Aki Kumar – God Bless The USA

Little Village Foundation – 2025

www.akikumar.com

13 tracks; 50 minutes

Aki Kumar was born in India and came to the States to study computer science, ending up working in Silicon Valley after graduation. Always interested in music, he had dabbled with harmonica when young but took to the instrument anew when he first got into the blues. He made a debut album with Kid Andersen in 2014 and has produced two further well-received albums with Little Village, both blending his Indian heritage with the blues and other American music styles, Aki Goes To Bollywood and Hindi Man Blues. During the Covid Pandemic Aki taught himself a lot about recording in his home studio and the resulting dream of making a record in his own time and in his own studio has now come to fruition. The disc contains eight originals and five covers and boasts an impressive list of musicians. The core band is Aki on harp and vocals, Bob Welsh on guitar and piano, Randy Bermudes on bass and June Core on drums; also involved are Tony Stead on organ, Rome Yamilov and Pete Fazzini on guitar, Jack Sanford on sax, Kedar Roy on acoustic bass, Vicki Randle on percussion, Julia JD on backing vocals, Will Marsh on sitar and Jim Santi Owen on tabla and khanjira. Aki is credited with producing, recording and mixing the album.

First up is a startling makeover of The Clash’s “Should I Stay”, subtitled “(Immigrant Song)”, thus making clear just what Aki is debating in this cover. The song is completely transformed into a straight blues with driving piano, terrific drumming and Aki’s harp. Aki’s vocals sound a little distant on “A Plea To Be Free” which has some interesting time changes and references other blues tunes in the central guitar solo. So far there has not been much Indian influence but Aki’s cover of Willie Dixon’s “I Just Want To Make Love To You” certainly does, the tabla, flute-like sounds (is that Aki’s harp?) and his vocal style taking the song well away from the Etta James version we all know and love. The fast-paced shuffle “Jarvos Woman” apparently references a Swedish person and brings Aki’s harp to the fore before another radical re-working of a familiar tune: “Desi Strut” is a reggae and Indian-infused version of The Meters’ “Cissy Strut”, ‘Desi’ being a slang term for people from South India. The tabla and sitar carry the tune along as Aki plays the main theme on his harp, the whole concept working very well, different but interesting.

“Time Will Tell” brings a touch of doo-wop in the backing vocals, Aki singing half the lyrics in his native tongue while sounding every inch the archetypal 50’s crooner! Next up come two tracks that will undoubtedly cause controversy as Aki gets highly political. “Thoughts And Prayers” is a jaunty tune with a hint of country but the lyrics belie that with bitter sarcasm towards the president who responded to a crisis with “thoughts and prayers, that’s how you show you really care”. Not surprisingly, when asked for financial contributions to his later campaign, Aki replied in kind! Equally explicit is the title track, played to a marching band rhythm: “the rich shall inherit the earth, that’s what our scriptures say, you’re measured by your money’s worth, God Bless The USA!”. On the basis of these two tracks, Aki will not be selling many records in strongly Republican areas!

“It Is What It Is” is a classic slow blues with Pete Fazzini’s slide and rolling piano behind Aki’s expressive harp stylings before a straight cover of “Man Of Constant Sorrow”, a song covered by Dylan on his first album, though Aki’s version is quite country in style, probably closer to the 1950’s Stanley Brothers version. “Hard To Get” moves into Rn’B territory with Jack Sanford’s sax involved before another sharp turn in direction with “Save A Bread”, a 1991 track from Ska band Justin Hinds & The Dominoes, given an Indian twist. The final cut is a bright harp instrumental entitled “Harp Tuah”.

I have not heard the two previous albums but the current release does combine influences from both Indian and American cultures though there are plenty of ‘orthodox’ blues tunes here too. On that basis it is a definite success and deserves to do well for Aki and Little Village.

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.

Joe Bonamassa – Breakthrough

J&R Adventures – 2025

https://jbonamassa.com/

10 tracks: 46 minutes

Joe Bonamassa is one of those blues artists who is as relentless as he is talented. Touring nearly nonstop and seemingly everywhere, Bonamassa has amassed a huge following and slayed many professional dragons. If you’ve never caught Bonamassa live, you are truly missing out, and his latest album, Breakthrough, solidifies Bonamassa as his self-described Blues Titan.

As most blues fans know, Bonamassa has been rocking the blues for a long, long time. According to the online bios, Bonamassa started his career at age twelve, opening for B.B. King. He’s been honored with numerous awards and accolades, including three Grammy Award nominations and thirteen Blues Music Award (BMA) nominations with four BMA wins.

Breakthrough showcases Bonamassa’s maturity as a musician and songwriter, and his willingness to meld his unique style—which emphasizes guitar grit, just the right amount of intensity, and a polished smooth delivery—with various genres and subgenres of blues, rock, soul, and even a little country.

Longtime collaborator Kevin Shirley has production and mixing credits in addition to co-songwriting credits. Shirley may be best known for his two decades-long work with English heavy metal band Iron Maiden. Other noted contributors on Breakthrough are keyboardist Reese Wynans and second guitarist Josh Smith.

The album’s title track (“Breakthrough”) is a rockin’ funky strong start with great keyboard lines and Bonamassa’s signature guitar riffs. “Trigger Finger,” released as a single, is another high energy blues rocker with a terrific backbeat and a signature refrain, When one door slams, somebody leaves…When one door slams, baby, I’m free.

“Drive By The Exit Sign” with its smooth guitar slide has a funky country-ish beat that’ll get toes tapping and hips swinging. That high energy, rockin’ groove continues with “Still Walking With Me” highlighted by Bonamassa’s guitar and terrific piano by Wynans. Kevin Shirley’s influence is all over “You Don’t Own Me,” a metal-fast anthem, once again, featuring Wynans dynamite piano.

“Pain’s On Me,” is a great bridge between those high energy numbers and several of the album’s slower, more soulful blues tunes. “Life After Dark” has all the ingredients that make for a classic Joe Bonamassa song: gritty vocals, soaring guitar riffs, and pounding beat. Texas swing-infused “I’ll Take The Blame” also features a pounding backbeat and intricate solo work by Bonamassa. “Shake This Ground” shakes things up with its soulful Latin-styled opening guitar and South Florida sultriness.

Breakthrough is yet another masterwork from Joe Bonamassa, a true “blues titan” whose talent and relentlessness make keeping the blues alive possible now and for future generations of music lovers.

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.

The Dead Daisies – Lookin’ for Trouble

Malaco Records

www.thedeaddaisies.com

10 tracks – 38 minutes

In 2024, the hard rocking Slash, guitarist for Guns ‘n’ Roses and Velvet Revolver released a successful blues album that received airplay on many radio shows including Sirius XM. Now a group of performers with a history of playing in hard rock bands have come together to play ten covers of songs that they feel have influenced the birth of rock. Like many of those who grew up in the 60’s – 70’s era, music from The Rolling Stones, Led Zeppelin, John Mayall and many other similar bands brought blues to the attention of the followers of those bands and led to an interest and investigation into the original blues artists. Lead vocalist John Corabi for The Dead Daisies states “Blues has influenced every genre of music we listen to – except classical. I’d call it the ‘soul’ of music.” He further explains that the album title  Lookin’ for Trouble “nods to the era when blues was branded ‘the Devil’s music’ – feared for its themes of rebellion, hardship and sensuality.” The term subsequently was also applied to the rock ‘n’ roll era and many forms of music since.

The band consists of Motley Crue vocalist and harmonica player John Corabi; founding member and Red Phoenix, Mink guitarist David Lowy; Whitesnake and Dio guitarist Doug Aldrich; Whitesnake and Lynch Mob bassist Michael Devin; and Steven Tyler Band and Samantha Fish drummer Sarah Tomek. The band has been around for a decade playing their “no-holds barred approach to rock” with the band line-up changing around David Lowy. This is their seventh studio album. Previous albums have featured primarily original hard-rocking songs as might be expected from a group with their cited historical background. This is their first album delving into the covers of blues classics. The album was recorded live at the FAME Studios in Muscle Shoals, Alabama.

The album opens with Muddy Waters’ “I’m Ready”. The guitars come roaring out and the song kicks out while maintaining the basic construct of the original and even throws in a little bit of harmonica. Freddy King’s “Going Down” continues in a belted-out version with the guitars again in full-throttle mode.  John Lee Hooker’s “Boom Boom” with a harmonica driving settles back into a conventional version.

The harmonica again leads Lead Belly’s “Black Betty” into full headbanging mode. Things slow down for a reverential version of B.B. King’s “The Thrill is Gone” allowing John to display some deep, soulful vocals not present to this point in the album. The guitars also are allowed room to breathe and shine with a sparse sound. Albert King’s “Born Under a Bad Sign” moves back into a hard-rocking mode and John’s blues-shouter vocals.

Robert Johnson’s “Crossroads” lets David pull out his slide guitar, which provides for a standout song on the album. The follow-up is a second well-known Johnson song, “Sweet Home Chicago”, once again led by the harmonica with throbbing guitar solos. Rufus Thomas’ “Walking the Dog” goes full-bore rock and readily gets your head bobbing along. The album concludes with “Little Red Rooster” written by Willie Dixon and originally recorded by Howlin’ Wolf. The song has a solid blues take with harmonica, slide guitar and David providing comfortable vocals serving the blues shuffle.

The album is a powerful blues-rock album, sometimes leaning strongly to the rock side of the genre. Although providing their own inclination into the blues sound, the group still manages to deliver an album that is true to the original content while providing a modern take with high-energy, adrenaline driven guitars and vocals not veering too far from those 60’s and 70’s groups that re-introduced the blues to a new audience. One can hope that groups such as The Dead Daisies can find a new audience intrigued by the sound and willing to step back to see what the artists given tribute on this album were about.

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.

Moses Crouch – Earth Music

Riverlark Music – 2024

www.facebook.com/memphissippimoses

13 tracks; 40 minutes 

With Earth Music (2024), Memphis blues and roots musician Moses Crouch explores Southern Black folk traditions, Georgia blues, Memphis jug music, Hill Country hypnotics, and sacred spirituals— an eclectic repertoire for the modern troubadour, rooted in America’s past. In the 13-track LP, Crouch covers songs from Blind Willie McTell, Fred McDowell, Furry Lewis, the Memphis Jug Band, and several traditional songs.

His interpretations emphasize the raw, storytelling power of the music—howling falsettos, droning grooves, and crooked song structures that resist commercial polish. Drawing inspiration from Memphis, North Mississippi, and Georgia’s Piedmont, Crouch blends field hollers, hillbilly ballads, and juke joint rhythms into a record that is at once archival and deeply personal.

The first track, “Newport News Blues”, was first recorded by the Memphis Jug Band in 1927 and describes the agony of unrequited love. Crouch pounds out a solid rhythm on acoustic guitar, with a stripped-down, simple, and effective sound. His voice emerges straining, authentic, and somehow sweet as he croons, “I’m going to Newport News. The woman that I’m loving do not care for me.”

Crouch accompanies himself on guitar or banjo on every song. “Rabbit on a Log”, one of the three banjo songs on the album, is one of the oldest and most prolifically covered Black Folk songs. In his version, inspired by Sid Hemphill, Lonzie Thomas, and the Mississippi Sheiks, Crouch plays funky, strong banjo, with catchy riffs, singing “Well I’m going across the water, I’m going to miss a rich man’s daughter… Whiskey on my belly and the sheriff on my track.”

A bluesy, funky slide guitar intro opens up Crouch’s interpretation of the popular tune “Good Mornin’ Little Schoolgirl”, and the rhythm and melody is provided by driving electric guitar and Crouch’s moaning, growling voice. Sonically, the space is adequately filled, creating a spicy, simmering, slow-burning track without the need for additional accompaniment.

Among the more country-leaning tunes, “Banjo Blues” was recorded in 1927 by Georgia bluesman Peg Leg Howell, accompanied by the Black fiddler Eddie Anthony, an example of Black banjo and fiddle tunes that predated the blues. Moses said in the liner notes, “It’s as Country as one can get, but still uniquely and beautifully Black.” Synchopated guitar opens the track, reminiscent of some tracks on Taj Mahal’s De Ole Folks at Home (1969), and Crouch sings “I’ve got the banjo blues but I’m too damn to cry.” Solid rhythm, in vocals and guitar, drives the song along.

The traditional Black religious tune “Get Right Church”, popular in both the North and South before World War I, receives a fresh, gritty interpretation by Crouch. Crouch said he was inspired by Mississippi Fred and Annie Lee McDowell’s version, “as primal and simple as necessary in order to deliver the powerful message.” Gnarly slide guitar opens the track, and Crouch reflects on death and religion in the simmering, fiery track, singing of hearing “that church bell toll” and being laid down on “the cooling board.”

On “Old Devil”, Crouch covers a song first written and recorded by Bo Carter of the Mississippi Sheiks, and said the song is one of the earliest recorded examples of what would become known as Hill Country Blues – “rhythmic first, focusing on a droning one-chord verse structure culminating in a crooked and unrestrained resolution. This is not 12-bar blues.” Crouch plays upbeat acoustic guitar, singing “I need my baby before I lose my natural mind and I go stone blind.” The song is simple, soulful, and powerful, in the Hill Country tradition.

Crouch closes the album with “Falling Down Blues/ Good Mornin’ Judge”, a medley by Memphis blues icon Furry Lewis, who Crouch called a master storyteller. With low-key, pretty guitar, Crouch sings “Got the blues so bad it hurt my feet to walk” in a lush, spirited voice. In his quiet tone, he expresses the pain of several themes and stories: being falsely arrested for murder, searching for a woman on the road, and saving a man from the penitentiary.

One of the best tracks on the album, “Soon One Mornin’ (Death Come A’Creepin’)”, a sacred Black standard recorded by Mississippi Fred McDowell, intermingles “both God and the Devil’s music with the same tenacity and verve” according to Crouch. Ultimately, the track is about the catharsis in surrendering to a higher power for salvation. Musically, the guitar rhythm is soulful and patient. The guitar meanders soulfully in an agonizing, painful guitar solo, reflecting the inevitability and pain of death.

Rattling, shaking slide guitar characterizes Crouch’s cover of “No-No Blues”, a Georgia blues standard, covered by the likes of Curley Weaver and Barbecue Bob, defined by a “guttural howling falsetto, and an idiosyncratic driving slide guitar.” The guitar dominates the recording as Crouch calls out “I woke up this morning, my good gal was gone.. I’m a motherless child, know right from wrong.”

Earth Music is Crouch’s love letter to the deep roots of American music—songs forged in fields, juke joints, churches, and back porches. It’s music meant to be felt in the bones: raw, unpolished, and deeply human. It breathes new life into century-old songs with grit, soul, and reverence. The album is a rich offering for fans of blues, folk, country, and Black string-band music—timeless stories told with raw authenticity.

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

For the last fifty years, there has not been a more consistently excellent blues performer than Robert Cray. As the five-time Grammy Award-winner (and 16-time nominee) turns 72 on August 1, Cray continues to thrill crowds with his signature guitar playing and fabulously soulful singing. It’s really a magic trick. I have seen Cray live several times in the last few years and he does not sound appreciably different than when I first saw him over 30 years ago. His guitar tone is impeccable, and he still hits those impossibly high notes. Never stopping might be the key. I spoke with Cray from his home in California, after his successful European tour.

“It went great, we had a good time. It was kind of a long one, we hadn’t done five weeks in a row for a while. We had a lot of good shows, well attended, it was pretty good. Summertime in Europe, a lot of outdoor shows. A mixture of blues and jazz shows, that kind of thing, clubs, theaters,” he recounted.

After a short break, the band is back on the road in August on the Out Driving Around tour, which rolls through November, crisscrossing the United States. The band has played some major festivals this year, but will mainly play theater and large club headlining gigs coming up. The time off with the family has been useful for Cray.

“Yes and it’s a better rhythm for the rest of the guys as well. We’re gettin’ up there in age, we’re not spring chickens. It’s nice to break it up. You can call your shots a little bit more these days, so it’s good.”

One of the stops on the tour will be a November 7 show in Eugene, Oregon, where he formed The Robert Cray Band in 1974.

“It’s great to go back there because I lived there for seven or eight years back when we first started the band. Things have changed and we’ve changed, but it still feels like it’s a part of my life. It will be nice to go back.”

Bassist Richard Cousins has been in The Robert Cray Band since the beginning. This pairing is one of the longest running partnerships in music. Cousins still tours with the band, suggesting set lists, and writing some of the songs.

“We’re brothers, basically that’s it,” Cray said of Cousins. “We’re a traveling family is what we are. Dover Weinberg plays keyboards with us and he was in the band in 1979 for a couple of years and he’s back with us. He rejoined the band in 2008, I believe it was. We have Steve Selig who’s our production manager, he’s been in the band 30 years! Greg Zaccaria, “Zach” our guitar tech, the same, 30 years. We’re all brothers and it’s great to have your friends alongside of you as you make your way through this world of music that we’re all doing.”

Drummer Les Falconer rounds out the crack unit. Another musician who goes back with Cray to the Pacific Northwest days is noted singer and harp player Curtis Salgado. The two combined bands to form the Cray-Hawks and Salgado sang in The Robert Cray Band for a few years, including on their first album, 1980’s Who’s Been Talkin’. Salgado left soon after to front Roomful of Blues and pursue a solo career. In 2024, they reunited for joyful version of “Gonna Forget About You” on Salgado’s 2024 record Fine By Me.

“We’d sung that song before, you’ll remember, on Who’s Been Talkin’. That time I was the front man. This time Curtis was the front man. It’s funny that we reprised that song, the old O.V. Wright song. That’s what they wanted to do. Jim Pugh produced it, who played with us for a while, it’s on Jim’s record label. Jim Pugh is a fantastic writer…great musician, all around good guy. Really cool with his Little Village records, finding all that great music and putting it out. It’s fantastic.”

Pugh played keys and co-wrote several key songs on Cray’s 1990’s albums, including the brilliant Midnight Stroll.

Growing up in Virginia and in Washington state, Cray was a fan of various guitarists, but when he saw Albert Collins at a 1969 rock festival and then at his 1971 high school graduation party in Tacoma, that really lit the fuse. He would become friends with his hero and serve as an opening act for Collins on many occasions and serve as his backing band when Collins would be on the West Coast in the mid-70’s. Cray would later team-up with Collins and Johnny Copeland on the legendary 1985 Alligator release Showdown! That set the stage for the breakthrough.

Cray hit it big with his 1986 double-platinum selling album Strong Persuader and its crossover single “Smoking Gun”, racking up sales, awards, tour dates, and TV appearances. It was a shot in the arm for his career and the blues in general. Paired with the emergence of Stevie Ray Vaughan, Jeff Healey, The Fabulous Thunderbirds, George Thorogood, and others in the 80’s, Cray helped put the blues back on the radio and the pop charts. Rolling Stone ranked it #42 on its 100 Greatest Albums of the 80’s list. Cray still performs the classics “I Guess I Showed Her” and “Right Next Door (Because of Me)” from this album in his live set.

Cray became a modern-day guitar hero with many acolytes buying one of his two signature Fender Stratocaster models and studying his moves. His tour dates with Eric Clapton and appearance on the Journeyman album, specifically the song “Old Love”, added to the legend. Producer/drummer Steve Jordan recently said, “People gravitate to his guitar playing first, but I think he’s one of the best singers I’ve heard in my life.”

The Blues Hall of Famer has had a star-studded career. He has played with all the greats, from Muddy Waters, Otis Rush, Buddy Guy, and Junior Wells to Tina Turner, the Vaughan Brothers, Bonnie Raitt, and The Rolling Stones. He appeared as the uncredited bass player in Animal House. He starred at the Crossroads Festival. He played on three John Lee Hooker albums. He even played in Keith Richards’ star-studded house band behind Chuck Berry in the 1987 documentary Hail! Hail! Rock ‘n Roll.

“That was a blast. Maybe not for Keith, which is too bad, because for Keith he’s paying homage to one of his main heroes. Chuck and I got along really well because I was the new kid on the block, so to speak. ‘Hey Robert, do you want to have a coffee?’ and we’d sit down and have coffee and Chuck was actually using me a couple times to get back at these guys. I think Chuck was playing with them quite a bit because he knew how they respected him and he was playing with them on that a lot. I remember the rehearsals were fantastic, the jam sessions were amazing with Etta James being there and singing ‘Hoochie Coochie Man’ and all the people that were on the gig. But then the day of the show, Chuck comes up to me and he gives me a setlist, and I was sitting next to Eric Clapton, and then Eric leans over and looks at the list and says, ‘How do you rate?!’ I had more songs than I had even rehearsed. Chuck has done that on purpose to piss them off. And he handed me the list and he walked away. Eric looked at the list and he was pissed. I knew that I wasn’t going to be playing on all those songs because I hadn’t rehearsed them and this was the day of the show. So that’s the kind of stuff he was doing to those guys… because he could. It was fun.”

Cray’s career continued to take off, spreading the blues across the globe.

“The biggest gig that we played, they told me it was 150,000 people. This was in Tallinn in Estonia and it was a festival called Rock Summer and this was in 1988 and it was before breakup of the Soviet Union or as it was just happening. We had crossed from Helsinki into Tallinn in a little boat and I have pictures of us landing at the dock and there was the flag with the hammer and sickle on it. We went into Estonia and when we’re at the festival we met people from all over Eastern Europe and the Soviet Union, people from Georgia. We traded t-shirts. I have a belt buckle with the hammer and sickle on it, I traded a t-shirt for it or something like that with all these different musicians. There were flags out in the audience from all the different countries and people as far as you could see. That was the biggest fest I think we ever played.”

In 1993, Cray realized another dream playing on B.B. King’s album Blues Summit. He recently provided a jacket blurb for Daniel De Vise’s excellent biography, The King of the Blues: The Rise and Reign of B.B. King. King would be a major influence and they would cross paths many times over the years. They toured together in 1997 while Cray was supporting his Sweet Potato Pie album.

“B.B. was like The God, you know? The thing with B.B. was, his guitar playing is like a master class in touch, tone, story. His solos, he tells a story, it’s like the conversations that he has with people, if you’ve ever had the opportunity to speak with him. How well he tells the stories is the same way he plays guitar. It brings you in and you want to listen to him and he takes you from a beginning to a middle to the end. It’s beautiful,” Cray said.

They got to spend some time together off stage as well.

“I’d chat with him, I’d make it a point when we were touring to get the opportunity to talk with him. He was just a wonderful person, shared a lot of stories. Funny in a lot of ways too, great guy.”

“Young Bob” continued to turn out one excellent studio album after another through the 1990’s and 2000’s, including Contemporary Blues Album Grammy Award winners I Was Warned and Robert Cray & Hi Rhythm. Three live sets were also highlights: 2006’s Robert Cray Live at the BBC, 2009’s Authorized Bootleg – Live, Outdoor Concert, Austin, Texas, 5/25/87, and 2016’s 4 Nights of 40 Years Live. He has won 20 Blues Music Awards. He also received the Americana Music Lifetime Achievement Award for Performance, which is appropriate because Cray’s music is truly a gumbo of multiple American styles, including blues, jazz, funk, soul, R & B, and gospel.

I’m always curious as to what great artists listens to on their own time. When I spoke to Cray last year, it was O.V. Wright, Sam and Dave, Otis Redding, The Blind Boys of Alabama, The Dixie Hummingbirds, and other gospel music. This summer’s mix was different.

“The last few records that I picked up and are sitting alongside me in the room are some Anita O’Day, there’s Jerry Butler, there’s Barry Galbraith the guitar player. That’s more recently what I’ve been listening to. Some Art Blakey.”

When asked about the state of the world and how it affects him and his music, Cray reacted like many musicians and artists have.

“It’s kind of crazy for it not to be in your psyche. On a daily basis we’re being bombarded with all this craziness, and we don’t know which way the world’s going to go, how life is going to be, if they’re going to start arresting citizens. The absurdity of putting thousands and maybe millions of people in detention or immigration camps and stuff like that. It makes playing music seem like it’s stupid. Are we going to be able to survive? You can put music aside for a moment until we get back on course. It affects us on a daily basis. It’s a mess.”

But the show must go on and one beautiful thing about the blues is that artists over age 80 like Buddy Guy, Bobby Rush, Elvin Bishop, Charlie Musselwhite, and others are still welcomed by audiences, making records, and performing at a high level. They have provided a road map and inspiration to artists like Cray.

“Yeah and B.B. was doing it too until he couldn’t do it anymore. What else are you going to do? Are you just going to laze around and get bored? This is all you know and you enjoy doing it, so why stop? There’s no point. Especially after you’ve been around for a while, you can call the times as to when you go out and when you come home. You don’t have to quit doing it. So, it’s great.”

Cray’s last studio album was the well-reviewed 2020 record That’s What I Heard. He has not yet recorded a follow-up, but the conversations have begun with Steve Jordan regarding the direction of the next album.

“We’re going to at some point. Obviously, it’s different, you know? If you put out something, you’ve got to tour to sell it. The state of the record industry is not how it used to be, where the record companies would spend gazillions of dollars to make sure it sold. You’ve got to get your fat butt out on the road and sell it yourselves, which is fine because we tour. But, yes, it’s changed.”

As a closing thought, Cray also had a message for his longtime fans. “I’d like to thank everybody for all the years and even if you’re a newcomer to our music, we’d like to thank everybody for the support over all this time for us. And for us to thank you as well for letting us do what we enjoy doing for as long as we’ve been doing it.”

Blues fans eagerly await what’s next from one of the genre’s elite performers and great gentlemen.

Writer Dave Popkin is a Music News Reporter for WBGO FM in Newark/New York. He is a regional judge for The Blues Foundation’s International Blues Challenge and is a singer in the NJ-based band, Porch Rockers.

David M’Ore – Holy Sinners & Sinful Saints

Self-Release – 2025

www.davidmore.net

13 tracks; 79 minutes

David M’Ore is Argentinian but has been based in California since the 1990’s. He plays regularly in San Francisco and the owner of the famous Saloon Bar in North Beach, Myron Mu, gets a thank you credit in the sleeve notes. This is David’s third album release and his first for ten years. His initial influences were Johnny Winter, Hendrix and Deep Purple and his own music is firmly at the rock end of the blues spectrum. In a power trio format, David handles guitar and vocals, with Marshall St Clair on bass and Wade Olson on drums. All the material is credited to David though two are versions of songs made famous by BB King and Muddy Waters, “intended only to be a way to pay respect to those who influenced us”.

As can be seen from the album song timings, the purchaser will get a lot of bang for their buck. Only one tune is less than four minutes long and five exceed six. There is therefore plenty for guitar heads to get excited about here! The drums introduce “Me And My Baby” before David’s gravel tones come in, certainly a distinctive voice. “Rock Me” may seek to pay respect to Mr King, but the great man would struggle to recognize the song in this jagged, super-heavy version. The title track is one of those longer tracks, taken at a slower pace whilst the extended “Bleeding Heart” is an instrumental with lots of shimmering guitar, a slower tune which starts well before the second half features lots of heavy use of the wah pedal. In between those two tracks is “Let Me Take You Home” which opens with some delicate guitar over waves of cymbals before moving into gear as a mid-paced rocker.

Most of the album follows a similar pattern, David altering the pace between out and out rockers and slower tunes. There is some good playing on “Let’s Get Together”, uncredited keys on the lengthy ballad “Armenia” and on “Still In Love With You” David hits a Santana ballad style to good effect in the intro. The second ‘tribute’ cover is “Hoochie Man”, again a long way from the original. However, the extent to which listeners will enjoy the album will depend on how much they dig big guitars and David’s gritty, strangled vocal style.

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.

All Things Swamp – Dressed

Little Village Foundation

www.littlevillagefoundation.com

8 Tracks – 34 minutes

Nine California musicians come together from different parts of the musical world on their days off to play songs based in the rhythms of New Orleans. They do this for their own enjoyment in informal sessions. Jim Pugh, the founder of the Little Village Foundation and Records seeks music that would not otherwise be heard beyond the artists’ families and immediate community. Jim produces, records, and releases the resulting CD. His foundation is a non-profit who gives back all the proceeds to the artist or to a designated charity. In the case of this recording, it is noted that all proceeds will go to the Boys and Girls Clubs of Silicon Valley.

Jim Pugh, who worked with Robert Cray for many years, joins the band playing the Hammond B3 organ. The other musicians involved with this band are Luke Kirley, the band’s music director and tuba player; Hollywood session musician Dean Parks on tenor sax and guitar; Aaron Lington, director of jazz studies at San Jose State University; Tim Hockenberry, who was a finalist on America’s Got Talent, on trombones and vocals; restaurateur Dan Gordon on bass trombone; Musical Director Dillon O’Brien, who wrote the theme song for TV’s The Office and has worked with a vast array of top musician’s including Brian Wilson, Joe Cocker, and Bonnie Raitt, plays piano and adds vocals; Brian Switzer, a jazz educator and trumpet player who is touring with Bob Weir; and seasoned session drummer Gary Novak. All nine have found the common ground of the music of New Orleans.

The album’s opening song, an instrumental “Sidewalk Strut”, written by Steve Masakowski and played by many New Orleans bands including the New Orleans Nightcrawlers in 1995, will have you looking for beads. Dean’s sax and Luke’s tuba get the lead on the song. Sam Williams’ funky instrumental “Bah- Duey-Duey” is next. The song was first recorded in 2006 by Big Sam’s Funky nation. Jim’s organ is the featured instrument. Brian’s trumpet is featured on the jazzy “Dancing Machine”, a song written by Hal Davis, Don Fletcher, and Dean Parks and originally recorded by The Jackson Five in 1973. Joe Zawinul’s “Mercy, Mercy, Mercy”, first recorded in 1967 by The Cannonball Adderley Quintet, is next with Jim’s B3 again featured.

Tim Hockenberry provides the first vocal on Hoagy Carmichael’s “Rocking Chair”, which was originally sung by Matt Munro in 1962.  The song is a slow jazzy blues, as he declares “that old rocking chair has got me”. Stanton Moore’s 1998 instrumental “Blues for Ben” is next, a funky song dominated by the horns. Dillon takes the vocal lead on Robert Palmer’s 1974 “How Much Fun”.  The album closes with the Rebirth Brass Band’s 1992 instrumental “Take It to the Street”.

Anyone who needs an album for your next Mardi Gras party, this is one that could definitely come to the top of your playlist.

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.

Larry Kurtz & The Law Breakers – Take A Ride

Self-Release – 2025

www.larrykurtz.ca

15 tracks; 61 minutes

Based in Ontario, Canada, Larry Kurtz and his band The Law Breakers have played at many of the big festivals in Canada, Larry is also the organizer of the Orangeville Blues & Jazz Festival. Larry is on vocals and harp, James Legere is on guitar and vocals, Sam Carothers on bass and Scott Bruyea on drums. All fifteen songs are original, Larry contributing nine, Larry and James penning one together and five coming from James, W. Legere and N. Walters. Larry and James produced the album which was recorded in Belwood, Ontario.

Larry sings clearly and plays some good harp while the band covers all the necessary bases, James playing in a pleasing variety of styles. Opener “Headwaters Hill Country” references the band’s local area, as Larry says in the accompanying one-sheet: “These blues rose up straight outta the rivers, farms, forests and hills of Headwaters in Dufferin County, Ontario”. The music on this cut channels the Mississippi Hill Country style as James finds a hypnotic riff over a pounding rhythm section, Larry extolling the virtues of his home area and playing some ethereal harp. Larry offers his services while James plays some soulful licks on the double entendre-filled “I’m A Carpenter” and shows us his humorous side on “Wrong Side Of The Door”, a country-tinged tune that all of us who have had dogs (or cats!) who are forever wanting to come in or go out will recognize. Larry explains that he has had enough of being Mr Nice Guy and henceforth will be a “Cold Hearted Daddy” on a solid shuffle with good stop-start rhythms and a sharp solo from Larry before “She’s So Fine” ups the tempo with a tribute to Larry’s girl full of bright riffs.

A commanding guitar riff opens “God’s Gift”, Larry adding some exciting harp before he starts singing about a beautiful woman who Larry believes is his own angel. The title track “Take A Ride” is a bright piece of jumping rock and roll which rattles along in fine fashion before Larry takes us into the suburbs where they “I used to live in the country, now people here’s some news, they say you can’t stop progress, I have those Subdivsion Blues”. Fast-paced harp and neat finger-picking feature on “So Glad You’re Home” while slide and tough harp are the hallmarks of the last track, “Teardrop Tim”.

The five songs from James and his co-writers are spread out across the album, James taking over the lead vocals on those tunes. “One Step From The Devil” has a strong riff at its heart and a spiralling solo from James, “Let Me In” is more melodic, Larry’s harp capturing the melancholic feel of the song well and “Dream Train” buzzes along well. “Switchblade Knife” has an appropriately menacing feel, despite the catchy rhythm arrangement and a fine harp solo while “She’s So Cold” may well be the pick of the five with some good slide and assertive harp work.

Overall, a solid album of all original material that includes some fairly traditional blues as well as a couple of tunes that veer into country and Rn’R territory, all enjoyable.

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.