Guy Davis – The Legend of Sugarbelly

M.C. Records MC-0094

www.guydavis.com

13 songs – 46 minutes

A Grammy-nominated multi-instrumentalist, award-winning actor and playwright and more, Guy Davis has been thrilling audiences since the ’70s, carrying forward the songster tradition from the early era of the blues. And he hits it out of the park with this disc, displaying virtuoso fingerpicking on guitar and banjo as a welcome follow-up to his Be Ready When I Call You, which earned BMA honors in 2021.

The son of showbiz legends Ruby Dee and Ozzie Davis, Guy’s a storyteller of the first order, and he weaves together ten homespun tales with a trio of first-generation covers in this set, showing his mastery of six- and 12-string acoustic guitars, five- and six-string banjos and harmonica in the process as he delivers them in a warm, intimate style that separates from most other folks in the blues world.

This set’s dedicated to the late harmonica star Phil Wiggins and Guy’s uncle, William Conan Davis, a profound stutterer who he describes in the liner notes as “one of the best storytellers I’ve ever known.” It was captured at LRS Recording Studio in Hurley, N.Y., with vocal assists from double bassist/cellist Mark Murphy, mandolin player/banjoist Christopher James, Hammond organist Professor Louis Hurwitz and backing vocals from Timothy Hill, David Bernz, Guy’s son Martial Davis, Kheeda Cruikshank and Madeline Grace.

The opening title track, “Sugarbelly,” is based on a haunting, true story about the murder of a woman that Guy heard from his uncle and other family members in his youth. Although none of the Davises knew the victim, who stood five-feet tall, but all of them knew the man who killed her. It’s delivered from the perspective of someone who loved her dearly despite being involved with other men. Guy’s voice and clawhammer banjo remain sweet throughout, belying the description of one of those men jealously taking her life, until a spoken closing section describes angels wrestling the lady from her killer outside Satan’s door.

Davis switches to guitar and the mood brightens instantly with the delightful “Kokomo Alley.” Composed during the COVID epidemic for Guy’s Coffee with Kokomo Facebook live streams, it’s a country blues that invites a lady “with hips six-feet wide” for a “trip to some place you’ve never been before.” It gives way to the Sam Chatmon standard, “Who’s Gonna Love You Tonight (That’s Alright),” and features a slow-and-steady contemporary arrangement that builds in intensity as the singer’s discontent grows as he confronts the other man.

The rich, original ballad, “Early in the Morning,” advises finding the singer at daybreak because “by tomorrow, I may be gone.” It pairs with the mid-tempo “In the Evening Time,” the celebration of nighttime walk to “cool my mind and think about the money I ain’t made.” They yield to the traditional, “Little David Play on Your Harp,” a number first laid down on disc by the Fisk University Male Quartette at the dawn of the recording era in 1920.

Enchanted since his youth by lightning bugs, Davis launches into the uptempo send-up “Firefly” on banjo before “Long Gone Riley Brown,” a song derived by the tunes “Lone Gone” and “Lost John,” which Guy first heard at summer camp. Dealing with the escape from prison of a moonshiner, it features Sonny Terry-style harp runs, a technique Davis has had down pat since performing his forebear’s role in a revival of Finian’s Rainbow on Broadway. The theme continues in “Come Gitchu Some,” which introduces the potent, imaginary liquor, Stunkeymot, which blues folks can “feel from your hips down to your shoes.”

Guy’s reading of “Black Snake Moan” would have made its creator, Leadbelly, smile before he delivers a tip of the fedora to his paternal grandmother in “Laura” before the traditional “Twelve Gates to the City,” which states that all good paths lead to heaven, and his original, “Don’t Know Where I’m Bound,” bring the disc to a close.

The songster tradition has become almost a lost art. Thanks to Guy Davis, though, the heartbeat is strong! If you like acoustic blues, you’ll love this one.

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.

Albert Castiglia – Righteous Souls

Gulf Coast Records – 2024

www.albertcastiglia.net

11 tracks; 57 minutes

After two albums in partnership with Mike Zito and the Blood Brothers band, Albert Castiglia returns with one of his strongest releases yet. Recorded at Kid Andersen’s studio, the core band is made up of Greaseland regulars: Jim Pugh on keys, Jerry Jemmott on bass, Derrick ‘D’Mar’ Martin on drums, Jon Otis on percussion, Jack Sanford on baritone sax, Eddie Tarczy on harpsichord, Lisa Andersen on backing vocals and husband Kid on guitars, bass, keys and engineering/production duties. On top of that already formidable line-up there are a host of guest appearances, including seven additional guitarists! Albert wrote four originals and covers two of his former mentor Junior Wells’ tunes, as well as a good range of other sources. The music ranges from the strong blues-rock that we associate with Albert to straight blues and soul, several songs containing an emotional ‘hit’, all contributing to a fine release.

The originals start with a bang as Albert and Popa Chubby exchange riffs on the hard rocking original “Centerline”, a song that gives the album its title: “The path to righteousness ain’t so damned easy, in this world you do the best you can. Helping out my sister and brother, time to find that centerline, that peace of mind, on the centerline”. Kevin Burt and Jerry Jemmott contributed to the anthemic “Mama I Love You”, Kevin also sharing the vocals with Albert; look out for Jim Pugh’s superb piano and Albert’s soaring solo feature. Ally Venable plays wah-wah guitar on the fast-paced “Till They Take It Away”, a song that references concerns about the threats to the climate; “A quick race to the bottom, coming for me, coming for you, what gave them the right? You don’t miss it till they take it away”. “No Tears Left To Cry” is a stripped-back number with acoustic guitar and slide, Gary Hoey the invited axeman here.

Albert pays tribute to his former employer, Junior Wells, with Rick Estrin on harp on both cuts: “Come On In This House” is the better known tune, Albert delivering the familiar lyrics convincingly. This is the longest track on the album and again features Jim Pugh’s piano and Rick taking his time on harp, Albert getting in on the act with a stinging solo. The less well-known “What My Momma Told Me” closes the album in rousing style as Monster Mike Welch shares guitar duties with Albert as Rick lays down harp lines very much in Junior’s style. Alabama Mike shares the vocals on Luther ‘Snake Boy’ Johnson’s upbeat shuffle “Down To The Nitty Gritty” and Josh Smith joins in on a guitar-heavy cover of Buddy Guy’s “The Dollar Done Fell”.

There are many covers of Willie Dixon’s “You Can’t Judge A Book By The Cover” and this is certainly a good one, Albert sharing the vocals with his daughter, Rayne Glaze, with Christone ‘Kingfish’ Ingram adding some attractive guitar flourishes and the pair duelling well on the outro. Albert takes us into soul territory with ZZ Hill’s “You Were Wrong”, the tune expertly driven by D’Mar’s drumming, Jimmy Carpenter adding rocking sax and Albert a fine solo. Perhaps the best surprise of all here is the song furthest from straight blues, a simply magnificent reading of Rick Danko and Eric Clapton’s “All Our Past Times”, a song that appeared on Clapton’s 1976 album No Reason To Cry. This is a stunning version, all the band on great form, Albert sharing guitar duties with Joe Bonamassa and delivering an excellent vocal in partnership with Danielle Nicole.

As a self-confessed fan of Albert Castiglia, I have to say that this is one of his best releases yet, not a weak track anywhere, fine performances from band and guests and a great selection of covers alongside the originals.

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.

Scott Weis Band – Live In Europe

Self-Release – 2024

www.scottweisband.com

13 tracks; 77 minutes

Pennsylvania’s Scott Weis Band started in 2005 and this is their eighteenth release. Recorded at four different venues in Germany, and described by the band themselves as “kind of a great quality bootleg”, this must give a good representation of what a SWB show sounds like. Led by Scott on guitar and vocals, this is a power trio with Robert Kopec on bass and backing vocals and Roger Voss behind the drum kit. The single card sleeve does not give information on songwriters but there a few well-known covers sitting alongside band originals (and the website does offer more information). As this is this reviewer’s first encounter with the band it is not possible to determine which of the band’s previous albums are the source of the songs presented here, but fans of the band will know and no doubt welcome the appearance of this live outing.

The band sets out its stall with the powerful “Raise Your Hands”, all heavy drums and repetitive core riff, before showing a slightly softer side with “All Over Again”, the slower pace allowing the listener to better hear Scott’s slightly gruff vocals and a spiralling solo mid-tune. ZZ Top is probably an influence for the band, so “Jesus Just Left Chicago” is a logical choice (actually preceded by a verse of “Just Got Paid”) and is well done, a tune that suits Scott’s vocals really well. A lengthy version of “Tennessee Whiskey” allows Scott to demonstrate his guitar skills though the vocals are a little less clear. The sleeve has a track that had eventually to be omitted due to time constraints, so we move on to “Pride And Soul” which opens with a touch of country honk, the audience clapping along to the infectious rhythm before Scott enters with a heavy riff. Bass player Robert does the band intros ahead of the slow number “Mindless” and the heavy riffing “Into Your Eyes” before the band tackles another cover, this time a dive into the soul songbook with “Something Is Wrong With My Baby”, a song made famous by Sam And Dave; it would be hard to match the original but SWB’s ten minute version is definitely overblown.

“Motherless” is presumably a cover of the traditional blues “Motherless Child”, the slide features effectively throughout. Three more originals follow: “Bitch Please” finds Scott in thrall to a temptress in a chugging rocker, “Right Where It Belongs” has a heavy riff at its core as the drums set a furious pace and you can hear the audience get excited on this one; “Promise Land” sounds as if it might be the Chuck Berry classic but is a SWB tune, another rocker with heavy guitar. Set closer is another lengthy workout, this time Freddy King’s “Have You Ever Loved A Woman”. Scott gets out his harmonica to start it off and a hint of Zeppelin’s “Dazed And Confused” in the intro signals the direction the track will head, Scott’s powerful main solo over the rhythm section’s throbbing beat a highlight. Taking it down again, the harp wails before the band winds it up for a big finale.

SWB fans have been calling for a live album and will be delighted that this is now available. Those who like the heavier end of the blues-rock spectrum should also find plenty to enjoy in this well-filled 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.

Mark Hummel – True Believer

Rockinitis Records 1004

www.markhummel.com

13 songs – 50 minutes

One of the foremost harmonica players in the world for decades and – like the title infers – someone who cherishes the tradition laid down by his forebears, Mark Hummel has always played in a style with one foot in the past, but he’s a songwriter whose compositions are chockful of wry wisdom rooted in the contemporary world. And he delivers all that and more on this disc, which was recorded and co-produced by Kid Andersen at his award-winning Greaseland Studios in California.

An 11-time Blues Music Awards nominee and two-time winner as well as a Grammy nominee, too, Mark’s one of the hardest working artists in the business. When he’s not touring with his own band out of the Bay Area, you’ll often find him in the company of three or four true giants of the instrument for his epic Blues Harmonica Blowout tours.

It’s unusual for him to record without the company of his regular road band. Percussionist Wes Starr’s the only exception, holding down drums throughout. Many of the other participants are folks who’ve shared the spotlight with Hummel during his major events around the globe, that’s the case here.

The roster of top talents spans the nation. Californian Junior Watson, Chicagoan Billy Flynn and the East Coast’s Joe Beard share guitar duties with Bob Welsh, Brett Brandstatt and Kid on keys. Randy Bermudes and Kedar Roy provide electric and upright bass, Jack Sanford sits in on sax and Oscar Wilson of the Cashbox Kings and Lisa Leuschner Andersen make a guest appearances on vocals.

A mix of six clever originals and seven covers, “High Time for the Devil” kicks off the action with Oscar at the mic. A number that would have fit comfortably in the setlist of anyone performing in Chicago in the ’60s, but provides sly political commentary, too. It warns that Satan’s currently casting his spell. It comes in the former of lies, anger, racism, hatred, cruelty and more spewing from the mouth of a man who does whatever he wants to do with a Bible in his hand. Mark’s fills drive home the message atop a slow, but steady Windy City beat then explodes for the solo.

The pace quickens to a medium-fast shuffle as Mark finds he’s “invisible and might as well be dead” in “Ghosted,” expressing the feeling anyone experiences today when someone erases you from his social media world. His frustration is expressed by a brief break before Flynn continues the emotion on the strings. The theme continues in real life for “Headed for a Heartache,” which finds Hummel all alone and drinking because of the loneliness he’s feeling after a relationship has reached its end. Welsh’s runs on the 88s power the message mid-song.

Otis Rush’s familiar ballad, “Double Trouble,” gets a fresh coat of paint thanks to Hummel’s powerfully emotive vocals and skills on the reeds, and Watson’s work on the six-string is just as impressive throughout. “What the Hell,” a tune from Elvin Bishop’s songbook, follows, once again expressing concern about the current state of the nation, before the rapid-fire shuffle “Jackknifed” — one of three songs in this set that Mark co-wrote with his longtime bass player R.W. Grigsby – describes a traffic accident that’s delaying their return home from Las Vegas.

The early Fleetwood Mac burner, “Stop Messin’ Round,” and B.B. King’s “Broken Heart” get fresh overhauls before Hummel – who’s released an award-winning tribute album for him — covers Little Walter’s “Who.” The stop-time original, “Mr. Two/Thirds,” is up, describes a rival who’s part mouth and the rest a–hole. It gives way to “The Toddle,” an often-overlooked Walter instrumental, before the originals “Lil Electric Car” — a modern-day makeover that has the feel of something from the ’40s – and “Shufflin’ Days” – which features Beard on lead vocal and guitar – bring the set to a pleasing close.

Any album produced by Kid Andersen is a mini-masterpiece. Hook him up with Mark Hummel, who’s no stranger to perfect efforts himself, and you’ve got a winner on all counts. Buy this one today. You won’t be disappointed.

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.

In the five years since his last interview for Blues Blast, guitarist Damon Fowler has managed to stay busy, even when you factor in the Covid period. It isn’t easy to keep a music career going these days, and Fowler has to balance his music business with being a husband to a wife with her own solid career, together raising three young children. Fowler has managed to make it all work, tempering all that life has to offer with a smile and lots of humor.

“We released a record on Landslide Records in 2021 called Alafia Moon, and we did really well with it. We also toured North America on a couple of tours with George Thorogood, went to Europe, did some tours over there with that record, and put out a record last year that I did with some friends entitled Live At The Palladium, which is a theater in St. Petersburg, Florida. Jason Ricci and my good friend Eddie Wright joined us for that one.

“Last summer we recorded a Southern Hospitality record, which we’re going to be releasing that this October, with Victor Wainwright on keyboards and J.P Soars on guitar. Meanwhile I recorded another record under my name that was released on June 7^th, entitled Barnyard Smile. In August, we’re back out on the road. When we play live, because we have quite a few recordings, I try to play a little bit of everything. People want to hear some older stuff and some of newer material.”

Alafia Moon featured ten Fowler originals and one cover. Fowler has a knack for selecting great songs from other songwriters, and his version of Guy Clark’s “The Guitar” is one of the highlights of his live shows. One of his original songs was the result of an unfortunate error that quickly spun out of control.

“Well, “Tax Man” is the closest thing to me, a 45 year old male who grew up in the eighties living in Florida, can get to experiencing the blues. In 2013 I was touring with my trio and we played a spot in Kansas. I got paid me $600 and a couple of hotel rooms, and we went on our way. Years later, about two weeks after I got married, I got served with papers from the IRS.

“The lady club owner in Kansas hired someone to do her taxes, a friend or something. And she basically got a little happy with zeros, accidentally reporting that I made $60,000 that night. I didn’t make $60,000 the entire year! It was a mistake, but it took me a long time to prove to the IRS. They made good by it once I provided all of the correct stuff, but that also gave them the opportunity to go through all my other records and back taxes and stuff. And I got in trouble. Hey, but I’m compliant now. It only takes once!”

The live album from a night at the Palladium was a treat for the guitarist, who always thrives playing in any gathering of his musical friends.

“It’s a great sounding spot. And it was Fowler and Friends. So I had Eddie Wright playing some guitar. I had my friend Dan Signor playing keyboards. Justin Headley played drums, Chuck Riley played bass. It was just one of those nights that turned out really good musically. Jason Ricci played harmonica, and crushed it. I’m really proud of the recording of it.

“Eddie Wright’s one of my favorite people. I met Ed when I was pretty young. I was probably 15 or 16 years old. We met at Skipper’s Smokehouse in Tampa. He was hanging around this young girl who was playing guitar in a band for a girl named Dee Dee Dunn, who was like a 1990s Ally Venable. She was a pretty girl, played great guitar. Eddie Wright was playing guitar with her, and the bass player with my band.

At the time, I needed some guitar repairs. I’d been going to all the music stores, and they just couldn’t fix this one guitar. So I started taking my guitar to Ed to get fixed. Once I got my driver’s license, Eddie was playing in South Tampa at this place called Albee’s. He played acoustic guitar while on top of the refrigerator. I would go down and see him, always loved his playing and singing. A few years later, we got an opportunity to play some Monday nights in my hometown of Brandon, Florida and our relationship really bloomed.

“We started a band called the Monday Night Blues Orchestra, playing every Monday. Eventually that band turned into a band called Ed Zeppelin. We played every Monday night for about 10 years at this Irish pub in Brandon. And it was some fun times! Eddie writes and he’s a great guitar player, plus he’s a great dude. As I’ve grown and started recording more stuff, he’s been at my side, helping me.

“He’s really a songwriting partner for me now, and just a good friend. We hang out. Sometimes we write, sometimes we get stuff done, sometimes we don’t. We just kind of try and let it happen organically. In our area, Eddie is one of those guys that you learn from through like osmosis. He doesn’t sit down and teach you stuff most of the time. You learn stuff and then years later you use that skill, then you’re like, how did I even know that? And then you’re like, oh, I think I learned that from Eddie. He’s a great guitar luthier, with a super gift for fixing. He can take wood glue, some sawdust, and pretty much fix anything on a guitar.”

The second album from Southern Hospitality has been a long time coming, which is easy to understand as the three principals each of very successful solo careers. Their first album, Easy Livin’, came out 11 years ago on Blind Pig Records.

“The upcoming release will be called Yard Sale. It features me, Victor, and J.P., plus Chris Peet on drums and Terrence Grayson on bass. What we did on this record, we went to Ohio to Tony’s Treasures. It’s a guy named Mark Puskarich, who runs the Blues for a Cure program along with guitarist Sean Carney. He’s got a studio up there, it’s like an apartment barn thing that’s really awesome.

“Last summer, the band went to Cadiz, Ohio and played their festival for Blues for a Cure. While we were there, we took maybe about eight or nine days to sit down and write this record. We all had ideas that we brought to the table, but nothing was finished. That was part of the fun of it, you bring like an outline or a skeleton of a tune, then everybody contributes. We recorded a ton and I think ten songs made it on the record. We have a lot of fun with the band, which seems to really translate to our fans. We’ve never really taken it too seriously. There’s a chemistry, and it’s always a fun adventure for us.”

With two new projects out there, one would think that Fowler would have plenty to do. But just like some years ago when he toured as part of a band led by Allman Brother drummer Butch Trucks while also playing dates with Allman guitarist Dickie Betts, and touring with George Thorogood, Fowler is always open to new opportunities.

“The new band is called Desoto Tiger featuring me, Jonathan “Boogie” Long on vocals and guitar, Jason Ricci on harmonica, Chuck Riley on bass, and Ray Hangen on drums. We played the WC Handy Fest in June, and we’re playing the Wheeling, West Virginia Fest in August, and we’re playing the North River Blues Fest in Marshfield, MA in August. The plan is to get together possibly sometime in the cold months of November, December, and January, down in Florida, possibly do some writing and see where it takes us. It’s been a really fun project so far. I’m leaving it open to the universe, but I would hope for it to carry on.”

With an album title like Barnyard Smile, you know there has to be a story – and you would be right.

“I’m a fan of YouTube, and WorldStarHipHop, which is a kind of a version of YouTube, and I watch a lot of that stuff. One night I saw one where these guys were getting into an altercation. They were just hanging out in their yard, being friendly. But then one guy told his friend that he had a barnyard smile, and it really pissed that dude off, man. They started scrapping real hard, and I was like, I’ve never heard that term before, but I really like it, and don’t even know what it means! It just kind of stuck with me, so when it was time to name the record, it’s a barnyard smile.”

Fowler’s music flows through many genres without staying in one place too long. It is an eclectic blend that has served him well over the course of his career.

“To me, country music and blues are pretty much the same. And a good song is a good song. And I’ve got to be honest, I think sometimes in the blues world, there is a lack of good songs. I just note this to anybody trying to make music You know, I’ve made bad songs, and I’ve made terrible decisions before. I don’t listen to modern country That’s like 80s rock to me. But Hank Williams senior and Robert Johnson, the chord progressions, the place emotionally where their music is coming from are so similar.

“One time, I was at the Blues Music Awards in Memphis. Bettye LaVette, the fine vocalist, sang a George Jones tune, a song called “Choices”, and it’s a great song, She gave it the soul treatment and killed it, getting a standing ovation. You could hear everyone talking, being like, oh, was that an original song? That was a great song! Oh my god! Oh my god! They obviously had never heard the song. The fact is that the song was 25 years old, and for me, it’s good music if it comes from your heart and from your soul. I don’t really care under what umbrella it came from, Bettye crushed that tune. Her version was equally as good as George’s, just fantastic.

“Another song I heard the other day, it was a George Jones tune. Kid Anderson, from Rick Estrin’s band, is a great producer. I really love his style of production. He helped produce a record for singer Frank Bey, who did a soul version of “He Stopped Loving Her Today.” And man, it sounds so good! I just like good songs, soul music, blues music, early rock and roll and I like country, but before Alabama.

“I don’t want to make a record that I can’t play live. When I was in my early twenties, I put out my second record, called Roots and Branches. I layered a bunch of stuff on it, put my heart into it, but then after I put the record out, I realized I couldn’t play any of these tunes live. I use a three piece band, so I can’t cover all these guitar tracks. I think it’s a little bit more honest approach when you try to do it the simple, straight-forward way.

“I’m a fan of live records, you know, like B.B. King Live At The Regal. That’s one that’s just magic, or the Allman Brothers At Fillmore East, or Little Feat’s Waiting for Columbus. It just goes on and on. I love being in the studio. I love writing. I love the controlled environment, but I also like the crazy recklessness of “anything can happen” when you’re playing live.

Fowler is an outstanding guitar player, as anyone who has heard him live will attest to. Additionally, he is part of a dedicated group that continues to utilize the lap steel guitar

“With the lap steel, a lot of times it’s about what tuning you’re in. When you play, some people can play slide in a standard tuning, just like you would normally tune your guitar. But then some people tune it to a chord. So on a lap steel or even a pedal steel guitar, you tune it to a chord, a specific chord. That means specific keys that are easier to play. On guitar, you can either play standard tuning or a lot of times when we do this stuff, I’m a huge Johnny Winter fan, so I’ll tune to an open A or an open G for playing guitar. But then when I’m playing steel guitar, I normally use an E or a D, and so it’s a different sound shape. On Barnyard Smile, I played baritone guitar on “Fast Driving Woman”. “Fruita” is an instrumental that has a spacey texture.

“I like Florida history. Along the lines of Desoto Tiger, the origin of the name came from the Ashley Gang. There’s a guy named John Ashley, who lived in Okeechobee in the 1920s. He and his gang were rum runners, bank robbers, but they were like Robin Hood figures, because the community of Okeechobee was desolate, nothing down there.

“They would go and do their crimes, but then they’d bring the loot and give back to the community. So when John Ashley would get arrested, the community would break him out. They broke him outta jail, four, five, six times, something like that. Eventually, they were dealing with the Native Americans in the Everglades and the chief was named Tommy Tiger. His son’s name was Desoto Tiger, who was murdered by John Ashley over some otter hides. John Ashley, his girlfriend Laura Upthegrove, and all their people lived in a town, or campsite, whatever you want to call it, in the Everglades that was called “Fruita”. That’s where I got DeSoto Tiger and “Fruita”. If you’re into Florida history, check out the Ashley Gang.”

Asked about being a dad in the midst of juggling all of his various musical endeavors, Fowler let out a hardy chuckle.

“Well, I don’t sleep much, not as much as I’d like. Lacy, my wife, and I communicate a lot, trying to spend as much time as a family unit as we can. Actually, our summer’s been great. We went to Alabama, ate hot dogs and shot fireworks for a week. It was really fun. My kids are obviously on summer vacation now, so there’s school shopping, we do a lot of family dinners, go to the park, all the regular stuff. It’s not like we’re wasting time. I’m working, Lacey’s working at the Kennedy Space center. Yesterday we went to the mall. I haven’t been to the mall in a really long time, and I was ready to get out pretty quick. Lacy’s family really helps a lot. Her mom watches the kids. We have a really nice support system.

“A lot of these gigs, I’m doing fly outs on Thursday, back home Sunday night. Then Monday, Tuesday, Wednesday, I normally watch the kids. Our son Max is doing great. He is in an expedited math program, doing math all summer. If he can finish, he’s going into sixth grade but will be done with eighth grade math.

“Man, truthfully, I have been wondering lately why does everything have to be digital? Why does everything have to be on a tablet? What’s wrong with buttons and knobs? Why can’t kids learn how to write? You guys are teaching the long, hard way around math. You’ve got to log into a portal?

“And why is it when I go and buy some guitar strings, they want my phone number and email, then get an attitude when I don’t want to give it to them? Just sell me the damn strings, man. Here’s your eight dollars. That’s part of the reason I finally gave up and started using Amazon, I was just tired of all that. Just let me buy my stuff and leave me alone. Why can’t you use cash? What’s wrong with cash? When I was a kid, cash was king. My grandpa was like, boy, have a stash of cash in your wallet and keep a mental note of what you got. I mean, I still do it. I carry cash in whatever pants or shorts I’m wearing.”

Everything is clicking for Mr. Fowler, and he is enjoying the success and attention, without taking anything for granted. “I am fortunate that I have been able to work with so many talented artists over the years, and that people are still supporting me. I want them to know that I love playing music. I feel super lucky that I get to do this for my job.”

Visit Damon’s website at www.damon-fowler.com to see when he is playing live near you!

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!

John Brennan – One Way Ride

Self-produced CD

www.johnbrennansounds.com

5 songs – 18 minutes

A singer/guitar player based out of Collingswood, N.J., in the Philadelphia suburbs, John Brennan grew up influenced by a cross-section of talents across the American music spectrum – everyone from Muddy Waters and B.B. King to Johnny Cash and Elvis Presley and Creedence Clearwater, too. But he’s all blue in this set, mixing Windy City, West Coast and more here into an azure stew.

Brennan performs regularly across New Jersey, Pennsylvania and Delaware as both a solo artist or the leader of his group, John Brennan Blues. He’s truly a one-man band here, however, handling all slide and acoustic guitar duties along with bass and drums, too.

This effort is only the second multi-tune release in John’s recording career. It kicks off with the original, “Nothing to Lose,” a medium-tempo blues that opens with driving, repetitive six-string hook before Brennan launches into lyrics that recount being abandoned by his lady. It leaves him wondering what to do before the realization “when you have nothing, you have nothing to lose.”

His slide playing is rhythmic with accents that accentuate his misery before a tasty break mid-number. His timing is solid, something he also exhibits in his rhythm playing, which is rock-steady but unremarkable. The mood changes immediately for an uptempo take on Elmore James’ familiar “Shake Your Money Maker.” While it’s delivered with a standard arrangement, John’s highly capable attack would have made the creator smile, and his drumbeat powers throughout.

It gives way to the somewhat inconsistent original, “One Way Ride.” Once again, Brennan finds himself driving alone after another breakup. It’s delivered at a super-speedy pace. And unlike the previous songs, there’s a little disconnect between vocals and instrumentation that dissipates as the number progresses.

Delivered as a lump-de-lump blues, the Robert Johnson warhorse, “Ramblin’ on My Mind,” follows. John holds his own on lead. But it’s a song done so many times by so many people that it’s almost impossible to add anything fresh. The rhythm lacks punch, and the vocals are sanitized to the point that they lack emotion.

Fortunately, that’s forgotten from the opening measure of the uptempo rocker, “Where’s You Stay Last Night?” A two-four pleaser driven with a heavy beat and guitar line to match, it deals with the same relationship troubles that have plagued Brennan throughout the set.

Sure, this one’s inconsistent. But it shows promise. Here’s hoping John Brennan’s next one comes in a full-band setting.

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.

Duke Robillard – Roll With Me

Stony Plain Records – 2024

www.dukerobillard.com

12 tracks; 48 minutes

In 2005 Duke recorded a session for Stony Plain but, for various reasons, it was not released. Ever a busy musician, Duke got involved in other projects and, despite always intending to complete the recording, he has just got around to doing so, almost twenty years on! There were nine tracks laid down at the time and Duke has amplified the set with two previously unreleased tunes from the sessions for Calling All Blues and one from Guitar Groove-A-Rama, making the album up to a dozen great tracks. As there are several sessions involved here, the list of musicians is considerable, but drummer Mark Teixera is on every track and bassist Marty Ballou on eleven. Matt McCabe plays piano on ten tracks, Bruce Bears substituting on the Calling All Blues outtakes and horns are on all tracks, in varying combinations; Doug James and Mark Earley on tenor and baritone sax, Rich Lataille on alto and tenor sax, Doug Woolverton on trumpet, Al Basile on cornet and Pam Murray and Carl Querforth on trombone. Sugar Ray Norcia adds harp to one cut and Chris Cote takes the vocal on two. The material includes four Robillard originals and there are eight covers of mainly classic R&B, including tunes associated with Fats Domino, Gatemouth Brown, Big Joe Turner, Howling Wolf and Muddy Waters.

What better way to start than with the swing and groove of “Blue Coat Man”, an Eddie Boyd tune with exceptional piano from Matt McCabe. “Just Kiss Me” and “My Plea” were written by Duke way back when he founded Roomful Of Blues. First recorded for the first Duke Robillard and the Pleasure Kings album, this is how Duke had always envisaged “Just Kiss Me”, with five horns in support and a superb guitar solo to top it off; “My Plea” has more of a Louisiana feel, the trombone here a particular feature, giving the tune a very laid-back feel. We head for New Orleans with Fats Domino’s “Are You Going My Way”, more great piano and Doug James demonstrating just why he is dubbed ‘Mr Low’ by fellow musicians. The lyrics of this one would probably not pass the censors today, with the author seemingly showing excessive interest in a young schoolgirl, but the tune barrels along in classic Crescent City style.

In the liner notes Duke pays tribute to trombonist Pam Murray who features strongly on a loping run through Big Joe Turner’s “I Know You Love Me” before the sole instrumental, “Boogie Uproar”, credited to Duke/Peacock boss Don Robey, but forever associated with Clarence ‘Gatemouth’ Brown. It’s a fun-filled three minutes as the rocking guitar is interspersed with short solos for trombone, piano, alto sax, cornet and baritone sax, Duke even finding time to quote from “Here Comes The Bride”! A second visit to the Big Joe Turner songbook comes in the shape of a swinging, horn-driven version of “Boogie Woogie Country Girl”, originally co-written by Doc Pomus, with whom Duke had the honor to write several songs. The original nine tunes for the 2005 album conclude with two contrasting, but high quality, songs: Duke wrote “Give Me Back My Money” for the session and it’s a tough blues in more of a 60’s style than most of the album. The extra length (6.30) gives Duke the time to deliver a series of great solos while the horns, and trombonist Pam in particular, prove to be a reliable foil to the vocal verses.

Album closer “Don’t You Want To Roll With Me” is another one that dates back to early Roomful and was one side of a now very rare 45 single. This version is terrific as the piano leads the way and the whole band swings courtesy of the rhythm section, Duke’s lyrics celebrating the effects of live music, dancing and alcohol: “I want to jump and shout and have myself a ball; well I get this feeling every time I taste good alcohol. Come on Baby, don’t you want to roll with me, I can roll you better than your old-time used to be”! Add in superb horn playing and this is another great track.

The three outtakes from other albums were all left off because of issues around the vocals. Tackling the Wolf is always a daunting prospect and at the time of the Groove-A-Rama recording Duke did not feel confident, but is now glad he tackled it and “Built For Comfort” works fine with a new vocal. The two from Calling All Blues tell a similar tale, one track being in too high a key for Duke and the other suffering from what he describes as “my ailing vocal cords”. An elegant solution was to invite current Duke Robillard Band vocalist Chris Cote to overdub a new lead vocal and both these tracks now fit the album like a glove: “Look What You Done” is the Muddy tune, with Sugar Ray’s harp and Bruce Bears’ loping piano, “You Got Money” (another Gatemouth Brown tune) is an uptempo number from the pen of Rick Darnell, best known as co-writer of “The Thrill Is Gone”; this is a great swinger and another standout cut.

There is absolutely no doubt that Duke was right to revisit this session and release it because it makes yet another outstanding addition to his extensive discography – a superb release, sure to be in the list of awards for 2024.

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.

The Trevor B. Power Band – Are We Ever Free

Farm 189 Records

www.trevorbpowerband.com

11 songs – 42 minutes

Blues and roots rocker Trevor B. Power has been in and around the music industry for decades, but only stepped into the spotlight himself five years ago, recording the debut CD Everyday Angel, which immediately made a splash, hitting the No. 24 spot for album of the year on one of Roots Music Report’s charts. It was quite an accomplishment for the New Jersey native. His second follow-up, this effort takes a much more serious tone, stressing the need to live in the moment – while delivering a powerful message about the discontent roiling the U.S. today.

Now in his early 60s with a pleasant, well-worn tenor, Trevor started playing guitar at age 15 and spent a huge chunk of his life playing solo, acoustic coffeehouse gigs and working as a deejay, most notably at WNT, the public station operated by Centenary College In Hackensack, where he educated himself in the blues. He currently hosts a weekly show online at Spider Glenn Radio (www.spiderglennradio.com.)

He was already in the business for a couple of decades when his course in life changed thanks to Bobby Whitlock, the beloved multi-instrumentalist who was a member of Eric Clapton’s Derek and the Dominos before launching a career of his own. A longtime friend, Bobby was fond of Power’s talent as a tunesmith and performer and encouraged him to pursue his musical dream.

That led to Trevor performing with several major blues talents in the Northeast and Texas, including guitarists Dave Fields and Bob Lanza, harp player Steve Krase, vocalist Trudy Lynn and Anthony Kirzan of Spin Doctors and Lenny Kravitz fame, too. Kirzan produced his first CD, with Whitlock and keyboard player John Ginty of the Allman Betts Band in the lineup.

This album follows a similar format. Co-produced by Fields – who contributes bass and other instruments — at his Farm189 Studios in Califon, N.J., it’s a star-studded effort anchored by Steve Holley (Paul McCartney & Wings) on drums and features percussionist Tom Dicianni, guitarists Lanza and Bob Macarone and multi-instrumentalist Kirzan, too. Tim Timko and Baron Raymonde add saxes and contributions from British harmonica sensation Will Wilde and background vocals from the Califon Chiswick Singers round out the effort.

A simple guitar run opens the upbeat blues-rocker “Let Yourself Fly” before the full band joins in. It listeners to keep going even when facing the biggest obstacles in life – including being held back by someone who truly loves you. “Lady Luck” powers out of the gate and keeps the message going while noting that, like Trevor, all you need is a little good fortune to get by.

The rocker “Mystery” finds Power wondering why he’s fallen from grace before delivering the title track, “Are We Ever Free,” a ballad that opens quietly but builds intensity throughout and slowly picks up speed, too. It finds him sitting in his favorite chair, reflecting on the current state of America and wondering if we’re on the verge of another Civil War while suggesting that more brotherly love is one solution that will cure our current unrest.

The message continues in the uptempo blues, “Going to Washington.” This time, Trevor’s headed to a meeting with the president in an effort to change his luck by buying a favor or two. The band blazes, featuring Wilde in high in the mix. It gives way to optimist outlook on making “Mistakes” before Power celebrates driving down the road with the top down and his lady at his side in “TR3,” his beloved antique automobile, which graces the back cover of the CD.

The pace changes once more for “Come On Now,” which stresses the need to help the homeless, before the medium-fast rocker, “Trouble to the Core,” finds Trevor wondering why his woman let him go before the upbeat “The Noose” advises the importance of staying positive in troubled times in “The Noose.” The set closes with “Man Goes Blind,” a blues that questions whether society is too far gone to recovery from our current woes.

Strong messages from a man who truly cares, and interesting throughout for anyone who appreciates rock with their blues.

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.

Piper & The Hard Times – Revelation

Hard Times Records

www.piperandthehardtimes.com

12 tracks – 52 minutes

Piper & The Hard Times first formed in 2000, released an album, “In Between Time” in 2003, but subsequently disbanded until rejoining in 2015. In 2024, they were selected as the best band at the International Blues Challenge, which is certainly well-deserved as this album delivers and from my observance of the band at the recent W.C. Handy Blues Festival in Henderson, Kentucky.

The three core members, Al “Piper” Green on lead vocals, Steve Eagon on guitar, and Dave Colella on drums, have remained from their first incarnation. Al grew up in Bolivar, Tennessee where he sang in a gospel choir, but was listening to the radio music. He says that his main influence was an uncle from Chicago that came to town every 4th of July in a grand blue Fleetwood Cadillac and would always bring with him a bunch of folks who played the blues. His vocals deliver the gospel power to their root’s blues sound. Steve Eagon grew up in Northern Ohio and took up the guitar because of the “coolness” of the instrument. He says his style is a blend of Muddy Water’s Delta Blues, a touch of B.B. King urban blues, and the power of Jeff Beck, Jimmy Page and Stevie Ray Vaughan. Steve is the principal writer for the band and eleven of the tracks are originals written by him or co-written with Al. Dave Collella is from New Jersey. He started playing drums at age 7 and studied with Joe Morello, a jazz drummer who played with Dave Brubeck. He moved to Nashville in 1994 and after playing with several bands there, he ultimately connected with Piper and Steve. They are joined for their current album by Amy Frederick on piano and organ and Parker Hawkins on bass and a series of guest performers.

On the rousing opening track “Trouble Man”, Piper sings “I’m a trouble man, I have been in trouble all my life” but that “a person making trouble could lead to a good time”. The song definitely delivers the good time and sets the tone for the remainder of the album. Dick Aven adds sax on that track with backing vocals by Lisa Oliver-Gray and Melissa Gardner. “The Hard Times” features guest vocals from Shaun Murphy and the tenor sax of Eddie Meyer. The song cites the financial problems of a working man trying to make ends meet. Amy’s piano kicks off the next track as Al says, “I let a woman steal my pride” on “Heart for Sale”.

Chris Floyd guests on harmonica on “Preacher Blues” as Piper declares that “A preacher I know pretends to see the light” and Steve’s guitar gives it an ominous tone. Piper’s “Revelation” led to him “coming back strong and doing the right thing” and “gonna get myself together and I’ll be alright” with Aven ‘s sax again featured. “Workin’ Farm Blues” describes life on a farm “starting at 4:30 in the morning, throwing the hay, rooster is crowing” and notes “there is nothing like the good old country air, the wide- open spaces make you disappear, these quiet country nights are just right for me, sit back in the rockin’ chair as far as you can see”.

Next Al proclaims to the woman he met that I “Crave You” and “want to do dirty things to you”. Chris’ harmonica returns on the song and the next one, “Come Back Knockin’”. On the latter, he sings, “It tore my heart to pieces when I saw you with someone else.” Steve lets loose with a fiery guitar on this one. Shaun rejoins on vocals as Piper begs “Why Not Me” and says, “there is a weight on my shoulders” and declares ” I could do better on my own”.

Piper states “You’re Gonna Miss me When I’m Gone” and exclaims she was out “partying until three, no thoughts of me” as Steve rocks out on the guitar. Shaun and Piper join together for the gospel trenched traditional song “Walk with Me” with Amy’s organ underscoring the tune.  The album concludes with Piper citing that he has “been singing the blues for “Twenty Long Years”, all I could do”.

Piper and The Hard Times is certainly a Revelation both on the record and as a very entertaining live act. Piper’s vocals are a powerful, deep growl. The band is always tight and are consummate professionals. Certainly, ones to watch for in the future and it only took them twenty-four years to reach what should be a pinnacle for the group.

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.

Doug Duffey and BADD – Ain’t Goin’ Back

Fort Sumner Music LLC

www.dougduffeyandbadd.com

11 songs – 51 minutes

Based out of Monroe, La., and delivering a distinctive, unique blend of blues, soul and more, Doug Duffey and BADD produce music that’s fresh but delivers a loving tip of the hat to their rich, swampy roots on their latest CD. And the roux of bayou funk, bluesiana and Delta soul they produce simmers in a delightful, hard-to-define manner throughout.

Duffey fronts the four-piece unit on keys and vocals. A musician who’s been honored with a plaque on the Northeast Louisiana Blues Trail and induction into the National Blues Hall of Fame and two regional halls, too, Doug is a 50-year music veteran who playing professionally at age 14 and spent years touring in out of New Orleans delivering Big Easy sounds to the world.

He’s backed here by co-producer Dan Sumner on guitars, trumpet, bass and percussion along with drummer Adam Ryland and bassist Ben Ford. They’re augmented by harp player Dave P. Moore and horn players Jonathan Patterson (trombone) and Bert Windam (trumpet). The set wa recorded, mixed and mastered at Fort Sumner Studio in Monroe by Michael Rasbury.

A solitary six-string run opens “Whirlpool.” It’s a propulsive ballad with harp accents in which Duffey finds himself attempting to sleep but keeps awakening because of a reverie in which he’s trapped in the river and being pulled down by the undertow. The rhythm section’s rock-steady work mirror the water’s flow as it drives the action slowly but steadily forward.

The swamp feel continues and the action quickens for “You Got What It Takes,” which conveys the message that the singer knows that – if he’s not careful – his lady’s capable of grabbing everything he’s got. Discordant keys, horns and guitar add a foreboding feel. The bittersweet love song, “The Wishing Game,” is an acoustic pleaser with backwoods flair. In this one, Duffey describes his undying, unrequited devotion to a woman who was in a tortured affair with another, cheating man.

The hard-driving “Rock It All Night” promises plenty of good times at the local juke joint because it’ll be swinging all night long before the down-home “Front Porch Blues” speaks about the solidarity of living and alone in the country, which is propelled by Moore on the reeds. It’s a peaceful existence despite the sounds of a train in the distance and the realization that the singer’s going nowhere.

The intensity increases for “Get ’er Outa Yo Head,” a number that follows along the same lines as “The Wishing Well” but with the realization that it’s time to dwell on something else. The theme continues in “Turn It Around,” which finds Doug dealing with too many problems on the outside that he can’t deal with the ones in his head, and resolution in the rocker, “No Mercy,” albeit with the realization that his lady is “as hard-hearted as a body can be.”

“Promised Land” follows with Duffey yearning for something different in life but unknowing what that difference might be before “Gallus Pole” – a number whose title references traditional songs about the gallows – is equally as foreboding. All’s good, though, if – as the harp-driven closer suggests – Doug “Ain’t Goin’ Back.”

The dark messages here are as thick as the fog on a misty Southern morning. That said, the musicianship here is mighty fine and well worth a listen.

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.

Johnny Ray Jones – Mystic Chiefs

Moondogg Records

http://www.johnnyrayjones.com

11 Tracks – 43 minutes

This is Johnny Ray Jones’ third studio album and the first with his new band, the Mystic Chiefs. Jones is certainly not a generally known household name, but if this album proves anything he should be. California born Johnny Ray got his start by sneaking into shows in Redondo Beach in the late 70’s to soak in the music vibe of the era. At around age 19 or 20, Johnny went to a regular Sunday night blues jam held at the Taurus Tavern in Venice to see Sam Taylor, but Sam was ill that night and his guitarist Coco Montoya took the lead for the show, which included guitarist James Armstrong. He sang with that group that night for his first time on stage. Afterwards he became a regular at the jam session.

Johnny has since sung in bands with Big Joe Turner, Phillip Walker, and Lee Allen and played on bills with John Mayall, Jeff Healy, Janiva Magness, Walter Trout and others. He released his first solo album, Back in the Door, in 2017 and the second, Way Down South, in 2021. For this newest album, Johnny decided he wanted to focus on the classic songs that drove him to sing the blues and is the bedrock of his stage shows. To get the sound he wanted, he gathered some of the best musicians that he knew to join him in the new group, the Mystic Chiefs, so named because each of the chosen musicians are recognized as some of the best solo musicians or in their respective bands.

The Mystic Chiefs are Johnny Ray on vocals, guitarist Junior Watson (The Mighty Flyers, Canned Heat, William Clarke) Pianists Carl Sonny Leyland (Big Sandy & His Fly-Rite Boys), harp player Tex Nakamura (War), bassist John Bazz (The Blasters), percussionist Stephen Hodges (Tom Waits, Mavi Staples, James Harman), and drummer J.R. Lozano (Los Lobos). Johnny Lee Schell, who provided the recording, engineering and mastering of this album and on Johnny Ray’s previous two albums, also adds rhythm guitar on the album.

The album opens with Lester Butler’s song “Automatic”. Lester was the leader, vocalist, and harmonica player for The Red Devils, a short-lived band which released two albums in the 1990’s. Johnny sat in with that bad for the recording of their first album, King King, which is represented by three songs on this album.  This song was released as a single in 1992 with a flipside of “Devil Woman” The latter song is the third track on this album. Tex’s harp sets the tone at the beginning and Johnny’s powerhouse vocals bursts out with Carl’s piano getting the album on in ear-catching and energetic start.

The second song is Sonny Boy Williamson II’s 1966 song “Trying to Get Back on My Feet”. Johnny Ray’s growling, soulful vocals blend with some excellent guitar runs from Junior. The aforementioned “Devil Woman” is again led by Tex’s harp as Johnny sings “I met a devil woman in a dream last night…and I heard my mama cry”. Willie Dixon’s 1956 song “Don’t Go No Further” was originally performed by Muddy Waters and subsequently by The Doors, Canned Heat and many others. The song also has a connection to The Red Devils who recorded the song as a back-up band for a never released album by Mick Jaggers. Johnny sings “I’ve got to love somebody; somebody has got to love me”. Junior, Tex and Carl all take ripping turns.

James “Slim Harpo” Moore’s 1966 hit song that tells everyone “Don’t move your head…Shake Your Hips” gets the whole band into boogie mode with more great harp work from Tex and some interesting guitar work. Billy Bob Arnold’s 1955 song “I Wish You Would” was written at a time that Billy Bob was playing with Bo Diddly and has a Bo Diddly styled rhythm. Another Willie Dixon penned, Muddy Water’s performed song, “I’m Ready” from 1952 has been performed by lots of performers from Albert King, George Thorogood, Aerosmith and others. Johnny Ray’s band and vocals serve the song well.

He returns to the Lester Butler songbook with “No Fightin'”, another song that appeared on Butler’s 1992 album which included the previous two songs on this album. Melvin London’s 1995 Song, “Sugar Sweet” again is a tight again letting Carl loose on the piano. On Sonny Boy Williamson II’s 1963 song, “My Younger Days”, Johnny Ray wishes ” I just knew then what I know now” and runs the gamut of what he could have had. He closes the album with a powerful version of Howlin’ Wolf’s 1954 song, “I’ll Be Around”.

Jones says in his liner notes that he wants to draw a line from the 1960’s Chicago blues of Paul Butterfield, Mike Bloomfield, Charlie Musselwhite to the great roots’ rockers The Blasters, James Harman and The Red Devils. CHECK! He said he wanted to put together some of the finest musicians to deliver the sounds of the eras. CHECK! And his liner notes describe his vocals as a “blues shouter”, which is probably true but that is too limiting a description of Johnny Ray’s powerful voice. That is like putting one adjective to describe the voices of Howlin’ Wolf, John Lee Hooker, or any other of the strong vocalists of the past. Johnny Ray’s voice has a texture uniquely his own but in keeping with the sound of those greats and in some moments of the songs, I picked out an inflection that reminded of Jerry Lee Lewis.

Sometimes albums that are all cover songs fall into the trap of being nothing more than weak karaoke imitations of the past performers. This one properly respects the songs but delivers every song in a crisp, modern tone that will grab an audience that loves those classics and can introduce a new audience to what those songs represent in the long canon of the blues. A final big CHECK!

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.

Joakim Tinderholt and His Band – Deadlines

Big H Records CD2301

www.joakimtinderholt.com

10 songs – 29 minutes

Based out of Oslo, Norway, Joakim Tinderholt and his band have been one of the most popular units in the Scandinavian music scene since playing their first gig at the city’s Muddy Waters Blues Club in 2005. It took them almost a decade before they released their first CD, the rollicking You Gotta Do More, and ten more before this it’s been another ten more years since fun-filled follow-up. But give it once listen and you’ll agree it’s been worth the wait.

An experienced five-piece unit, some members previously toured with Louisiana Red during European tours while others were members of the Billy T Band, a group that won Norway’s Spellemannprisen, the nation’s equivalent to the Grammy, in both 2010 and 2012. They produce a hybrid sound that contains both the West Side Chicago appeal of Otis Rush and a rock edge akin to Little Richard at his bluesiest.

Tinderholt fronts the band on guitar and vocals with backing from guitarist/executive producer/label owner Håkon Høye, keyboard player Kjell Magne Lauritzen and a rhythm section composed of bassist William Troiani and drummer Svein Åge Lillehamre. Recorded by Atle Aamodt in Langesund, Norway, they’re augmented by Daniel Eriksen on slide guitar and Frederik Mustad on Hammond B4 organ. Sax Gordon Beadle provides horns on the set, which was mixed and mastered in California by Kid Andersen. He chips in keys and backing vocals along with wife Lisa Leuschner Andersen.

Five originals interspersed with an eclectic set of covers culled from Ike and Tina Turner, Robert Ward & the Ohio Untouchables – precursors to the Ohio Players, Chicagoans Eddy “The Chief” Clearwater and Tyrone Davis and country superstar Tom T. Hall via Bill Haley & the Comets, the album races out of the gate with the original rocker, “Deadlines.” It’ll have you heading straight to the dance floor as Joakim announces that “working under pressure is the only way for me…don’t give me time, give me deadlines.”

The original slow blues, “Don’t Look Now,” is fueled by Sax Gordon and comes with an early ’60s feel full of fat guitar riffs as it advises a lady to glance in another direction because the singer’s headed for trouble that she shouldn’t see. It flows into the pleasant rocker, “I Ain’t Rich,” which carries the admission that Tinderholt’s carefree life includes spending money like a millionaire.

Ike and Tina’s “(I Know) You Don’t Love Me” begins a run of four well-conceived covers. Delivered at a medium tempo and with a soulful rock feel, it gives way to the Untouchables’ “Love Is Amazing,” which is delivered atop a Latin rhythm, something that works even though the original came with a distinct Asian feel. Then it’s on to the Windy City for a traditional take on The Chief’s “Hillbilly Blues” and a pleasant reading of Tyrone’s “Can I Change My Mind,” which enjoys choral enhancement.

The original “Too Late” is a clever, driving blues that finds the singer “too late to come home early and too early to come home late. Another drink or two…what damage could it do?” A true-blue version of “How I Got to Memphis” is as soulful as the song can be thanks to the Andersens backing vocals. Give it a listen and you’d probably never know that it was written by Hall when he was a young Music Row tunesmith in Music City and has pretty much faded into obscurity since Haley made it a ’50s rock anthem. The feel continues with the soulful original closer, “Love Is a Four Letter Word.”

Joakim Tinderholt captures lightning in a bottle every time he steps into a recording studio, and that’s the case here. It’s short and sweet, and an effort well worth your ear.

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.

Greg Izor with The Royal We – Sustained Winds

For The Road Records

http://www.gregizor.com

10 Tracks – 35 Minutes

Greg Izor is a native of Vermont but made his big move into music when he moved to New Orleans in 2000. With a concentration of learning the blues and developing his skills on the harmonica, Jumpin’ Johnny Sansone became a mentor for the young blues player. Whie in New Orleans he played with many blues greats including Henry Gray, Walter “Wolfman” Washington, and Calrence “Gatemouth” Brown, and was a member of the house band at Clarence’s BBQ joint in Slidell.

In 2006, He shifted to the rising music scene in Austin where he played with Pinetop Perkins, Gary Primich, Paul Oscher, Marcia Ball and joined in with some of his generations’ blues artists like Gary Clark, Jr. and Nick Curran. His star continued to rise when he was selected to join Anson Funderburgh and The Rockets, following in the footsteps of his hero, Sam Myers. In 2012, he released his first solo record, I Was Wrong. Several more albums followed.

In 2019, he moved to Europe and has been touring the continent, sharing his knowledge with many local performers and getting involved in producing and playing with various bands. He released a collaborative EP, Chucufu, with the Netherlands based Ticket West. He is now a founding member of the Madrid based The Royal We. Greg plays harmonica, guitar, bass, percussion, and electric sitar on the album and provides all vocals. Cesar Crespol on electric and acoustic guitar and percussion, and Javi Suarez on guitar, percussion and mandolin completes the group. Guests Luis Madonado and Pascu Monjet play drums on various cuts, with Paul San Martini on piano, and Christian Morana sitting in on bass on two tracks.

Greg made the decision to forgo drums on some tracks and wanted a simpler sound for the recording. For his solo work, he used the same microphones that Muddy Waters used for his 1964 album, “Folk Singer”. His music is described as “” a broad musical backdrop covering all kinds of roots music”, but even that lacks some description as Greg takes the known music styles and finds ways to recreate them in his unique vision while not diverting from the traditional styles.

Greg wrote all ten of the original compositions for the album. On “Go Ahead On”, he advises “Think you can live without love, you’re right. Seems like the thing you want to do is hang around every night, there is no reason to change.” The song starts as a simple guitar and drum-oriented song until Greg pulls out his harmonica halfway through the song. “Untrue” starts with Greg’s harmonica and quickly slides into a swampy lament “Now you might be blessed until the end of time, pulled your heart, and I’ve got a hole in mine…You are so untrue.” “Here on Ice” has a more classical blues sound as she has him “cooling my heels” and Cesar gets an opportunity to shine on his guitar.

“Lies of Omission” starts with some smooth harmonica and Javi’s mandolin and Greg sings “he is leaving out what I should leave in”, but “she is hip enough to see where it is at”. His “mind is occupied by that bad girl” “Ines” in a slight shuffle. On “All the Same”, he says she is “telling all the same old lies and I don’t say much as there is not much to say”. On “I Never Gamble”, he declares “I’ve got a devil on my shoulder…I never gamble, don’t have much to lose”.

“Pls Understand” is a throwback to a sixties styled stroll as he tells her “I might cry some tears, but I will do it alone.” He pulls out a bass harmonica on the song and adds sitar. On “Once Was Enough” he says, “I had love one time and now my love is gone” and advises that “I’m not looking for a wife, not trying to put a ring on your hand, just trying to have fun as long as I can.” “Up To the Top” gets things jumping at the end as Greg notes “Some folks live in a penthouse looking out over town, but I live in a rooftop model and can’t even see around” but tells her to “Come on take those steps up to the top, enjoy what time we got.”

For the most part, the album can be classified as a relaxed country-styled blues with a few jumping off points. Greg’s easy vocals just cruise along in the songs and leaves you waiting for his burst of harmonica.

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.