Issue 18-42 October 17, 2024

Cover photo © 2024 Marilyn Stringer


 In This Issue 

Ken Billett has our feature interview with Samantha Fish. We have six Blues reviews for you this week including new music from Khalif Wailin’ Walter, Tomislav Goluban, Chris Daniels and The Kings, Andy Peake, Gaetano Letizia and The Robin Robertson Blues Band. Scroll down and check it out!


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 Featured Blues Review – 1 of 6 

imageKhalif Wailin’ Walter – Phoenix Risin’

Timezone Records

www.damnyalljamn.com

9 tracks/43 minutes

Khalif Wailin’ Walter is a military brat who moved around most of his youth. He listened to big band music in his childhood, switched to heavy, rocking stuff in his late teens, and in his 20’s became fixated on the blues. He got a half hour lesson from BB King which got him started. Having served time in bands with Carl Weathersby, Lonnie Brooks and Lurrie Bell, Walter is a passionate blues man who honors and pays tribute to the sound and masters of Chicago blues. He wrote all the tracks on this album and dedicates it to Lonnie, his first true mentor.

Khalif handles vocals, lead guitar, most of the bass work and some percussive stuff, too. Marcis Kahnins is on bass for track 7. Barry Wintergarden did all the drums except on one track where ”Rolx” Saulietis fills in, also on track 7. There are a host of others appearing, too. On keys are Chris Rannenberg (3 cuts on piano), Jacek Propowitz (organ and piano on a cut), Paul Jobson (organ on another cut) and Artis Locmelis on organ (one track). Horns are Tommy Schneller with tenor sax (3 cuts), Jurgen Wieching on baritone  sax (the same 3 cuts), “Tinex” van Toor on tenor (one cut), Evert Hoedt on baritone (the same cut), Gary Winters on trumpet and flugelhorn (one cut).

“Connie Lee” is a nice, slow boogie with a great groove, horns, sweet vocals, vibrant piano and a slick guitar solo; just a great overall sound and vibe. Next is “Baby Please Lie To Me,” a jumping and swinging cut. The piano solo and guitar solo that follows it once again ring brightly and are cool. “The Streets” follows, a gritty and hard cut that evokes the problems of surviving in the inner city. Khalif sings with feeling as he testifies to the urban issues. His guitar adds to the emotion and feeling, grinding out the passion of the song.

Up next is the title track, a fun and rocking cut. Smooth vocals, vibrant guitar and just a sweet rock song to enjoy. “I’m Through Cryin’” is a deep, slow blues with driving guitar and just a pretty groove that grabs at your gut. Distorted vocals and heavy guitar licks combine to sell this one, along with a well-done organ solo. “Big Bootyed Woman” follows, a traditional Chicago blues and traditional blues theme. Gritty vocals, a slick shuffle, ringing guitar, horns, and a cool, overall vibe help make this song a good one.

“I’m Your Love Doctor” is another slow blues that gets you moving to the groove. Sexy vocals, poignant guitar and so organ all add to the feeling. Next is “Stone Cold Busted” with ringing guitar, barrelhouse piano, and some more slick horns. Khalif growls out the vocals, too. The album concludes with “Chi-Town Soundcheck,” another fun shuffle with big guitar to savor, a heavy beat and a great conclusion to a Chicago blues album!

Khalif mixes a little Texas style blues into the mix, but Chicago blues remain in the forefront throughout. If you want to hear some traditional Chicago blues by a young and cool guitar slinging artist who knows what he’s doing, then grab this one!

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.



 Featured Blues Review – 2 of 6 

imageTomislav Goluban – Crazy Hill Live

Independent

www.goluban.com

11 Tracks – 50 minutes

Croation born and continued resident to the country, Tomislav Goluban, has developed an international reputation having played all across Europe and on tours in America including competing in the International Blues Challenge. His last name translates in English to “Little Pigeon” which he has taken as his nickname. Tomislav is well recognized as one of the top harmonica players in the world today. He has won numerous European awards and took fourth place at the 2005 World Harmonica festival. In Croatia, he hosts a blues show on Croatia radio and was the founder and first president of the “Croation Blues Forces”, a national blues society, which won the Blues Foundation’s Keeping the Blues Alive Award in 2019. Goluban developed an educational blues music program, “The Harmonica in Blues”, which is presented in Croation elementary and high schools.

He became interested in the harmonica after listening to Sonny Terry records. He also lists Slim Harpo as another of his guides into the blues harp. He says his intent is to instill the feeling of Delta, Country blues and Chicago blues into his songs.

Crazy Hill Live is his fifteenth album. It was recorded live at a concert at The Center for Culture and Information in Ludbreg, Croatia on April 28, 2023. In addition to playing the harmonica, Tomislav also does lead vocals. His band for the concert was Hrvoje Funda on guitar and vocals, Vid Kotarski on vocals, guitar, and beatbox, Tomislav Kusar on bass, and Draguin Jojsak on drums.

The album opens with the instrumental “Extra Boom”, which lets Tomislav establish his harmonica credentials from the outset. He then moves into a slow, hazy blues with “Disappear for Good”. His vocals demonstrate a low, smooth growl, which perhaps can best be compared to Leonard Cohen. An excellent guitar solo also is part of the song. On “Searchin’ for My Babe”, as he looks for her all over town in a bouncing song that throws a touch of Elvis into his refrain.

“Forhill’s Boogie” really gets things jumping as Tomislav proclaims “when you feel that you want to jump and shout…do the boogie”.  “Kaj God Blues” slows things down again and he sings this song in his native language. “Train Beat”, as might be expected takes you on a train ride, with Tomislav delivering a rhythmic trip with only a beat box providing percussion behind his harmonica. The band quickly jumps in with the rocking “Brzi Vlak”, another song sung in his native language.

The “Fun Starts Here” as he states, “she’s got ways to turn me wild”. On “Do the Right Thing” Draguin kicks off with a crazed drumbeat, which leads into a song reminiscent of “Hand Jive”. “Mr. B” is a slow blues shuffle with brief undertones of Jimmy Reed’s “Honest I Do”. The instrumental song at 8:32 minutes allows another interesting mix of guitar work and the harmonica. The album closes out with the rocking “Hayloft Blues”.

The strength of the album is most certainly in the harmonica and the band’s instrumental work. Tomislav’s vocals are comfortable, but they and the song lyrics take a backseat to his harmonica. That is not to say that there is anything bad about that aspect of the album, just that the overall best impression comes from the instrumentals in the songs. If you love harmonica, the album is certainly one that you should consider.

Writer John Sacksteder is a retired civil engineer in Louisville, Kentucky who has a lifelong love of music, particularly the blues. He is currently the Editor of the Kentuckiana Blues Society’s monthly newsletter.



 Featured Blues Review – 3 of 6 

imageChris Daniels and The Kings – 40: Blues With Horns Volume II

Moon Voyage Records

www.chrisdaniels.com

10 songs – 42 minutes

Colorado-based Chris Daniels and The Kings have been delivering their horn-driven, soul-infused blues, funk and r’n’b for 40 years now, and 40: Blues With Horns Volume II is a fine celebration of both their longevity and – as their 20th album – their continued drive and creativity.

Daniels sings, plays electric, slide and acoustic guitars, writes songs, produced the album and even wrote the thoughtful and articulate liner notes. His highly impressive band includes Freddi Gowdy on vocals, John Thornburg on bass and vocals, Colin “Bones” Jones on guitar, Bob Rebholz on alto sax and flute, Darryl “Doody” Abrahamson on trumpet and vocals, and Darren Kramer on trombone.  They are joined by some stellar guests, including Sam Bush on fiddle and mandolin, Sonny Landreth on slide guitar, Tom Capek on B3 and keyboards, Christian Teele on percussion, Steve Conn on accordion and B3, and Hazel Miller, Mark Oblinger, Linda Lawson, Robert Johnson and Kenny Andrus on backing vocals.

The album is a nice mixture of well-written originals, often written or co-written by Gowdy, a couple of songs from legendary songwriter Dave Steen (including the opening “Jump (When My Baby Says)”), a great cover of Landreth’s all-time classic “Congo Square”, and an unexpected but delightful version of Conway Twitty’s “When You’re Cool (The Sun Shines All The Time)”.  It runs the gamut from the gentle, acoustic lilt of “Stealin’ Candy”, to the exuberant funk of “I Like Funky Music” and “I Like Your Shoes”, the swinging “Jump (When My Baby Says”), the guitar riff-driven “Under Pressure” and the irresistible Little Feat-esque interpretation of “When You’re Cool (The Sun Shines All The Time).”

40 was recorded primarily during a two-day live session at Colorado Sound Studios with engineer, Kevin Clock. Additional tracks were then added from guests across the country thanks to modern technical wizardry. The result is gorgeously warm sound, where each instrument clearly stands out, and this is an album that definitely repays close listening. Gosh, it’s a joy to hear a band swing with the technical precision and yet casual joy on something like “Everybody’s A Millionaire”, “Jump” or “When You’re Cool.”  Particular kudos to Rebholz and Kramer for the superb horn charts.

With superb musicianship, cleverly-crafted songs, fine production and great singing, 40: Blues With Horns Volume II is a total delight from start to finish and is highly recommended.

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



 Featured Blues Review – 4 of 6 

imageAndy Peake – Pocket Change

Big Little Records

www.andypeake.com

10 songs time – 37:49

Drummer, percussionist and singer-songwriter Andy Peake has achieved a musical statement that is the equivalent of a warm hug. The engaging vocalist has surrounded himself with a gaggle of sympathetic musicians to present his musical vision. There are eight band written songs along with two Dan Penn cover versions.

Mr. Peake kicks things off with a cool vocal on the percussion driven “As Good As It Gets”. An un-credited electric piano player and Tim Gartland’s meandering harmonica enhance the vibe. Andy introduces the latest dance craze in “The Scuffle”. Jody Nardone wears out the keys on the boogie woogie piano. Slide guitar and Shaun Murphy’s backing vocals are the icing on the cake.

Things get funky cool on Dan Penn’s “Somebody’s Gotta Do It”. Acoustic guitar and what sounds like simulated keyboard accordion are joined by lilting acoustic slide guitar. A nice mellow turn. Andy lays down a shuffle alongside electric slide guitar and piano on “So Many Drummers”. Although not a blues song, “The Blues Is Here To Stay” is a fine song with some stinging guitar riffing.

What our times need is a song about brotherhood as in “Neighbor To Neighbor”. Co-writer with Andy, John Prestia, also contributes some biting guitar. Keyboard strings provide some lush atmosphere. Vocalist sings a song about his dog in “Samsong”. It includes a nice Beatles-like ringing guitar. His dog Sam does a few “vocals”. “You can talk to God when you look in his eyes”.

This all adds up to a well thought out and enjoyable effort. He has utilized quite stable of revolving musicians to arrive at the sounds he desired. Any music lover will greatly appreciate this pleasurable experience.

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



 Featured Interview – Samantha Fish 

imageIn the background, a guitar note was turned, or maybe a chord strummed. Samantha Fish first apologized for scheduling and then re-scheduling our phone interview. “Yeah, now it’s just a crazy, hectic time. I’m getting ready for this Experience Hendrix Tour. So, I’m cramming Jimi Hendrix as we speak.”

The Experience Hendrix Tour is a series of all-star concerts to celebrate the music and legacy of rock legend Jimi Hendrix. The 2024 edition featured well-known guitarists such as Kenny Wayne Shepherd, Zakk Wylde, Dweezil Zappa, Eric Johnson, and Christone “Kingfish” Ingram, among others. In late September, Fish played several of the tour’s West Coast dates before heading over to Europe in early October for a three-country tour.

While Fish prepared for her Experience Hendrix performances, she made time in her “absurd schedule,” as she called it, to work on material for a yet-to-be-determined new project—still far off on the horizon. With the phenomenal success of Death Wish Blues (released in May of 2023), her Grammy-nominated collaboration with “renegade rocker” Jesse Dayton, 2024 has, according to a mid-September press release, been a standout year for Samantha Fish. Last year, Death Wish Blues debuted at number one on the Billboard Blues Chart and held the top spot for three consecutive weeks.

As 2024 winds down, Samantha Fish and her band have not eased up. This year has been cram-packed with concerts and events, both large and small. From the mountains of Telluride, Colorado, to the Bourbon & Beyond Festival in Louisville, Kentucky, to opening for The Rolling Stones in her home state of Missouri, Samantha Fish has been, according to her press release, unstoppable.

During our mid-September interview, along with a couple of follow-up emails, we discussed Fish’s “absurd schedule,” the highlights from her summer, European blues fans, “guitar heroes,” her growth as a songwriter, and, finally, where the road—literally—may take her.

First off, of course, Fish talked about cramming for her performances during the Experience Hendrix Tour.

“I believe that this event is kind of like they want you to do your version of (a Hendrix song). So, I feel like anybody who’s going to come to (Experience Hendrix) obviously is a fan of Jimi Hendrix’s guitar playing. The idea is to try—in the spirit of it—to get as close as you can (to Hendrix’s style). But, we are mere mortals after all, so I’ll do my thing and figure out a way to marry the two things and not break my brain in the process.

“Actually, Jimi Hendrix is so much feel. It’s like loose and it feels good, so I think as long as it’s in that world I’m going to be all right.”

imageFish laughs and then adds that, musically, all those guitarists have different personalities and they’re all doing their own interpretation of Hendrix’s famous number, “but nobody sounds just like Jimi Hendrix.”

She would go on to perform the Hendrix classics “Fire” and “Angel,” stating that “both are fantastic songs. ‘Fire’ has this fast and loose vibe that’s incredibly fun to play, It’s a song full of swagger, (while) ‘Angel’ is a beautiful ballad. Jimi sang in a low register, so figuring out how to make that work for my higher voice (was) interesting.”

Before the Experience Hendrix Tour, Fish spent part of her summer performing with legendary guitarist Slash on his S.E.R.P.E.N.T. tour, showcasing the talents of many rock and blues musicians while promoting Slash’s Orgy of the Damned blues album, released in May of this year.

“Oh, so cool,” was how Fish described working with Slash. “He was very cool and kind.”

She said the tour—billed as “A Celebration of the Blues”—was very well run and “a unique showcase of blues music. All the artists that they brought out and highlighted were so vastly different from each other, and I thought that was kind of an interesting (thing).”

In addition to Fish, some of the other artists included: Eric Gales, Keb’ Mo’, ZZ Ward, Larkin Poe, Robert Randolph, and Christone “Kingfish” Ingram.

“It was really cool to put all these different acts out on the road—this traveling festival—and there were a lot of rock and roll fans that I think (got) kind of a cool education in the blues, and into what’s going on in the contemporary (blues) scene, and how diverse and vast it is.”

Growing up, Slash was one of Fish’s original “guitar heroes,” along with Mike Campbell, the lead guitarist and founding member of Tom Petty and the Heartbreakers. Fish described what makes these guitarists “heroes” to her.

“I love anybody with a personality…so you can just turn (a song) on and you know exactly who is holding that guitar because they have that personality. I think Keith Richards has that personality. I think (of), obviously, B.B. King. I think Derek Trucks has that personality. Freddie King has that personality. I think Angus Young (of AC/DC), and I think of Jimmy Page.

“Everybody knows these are guitar heroes, but it’s like, what makes somebody into that? I think it’s the voice…having a voice that separates and identifies you. Having a (unique) sound is everything. Personality is what makes a musician unique. I don’t know exactly how to define that quality, (but) it’s different, player by player.”

On July 21st, Fish had a once-in-a-lifetime opportunity to open a show for one of those “guitar heroes” she previously mentioned—a guitarist who definitely exemplifies “personality.” Fish and her band opened for The Rolling Stones on the final stop of their Hackney Diamonds North American tour.

imageShe said the idea of opening for The Stones was “pretty humbling and mind boggling, and I was trying not to freak out.” Fish laughs.

The tour’s final show was at the Thunder Ridge Nature Arena in Ridgedale, Missouri. The 20,000-seat outdoor amphitheater is located in the Ozarks, near Branson.

“It was really (a) full circle moment because every time I do an interview, probably the length of my career, fifty percent of the time there’s this question: ‘If you were to say on your bucket list who you’d like to open for, who would it be?’ And I always say, ironically, ‘Yeah, The Stones, the biggest rock band in the world.’ And for that to actually come true has been just sort of…I never would have pictured this ten years ago. I feel really, like, humbled and lucky.

“I put my blinders on and tried not to let the moment overwhelm me in any way. I just went out there and put on my show…and we rocked it for our set and felt really vindicated and proud. It’s a lot of hard work that goes into this.”

At the end of her busy summer schedule, Fish released a three-song E.P. called Crowd Control. Recorded live during a video shoot in Nashville, Fish “reimagines” three of her better known numbers: “Crowd Control,” “Faster,” and “Better Be Lonely.”

She explained her motivation for releasing a live E.P. now, instead of a full live album.

“Well, we’ve been teasing a potential live record (for a while). But I just concluded this great collaborative tour with Jesse Dayton, and we put out a record (Death Wish Blues). I didn’t feel like right now is the right time to follow up that project with a full live record. But we have these live recordings, (and) people have been very adamant about wanting live music from us—recorded live music.

“So, it’s kind of like just a nice interim thing, while I’m working towards the next solo (project), or whatever, to release (live music recordings) to give our fans a treat and something that they want.”

Fish admitted that (a live E.P.) might not be exactly “all the way what they (the fans) want,” but she reiterated that she is working on new material and, perhaps, some other new projects, along with rounding out 2024 with several unique gigs.

Following her stint with the Experience Hendrix tour, Fish and her band headed to England for the European leg of this year’s Bulletproof Tour—three weeks in October that start in the UK, included a few stops in the Netherlands, and finished up in Germany. Fish discussed why she enjoys playing to European audiences and the challenges for a blues artist in “breaking through” in that market.

“I always look forward to going over there. We have an amazing fan base there, (and) it’s hard-earned. England, the UK, is not an easy place to break through the noise. They’re very particular. They’ve got good taste, so when they finally start paying attention to an artist, you know things are working. You’re doing something right.”

imageFish laughs and then adds that it took persistence on several fronts to help her break through in Europe.

“I have very tenacious agents, and I’m cut from the same cloth…just not giving up on coming to a place and breaking a market that is kind of a difficult market to break. I’m still working on it. I’m still not satisfied, and I’m going to keep working on it, and I want to keep growing there (in Europe). I think just tenacity and just keeping after it. Showing up (for gigs and performances) and working with the right people who (can) bring us into the right situation to get ‘eyeballs and attention.’ And having the right records at the right time…all these things play a part.

“So, we finally really started having ‘good stroke’ over there and, people started turning up, and every time I go over there it’s a joy. The fans are really responsive, and they pay attention…they keep up (with current blues music trends), and they’re really educated with what we’re doing in the band.

“Same goes for the Netherlands, Holland. It’s nice to be able to visit different cultures, and from a stage perspective trying to read how each audience is going to interact with us because culturally there’s some pretty big differences in a lot of these places. So, it’s my job to go up there and kind of interpret how to do the show every night, which keeps me on my toes. So, it’s fun.

“I really like going over there (to Europe). It’s nice to see other parts of the world.”

Germany will be the final stop on the Bulletproof European tour with five dates in the latter part of October. Fish reflected on her time in Germany, where, in many respects, she got her start as a recording artist.

“Germany is one of the first places I toured early on because my record label—when I first got signed—was Ruf Records. We went on a month long tour in Germany, and we hit every big city and every small town. Those guys know how to party over there. It was pretty fun and pretty intense.”

Ruf Records is a German independent records label founded in 1994 by Thomas Ruf, who was Luther Allison’s manager at that time. The label’s motto is “Where Blues Crosses Over.” Fish recorded her first seven albums for Ruf, including Wild Heart, Chills & Fever, and Belle of the West.

When Fish and her band return from Europe, they’ll be part of Ruf Records 30th Anniversary Tour—USA, featuring Ghalia Volt, Bernard Allison, and the 1960s rock/blues band Canned Heat. The tour will take place in November at various spots in the Midwest and along the Eastern Seaboard. Fish said she’s excited to be part of the celebration.

image“They asked if I wanted to be a part of it, and I it was really cool. I mean, Thomas (Ruf—pronounced “roof”) gave me my start in music, and this is a nice way to honor that. It’s going to be a really cool tour. It’s going to be us, (along with) Canned Heat (and) Mitch Ryder…and it’s going to be pretty special—some interesting night(s) of music.”

Fish then talked about performing live and the importance of connecting with her audiences, particularly as it relates to the intimacy of the blues.

“I do think (with) the blues, it probably goes back to the club circuit, (the) juke joints. Everything was really intimate. That’s kind of the magical thing about (the blues). Some of my favorite memories of going and attending blues shows…going to Red’s in Clarksdale. It doesn’t get any tighter than that.”

She elaborated on how that intimacy feels for the fans.

“You’re up close. You can almost feel the sweat coming off the stage, and you feel like you’re a part of it, and the blues is such a connecting kind of a music, universally, something people just dial into and feel.

“When you kind of amplify that and put it up on a big stage, it still works. There are massive artists out there now (performing) on a (big) stage, and does it lose the connectivity because it’s not in a small, tiny place? I don’t think so necessarily. I think it works in those type of rooms because of that feeling (connecting with an audience). I think it can affect you on a big stage (or) on a small stage, and that’s probably why it feels so intimate and the connection with the performer feels closer because (blues is) such an affecting music.”

Fish then talked about how important those audience connections are to her, as an artist.

“I need that as an artist because nothing feels worse than to go on stage and to feel disconnected from the audience. You don’t know if you’re giving them a good show. You don’t know if they like it.

“When I feel dialed in, and I’m doing my absolute best…when they’re finally laughing at my jokes—it doesn’t happen often. When you finally have that, when we’re actually having a conversation, and they’re responding, and I’m saying stuff and listening to what they’re saying, that’s the connection. My goal is always to bring people in and connect with them personally.”

That intimacy and connectivity in the blues community extends to the artists as well. Whether that’s jamming on stage or, occasionally, finding time to hang out backstage.

“The blues world is fairly connected, and that’s cool. When we played Telluride (Blues & Brews Festival), I met this artist named Zach Person for the first time. He’s a young guy, and he came and sat in with us on our last song of our set, during our night show. I thought that was really cool because the blues community is kind of open and there’s a lot of sharing that goes on.

image“This cool blues world of ours, it’s pretty open and, I’ve gotten to jam with Buddy Guy, and he’s the greatest. There’s a tight knit feeling to it that even some of these massive artists are really kind and supportive, and they know that this isn’t an easy life to choose, you know, (playing) blues music for a living. I feel like there’s a lot of support there.”

Fish went on to say that blues artists have hectic schedules, which includes having time in between sets to catch-up.

“Sometimes you get there, and you do your thing and then you have to leave to go set up somewhere else. Sometimes you have a little moment to chit chat. I mean, we’ve all known each other for years, and the thing is everybody gets it. We all know what everybody’s schedule is like. So, sometimes, you (see another artist and say), ‘Hey, let’s eat lunch at catering. Let’s talk about life,’ and then, sometimes, you’re like, ‘Hey, good to see you. ‘Bye.’ It’s just different.”

While Fish mentioned earlier in the interview that—in between tour dates—she’s working on that yet-to-be-determined new project, she wasn’t ready to talk more about the project, now, other than to say that she’s “worked really hard on these set of songs, just trying to bring them to life in the direction that I want.”

Fish said she’d have more to say when her new project is completed. She did, however, talk in detail about the evolution of her songwriting style and the process.

“I have grown a lot as a writer. I’ve sought out different writers to work with over the course of the last decade or so. And I’ve learned a lot just through collaboration. You learn how somebody else approaches a song, or what do they think is important? What’s a good starting point? You learn about yourself through others.

“So, I’ve heavily leaned into collaboration over the years, just because I think it’s important to grow, and I like being able to bounce ideas off of somebody else, and I feel like I work faster. If you’re working with the right people, it only elevates the music.”

Which was the case working with Jesse Dayton on last year’s Grammy-nominated album, Death Wish Blues.

“Jesse is a fearless artist. He takes chances and doesn’t shy away from doing something outside the box. He and I had a vision, and we both worked tirelessly until it was perfect. I think that made it special for me, having a partner who had an open mind and a great work ethic. We really tapped into some creativity together.”

Fish went on to discuss her creative approach to songwriting.

“For me, I just try to find the song, no matter what, and sometimes it’s hard, via the approach that you take. I find I’m more successful with songs—at least getting it done—if (I) start with a melody and a hook. It’s so much easier to build a song. But, if you start with pages and pages of poetry and nothing to anchor that—no musical thing—it’s a lot harder to make that into something that is catchy and ear worming.”

imageThat approach, finding a melody and a hook, has been a key ingredient to her songwriting success and certainly a product of her growth. Fish says that even with that approach, creating and completing a great song can be a long, challenging process. Another key to Fish’s success is to continue “chipping away” at an idea until she finds what works.

“You want to complete this song and this idea, but if you don’t start in a place that makes it easier, it can take a long time. I’ve had songs that I’ve labored over and I’ve just given up on them for years and then I’ll come back to it and try to chip away from a different angle. Marrying yourself to a melody, that helps a lot, and that’s just something I’ve learned. You only get that through trial and error of like writing 1,000 songs or something.”

Samantha Fish has certainly been unstoppable in 2024, and with her boundless energy and enthusiasm for her craft, she talked about what she sees for herself with an endless horizon of possibilities.

“I have so much stuff that I want to do that I don’t even know where to begin. I’m working right now (on) what’s the next step of my sound? What is this next evolution? What’s the next version of me? That’s kind of what I’m leaning into.

“And then there (are) a lot of things that I want to do. I want to produce records. I’d love to act…make more music videos…a lot of creative projects. I love writing songs with other people for other people.”

Fish talked about record producing, which she has done in the past, in terms of furthering her own creative “education.”

“I haven’t really thought about the ‘who’ (I might produce). Really, for me, I want to pursue education more in the way of when I watch somebody—I’m watching the engineer who’s mixing us, and I’m just completely blown away. Even working with (legendary producer) Jon Spencer on the last record (Death Wish Blues),…his knowledge of gears and getting tones and how to make that fit in a mix. I find all that stuff really fascinating. So, I want to grow as an artist, and I want to know more about this stuff. So, yeah, producing records is a vehicle for gaining that knowledge and experience. Who is that unlucky artist? I don’t know. (Fish laughed.) I wouldn’t wish it on anybody, if I’m being honest with you.” (She laughed, again.)

Samantha Fish then thought about where that proverbial road might lead her.

“What’s going to come next? I just got to kind of let things happen and then the opportunity is born there.”

Visit Samantha’s website at https://www.samanthafish.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.


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 Featured Blues Review – 5 of 6 

imageGaetano Letizia – Black Sheep of the Family

Self-produced CD

www.gaetanoletizia.com

15 songs – 52 minutes

Based out of Cleveland, Ohio, where he’s been performing since the ’70s, when he filled in for Joe Walsh for a James Gang show at his alma mater, Kent State University, Gaetano Letizia possesses a powerful single-note attack on guitar, mixing blues, jazz, rock and more into a distinctive package. And he returns to the studio in style with this silky-smooth, all-original mixed-media set.

Now in his early 70s, Gaetano grew up listening to B.B. and Albert King, Muddy Waters and other blues greats before launching his career playing alongside drummer June Core, who was with Robert Jr. Lockwood before becoming one of the best musicians on the West Coast. He’s recorded ten previous CDs in the blues and jazz mediums, drawing praise in both Downbeat and Guitar Player magazines. As a singer, he possesses a pleasant, road-worn tenor.

His core group here includes drummer Mike D’Elia and bassist Lenny Gray, his partners in the Underworld Blues Band. Since forming in 2010, they’ve gone on to represent The Forest City in the 2014 International Blues Challenge and to record three high-energy albums, Voodoo Doll & Other Blues Lessons, Resurrection and Beatles Blues Blast, all of which earned airplay across the U.S. and around the globe. A much more subdued set here, they’re augmented by Moss Stanley on Hammond organ and Dylan Moffit on percussion.

“It’s Not Enough” opens the action with an extended six-string solo. It’s a silky-smooth, soulful ballad in which Gaetano addresses his lady at end of a relationship. She’s taking everything and still wants more. The action heats up from the jump of “One More Straw,” a James Brown-style funk that expresses fear about an impending mistake at work that will change everything in a negative way. Letizia’s guitar runs intensify the stress. Things calm down a bit with “Just a Number,” a Stevie Ray Vaughan-inspired blues, which deals with the problems of ageing, expressing: “Age is just a number, baby, and mine’s unlisted.”

The driving “Ain’t Goin’ to Hell” infuses a Tower of Power feel as Gaetano expresses that he’s already been there before the blues-rock title track, “Black Sheep of the Family,” serves as an admission that Letizia’s a problem child and always will be because that’s the way he likes it. The sound shifts back to true blues for ballad “It’s Only Tuesday” with the guitarist laying down sweet, jazzy runs then yields to “Lustville,” a ZZ Top-style boogie, while the rocker, “Holy Ghost Power,” takes listeners to church with its gospel feel.

Letizia’s “What Is a Man” is a blues-rocker that Jimi Hendrix fans will enjoy. It yields to the stellar instrumental, “Aire on the B String,” before the rocker, “Long Way to Go,” finds the singer deals with life’s problems once more. “Never Had a Chance” adopts an Allman Brothers feel as it describes a lady who wants to control everything in a relationship. “The Smiling Dog” comes with a Latin feel before the swinging “Mr. Perfect” and the bluesy pop-rocker, “Silly Song,” brings the action to a close.

With a musical turn in each successive cut, this album offers something for every blues fan. Gaetano Letizia serves up a winner here. Strongly recommended for anyone tired of shredders.

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.


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 Featured Blues Review – 6 of 6 

imageThe Robin Robertson Blues Band – Elemental Rhythm

Self Release

www.therrbband.com

8 songs time – 39:42

Edinburgh, Scotland’s The Robin Robertson Blues Band isn’t always what you would call a blues band, but what they are is a band with a powerhouse vocalist in Annette Chapman, Robin’s spot-on guitar, great songs and a first-rate band. Six originals plus two cover songs.

Robin’s blazing guitar kicks off “No Good Man” and appears throughout. Annette’s vocal is a bit reminiscent of Maggie Bell’s with the rough edges rounded off. Slide guitar plays well against Colin Hutcheon’s meaty organ on “Angry Bones”. Once again, another hearty vocal from Annette. She conjures up an extra cocky vocal performance on Kathryn Jewel Thorne and Vasti Jackson’s “I’m Bad”. Slithering slide guitar and energetic piano this time.

An infectious guitar riff leads off “Hands Up”, that also features a distinctive bass line courtesy of Brian Branford and organ. “I Don’t Need My Gun When I’m Having Fun, So Put Your Hands Up”. “Nocturne” by Spike Hughes is an atmospheric instrumental with soaring and dreamy guitar tone ala Robin Trower. Other than the vocal songs, this song really stands out for me.

A way funky bass line permeates “Same Old War, Better Equipment”. Electric piano and electric slide guitar. Obviously, an anti-war sentiment. The album title comes from this song. The slow piano tempered “I Should Have Raged” has a lyric that directs its’ anger at a man leaving. A very emotionally charged vocal this one. Another distinctive bass line on “Old Crimes And Dead Detectives”. A smooth and sassy vocal. The piano goes up and down in the mix to good effect.

A well crafted blend of blues, R&B and roots music to provide a thoroughly enjoyable musical experience. Annette’s commanding vocal goodness is the icing on the cake of this top notch band. It is all here-Great lyrics, great production and sympathetic musicianship.

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


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