Forrest McDonald – Songs from My Soul

World Talent Records

www.forrestmcdonald.com

15 tracks/58 minutes

Forrest McDonald is a blues and roots singer and guitarist who switched careers from being a band leader to a solo acoustic artist. He covers topics ranging from love, faith, tragedy, hope and what life has dealt him. One cover and fourteen originals are featured here.

Now six decades into his musical career, McDonald originally hails from Texas and now resides in Virginia. After moving, he began performing at fifteen in Rhode Island and then was a Boston musical fixture. Then he spent time in LA playing in many bands and with famed artists. His time in Muscle Shoals helped him further hone his craft and his 2006 song “Going Back To Memphis” was selected as Blues Song of the Year!

Forrest starts with “On Your Life’s Road,” an homage to standing up for what’s right on your life’s journey. It’s a somber but cool tome with some nice guitar work and McDonald’s gritty vocals. “Blue Mood” is a slow cut with McDonald being blue but sharing his blues with some upbeat licks from this T-Bone Walker song. Then it’s “I Can’t Stop The Love,” with more slick finger-picking as McDonald testifies about how his woman makes him feel good. It’s rootsy and fun stuff.

“Take My Hand” follows, another upbeat cut about being there for his baby. It’s sweet and he bares his soul. “Spirit In The Night” is next; McDonald is giving thanks to his ‘silent partner” that helps him get through life. He does some more nice picking on his guitar on this one. “I Need You” is a moving plea for his woman’s love and companionship and includes a few double entendres to express his feelings and urges. Again, his guitar shines.

“A Girl Like You” is another expression of love and affection. “The Next Time” has Forrest reflecting on a relationship gone wrong and he tells his woman he won’t be back after the next time. Up next is “That’s How I Want Your Love.” Here we have another piece about his expectations for his next potential relationship, a sort of musical pre-nuptial agreement. He picks out some great stuff on guitar once more.

In “Make Love Not War” McDonald notes how things are going wrong; greed drives us to do the wrong things and McDonald suggests love would solve life’s problems and end the fighting. “Blue Morning Sun” expresses his sadness in losing a brother in a very moving cut. “I Had A Dream” tells of his disdain about what we’ve done to our planet. The finger picking is excellent, and his dream to bring back what we’ve destroyed expresses hope.

A full band and horn section accompany Mc Donald in “Misery And Blues.” He plays electric slide guitar and we get horns, piano, harp and a rhythm section on this fleshed out cool cut. He really sings the blues and the accompaniment embellish the feeling! “Wish I May” has organ, drums and bass along with McDonald on acoustic guitar and vocals. This one’s also quite well done. He concludes with “Trouble In Mind,” a short front porch blues with McDonald giving a slightly somber but hopeful conclusion to his well-crafted album.

This storied artist delivers us fifteen cool cuts, relating one story after another. It’s a fun and interesting acoustic album with songs expressing McDonald’s emotions on life as he’s lived it Well done!

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.

Maria Muldaur – One Hour Mama – The Blues of Victoria Spivey

NOLA Blue Records

https://mariamuldaur.com

12 tracks

Maria Muldaur is a chanteuse whose vocal prowess has always grabbed at my soul. Here we get  a dozen cuts from Victoria Spivey’s song book and one feels like they are listening to fresh, new recordings from that era instead of living in today’s world. Muldaur truly embodies the feel and sound of that great early blues.

A plethora of artist supports the effort. We have Johnny Bones on sax, Danny Caron on guitar, Steve Height  on bass, Neil Fontano, Chris Burns and David K. Matthews on pianos, Clint Baker on trumpet, Susie Thompson on fiddle, and Beaumont Beaullieu on drums. Guests Elvin Bishop and Taj Mahal  on vocals round out things nicely.

James Dapogny’s Chicago Jazz Band appears on a trio of tracks. They are James Dapogny on piano, Kim Cusack  on clarinet and alto sax, Russ Whitman on clarinet and tenor and baritone saxes, Jon-Erik Kellso on trumpet, Chris Smith on trombone and tuba, Rod McDonald on guitar and banjo, Kurt Krahnke  on bass, Pete Siers on drums  and Rob Bourassa  on the guitar solo  for “My Handy Man”.

Then another group of musicians support three more cuts. They are Tuba Skinny’s Craig Flory on clarinet, Greg Sherman  on guitar, Max Bien-Kahn on banjo and guitar, Shaye Cohn on cornet and trumpet, Barnabus Jones on trombone, Todd Burdick on tuba, Robin Rapuzzi with his washboard and, finally, David Torkanowsky on the ivories. Whew!

“My Handy Man” swings into that old style blues as Muldaur’s sultry voice gives us a sexy and authentic rendition of this song that is filled with double entendres. The old time charm overflows as the listener is immersed into the music of a century ago. Next we get Elvin Bishop and Muldaur doing a duet on “What Makes You Act Like That?” If frolics and flows sweetly as the two get some cool guitar accompaniment along with some sweet piano. “Don’t Love No Married Man” is slow and somber cut that Muldaur delivers with deep feeling. She warns the listener of the foibles of fooling around with a married man; classic stuff!

Some pretty piano accompanies “Dreaming of You” as Maria gives a breathy and emotive rendition of the song. One can picture the song in a smoke filled bar with her and the piano player giving it their all. “Organ Grinder Blues” is a slow but sprightly cut with big accompaniment that Muldaur nails. She grinds out the lyrics as she grittily uses the double entendres as Spivey did to lure the listeners into her web of allure. “No, Papa, No!” is another great piano tune; one can picture Muldaur hovering next to the piano on a stage on Beale Street nearly a hundred years ago singing this song.

More beautifully done music accompanies “One Hour Mama” as Muldaur winds her charms to grab at the listener. “Funny Feathers” also has the old time feel with the great instrumental support as Muldaur gives a forthright cover of this song. The song bounces and bubbles and just makes the listener fill with feelings of living in that time. Well done! “Gotta Have What It Takes” features Taj Mahal singing with Maria. The two ply their charms for the listener to grab on to and enjoy as guitar and piano guide the song along nicely.

“Any-Kind-A-Man” is a bouncy piano tune, again with guitar and a little percussion driving the cut. Muldaur sings with authority. “Down Hill Pull” features Maria moaning out the lead vocals and grabbing at the listener to get them enthralled with her sultry performance. Guitar and piano with some brushes on drums make this one authentic and slick. “T-B Blues” concludes the set with a large ensemble backing Maria. Muldaur groans out that it’s “too late, too late.”  The backing is restrained as Muldaur sings of the woes of tuberculosis.

This is a spectacular album. Muldaur channels Victoria Spivey and takes the listener to the era of last 1920’s/early 1930’s for a dozen superbly rendered tunes with an authentic feel. They lack the clicks and pops of old 78 rpms records and it really makes the listener feel like they are transported back in time.  I most highly recommend this album!

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.

Bryan Lee – Homage to 4 Kings

Earrelevent Records

www.facebook.com/BryanLeeBrailleBluesDaddy

15 tracks/63 minutes

Bryan Lee left us five years ago after six plus decades of making seminal blues recordings over a storied career. Originally from Three Rivers, Wisconsin, Lee gained fame as New Orleans’ Braille Blues Daddy. His powerful guitar and strident vocals made him one of my favorite artists to listen to live and on CD.

Bryan’s latter years were spent in Florida. He hooked up with bassist Ted Fordney and the two played together for many years. A year before Bryan passed, he and his band sat down to record a tribute album to the four Kings of the blues, B.B., Albert, Freddie and Earl. The album never came to pass, but Bryan’s wife Bethany finally got it put together and released it for the 2025 version of the annual Bryan Lee Memorial event in his birthplace of Two Rivers, Wisconsin.

The album features three cuts from each of the Kings plus a fourth from Freddie. Also included are a pair of older songs from Lee that were never included on an album. They were likely laid down in the mid-1960’s for a 45 RPM record. While not songs from the Kings, they are songs none of us would otherwise get to enjoy and I am glad they were included.

As noted, Lee is joined by Ted Fordney on bass. On drums we have Dave Shchopke and we also have Billy Flynn on guitar for those tracks, too. Mike Hepner adds piano, organ and clavinet on  all thirteen of the King cuts. A horn section comprised on Andy Spadafora (sax) and Sam Neufeld (trumpet) also appear, as does Steve Hamilton adding percussion on three tracks and Diedre Felner on backing vocals for three cuts. Jimmy Voegeli adds organ to a trio of tracks. The 1965 crew of musicians for the final two cuts on the album with Bryan are Phil Gohr in bass, Junior Franklin on organ and Dick Banks on drums.

Bryan’s Facebook page remains current and lovingly maintained by Ted and Bethany. A link to order the CD is on the Facebook page, linked above.

The album opens with Albert King’s “Let’s Have A Natural Ball.” The horns blare, the piano playing is vibrant and Lee sings with passion. Lee still plays with feeling as he solos along with the sax and piano. Lee intentionally remained true to the originals here and throughout. This one jumps and makes the listener want to fly out of their chair and dance. Then it’s Freddie King’s “Me And My Guitar;” Lee howls out the vocals and grinds out some fine licks– it’s great stuff! Earl King’s “Love Rent” follows, a jumping blues with swinging guitar and a great vibe to it. Lee does a great job and the organ and support is super behind him.

“My Credit Didn’t Go Through” is a great Freddie King Cut. Lee growls out the lead. The groove is funky, the backing vocalists are hot and Bryan’s guitar is on fire! Albert’s “You Sure Drive A Hard Bargain” follows. There’s some cool standup bass, Lee’s guitar rings like the Liberty Bell, the organ by Voegeli is hot and it’s just a really sweet cover. “Same Old Blues” is another of Freddie’s songs. This on is slow and luxurious, like a warm bath that just covers you up and makes you feel good. Lee sings with emotion, his guitar gets you lathered up, the backing vocalist take you to church, and you rinse off with the big, old finish.

B.B.’s “Buzz Me” is next; Lee’s guitar stings, the band is in hot pursuit and they all deliver the goods together. Lee solos, then it’s the organ’s turn, and Bryan returns for more superb licks. “Born Under A Bad Sign” is Albert’s signature song and Lee gives us a delightful rendition to savor with exemplary guitar work. “Night Life” follows that, another great B.B. cover. This one is beautiful and slow blues to enjoy; it’s like sipping a glass of your favorite wine as it make you feel warm all over. The guitar is splendid and Lee testifies to us on vocals oh so well.

“Texas Flyer” is up next, a cool Freddie tune with a little funk and soul. Fun cover! “Trick Bag” is a super Earl King cut and Lee gives it his all. There’s some pretty sax here along with Bryan’s guitar. More Earl follows with “Those Lonely Lonely Nights.” The sax shines once more, the piano is splendid and Lee and the band give us a great NOLA style cut to enjoy.

Then we have the final King cut, B.B.’s “Hummingbird.” Lee croons for us in this fantastic ballad. Voegeli and the backing vocalist help build this to a great finish with Lee picking out notes as only he can.

Bryan’s 1965 songs are a marked change, but they are fun. “Watusi Lucy” is an early rocker styled cut with Farfisa organ giving it a vintage sound.  Cool stuff! The album finishes with an instrumental entitled “Chitlins;” more vintage organ, some super guitar. This and the prior cut are throwbacks to my youth and are fun additions to a great album.

This is a special album. Lee is in a zone. While his vocals on a few occasions show his age, overall they are excellent and his guitar is just something to embrace and enjoy. His tone and his work on the fret board are amazing.  It is nice to have another addition to the great repertoire of The Braille Blues Daddy.

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.

John Brennan – Bring It on Back to Me

Guitar One Records

www.johnbrennansounds.com

10 Tracks – 42 minutes

John Brennan is a singer, guitarist and songwriter from Collingswood, New Jersey, which is right outside of Philadelphia. He plays all instruments on this album.  He lists his influences as Muddy Waters, Robert Johnson, Emore James, B.B. King, Howlin’ Wolf and John lee Hooker. He grew up in a house where everyone in his family from Grandmother, uncle and father played guitar making it inevitable that he would also pick up the instrument. This is his second release on Guitar One records following his 2024 EP, One Way Ride. 

The album features five original songs and five covers, seven of which were recorded in John’s home studio and three which were recorded in a live performance at Jamey’s House of Music in Lansdowne, Pennsylvania. On the opening track, “Junkyard Blues” he says he is “going to walk through the junkyard to search for my old guitar”. His slide guitar establishes his blues direction. The title song rocks out as he tells her “You told me that our love was true. Hey baby, bring it on back to me. You been gone so long and left me in misery”. The first cover is Elmore James “It Hurts Me Too”, which is given the proper inflection with his slide guitar and vocals.

“You’ll Get Yours Someday” has a light rock & roll line as he tells her “Tell me that you want me…tell me a lie and you will get yours someday”. He provides a striking cover of J.J. Cale’s “Call Me the Breeze” next and he follows that with a live cover of Willie Dixon’s “You Shook Me”.  His original “Lonesome Road” is also a live recording of a song he first released as a single in 2021. He cries “Going down the road all by myself. Baby, you left me for somebody else”.

“Ain’t Gonna Cry for You No More” is an all-out rocker as he dismisses her with “It’s been days, weeks, and months since we both said our goodbyes. You said you would try again, but I know that is a lie”. He shifts back to another Robert Johnson cover with a live performance of “Love in Vain”. He then finishes with a strong version of Muddy Waters’ “Baby Please Don’t Go”.

The covers on the album are all respectful, well-played renditions of the originals. He intersperses his original songs with the covers in a way that they blend together. The live songs display his capability to capably deliver his songs outside of a studio.

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.

Since Dexter Allen and Blues Blast last talked, his life changed dramatically. This 55-year-old  guitarist, bassist, songwriter and vocalist is associated with the legendary Bobby Rush.  In 2001, Allen was tapped by the southern soul blues icon and harmonica player to play lead guitar in his band, a position he filled for about 7 years. His connection with Rush continued after he launched his successful solo career in 2007, and the relationship hit a high point in 2024 when Allen’s contributions on Rush’s album, All My Love for You, helped that record win the Grammy for Best Traditional Blues Album. Allen has entered the top tier of the music world – the community of Grammy award recipients.

Allen said that he is in an “enhanced branding state” since the Grammy win. “I’m trying to ride the wave.”

During Covid pandemic, Allen bunkered into his home studio on the second floor of his garage and was doing some recording. Bobby Rush came over to see his set-up and liked what he saw and heard. Rush decided that he wanted to record his next album at Allen’s home studio. Allen served as the recording engineer; he also played bass and guitar on the record. Joey Robinson, Allen’s nephew, played keyboards and drums.

Allen was in Europe on tour when the record was nominated. “I was surprised. Bobby and I just wanted to put out a good record. We weren’t thinking about the Grammys.”

This type of recognition is long overdue for Allen. He has been a standout soul blues artist for decades, and he is revered in Jackson. In July, Allen won “National Blues Artist of the Year” at the  51^st annual Jackson Music Awards. In a recent television interview, Jackson blues/rock artist Chad Wesley said, “Dexter is pure cool and wisdom.”

The road to the Grammy

Allen’s back story is not unusual for a Mississippi soul blues musician. He was born in 1970 and raised in Crystal Springs, a town of about 4,900 people located 25 miles south of Jackson. Allen’s grandfather was a farmer and his father was a pastor. Music was a major factor in Allen’s family life, and he started playing bass and guitar as a child. Soon, he was playing bass in support of the gospel vocal group in his father’s church. This led to other gospel gigs on both bass and guitar, and Allen began to sing, too. Gospel music was his focus for over 20 years of his musical life.

In 1995, Allen moved up to Jackson. He quickly began playing gospel music in various churches in the city. He also worked a string of forgettable day jobs to pay the bills. Allen was working with established gospel groups; the Robinson Brothers and the Dixon Singers. He also was dabbling in secular music via a group called the Airtight Band that played local casinos and house parties. His work in Jackson’s churches provided him with the connection that would change his musical direction.

On April 19, 2001, Bobby Rush and his band were in their van, heading to a gig in Pensacola FL. The driver suffered a heart attack, lost control of the vehicle and crashed into a tree. One of the band members was killed and nine other musicians in the van sustained injuries, including Rush. Once he recovered, Rush needed a guitar player. At that time, Allen was playing guitar at St. Luther Missionary Baptist Church in Jackson, and Rush was a member. Rush liked the way Allen played at church and hired him to join the band. The young guitarist became Rush’s musical apprentice, soaking up the veteran’s knowledge of the blues and his wisdom regarding the music business. Allen toured all over the world with Rush’s band and rubbed elbows with some of the top stars in the music industry, including B.B. King, Quincy Jones, and James Brown.

In 2007, Allen was ready to make a move. He told Rush that he wanted to go out on his own. Rush was very supportive of Allen’s decision and hired his former sideman’s band to open some of his shows. Allen recorded a self-produced album in 2008, Bluezin My Way. He couldn’t afford to pay musicians or a recording studio to make the record, so he played all the instruments himself and recorded it at his home studio.  Allen’s dedication and hard work has continued through the years. Since his first record, he has released six LP’s, including a live album recorded at Morgan Freeman’s Ground Zero Blues Club in Clarksdale, MS.  Allen’s last release was in 2021.  Keep Movin’ On is an all-original blend of blues, soul and funk that impressed the critics.   Allen used his home studio again for this record. His expertise as a recording engineer and producer has grown significantly over the years. It was this expertise that led to Rush’s decision to record his Grammy-winning record at Allen’s home studio.

Allen has been adept at grabbing other interesting opportunities when they arise. In 2013, he was cast in the James Brown biopic, Get On UP as one of Brown’s musicians. He also received an unusual honor in 2014 when he received the House Concurrent Resolution No. 54 from the Mississippi Legislature for Accomplishments in Blues Music.

Riding the Wave

Mississippi holds the distinction of having the most Grammy winners per capita. The state has had a huge cultural impact despite its relatively small population. Allen joins a star-studded list of Mississippi Grammy winners, including B.B. King, Elvis Presley, Muddy Waters, Sam Cooke, John Lee Hooker and Leontyne Price.

Since the Grammy win, Allen’s visibility and stature has moved up several notches. He realized that this unexpected honor from The Recording Academy (the organization that bestows Grammy awards) provided an opportunity for career advancement. He realized he needed more capable representation. Fortunately, a new player appeared in Jackson that was a perfect fit for Allen.

The Frascogna Law Group is one of the top entertainment law practices in the United States. Unlike most other firms focused on this industry, it is not located in New York or Los Angeles. Since itsit was founded 50 years ago, Frascogna Law has operated from Jackson MS. The firm’s attorneys have authored books, produced movies, and arbitrated on Olympic committees. According to its web site, Frascogna Law’s clients have secured 18 platinum albums, 22 Grammy Awards, 34 Top 10 Songs, and have sold over 750 million albums. In early 2025, Mike Frascogna (the senior partner at the firm) launched Emerald Tiger Artist Management, a talent management company that specializes in  artist development, international bookings, and festival placements. The firm is led by Frascogna Law attorney Kamel King, who became Managing Director of Emerald Tiger at the beginning of 2025.

Kamel King grew up in the entertainment industry. His father is Lee King, a legendary figure in the Mississippi broadcasting and music industry. Lee King’s career includes time as a radio broadcaster, a singer/dancer, radio/television engineer, DJ, television show producer/dance show host and concert promoter. He was hired by James Brown when Brown bought some radio stations and needed a radio engineer and DJ. Lee worked for the Godfather of Soul for over four years.

Kamel King has deep involvement with the blues community in Mississippi. He spent eight years with Visit Mississippi as Director of Cultural Tourism. One of his responsibilities was the management of the Mississippi Blues Trail, which grew substantially under his stewardship. King is also the author (along with author/journalist Joe Lee) of Jacktown USA, a book that focuses on the contributions of nine top Mississippi blues musicians. Dexter Allen is one of the nine artists featured in the book.

Allen was signed by Emerald Tiger earlier this year. He is one of five soul blues and southern soul artists on the Emerald Tiger roster. His fellow Emerald Tiger artists are Zac Harmon, Eddie Condon, Stevie J. Blues and J-Wonn (aka Jawonn Smith). The Emerald Tiger Artist Management web site states that the agency “empowers musicians with personalized strategies for global success, offering artist development, international bookings, and impactful partnerships to build sustainable careers and amplify their brand worldwide.” Allen is enthused about the support that his new management team will provide.

New Music, New Momentum

Along with the new professional representation, Allen has been working on new music. He contributed a track to a compilation album that is part of the Jacktown USA project. That record has been released, and is available on all major streaming services. Allen’s track on that album is Hooked, a high-energy funk tune that features his impressive vocal talent.

There is also a new album by the Dexter Allen Band that will be released in early 2026. The first single from that record, Shame, dropped on August 15.  In addition to the driving funk grooves of this track, the record will include traditional blues and soul blues on this album.  A second single from the new album will be released before the end of this year. Allen has assembled a top-notch band for the new album, and they have been joining him in his recent shows. The crew includes Frank White III on drums, Jonah Nelson on bass, and Fred Demby II on keyboards. Longtime Allen collaborator Joey Robinson also contributes his keyboard skills to the new album.

The Emerald Tiger team is putting the finishing touches on a music documentary that features Mississippi musicians, including Allen and the other artists featured in the Jacktown USA book and compilation album. The film is called The Next Verse, and its release date is October 16, 2025. Emerald Tiger’s Director of Creative Services, Chloe Sumrall, is one of the professionals that made this documentary, She has also been working with Allen on multiple fronts, including production of music videos, web site development and social media presence.

It is clear that Allen is heading into the last quarter of 2025 with tremendous momentum. With his new record, 2026 should be another year of “riding the wave” for this soul blues star.

Writer Chris Gillock is a blues harmonica player, vocalist, band leader, non-profit board member, music journalist and retired investment banker. He is also an occasional blogger – you can find his blog at https://g-freethoughts.blogspot.com/. Chris is also a music writer for the Evanston (IL) Roundtable.

Professor Louie & The Crowmatix – Crowin’ Around

Woodstock Records

https://thecrowmatix.com

11 songs time – 49:08

The Professor (Aaron Hurwitz) and his boisterous Woodstock, New York based crew continue their journey into the world of roots music. I’ve seen the name in various places, but this the first time I have heard them. Professor Louie Provides vocals, keyboards and accordion. Miss Marie handles vocals, percussion, piano and whistling. The various assortment of The Crowmatix as well as two versions of The Woodstock Horns contribute to the merriment. Aside from his duties with The Crowmatix, Louie has collaborated with The Band as producer and engineer for seventeen years, as well as with others.

“Elevate Yourself” comes off as a hipper, funkier version of the Up With People rah-rah pep rallies of yore. The horns add swing to their take on Commander Cody’s “Too Much Fun”. Todd Mihan rocks out on Rockabilly-ish guitar. The Professor lets the boogie-woogie roll on the eighty-eights. Everyone’s pipe dream of hitting big money is reflected in “A Million”. The Professor’s accordion is a nice change of pace. Miss Marie has her first vocal of the CD on the upbeat “Johnny”. It harkens back to the fifties girl ballads.

The instrumental “Bird’s Lament” is a tribute to its’ author, Moondog (Louis Hardin), the legendary blind Avant Garde composer-poet. It is a lovely melancholy gypsy inspired lament featuring Larry Packer (formerly of Cat Mother & The All-Night Newsboys) on violin, along with Louie’s accordion. An aside…When I was a mere tike walking through Manhattan with my parents, we chanced on passing by this large man dressed in Viking garb, and if memory serves me well, he was playing a Kalimba (an African thumb piano). At the time I didn’t realize it was Moondog.

They maintain the atmosphere of the original loose-limbed feel of The Band’s “Rag Mama Rag”. Larry Packer’s violin, Todd Mihan’s approximation of Robbie Robertson’s guitar style and Band-like piano accomplish that in fine fashion. The Professor and Miss Marie duet on the slow and yearning “Steadfast & True”. Miss Marie sings Graham Parker’s gospel-inflected “Stick To The Plan”. Marie once again on Bob Dylan’s “Watching The River Flow”. It is given a slowed-down treatment, similar to a sung sermon, with piano and organ set against Todd Mihan’s always spot-on guitar. The bonus track is the Professor and Marie penned “A Different Christmas”. It is a country music flavored ditty with Mr. Mihan’s country guitar along with piano, organ and a bit of horns. The hidden closing track is a reprise of “Elevate Yourself”.

This is a nice and homey treat, similar to reminiscing about your childhood. The musicianship and writing are top quality. A splendid time is guaranteed for all!

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