of age he is of a generation of many blues guitar greats and can hold his own with any of them and pretty much anyone else. In the soul blues world he has few equals. This is by far his best recording effort and it will surely garner much attention in the blues awards world. You must own this album. That is all.

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.

Reverend Freakchild – Bare Bones

Treated and Released Records – 2024

www.reverendfreakchild.org

9 tracks; 38 minutes 9 seconds.

On his latest releases, Bare Bones (2024), Reverend Freakchild offers dazzling storytelling, capable guitarwork, and a spiritually influenced version of the blues. Bare Bones is a stripped down, solo acoustic guitar version of Freakchild’s 2023 album, Songs of Beauty for Ashes of Realization, which in turn was a full band re-invigoration of 9 earlier Freakchild original songs.

The more recent album, his 18th, comes across as less experimental, and more raw. It was recorded live and with no edits at the Chatanooga Public Library Studios. The liner notes describe it “as close as possible to a musical stream of consciousness.” Freakchild holds multiple divinity degrees and the spiritual influence is apparent.

Freakchild opens up “Dial it In” with a tasty, rockin’ acoustic guitar intro, using the full guitar. The skillful troubadour’s influence is apparent early on in the strong lyrics. Freakchild sounds like a mix between Bob Dylan and G Love and Special Sauce as he sings about the “crossroads of my mind as the highway hums with the rhythm of time.” The guitar establishes a groovin’ tune, as Freakchild croons that the “darkest hour (comes) right before the light.” The guitar playing is uptempo, rhythmic, and positive.

“Hippy Bluesman Blues” kicks off with a slow blues shuffle before Freakchild, in a particularly deep and growling voice sings about losing his possessions, a “hippie cul-de-sac”, a mojo hand, and Muddy Waters.

The album drifts between country, singer-songwriter, and blues. That said, blues is Freakchild’s dominant influence, and it permeates the album.

On “Amsterdam Blues”, one of the strongest on the LP, Freakchild’s acoustic guitar whines in Mississippi Blues fashion, emulating the late great Robert Johnson. With a smooth, deep, voice, Freakchild sings about succumbing to sexual temptation; “Sex and smoke everywhere. Think I went to heaven and died.” Impressive, mesmerizing guitar work fleshes out the tune that gets better with each listen.

The storytelling on “Tears of Fire” and “Skyflower” are spiritual, guttural, and effective. As he says in the liner notes, his “lyrics easily flow from the delicate to the desolate”. Fiery, fast blues chords propel “Tears of Fire” as Freakchild tells a tale of agony and betrayal; of “the burning eye… the burning flesh.”

Delicate, beautiful guitar strumming opens “Skyflower”, a peaceful, serene, and contemplative song about falling in love again. Freakchild sings about a “flower in the sky, climbing higher and higher. No need to reach for light.” The honest, humble, and vulnerable vocals – the vocals of a man opening up his heart- evoke James Taylor, Jackson Browne, and Townes Van Zandt.

“Don’t Miss Nothing ‘til it’s Gone” employs gentle finger picking at the start. The song explores mercy, privilege, and gratitude, with Freakchild singing “When the moon come up blood red, and the seas begin to boil. May the Lord have mercy on us all. May we all hear the angels call.” Freakchild bends strings with energy, giving a solid blues undercurrent to the track.

The album’s final track, “Keep on Trucking”, illustrates both Freakchild’s positive spirit as well as the positive spirit of the album. Bluesy, peaceful, and balanced notes introduce the song that is as much about resilience and preserving through tough times, as anything else. With a vocal delivery that sounds like Steve Earle, Freakchild sings of “a broken bible on the highway” and “an angel of mercy”, with the refrain, almost a Buddhist mantra to “keep on trucking.”

While “All Across America” and “All I Got is Now” don’t quite hit like the other tracks, Freakchild clearly shows himself to be a masterful troubadour on this album. Bare Bones displays exceptional storytelling and capable guitar playing, all fused with a unique spiritual perspective.

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.

Doug MacLeod – Raw Blues 2

Sledgehammer Records

www.doug-macleod.com

9 Tracks – 44 minutes

Blues Blast writer Anita Schlank  provided an in-depth interview with Doug MacLeod in the June 6, 2024, issue of Blues Blast Magazine.  I will not try to recap her information but will just provide some basic information about Doug. Doug was born in New York City on April 21, 1946. His family moved to St. Louis when Doug was a teenager. He had a difficult childhood as he initially had a bad stutter but overcame that obstacle by learning to play the guitar and to sing.  In the St. Louis blues clubs, he learned from master performers like Albert King, Little Milton and Ike Turner. He initially played bass for several bands in St. Louis. After enlisting in the Navy and being stationed in Norfolk, Virginia, he shifted to guitar and played in blues clubs there and further learned from his mentor, Ernie Banks. He developed a unique acoustic and slide guitar technique.

After leaving the military, he studied at the Berklee College of Music and then moved to California. He gained experience playing with Big Joe Turner, Lowell Fulson, Big Mama Thornton and many others. He released his first album in 1984 and has released over twenty albums since.  With exception of 2019, Doug has been nominated for the Blues Foundation’s Acoustic Artists of the Year every year from 2008 to 2024 and has won the award four times and has also won the Best Acoustic Album of the year twice. Doug is presently nominated for the 2024 Blues Blast Awards for Acoustic Album of the Year and Acoustic Guitarist.

In concert, Doug is a master storyteller reveling his audience with humorous anecdotes from his life and lead-ins to his songs. In 2023, Doug released Raw Blues 1, a seven song EP that highlighted his songwriting, his vocal prowess, and his dynamic slide and acoustic guitar work. Raw Blues 2 continues to deliver on that focus.

The album opens with Doug determining that the woman was a “Fine Looking Sugar”, “like some kind of movie star” and “my mind was on a little romancin'”, “but I got nervous and did not know what to do” as he gives his acoustic guitar a workout. On “Keep On Moving” he advises that “you got to keep on believing even if there is no reason”. He speaks of his travels in “Just Like a Minstrel”, and notes ” I never made much money”. His slide guitar comes to the front on this song.

He explains that he wrote “Horse with No Rider” while sitting on the porch with George “Harmonica” Smith, who told him about this legend in Mississippi about a village that that was never certain whether their people would come home at night. “Goin’ Down Country” features some fine fingerpicking guitar as he cites that ” I was born in the city, but country is where I belong”.  While sitting by the river, he is longing for his woman in “My Good Girl Blues” but a “friend told him that she had done found someone new”.

“One Good Woman” he says is a story about the first woman that teaches a man how to make love properly.  On the “Long Time Road”, he declares he “is all by myself” and “looking at time I’ve yet to know”. He concludes with “All I Had Was the Blues” as he lets his slide guitar shine and offers the advice that “life ain’t nothing but what you choose”.

Doug provides a master class of how to play the acoustic guitar amidst his story telling and certainly demonstrates why he is a constant nominee for the acoustic blues awards.

Reviewer 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.

Grace Bowers, the Nashville-based teenage guitar wunderkind, initially told her mom that the email announcing her selection as a U.S. Global Music Ambassador was so cool it had to be fake. “Mom, that’s a scam,” Bowers recalled telling her mom, Lisa. “That’s a scam email. They’re scamming you.”

Turns out, of course, that her selection wasn’t a scam. The Global Music Ambassador program is a diplomacy initiative jointly sponsored by the State Department and YouTube. In late June, Bowers went to Washington, D.C. for the appointment ceremony.

“I got to go to the State Department with some other really awesome artists. I never got to do my Washington, D.C. trip in the eighth grade because it was during COVID, so I kind of got a re-do of it.”

For Bowers, this summer has been full of amazing opportunities and experiences. Touring D.C., talking backstage with rock legend Peter Frampton, meeting her first guitar hero, releasing new music, and performing live in new places.

Bowers, who recently turned eighteen, has been on an amazing journey for the past several years. The Northern California native moved to Nashville three years ago, and, since then, her world has been an almost nonstop parade of gigs, jam sessions, guest appearances, and interviews. Lots of interviews. Since December, she’s been interviewed by both Rolling Stone and Fortune magazines, profiled by USA Today, featured on a segment of CBS Mornings, and written about by countless online bloggers and music industry-focused publications.

To say that Grace Bowers is everywhere would be fairly accurate.

“I’m so grateful…very grateful for everything that has been happening to me,” Bowers said.

Her focus, determination (“stubbornness” is the word she uses), and work ethic have definitely paid off for her. As Bowers emphasizes, she has worked her tail off for the past three years “to get these cool opportunities.”

Those opportunities include appearing last year on a Dolly Parton television special, a resonating set of performances at the 2023 Newport Folk Festival, appearing on stage with country star Lainey Wilson for Nashville’s Big Bash New Year’s Eve concert, and, back in early April, performing at the NCAA’s Tip-Off Tailgate party in Phoenix.

Opportunities to perform that are both large and small.

“On New Year’s, I played with Lainey Wilson to 215,000 people, and I couldn’t even see past the crowd. And then, a week after, I went and played a show with my band at a dive bar to 100 people.”

Playing dive bars and small clubs in and around Nashville was how Bowers honed both her guitar skills and her stage presence. But, as she has stated online, she’s covered so much musical ground in such a short amount of time through practice and persistence.

“Lots of practice,” Bowers said. “Lots of cutting teeth. Just stubborn and persistent. Just hard work.”

Along with plenty of hometown supporters who believe in Bowers and her talents.

“I have such a great community in Nashville. When we first moved here and I was fourteen or fifteen, playing dive bars, my parents were obviously a bit uncomfortable with it. But, they let me go out because I have all these people who believe in me and were looking out for me, no matter what.

“That’s something that I think is definitely unique to Nashville…that everyone’s just trying to help each other out. I have a lot of people in my life I really respect and look up to who I can text or call and ask for anything or ask for advice and they’ll always be there. So, that is something I love about living in Nashville—as much as I miss California—I have such a great and strong community here.”

Bowers is everywhere because of her determination and her focus…and her passion for causes and issues that are important to her.

In early June, Bowers completed her second year headlining Grace Bowers and Friends, an Evening of Love, Life, and Music benefiting Voices for a Safer Tennessee and MusiCares, a non-profit that benefits musicians and the music community. The one-night event featured a Who’s Who of Nashville, including Maggie Rose, Tommy Prine, John Osborne, Shane Hawkins, Devon Gilfillian, Meg McRee, Butch Walker, and many others.

The 2023 Grace Bowers and Friends concert raised more than $20,000 for MusiCares and for the families affected by the Covenant School shooting in March of that year. This year’s event raised over $30,000. After last year’s shooting, Bowers was determined to do something to help heal her new home community and to highlight a problem that she strongly believes should never happen.

“I feel regardless of your political standpoint, school shootings should not be happening, period. I just feel that it’s such an important thing to be advocating for safer laws and then also advocating for more education around it. It’s a cause that I really believe in and being seventeen (at that time), I can’t vote. So, I had to find another way to have a voice.”

In addition to hosting and headlining the concert, Bowers organized the event.

“I (had) been working on it for over a month, so it was all curated by me…(so that) night, seeing all this hard work I put into it paying off in the greatest way possible. Nashville just showed up in the biggest way…and I love to see it, and I thought it was a really incredible night.”

Passion, determination, and focus are words used to describe Grace Bowers. Other words would include enthusiastic, curious, and, of course, talented.

When watching Bowers on stage, you realize how locked in she is with her playing and the poise and confidence she brings to every performance. Bowers said she used to get nervous when playing live. Nerves are now a thing of the past.

“Yeah, it took me a good bit to get over that, but now, it’s no problem for me, but I definitely used to get very, very nervous when I first started playing shows.”

Long before she took the stage, Bowers first developed her guitar skills in a uniquely 21st-century way. Confined to home during the pandemic, Bowers live-streamed her practice sessions on Reddit, sometimes to thousands of loyal viewers, and, eventually, picked up an enormous following on Instagram.

She started learning guitar when she was nine years old after watching the music video for “Welcome to the Jungle” by Guns N’ Roses, featuring Slash and his signature Les Paul guitar. Bowers then became obsessed with “cheesy hair bands” like Winger and Ratt. But Slash (Saul Hudson) became her first guitar hero.

And the first rock song Bowers taught herself to play? “TNT” by AC/DC. In her USA Today interview, Bowers explained that the church-based guitar teacher wouldn’t teach her either “TNT” or “Hells Bells” because of the lyrics.

“So, I went home and taught myself (‘TNT’) from watching the video.”

Anecdotes like that tell the story of a focused and persistent young woman, who cares deeply about her craft and about those guitar heroes who influenced her playing. While Slash and Guns N’ Roses started her guitar journey, it is Leslie West who Bowers says is her favorite guitar player of all time. West, who passed away in 2020, co-founded the group Mountain, best known for the rock classic “Mississippi Queen.”

“It’s funny because I sound nothing like Leslie West.” Bowers laughs and went on to explain what made West’s guitar playing so special to her.

“He’s one of my favorite (guitar) players…not only because of his playing, but also because his tone was so unique and unmatched, and, I mean, he’s written some of the most iconic riffs ever. And I feel like not a lot of people talk about him (West) when mentioning guitar heroes. His name doesn’t get brought up as much as it should. So yeah, I mean, he’s definitely one of my biggest inspirations.”

From Slash to Leslie West, Bowers’ journey of discovery led her to one of the most recognizable guitarists or all time.

“Well, I first heard ‘Sweet Little Angel’ when I was thirteen, sitting in my mom’s car while she ran errands or something. I was flipping through radio stations, and eventually (I hear) ‘Sweet Little Angel’ playing. It was the version off of (B.B. King’s) first album. So, this was old, old B.B. King, not a live version. And that intro (is) iconic. I had never heard anything like that before…and that was the first time that I heard the blues and just kind of fell in love with it after that.”

At the time, Bowers was still in her hair metal phase, listening to crushing guitar solos where, as she explained, the guitarist crams as many notes into one or two seconds. That playing style, called shredding, is still a “guilty pleasure” for Bowers to this day.

“But hearing B.B. start a song with like five notes and those five notes said more than every single hair metal song I’ve ever heard combined. That’s just how powerful his playing is.”

“Sweet Little Angel” started Bowers down another path of discovery, where she initially focused on blues icons of the early to mid-twentieth century. Mississippi John Hurt and T-Bone Walker joined B.B. King on Bower’s blues playlists.

“I like them because they’re all different from each other. (Mississippi) John Hurt, I’d say, is more folk blues, and I still can’t play some of his songs because I can’t get that finger picking down. It’s so unique to him (Hurt), and it just flowed out of him. It seems like it was so easy for him. And his voice, on some of his records, you can hear him breathing, and there’s something chilling about that. It’s so cool.

“T-Bone Walker had a bit of a jazz influence (to his music) and more of a big band thing going on. But those (King, Hurt, and Walker) were my main three when I first discovered the blues. That’s who I was listening to.”

From blues icons to current blues stars—and rising stars—Bowers continues to make the most of the opportunities that have come her way.

In early June, Bowers got the chance to showcase her talents with another rising star, Christone “Kingfish” Ingram, who was playing a show at The Opera House in Toronto, Canada.

“Yeah, he invited me up to jam on a song with him, and he just blew me away. He’s got four people in his band, that’s it. He put on a two hour show and just—through and through—there was not a bad moment. (Kingfish) truly ‘speaks’ with his guitar…it’s insane. Not to mention, he’s an incredible singer, too. He’s not just a guitar player, he’s a great, great singer.

“We talked for a while after the show, too, and he’s just so, so nice, and he’s an amazing person.”

Bowers also talked about meeting sisters Rebecca and Megan Lovell of Larkin Poe, the American roots rock and blues duo now based in Nashville.

“They’re both the nicest people that you could meet and just so, so supportive. I was actually there for…and met them during Grammy Week (this year) and they won a freaking Grammy (for their album Blood Harmony in the Best Contemporary Blues category).

“So happy for them because they deserve it so much, and they’re both (wonderful) people. We haven’t gotten a chance to jam, yet. But, I’m certain that there will be a jam (session) soon.”

Bowers played at Eric Clapton’s Crossroads Guitar Festival 2023, held last September at the Crypto.com Arena in Los Angeles. The festival has become a must-see for its hosting of incredible live performances and impromptu collaborations from veteran guitarist and those up-and-coming stars like Bowers.

“That was such a cool experience and just to be around that level of ‘insane players’ everywhere was so inspiring to me, and I definitely wish that it was happening this year and not last year. I didn’t have a band at the time, so I was just sitting in with (other) people, and I definitely wish that I could bring the band out (for the next one).”

Bowers will have the chance to highlight both her skills and her new band as she continues touring through the remainder of 2024. Blues fans will have an opportunity to witness Bowers’ powerful performances in-person at Mammoth Festival of Beers and Bluesapalooza on August 3^rd at Mammoth Lakes, California and on September 13^th at Telluride Blues & Brews in Telluride, Colorado, featuring a lineup of incredible blues guitarists, including Joe Bonamassa, Eric Gales, Tab Benoit, Gary Clark, Jr., Samantha Fish, and many others.

Bowers and her bandmates are slated to play other large festivals as well, including Louisville’s Bourbon & Beyond 2024, performing alongside Neil Young, Tedeschi Trucks, Dave Matthews, Beck, Black Pumas, and many others.

“I mean, it’s crazy because this is the first year that I’m touring under my own name, (and) that I’m out there with my band and seeing my name on the same posters as Joe Bonamassa or Derek Trucks is kind of crazy.”

On August 5^th in Bethlehem, Pennsylvania, Bowers and her band open for Slash on his S.E.R.P.E.N.T. Festival tour, promoting the release of Orgy of the Damned, Slash’s latest solo album full of re-imagined blues classics.

“I’m still not over that (opening for Slash). He was the reason that I picked up a guitar when I was nine years old, so it’s just a huge honor for me to be able to open for him.”

Bowers got the chance to meet her first guitar hero in Nashville in late June. She said it was surreal seeing Slash walk into the room and then to talk with him.

“He was so, so nice…(he) and his wife were very nice. Like a dream come true.”

Bowers reiterated that she’s excited to tour, playing to both large and small crowds and the new experiences touring will bring.

“I’m looking forward to playing all these new festivals that I’ve never been to for the first time. Looking forward to traveling to places I’ve never been to. Obviously, we’ll have some new music out there pretty soon with some pretty cool events going on around it (her new music). So, it’s going to be a great rest of the year it seems like.”

That “new music” is Bowers’ first full-length album—Wine on Venus—scheduled to come out in early August.

The album’s title and title track come from a very personal story about Bowers’ grandmother, Nana, who passed away last year at the age of 100. Nana once told Bowers that when she died, she’d be drinking wine on Venus because it’s the brightest star.

The recently released title track is a soulful tribute to her grandmother, whom Bowers said she misses very much. Bowers posted on Facebook that “I always think of Nana when we play this song.”

Bowers talked about the process of writing the songs for Wine on Venus with her lead singer, Esther (Esi) Okai-Tetteh. The two would sit in Bowers’ bedroom hashing out lyrics and melodies.

“That’s pretty much how it went down. It was a lot of me and my singer, Esi…on my bedroom floor writing songs. Some of them were co-written with other people, too.”

Bowers and her bandmates then went into the studio in February to record Wine on Venus with John Osborne of Brothers Osborne fame.

“Working with John Osborne was…I can’t imagine doing it with anyone else because he was just so perfect and understood the sound that I was going for so well. It was just, honestly, so easy, and it kind of flowed right out of everyone. (We) knocked it all out in a week. It was an amazing experience.”

Musically, the new album leans heavily into the funk and soul sounds of the Sixties and Seventies. Those sounds are clearly evident on the album’s first released single, “Tell Me Why U Do That” featuring an underlay of horns and vocals reminiscent of Sly and the Family Stone. One of the album’s nine tracks is a cover of the funk band’s well-known hit, “Dance to the Music.”

“Our biggest inspirations were early Funkadelic, Sly and the Family Stone, (and) The Meters. I mean, obviously, I have a huge blues and rock influence, and I think that shines through in the funkier areas, too. So, it’s a big mix of all of that. Especially with everyone in the band coming from different backgrounds. It’s cool to see how we could all come together and make something unique.”

Her band’s name—The Hodge Podge—came from the members’ “different backgrounds” as Bowers put it—an eclectic mix of musical experiences and tastes.

While those different backgrounds and experiences contributed to the fun and funky groove of Wine on Venus, it’s Bower’s exploration into the music catalogues of yesteryear that shines through in her new songs.

“Well, the first three or four Funkadelic albums are my favorites of all time, especially Maggot Brain. That is in my top three albums of all time. I love that (album). The first time I ever heard George Clinton (and) Parliament-Funkadelic was ‘Hit It and Quit It.’ This is not that long ago, either. This was like a year, year and a half ago.”

Bowers said that prior to discovering George Clinton’s Parliament-Funkadelic universe, she had been in a classic rock phase, falling in love with late Sixties icons such as Jefferson Airplane, Mountain, and T. Rex.

“I still absolutely love all those bands, but I felt I was always digging for something…and hearing ‘Hit It and Quit It’ was like ‘This is what I’ve been looking for’ and everything kind of clicked, and from there I got into more…of this old school funk stuff and really fell in love with it.”

Following the release of Wine on Venus and with tour dates scheduled for the remainder of the year, Bowers says that—right now—she doesn’t want to slow down and wants everything to continue happening at “light speed,” as she called it.

While she’s “not one to look super far into the future,” Bowers has given some thought to a second album and where her journey of discovery might take her.

“I love all different kinds of music. Like I love folk. I love the blues. I love Americana. So, I’m definitely not going to limit myself to a genre. I’m already thinking about making a second album before the first one even comes out. (I’m) always, always going to keep writing, that’s never going to stop. We’ll always have some songs coming. So, yeah, I just think there’s no bounds to it.”

There are also no limits to Bowers’ passion and determination as a talented guitarist and songwriter. In her new role as a Global Music Ambassador, Bowers will soon showcase both her talent and her passion to a worldwide audience. And just like she worked to heal her home community of Nashville, Grace Bowers will use her music “to bring the world together” and help promote peace.

“If I feel strongly about something, everyone else is going to know because I will be very outspoken about it. I mean, to me, it’s important to take a stance. I just think that it’s so important, especially as musicians, (because) a lot of music is about having a voice.”

Find out where Grace is playing and catch a live show by visiting her website at:
www.gracebowers.com

Writer Ken Billett is a freelance writer based in Memphis. He is a Blues Foundation member and former docent/tour guide at the Blues Hall of Fame. Originally from Tampa, Florida, Ken writes about travel, music, and the Mississippi Delta.

Jeff Rogers – Dream Job

Diesel Management Productions

www.jeffrogers.ca

9 tracks; 38 minutes

Jeff Rogers came to prominence when he and fellow Canadians JW-Jones and Jamie Holmes won the 2020 IBC, using the first two letters of their names to form the band name, the HOROJO Trio. However, Jeff has been around the Ottawa scene for far longer, both as a touring and a session musician and this is his third solo release. Jeff wrote all the songs, in collaboration with Dick Cooper, and travelled to Muscle Shoals in Alabama to record, with Colin Linden producing. The core band is Jeff on lead vocals and piano,  Kelvin Holly on guitar, Clayton Ivey on keys, Shonna Tucker on bass and Justin Holder on drums, plus a horn section of Ed Lister (trumpet), Petr Cancura (tenor sax) and Mark Ferguson (trombone). Guests include John Steele on pedal steel, Steve Foley, Anders Drerup and Blair Hogan on guitar and a host of backing vocalists: Sherri Harding, Rebecca Noelle, Sharon Riley, Teena Riley, Jean Lawrence-Scotland, Michelle Francis, Renee Rowe and Patricia Lewis. Colin Linden adds slide guitar to one track and Kellylee Evans duets with Jeff on one tune. Credits for this seasoned set of studio musicians include Little Richard, Bobby Bland, The Staples Singers, Delbert McClinton and Keb Mo’ – quite a list!

Jeff has a soulful voice, ideally suited to material like opener ‘Her Kind Of Trouble’ which starts with his voice and piano before building with choral vocals and fine guitar. The horns make their first appearance on the most uptempo tune here, Jeff finding the perfect romantic match who has him under ‘Lock & Key’. On the title cut Jeff describes the life of the touring musician, not always wonderful, but, for him, it is the ‘Dream Job’. The choir again adds depth to the chorus and the combination of organ and piano gives the number a gospel feel. ‘Mind Of Your Own’ combines a funky rhythm with hints of country, courtesy of Colin Linden’s slide, while ‘Wish You Wouldn’t Go’ is an anguished slow blues in which Jeff regrets neglecting his lady who has decided to give up on their relationship.

‘Saving This Bottle Of Wine’ strikes a more positive lyrical note as Jeff decides that when a close friend needs support it is the perfect time for that bottle he has been keeping; the stripped-back arrangement with piano, organ and pedal steel displays Jeff’s voice well. The horns return for the smooth soul stylings of ‘Dead Of Night’ before the final two tracks, both slower tunes: Kellylee Evans joins Jeff on the aching ballad of finding love, ‘So Worth The Wait’ and ‘Deep Cold Water’ is given a sense of grandeur by the outstanding choir which spurs Jeff on to ever greater vocal heights.

Jeff is a fine, soulful singer, but the album does have a lot of ballads and, by modern standards, is relatively short, so it might have been possible to have added a few more upbeat tunes to balance the album.

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.

Arbuckle & Long – Gonna Be Justified

Independent

www.facebook.com/arbuckleandlong

10 tracks – 31 minutes

Although Dustin Arbuckle and Wayne Long have been playing together for over a decade, this is their debut album. The duo first met in 2008 when each was playing as separate acts at the legendary Murdock Theater in Kansas City, Missouri. At that time Dustin was playing with Aaron Moreland in a trio named accordingly Moreland and Arbuckle. Wayne was playing as a solo with Arthetta Long. The two got together at the end of the show and their talk led to their mutual admiration of Mississippi John Hurt. They subsequently got together sporadically both to perform as a duo and to record an occasional single release.

Their love of the music of Mississippi John Hurt led them to record this album of predominantly pre-WWII blues. The Hurt influence is heard in the finger-picking style Wayne provides as accompaniment to the songs. Their research of the old songs found variations from what might be well-known or in verses that vary from one version to the next. In some instances, Dustin inserted a new line or two into a song because he momentarily forgot the words. Most of the songs have been performed and recorded by numerous musicians over the years.

An example of the modern switch in a song is in the seventh track on the album, “Jesus on the Mainline”. the duo originally learned the song as recorded by Mississippi Fred McDowell around 1960, but in playing the song, one verse they heard from Ry Cooder was added.

The opening song “Payday” has that definitive old country blues sound that you can identify from someone playing on the porch of an old home in the country. “Jack of Diamonds” is an old Texas gambling song about a railroad man that lost money playing cards. The first known recording of the song was by Blind Lemon Jefferson in 1926. Next up is “I Am a Pilgrim”, a Christian hymn that shows up in songbooks from the 1800’s. It was first recorded in 1924 by the Norfolk Jubilee Band and subsequently by Bill Monroe, The Byrds and Johnny Cash among others. The verses are also frequently changed and performed as “I’ll Fly Away”.

“Moonlight on the Mountain” is an original song written by Dustin with a very folky sound. “Let the Mermaids Flirt with Me” from Mississippi John Hurt is a song with a bouncy, happy feel but is dealing with death as the performer is saying to just “cast my body out in the sea, save on the undertaker bills”. “Snappin’ Blues” is an instrumental permitting Dustin to concentrate on his harmonica with Wayne strumming along. A mentioned above, “Jesus on the Mainline” has had many variations, but the duo’s version is well done and certainly of their own direction.

“Frankie & Albert” is another variant of the story of murder that is frequently told as “Frankie & Johnny”, but the song has a long history with major variations and disputes of who first wrote it. “Sittin’ On Top of the World” was first recorded by The Mississippi Sheiks in 1930 and was inducted as a song into the Blues Hall of Fame in 2008. “Children of Zion” is a spiritual song written and originally performed by Reverend Gary Davis.

Dustin’s baritone voice is always strong and appealing. His harmonica and Wayne’s guitar work are also very fitting to the music and the history of the songs they are performing. The album has rightfully been nominated for the 2024 Blues Blast Award for best “Acoustic Blues Album”.

Reviewer 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.

Curtis Salgado – Fine By Me

Little Village Foundation – 2024

www.curtissalgado.com

12 tracks: 44 minutes

Fine By Me, the latest album from bluesman extraordinaire Curtis Salgado, is a cornucopia of musical genres, playful lyrics, and talented musicians—all brought together with Salgado’s signature flair to create a bounty of memorable songs that will stir your soul and move your spirit.

Little Village, Salgado’s label, states in their one-pager that “Fine By Me is the latest evidence of Salgado wielding his impressive songwriting and vocal skills (in) a wide variety of styles…dashes of blues, gospel, R&B, jazz, funk, rock ‘n’ roll, and (of course) soul.”

Salgado has been a force in the blues world for nearly five decades and won the Blues Music Award for Soul Blues Male Artist of the Year in 2022 and 2023. In the early 1980s, he was a member of the Robert Cray Band, then sang with Room Full of Blues, and, eventually, went on to a successful solo career, racking up eleven Blues Music Awards. As many blues fans may know, Salgado was the inspiration for The Blues Brothers, after striking up a friendship with comedian John Belushi during the filming of the hit comedy movie Animal House in Eugene, Oregon.

Fine By Me was produced by Salgado, mixed by Sandy Solomon at KSM Studios in Los Angeles, and mastered by Gene Grimaldi of Oasis Mastering in Burbank, California. Salgado either wrote or cowrote all of the original songs. The album’s liner notes list a true cornucopia of musical talent—both session musicians and recognizable names. Eight of the album’s twelve tracks feature Christoffer “Kid” Andersen on guitar and keyboards and on four of those tracks, his wife, Lisa Leuschner (Andersen), sings background vocals. The Andersens were recently featured in Blues Blast Magazine and blues fans know that “Kid” is the guitarist for Rick Estrin & The Nightcats.

Other notable names include drummer Tony Braunagel, guitarists Ben Rice, Billy Watts and Anson Funderburgh, along with another bluesman extraordinaire, Robert Cray, who appears on one of the album’s cover tunes.

Both “Better Things To Lie About” and “Under New Management” feature an abundance of tight horn arrangements with distinctively different song styles. “Better Things…” has a soulful vibe with Salgado’s terrific harp riffs and growling vocals and features Kid Andersen’s funky keyboards. “Under New Management” is definitely R&B with a big band sound along with terrific guitar work by Billy Watts and Anson Funderburgh.

“Safe At Home” has a fun, funky backbeat with a “classic rock” sound—from Andersen’s keyboards to Lisa Leuschner’s harmonizing vocals to those subtle musical breaks. Those huge brassy horns return on “You Give the Blues a Bad Name,” another soulful number that’s slow and sultry. Watts and Funderburgh also return on “You Give the Blues…” with even more intricate guitar work. “The Big Chagrin” has a toe-tapping big band sound with New Orleans-style piano by Jeff Paris.

The title track, “Fine By Me,” is Salgado’s storytelling at its best, wrapped around a contemporary rock ‘n’ roll sound. According to Salgado, the playful lyrics were inspired by a dream he had after reading a Jackie Onassis biography. Salgado and friends do righteous justice to the album’s two cover songs: “I’m Gonna Forget About You” (by O.V. Wright) and the Cajun-fied classic “Niki Hoeky,” originally recorded by P.J. Proby in the 1960s. Robert Cray lends his voice and guitar to “…Forget About You,” a song he recorded with Salgado back in 1980 for Cray’s first album.

Ben Rice channels his inner flamenco guitarist on the tango-inspired “The Only Way Out.” The song also features Lindsay Reynolds on background vocals. “Hear The Lonely Hearts,” which Salgado describes as a “deep gospel song” features wonderful harmonies from The Sons of the Soul Revivers—brothers James, Walter, and Dwayne Morgan.

Fine By Me is overflowing with good times, terrific tunes, and an abundance of Curtis Salgado’s signature soul.

Writer Ken Billett is a freelance writer based in Memphis. He is a Blues Foundation member and former docent/tour guide at the Blues Hall of Fame. Originally from Tampa, Florida, Ken writes about travel, music, and the Mississippi Delta.

Sonny Gullage – Go Be Free

Blind Pig Records – 2024

www.facebook.com/SonnyGullage

12 tracks; 42 minutes

Here is a new name on the scene, a young man from New Orleans in his mid-twenties who sings, plays piano and writes the songs, Sonny Gullage is one to watch. Sonny was born into a musical family: his father Tony is a professional bassist who has played with Dr John and Henry Butler, his grandmother, Sister Alberta Gullage, recorded gospel music in the 1960’s and the family is believed to be distantly related to Heddie Ledbetter (Lead Belly). Sonny has been performing in New Orleans and in Europe, but this is his debut album release. Recorded at Tom Hambridge’s studio in Nashville, with Tom producing, the album consists of twelve songs written mainly by Sonny and Tom, Richard Fleming and Blind Pig boss Jeff Schroedl also contributing. Sonny had a hand in ten of the songs, sings lead on all tracks and plays piano. A team of familiar names from Hambridge productions appears, with Tom on drums, Kenny Greenberg on guitar, Kevin McKendree on keys and bass duties split between Tommy MacDonald and Rob Cureton; horns on two tracks are by Max Abrams (sax) and Julio Diaz (trumpet) and Christone ‘Kingfish’ Ingram guests on guitar on one cut.

The first thing to note is how good a vocalist Sonny is, whether he is tackling a funky number like opener “Just Kiss Me Baby” or delivering full-on gospel tones, as he does on several tracks, notably “Home To You”, a stately tribute to his loved one at home, Sonny’s lonely piano supported by warm backing, including plaintive horns, making a fine ending to the album. In between those bookends Sonny delivers a full range of styles that suit his voice, particularly elements of soul, gospel and blues. The horns’ second appearance is on one of the two songs that Sonny did not write, “Things I Can’t Control” and “Hot House” is another funky tune with heavy guitar. The title track sounds like a revival tent with rapid handclaps, drums and bass behind Sonny’s vocals and “File It Under Blues” rattles along as Sonny draws a line under a relationship that has run its course.

Mid-album there is a great run of songs that brings out the very best in Sonny, both as singer and writer. “Separate Ways” is a fine ballad about a break-up, with delicate guitar figures behind Sonny’s emotional vocal as he makes a plea for reconciliation, while “Worried About The Young” is a well-crafted song about some of the issues that face young people trying to make their way in the world: “kids are starting out, already deep in debt, can’t find a decent job, they take what they can get”. Sonny’s concerns about how the world is going are further underlined by Kingfish’s excellent guitar work here.

“Blues All Over You” is a shuffle with great piano and chugging guitar before another gorgeous ballad, Sonny empathizing with another person’s problems, telling them “I’ve Been There”. “Stop That Stuff” opens with Sonny’s laughter and then proceeds to rock out with pounding bass/drums and rockabilly guitar, a short interlude before another emotional hit with “Tattooed Wings”. This one is a late night blues ballad with piano to the fore. Sonny has clearly been misled: “Thought you were an angel, looks like I was wrong about that. Should have seen it coming with those tattooed wings on your back. While I was waiting on an angel, found a devil instead”.

This is an impressive debut album, Sonny’s vocals strong throughout and his songwriting impressing, particularly on the more emotional ballads. With Tom Hambridge’s production skills and a solid band behind him there is plenty to enjoy here and the whole album whets the appetite to see and hear more from Sonny Gullage.

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.

Levee Town – Stories

Hudtone Records

www.leveetown.com

9 tracks – 31 minutes

Levee Town is the house band at the famed Knucklehouse Saloon in Kansas City, Missouri. The band consisting of Brandon Hudspeth on guitar and vocals, Jacque Garoutte on bass and vocals, and Adam Hagerman on drums first formed in 2002.  They have toured the US and Canada playing at many festivals and clubs, have opened for many major acts, and have also served as the backing band for many performers including Curtis Salgado, Albert Lee, Louisiana Red, Chris Duarte, Lazy Lester, Big Bill Morganfield and Mud Morganfield among many others. Tinley Erhardt also guests on four tracks adding piano, organ and accordion.

Brandon was born in Muskogee, Oklahoma. After hearing Johnny Cash, he started taking guitar lessons at a very young age. His music became heavily influenced by listening to the blues in high school and formed a band that played around Tulsa. After high school, he moved to Kansas City where he played with many bands, eventually forming his own band. He says while he has a love for the guitar, his focus is on the song itself with a story that he can tell.

The band was selected by the Kansas City Blues Society as their representative at the International Blues Challenge in Memphis twice with the group reaching the finals in 2009. This album is their tenth studio album with one additional live album.  Brandon was nominated for a Blues Music Award in 2020. Their 2022 album, Tryin’ to Keep My Head Above Water was nominated for Blues Blast Magazine’s “Best Blues Rock Album” of that year.

As he notes above, the stories he can tell through song are the most important part of making music, therefore the album title, Stories, for the new recording is proof of his direction. The album opens with “The Healthy Woman” who he notes “is lean, she’s pretty petite, got hair falling down to nearly her feet, she likes to dance in the middle of the street, staring straight at me.” He concludes that, “I still love her, don’t know why she wants to make me suffer”. “I Got a Hole in My Pocket” is a rock ‘n’ roll number as he states, “My money just runs straight through” and “My money is all gone, and my baby is too”.  “Where I Lay My Head” features slide guitar as he sings “I miss my old happy home cause I am forced to face this old world all alone”.

On “Worn Soul”, he says “You treat me like an old shoe…and my sole is worn”. “Harley Lou” is a bouncy southern styled rock song that reminds of something Atlanta Rhythm Section would perform. He begs her to put that “Dumb Ole Smart Phone” down, “How about some sweet time with your man” on a slow stroll number.

He sees his father in “My Daughter’s Eyes” and in her smile “like he was never gone”.  The song has a Cajun feel with Tilney’s accordion playing in the background. “Shuffling Sea” is a rock ‘n’ roll instrumental that will definitely get people jumping. “Back Then Stories” starts with a deep bass run and looks back to 2010 when he wonders “whether he can make that girl happy like she makes me…but I’m not crying any more”.

Brandon says, “When I think about all the changes that have gone on in the 20 years we’ve been together, it’s gotten to a place where there’s never a shortage of stories to tell.” This album sometimes drifts away from blues-rock and into a pop sound but it offers a very enjoyable listen of a handful of short, but to the point, fun stories.

Reviewer 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.

Gerald McClendon – Down At The Juke Joint

Delta Roots Records

www.geraldmcclendon.com

12 tracks/47 minutes

Gerald McClendon is often referred to as “The Soul Keeper” and it is a title he has aptly earned. His voice is sweet and the lyrics flow like syrup. He massages and embraces each line of every song, making them soulful parts of his love making with the listener. He’s way too underappreciated in the music world and hopefully this album continues to push him in front of more and more listeners who will appreciate his fine work.

This Chicago soul singer features on his album Tony Lorens on piano and all forms of keys. Joe Burba is on all the guitar leads except two tracks featuring Maurice John Vaughn and Mark Wyrda. Mike Jackson adds his sensational sax to seven tracks and The Delta Roots Horns are on four cuts.  David Forte does most of the bass work, but Harlan Terson is also featured on three of the tracks. Veteran blues drummer Twist Turner handles the skins and a little more.

“Back Where You Belong” is a beautiful soul song wrapped up in delicious vocals and saxophone. McClendon sings with true passion and grabs at the listeners hearts with this opening cut. Then “It’s Too Late, She’s Gone” follows up with a slow and deep track of lost love. Nice organ accompaniment to set the moods and few cool guitar licks add nicely to the cause. McClendon delivers another truly fine performance. The title track follows that, a rollicking and fun cut about where to go to get a little taste, have a ball, drink alcohol and have some good music in the air. McClendon sings a slick, metered cut with some faux harmonica by Twist Turner and Mary Lane on vocals supporting him sweetly. “House Ain’t A Home” follows, a greasy, soulful blues about a relationship that’s fallen out. Stinging guitar by Maurice Vaughn is out front on this one.

Up next is “So Long,” another slow soul song where Gerald sings of another soured relationship. He is easily one of Chicago’s top soul singers, if not the entire country’s. Wyrda adds his guitar to this cut. “Talkin’ Smack” comes next, where McClendon tells his women he’s not happy with her talking behind his back. More impassioned vocals and emotions are displayed here. “Only Time Will Tell” continues the slow and passionate song cycle where McClendon lays out his heart for all to see. Some more cool sax work is served up here on this one and the next cut. “She’s Tryin’To Drive Me Crazy” has Gerald tell us of a crazy woman who is trying to bring him along for the ride.

“Cryin’ Time Again” is not the country song we’ve all heard but McClendon singing if his troubles will ever end. He emotes and bares his soul for the listener once again. Piano helps set the mood here. Then it’s time for “You Make Me Happy,” an upbeat slow soul blues with sax and organ that’s a delight to listen to. “I’ll Be In Your Corner” is a way down tempo cut of a search for love, someone who cares. Gerald again displays his passion vocally and the sax is again superb. He concludes with “You’re So Fine,” another sweet cut with exceptional sax support.

Gerald McClendon is perhaps the most unappreciated soul man out there. This is a truly outstanding CD warranting your purchase and enjoyment.  I truly loved it!

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.

Jesse Dayton – The Hard Way Blues

Blue Elan Records

www.jessedayton.com

10 songs time – 35:35

Originally from Southeast Texas, Jesse Dayton’s music draws from many diverse genres. Over several decades he has dabbled in many and this record is an amalgamation of those influences: outlaw country, rock, Texas Rockabilly, a touch of blues and who knows what else. He has collaborated with diverse artists from Willie Nelson and Glen Campbell to members of Guns ‘N Roses. He commands a honky-tonk swagger of a voice as well as knowing his way around electric, slide and acoustic guitars. He wrote all the songs and his ably backed by drums, bass, keyboards, accordion and background vocals.

He recounts the trials and tribulations of a challenging life on “The Hard Way” via a hard-charging rock attack. Subtle organ peeks its’ head through. The acoustic lead-in on “Night Brain” gives way to a heavy guitar-fired assault that amounts to a sturdy statement. “Talkin’ Company Man Blues” is about working for the man and all it entails in life’s perils. His guitar skills are enhanced by Matt Hubbard’s electric piano and Courtney Santana’s haunting background vocals.

Finger-picked acoustic guitar bookends the catchy over-driven electric guitar riffing on “Baby’s Long Gone”. More of Courtney’s background voicings. “Navasota” enters like a hard-charging bull of a guitar bombardment, slide and riffs flying around like shrapnel. “Ballad Of Boyd Elder” is a hard rockin’ tale of a desperado. The roadhouse countryish “Angel In My Pocket” reveals a tender heartfelt side. Matt Hubbard contributes Accordion.

“Huntsville Prison Rodeo” depicts the brutal scene in good story song style. “Esther Pearl” uses a similar technique to describe a tale of an Haitian immigrant’s experience assisting runaway slave’s on the Underground Railroad during the mid-1800s. Things finish up with more clever lyrics in “God Ain’t Makin’ No More Of It”. Jesse’s guitar blazes through with help from producer Shooter Jennings’ tinkly piano.

Jesse Dayton and friends have crafted a gritty snapshot of life that is bolstered by fine musicianship. They all commit themselves well, but I give a special mention to bass player Ted Russell Kamp who on many songs gives a subtle under current. Patrick Herzfeld, Jamie Douglass, Shooter Jennings, Matt Hubbard and Courtney Santana are certainly not chopped liver. This record is certainly worth your attention.

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

Marcela De Campos – Dimmed Lights

Independent

www.marceladecampos.com

8 Tracks – 41 minutes

Brazilian born blues rock guitarist Marcela de Campos got her start with a leaning to the rock sounds of Aerosmith, Black Crowes and Led Zeppelin. She recognized the sound of the music was blues related. Around 2018, she started digging into more blues- oriented guitarists such as Albert King, B.B. King, Eric Clapton, Joe Bonamassa, Eric Gales and Stevie Ray Vaughan. Now settled into the U.S. in New York, she made friends with Melissa Raye at the Bitter End. Melissa delivered strong, bluesy oriented vocals. This put Marcela on the path to form a band with her on guitar and Melissa handling all vocals. For the album, she added Dave Previ on drum, Trevor Brown on bass, and Jason Laney on keyboards. Marcela has toured Brazil, Mexico and across the US.

The album consists of six cover songs and two originals. She opens the album with her rendition of Willie Dixon’s “Spoonful”. Melissa’s vocals with Jason’s keyboards and Dave’s drums open the song before Marcela lets loose on her guitar. The song is certainly well known by everyone familiar with the blues, but Marcela creates her own version with her dominating guitar. Next up is Little Walter’s “Blues with a Feeling”. Marcela’s guitar again rocks out with Marcela delivering smooth vocals.  “Nobody Knows You When You’re Down and Out”, written by Jimmie Cox has been recorded by many performers from Louis Jordan to Eric Clapton. Marcela’s guitar really rings out with Jason’s organ underscoring Melissa’s strong vocal performance.

The first original is the title song, “Dimmed Lights”, which Marcela wrote to tell her own story through the ups and downs she has experienced. She left to start a new life, first in L.A. where she “met her man”. After an excellent guitar interlude, she next says she moved to New York City where it “changed my life”.  A cover of Junior Wells’ “Little by Little” follows and again offers an opportunity for Marcela to launch a stinging guitar solo. The second original, “Walkin'”, is an instrumental mixing Marcela’s guitar with Jason’s organ.

B.B. King’s “It’s My Own Fault” lets Marcela play a slower blues run, but with more notes than B.B. King’s versions – not a complaint but just an observation of the differences.  Melissa again provides a soulful vocal. The album concludes with Jimi Hendrix’s “Hear My Train Coming”.

Marcela proves herself an accomplished guitar player and Melissa certainly has the blues chops with a strong, soulful sound sometimes moving into a light growl.  A comparison can be made to the blues rock of Kenny Wayne Shepherd and his partner, Noah Hunt, who provides many of the vocals for that pair. Marcela and Melissa certainly make for a powerful duo well worth a listen and to watch for their future direction.

Reviewer 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.