Erin Harpe – Let Mermaids Flirt With Me

Vizztone Label Group – 2025

https://erinharpe.com

10 tracks; 39 minutes

Erin Harpe’s most recent album, Let the Mermaids Flirt With Me: A Tribute to Mississippi John Hurt (2025) offers authentic acoustic guitar covers from across Hurt’s body of work, centered around intricate, delicate, and highly-skilled syncopated guitar picking.

Harpe, the Boston-based musician, leader of the Erin Harpe & the Delta Swingers blues quartet, producer, and indie label owner, said her father played Mississippi John Hurt around the house when she was growing up, and that he was a constant inspiration. The tribute album, as such, Harpe said in a press release, was a nostalgic journey.

“This album was a real labor of love. I’ve always loved Mississippi John Hurt’s music since I was a little girl,” Harpe said. “His guitar style has greatly influenced my playing with its alternating bass thumb-picking and syncopated melodic runs. I believe we stayed true to Mississippi John Hurt’s style and essence!”

Delicate finger picking opens “Candy Man”, which closely resembles the original. Harpe’s version is soft and sweet, and the female vocals add a fresh perspective. The instrumentation is catchy and laid back as Harpe sings the “Good sweet candy man’s in town.” It’s a gentle, affectionate cover, full of grace, on one of Hurt’s most famous tunes.

Harpe croons, both tender and wistful, on “Let the Mermaids Flirt with Me”, singing “blues out on the ocean, blues out in the air. Can’t stay here no longer, but I’ve got no steamship fare.” Pretty acoustic guitar picking stretches throughout the track, with a steady, patient beat. Harp infuses the piece with emotion, carrying a somber, weary voice.

Ethereal, spacey guitar picking creates a unique interpretation of “Stagolee”, another core song in Hurt’s repertoire. In the slower, atmospheric track, Harpe croons in indignation “Police officer, how can it be you can arrest everyone except cruel Stagolee”. She proceeds to offer a mournful take on the mythic murder, her voice lingering in the air, reliving the scene of a murder over a 5-dollar-hat.

On “Got the Blues (Can’t Be Satisfied)”, Harpe almost identically matches Hurt’s original guitar work, with a result that is groovy, infectious, and danceable. The song is a paragon of storytelling, detailing alcoholism, infidelity, and murder – but above all lingering pain embodied. Harpe sings “Whiskey straight, drive the blues away. That be the case, give me a quart today.”

Another song revolving infidelity, “Make Me a Pallet on Your Floor” employs an asynchronous beat as Harpe traverses the scales, singing “Don’t let my good man catch you here. He might shoot you, cut you, even starve you too. Ain’t no telling what he might do.” The guitar rings out in bright, cheery notes, and Harpe almost celebrates the danger of cheating, with a playful tone.

Unrushed, meditative guitar opens “Nobody’s Dirty Business”, which Hurt first recorded in 1928. Here, Harpe plays slower, with a higher voice, lending to a smoother version as she defends her man. Her voice is tinged with warm-feelings and nostalgia as she sings “ain’t nobody’s dirty business how my baby treats me. Nobody’s business but mine.”

Harpe concludes her tribute album with a precious, endearing song, “You Are My Sunshine”. Harpe’s voice offers a softer, tender quality to the track with its famous upbeat melody.

Across the album, Harp’s capable guitar work shines, providing nuanced, authentic, and heartfelt interpretations of Mississippi John Hurt classics.

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.

Anthony “Big A” Sherrod – Torchbearer of the Clarksdale Sound

Music Maker Foundation – 2025

https://www.musicmaker.org

5 tracks: 28 minutes

According to Music Maker Foundation’s press release, the latest project by Anthony “Big A” Sherrod came together quickly and with a nod to the authenticity that makes the “Clarksdale Sound” so unique and special. The result is the album Torchbearer of the Clarksdale Sound (Listener’s Circle Volume 72), a very personal collection of songs from an artist who is a fixture on Clarksdale’s famed music scene.

The press release goes on to say that Sherrod is the son of gospel singer E.J. Johnson and the godson of “Big Jack” Johnson. He is a devoted champion of his hometown’s blues legacy. Sherrod began playing bass guitar at age five under the tutelage of Mississippi guitar legend Johnnie Billington at the Delta Blues Museum in downtown Clarksdale. Sherrod stuck with the bass, playing in Billington’s band until his mentor’s death in 2013 and then became a mainstay in Clarksdale’s clubs and venues in his own right.

“When I got on the phone with ‘Big A,’ he really won me over,” said Tim Duffy, a co-founder and the Executive Director of Music Maker Foundation. “He’s a young man on a mission to keep this music alive and thriving.”

Everything else, as the press release states, came together quickly. Sherrod, who handles lead vocals and all guitar work, worked closely with producer Jimbo Mathus (guitarist and song-writer with the Squirrel Nut Zippers), who has worked with musicians as diverse as Elvis Costello and the North Mississippi Allstars. The album was recorded at Clarksdale Reels and Mathus says of the session, “I wanted to get ‘Big A’ in his natural environment, this live setting. He had it together.” Mathus also plays keyboards on several tracks.

Joining Sherrod on the album is Heather Crosse on bass and Lee Williams on drums.

Torchbearer of the Clarksdale Sound kicks off with “Baby That Hurt,” a slow soulful song that highlights Sherrod’s big voice and terrific guitar work to finish out the number. Next up is “Don’t Make Me Pay,” a traditional Delta blues tune with strong back beat and Sherrod’s intricate soloing. A true toe-tapper that transports the listener directly to a North Mississippi juke joint.

A great opening sets the scene for “Good Woman,” featuring Jimbo Mathus’s keys and Heather Crosse’s driving bass line. Once again, “Big A” shows off his Clarksdale soul. “My Life” is Sherrod’s most personal track and includes a good groove and emotional storytelling.

Torchbearer of the Clarksdale Sound closes with another intimate number, “Everybody Ain’t Your Friend,” in which Sherrod channels a little Jimmy Reed, along with some of Little Walters’s vocal energy. A tremendous song that’ll get everyone hollering “ain’t your friend” from the dance floor.

Anthony “Big A” Sherrod is definitely the torchbearer of the Clarksdale sound.

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 Soul of John Black – Soul Salvation

Yellow Dog Records YDR 2878

www.yellowdogrecords.com

10 songs – 33 minutes

Billing himself as The Soul of John Black, multi-instrumentalist John Anthony Bigham IS The Soul of John Black, and he reinvigorates the essence of soul blues with this offering, a masterful effort that serves up heaping helpings of both, tracing the music back to its root while delivering a set that points a great way for others to follow as they chart a similar course.

A Chicago native known as JB to his friends, Bigham was born and raised on Chicago’s South Side. His parents grew up in Tennessee and Georgia, where they were imbued with the blues tradition. They ingrained it into their son through both the tunes they played on the stereo and the tales they told him about Muddy Waters, Jimmy Reed and other standard-bearers in the Windy City.

His musical influences and resulting style came from an assimilation of the sounds that filled the streets around him – a place where Jerry Butler, Donny Hathaway, Curtis Mayfield and other soul superstars played in lockstep with Tyrone Davis, Buddy Guy, Jimmy and Syl Johnson, Albert and B.B. King, Mavis Staples and other framers of Chicago’s multi-faceted sound.

A percussionist who traveled with Miles Davis and wrote songs for him, too, Bigham’s career includes two different runs as guitarist/keyboard player in the Los Angeles-based ska-funk-rock band Fishbone. He was in the group for two different stints totaling eight years, ending in 2019. And his licks have also been featured in tours and on albums by Dr. Dré, Eminem, Nikka Costa and Everlast.

But it’s The Soul of John Black that’s been the driving force for him since 2003. He made the “group’s” debut that year with an eponymous CD and six others have followed. But this is the first since Early in the Moanin’ in 2016. Bigham handles all aspects of this one – everything from vocals, songwriting and all instrumentation to production and engineering. The sole exceptions are Oliver Charles, who handles drums, backing vocalist Christine Rosander and mixing and mastering by Richard “Segal” Huredia and Robert Hadley.

Silky smooth and always at the intersection of blues and soul throughout, “Begging You Baby” kicks off the action. JB repeats the simple plea of the title throughout almost the number, layering it atop a plaintive guitar run and companion beat, as he seeks understanding from a lady for an unspecified offense.

The mood brightens from the intro to “Georgia Peaches.” It celebrates a lady named Sadie, a woman he met on his first trip South, as well as all the other beauties he’s made during his travels. The groove’s infectious throughout along with Bigham’s lyrics, which come in the form of a honeyed rap inspired by Johnnie Taylor. “Take Your Time” follows with a Memphis feel as it instructs listeners to take as long as you need to get things right.

Influenced by Mavis, “Come and Get It” is an unhurried, tender love song that keeps the Memphis feel going strong before the slow, syncopated shuffle, “Been Gone too Long,” incorporates the feel of Albert King but is delivered from the standpoint of someone driving home with heightened desire to a lover after an extended absence. Then he takes you to the Big Easy with the uptempo, funky “That Thang,” a number envisioned as a call-and-response while leaving the response part up to the listener’s imagination.

Delivered from the female perspective, “Right Now” serves up a demand atop a syncopated beat: If her man has been looking for a time to tell her that he loves her, the  time is NOW. The silky “Get Closer” keeps the message going, this time influenced by soul giant Eddie Kendricks minus the falsetto. Two more keepers — “The First Time,” a soul ballad perfect for grinding on the dance floor, and “Saving It All for You,” which celebrates the closeness of a comfortable romance – bring the disc to a close.

Grab your honey and keep company with this one. You’ll be glad you did!

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.

Mississippi MacDonald – Slim Pickin’

APM Records

www.mississippimacdonald.com

10 songs – 36 minutes

A three-time winner in the UK Blues Awards, Oliver “Mississippi” MacDonald is one of the most soulful vocalists in Europe. But like his name suggests, his roots extend deeply into the red clay of the Magnolia State and Memphis, where he spends considerable time and where he penned some of the songs on this stellar release.

One of the most soulful, vocalists in the UK, Mississippi MacDonald may have been born in London but his roots extend deeply into the soil of Memphis, too. Best known fronting electric bands, he goes acoustic in the best way possible on this ten-track set.

A London native, Mac picked up guitar for the first time as a child, shunning the Brit pop and grunge that filled the airwaves in favor of his parents’ record collection, which included B.B. King, Al Green and other classic blues and soul artists. Vocally, his biggest influences were Z.Z. Hill and O.V. Wright, and he picked up his chops on the six-string from B.B., Albert and Freddie King and Albert Collins, too.

He made his recording debut with the album Do Right, Say Right in 2021, winning rave reviews on both sides of the Atlantic. His Heavy State Loving Blues, which followed, included a guest appearance by Vanesse Thomas, Rufus’ daughter. And his subsequent friendship and mentorship from Rev. Charles Hodges and producer Boo Mitchell led to a stint playing in the Take Me to the River Allstars, a group that included Carla Thomas, William Bell, Taj Mahal, Eric Gales, the Hi Rhythm Section and others.

A UK winner in the acoustic category in each of the past two years, MacDonald’s celebrating his 2025 victory with the release of this disc. He’s accompanied by longtime bandmate Phil Dearing, who produced and handled keys and second six-string, too. They’re joined by Dollywood-based bassist/percussionist Brent Cundall.

The collection includes five originals, which fit seamlessly with blues standards culled from the 1920s to the 21st century that are delivered with far more sophistication than several of the creators could ever have conceived. MacDonald inserts a heaping helping of soul into Zach Logan’s 2018 hit, “Trouble Doing the Right Thing.” He glides across the strings effortlessly with minimal backing as his voice soars – something that’s consistent throughout the set.

A run of three originals commences with “Slim Pickin’,” a stylishly funky complaint about a lady who simultaneously picks him up and puts him down at the same time. Things are so bad that he constantly keeps pen in hand, keeping track of all the abuse. The music and mood brighten from the open of “My Bad Attitude,” which serves as a diagnosis for his failings, claiming he’s the way he is because he’s not getting any feedback during times he’s off the rails. The ballad “I’m Sorry” follows, stating that there was never any intent to disappoint his beloved while admitting poignantly that — if there isn’t time to make things right – it’s okay to walk away.

You might not think it’s possible to dovetail songs like that with Blind Willie McTell’s “Statesboro Blues,” but Mac does it without dropping a beat. His percussive picking and Dearing’s accompaniment update the number for modern ears and fit perfectly with the sweet original, “Got to Get to Walkin’,” a soulfully slow-and-sweet shuffle about the need to get to his good thang who’s living in Memphis, the promised land.

A thoroughly reinvented, mournfully blue version of St. Louis Jimmy Oden’s “Goin’ Down Slow” precedes an updated take on Sister Rosetta Tharpe’s “Strange Things Happening Every Day” before the self-penned ballad “Sad Songs” bemoans the loss of Mac’s lady, who’s left him alone at home, pouring a glass of wine and spinning tunes that bring him down farther on the stereo. The disc closes with a version of Keb’ Mo’s’ “You Can Love Yourself.” And when it finishes, you’ll definitely be craving more.

If you don’t already have Mississippi MacDonald in your sights, do it now. You’ll thank me later!

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.

When most bands perform, the audience’s attention naturally focuses on the singer, the one communicating the message of the song.  So, it’s rare when a non-singing musician has an audience so spellbound that they would remain entranced even if every song was an instrumental.  Ronnie Earl is such a musician. He doesn’t showcase dazzling speed or display tricks, like playing behind his back.  Instead, he transfixes us with his clean and beautiful tone, the emotive space between the notes, and his undeniable soul.  Ronnie communicates so well through his guitar that he doesn’t need to sing a single word.  His gift is so rare it led to the audience at one festival giving him four different standing ovations before he was even close to the end of his set.

Ronnie was born Ronald Horvath in Queens, NY.  He took the name Earl in 1971, in honor of slide guitarist, Earl Hooker.  Other inspirations for him were Otis Rush, BB King, Magic Sam and Robert Lockwood.  He always had a love of music but focused first on completing his bachelor’s degree in special education from Boston University.  He briefly taught handicapped children before joining Roomful of Blues and becoming a full-time musician.  However, he has always continued to teach and inspire others.

“I was a professor at Berklee College of Music.  Some of my students went on to become very wonderful musicians.  I like to pass it on, like the old-timers passed it on to me.”

Ronnie enjoyed volunteering to bring his music to those who might not otherwise hear it, through programs such as blues-in-the-schools, and visits to nursing homes and prisons.

“I became a volunteer.  I think it’s wonderful and it’s very important.  It’s one of the best things I’ve ever done. Going to the prisons was very heart-warming.  It felt like I was really doing some good.”

Ronnie joined Roomful of Blues in 1979, but in 1984 he formed his band, The Broadcasters (named after one of the first Fender guitars, the precursor to the Telecaster).  There have been numerous iterations of The Broadcasters, but most recently the band has included a wonderful singer named Diane Blue.  Ronnie was asked how they met.

”I went to this little coffee house, and she was there with a guitar player, and I ended up sitting in.  I loved her from the very beginning.  She started coming to my shows, and I had her sit in.  One day I said I wanted her with me all of the time.  What struck me was her ability to sing anything, from Sam Cooke to blues.  She has a natural voice, a beautiful voice.  And she is just a wonderful, wonderful person.”

In 2023, Joe Bonamassa released his album, “Blues Deluxe: Volume 2”.  As a highly accomplished songwriter, Bonamassa rarely covers the work of others, but for this album he chose to include his cover of a song Ronnie co-wrote, “I Want to Shout About it”.  Bonamassa has been noted in prior interviews to say that he first heard Ronnie play back in 1990 and found his sound to be “clean and larger than life…Ronnie plays in the classic blues style of T-Bone Walker and BB King, relying on a very clean tone.”  Ronnie noted that he was “quite flattered” that Bonamassa made the choice to include the song.

In 2025, Ronnie collaborated with Rory Block, known as one of the greatest living acoustic blues musicians.  Ronnie played guitar on “Walking the Back Streets” for her album Heavy on the Blues.  Ronnie was enthusiastic about this partnership, stating, “I just love Rory’s music.  I thought our music complimented each other very well.”

In 2024, Ronnie released the book Beautiful Child: The Life of Blues Guitarist Ronnie Earl in Technicolour.  Written by manager and longtime friend, Rev. Debbie Blanchard, the book includes stories that were told to her by Ronnie as well as many stories from family, friends and musicians who have played with him.  The book has earned 4.25 stars (out of 5) on Goodreads.  When asked about it, Ronnie was, as usual, quite humble about it, simply noting that he was pleased because “everybody tells me that they really enjoyed it”.

One clear theme in the book is the loving energy others see in Ronnie. He has been noted to say that he tries to stay very optimistic and positive in all he does. He was asked how he manages to maintain a positive attitude with such depressing world events occurring on nearly a daily basis.

“I try to wear the world as a loose garment.  I still have to have my joy, so I keep the news at bay, so to speak.”

One expression of that loving positivity was Ronnie’s role at an important fundraiser for Phil Pemberton, former singer of Roomful of Blues, who is struggling with numerous serious medical conditions.  Also present was Duke Robillard, who founded Roomful of Blues but left the band in 1979.  The fundraiser was called “Roomful of Love”.

“The benefit was a really nice thing.  There were a lot of people playing and Duke and I got to play together.  That doesn’t happen very often!  It was just a good soulful vibe.”

Another way that Ronnie tries to spread positivity is by speaking openly about his mental health issues and substance dependence in an effort to lessen the stigma for those who might seek treatment.  He has been diagnosed with bipolar disorder and diabetes and is now more than 35 years sober after a long history of abusing many different types of substances.  He generously shared his story for the book Blues Therapy (by Schlank & Benoit), in which many blues musicians discussed their mental health/substance abuse issues and shared the role the blues has played in their healing.  He shared even more details in his book, Beautiful Child, and takes every opportunity to try to promote a message of healing to others.

“It’s important because there are an awful lot of ads for drinking on TV, and a lot of ads for gambling.  You find out, like I found out, that maybe it’s all fun in the beginning, but it could really wreak havoc on your life and your family.  I’m 36-1/2 years sober and that’s the most important thing in my life.  That, and God, and my family.  I’ve never had a relapse.  I always stayed close to my sobriety. As far as my bipolar disorder. I’m fine for the most part.  I still have bouts of it and don’t ever know when it’s going to come.  But I take medicine and feel pretty good most of the time.”

After suffering some medical complications, Ronnie has cut way back on his touring.

I’m kind of semi-retired now.  I had some health issues, and I don’t travel as well as I used to.  Pretty much now I just play in New England, but that suits me.  I traveled the world for forty years, so now I’m happy when we get an opportunity to play and I’m happy when I get to be home.  I still get out and do little shows for people close to the house, but I’m not seeking to travel anymore.  I feel that, looking back on it, it was kind of a bit of a race.  It was almost competitive with the bigger agencies I was on.  It is nice to not have that pressure anymore.

Although it seems that musicians rarely seem to have time to listen to new artists, Ronnie was asked if there were any relative “newcomers” about whom he was excited.  It’s not surprising he mentioned a band known for their pure and emotive style.

“The Cash Box Kings.  They sound really good, but I haven’t yet seen them live.  I’d really like the opportunity to see the Cash Box Kings perform live!”

Ronnie continues to inspire young guitarists, and the influence of his clean, emotive style can be seen in young virtuosos, such as Gabe Stillman and Jad Tariq.  Jad discussed what he appreciated about Ronnie’s work:

“Ronnie Earl plays with an unmatched sense of flow.  He’s able to continuously pull ideas out of his head and onto the fretboard in real time and does so with a seemingly endless amount of creative inspiration.  He is an improviser in the purest sense.  He isn’t just recycling licks and tricks.  He’s actually composing on the spot.”

And Gabe Stillman noted the influence Ronnie had and still has on his work and presentation:

“The first time I met Ronnie Earl was in 2019. A bunch of us were hanging out in Memphis talking like we do, and I was peppering my comments with some colorful language. Ronnie grabbed my hand and softly said, ‘don’t curse; you’re a gentleman.’  I’ll never forget it. Ronnie pours every ounce of himself into his guitar. He is the epitome of authenticity and sincerity. His playing is not just blues licks; whether blistering, whiplashing, incinerating guitar glory or soft, soothing whispers, you can feel Ronnie’s caring for each and every note. I am always striving to be the gentleman that Ronnie Earl saw that day. For me, Ronnie is the REAL gentleman.”

When asked if he had any advice for young artists, Ronnie jokingly answered, “yeah—get a lawyer!”  He elaborated, stating that he believes young artists often get into trouble by signing with record companies too quickly.

“Sometimes they are just not being cognizant—just being young and foolish and wanting instant results.  They think, ‘I’m on a label! I’m on a label!’  They should try to learn from the people who came before them.  And for those who might be finding it difficult to stay sober, I say practice the program, stay close to God, and stay close to others in recovery.”

Recently an AI survey question appeared on Facebook asking, “What tips do you have for playing like Ronnie Earl?”  A few of the responses beautifully reflected the reverence musicians have for his work.  Robert Aguayo wrote “Tell someone how you feel using the notes on the guitar.  When you’re doing it, think of nothing else.”  And Rhandy Simmons poetically noted, “Play every note like it was the last note that God was going to let you play!”

Ronnie Earl may be semi-retired, but his positive influence will continue to be felt by those in the blues world.  And, nothing stops us from making road trips to places like Jimmy’s Jazz and Blues in Portsmouth, New Hampshire, or the Iron Horse in Northampton, Massachusetts, where he still plays.  You can find out more about Ronnie Earl at www.ronnieearl.com, and you can purchase the book Beautiful Child on Amazon.

Writer Anita Schlank lives in Virginia, and is on the Board of Directors for the River City Blues Society. She has been a fan of the blues since the 1980s. She and Tab Benoit co-authored the book “Blues Therapy,” and she and Mike Zito co-authored “Blues Therapy: Volume Two”. Profits from both books go to the HART Fund (which pays for medical expenses blues musicians cannot afford to pay) and can be found at http://www.bluestherapybook.com.

Leonard “Lowdown” Brown – Lowdown Street Party

Music Maker Foundation

www.facebook.com/leonardlowdownbrown

10 Tracks – 48 minutes

Born in Arkansas on May 15, 1953, and raised in Gary, Indiana, Leonard’s childhood was filled with music. When the family made their move to Gary, the first thing his mother bought was a piano. Leonard was one of ten children – five brothers and four sisters and all played music. Around the age of six, his father gave him his first guitar, and he has been playing ever since. During his early years, Leonard and his siblings all sang in traveling gospel choirs. As he got older, he started playing music in Chicago, initially in gospel groups but he took further inspiration in the blues of B.B. King, R.L. Burnside, and T-Bone Walker.

A major life change opened new doors for him. He took a two- year training program to work at General Electric and upon graduation from the program in 1980, he was assigned to work in Houston.  Frequenting the city’s blues clubs, he made friends and connections that encouraged him to become part of the community’s active blues scene. He gained his “Lowdown” moniker when organizers of the Benson & Hedges 1988 Houston Blues Festival added the title to his name and he kept it. For over 40 years, Leonard has been a major part of the Houston Blues Scene. He says “Most people come to listen to music to have fun and dance. It’s a way to unify people. Music is what we have in common.”

At age 70, Leonard’s debut album, Blues Is Calling Me, was released in 2023 on the Music Maker label. This is his second album. The album was produced by Jimbo Mathis, a member of “The Squirrel Nut Zippers”. Jim brought his own band “Creatures of the Southern Wild” as backup on the album. Leonard, of course plays guitar and vocals with Jimbo playing piano and guitar, Guitarist Scott ‘Paco’ Goolsby, bassist John Kveen and drummer Kirk Russell.

Ten original songs, all written by Leonard, opens with “Theme” an instrumental run building steam with a constant recitation from backing singers of “Lowdown Brown gets me down”. Leonard joins the scene on vocals as he asks “Are you ready? We are going to have a “Street Party”. “People are dancing in the street. The people are going nowhere”. “The band is cool. The band is tight”. He next proclaims “I’m Gonna Take Care of You” and further asserts “If you got a problem baby, don’t think for one minute baby I would ever leave your side. I got my eyes on you. I’m gonna take care of you”. A tremolo guitar provides a smooth tone through the song and moves into a solid guitar solo.

He next determines “I Need Help” in another smooth blues as he notes “When I came into this world, I couldn’t make it by myself. I found real, real fast I’m gonna need help from somebody else.” When I came into this world, I didn’t know how to cook, couldn’t write my name, couldn’t read a book”. He has the “Don’t Wanna Get Up” blues, “I sat up in my bed but laid on back down with covers on my head. My eyes are tired, and I need some sleep. But I gotta get on up to hit the streets.” Sounds like something we all can relate to with varying circumstances. He further elaborates his issue is “I stayed up partying too late”. All presented in a very soulful cry.

With some concern and a slightly haunting blues, he cites “My baby went down to Mississippi to get me a “Mojo Bag”. “I didn’t know what was in it. It was the first one I ever had. I looked into the bag, and I wondered what all of this spell means, and I thought to myself is this mojo bag working on me?” “Some strange things in this mojo bag – chicken bones, Mississippi cotton, I got a rosebud, Mississippi mud, hair from a dog, lips from a frog.” He next declares “Gotta Leave This Town” to get your troubles off my mind, go to another place and time…to take these worries off my mind”. The song opens with some very smooth, laidback blues guitar and Jimbo’s piano rolling through.

On “News with Blues”, he expresses “Every morning I wake up, I listen to the morning news. All I hear is bad luck and trouble, It’s just another day for the blues”. “Houston Bound” relates Leonard’s life story as he moves from Chicago to Houston and finds his footing when “I found some of the best blues clubs in town”.  He closes with the “Big Blues Show” and tells everyone “When the big blues show is coming to your town, get out there early, don’t mess around.”

The album offers the “Lowdown” blues, a smooth traditional blues with Leonard’s warm, easy-going vocals and gentle guitar. They may not get you up dancing, but they will have you swaying and getting up with a smile on your face.

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.

Bland Lemon Denton – At Earth’s Core

Ramrod Records

https://blandlemondenton.bandcamp.com

11 Tracks – 53 minutes

Bradley Denton is an award-winning science-fiction author and World Fantasy Award Winner in 1995 For his book, The Calvin Coolidge Home for Dead Comedians, which was a collection of horror and fantasy themed stories. Bradley was born in the small town of Towanda, Kansas in 1958. He attended the University of Kansas at Lawrence where received a degree in Astronomy and a masters In English. His first short story was published in 1984 in The Magazine of Fantasy & Science Fiction. Numerous novels, novellas and short stories have followed. His 1992 novella, The Territory, was nominated for both the Hugo and Nebula Awards for Best Novella in 1993.

He and his wife, Barbara, moved To Austin, Texas in 1988. With the hot music scene in Austin, in 2005 Bradley took up playing blues and roots music. Adopting the persona of “Bland Lemon” Denton, he performed on acoustic guitar, harmonica and sang, initially in SF conferences and gatherings.  He proceeded to play in small venues in Austin, writing songs and eventually electrifying his act and adding bandmates. All culminating in this, his debut album. The band fully named as Bland Lemon Denton and the Lemon-Aides consist of Bland Lemon on guitars, harmonica, percussion and vocals, Caroline “Honey Badger” Spector on bass and backing vocals, and Bob “Hollywood Thumper” Yeager on Roland TD-27 V-drums.  In a note of thanks, he acknowledges Sherri “Monkey Queen” Dean for her live vocals.

He opens by telling her “I can’t say I believe in God, but I sure believe in sin. If you want my lovin’, baby, what you’ll have to give, I want “Forgiveness”. “If you will forgive me for the funny things I do, then I might forgive you for all the crap you put me through.” On “DNA Blues”, he explains “man was born from trouble, sparks fly up and drift away”. “You know you do silly things. It is in your DNA.” Next, he identifies ” If what you want is all alone, I know you need your metal to start you up. I know you want The Rolling Stones.” “I ain’t no Ronnie, I ain’t no Keith, and I sure as hell ain’t no Mick.”  But maybe I Can be your “Charlie Watts”. “I can’t promise satisfaction, but I believe time is on our side. But let’s just spend the night and I will give you shelter.”

“You’ve got me swirling around like a “Marionette About to Drown”. Cut my strings and let me go”. “Let me feel like a real boy…like me like you did when I was still wood”. “The Frozen North” sounds like a song that should close out a movie. He says, “I would follow you about a thousand miles just to see you smile.” “Take me to the frozen north, I will take your place in hell.” “She’s the one that took the jump, I was the one who took the fall.” He begs “Pretty Kitty” “won’t you come down from that tree”. I got a nice, sweet dish of cream if you’ll jump right back to me.” “You won’t have to do anything at all unless you want to catch my mouse”.

“This Machine” rocks out as he declares “This machine was built to last. This machine gets where it’s going fast. This machine ain’t wasting fuel. This machine doesn’t lose its cool. This machine won’t change direction.” “This machine don’t brake for CEO’s or cops.”  “Jingle Them Rusty Bells” is not a merry Christmas song as he sings “Deck my empty halls. Slide on down the chimney and the fires will break our fall.” “I need a little spark of joy to light that old yule log.” “Ain’t no peace on this earth or shared good will. Just rolls of fruit cake and we eat our damn fill.”

“Blisters” features his harmonica as he tells “There is just one thing I am sure of, I will return to the earth. Don’t bury me too deep.” “The soil around here is rocky, and you will get blisters on your fingers and your arms.” “There is one thing I am sure of, and that I was your friend. That does not end”. He bends his strings on “Core of the Earth” as he reports “You didn’t throw me down the hole, you brought a silver spade. I guess I keep digging straight up to find my grave. Try to find redemption, we ain’t got the blood it’s worth, but we are stealing all the diamonds down at the core of the earth.” A bonus demo version of “Forgiveness” originally recorded in 2013 concludes the album.

Bland Lemon switches from acoustic to electric guitar easily. Nothing flashy, but just steady rolling guitar with an occasional flash of harmonica making a very pleasant listen. His vocals also draw you in as he says in song, certainly not Mick Jagger, but comfortable easy listening maybe in the vein of Gordon Lightfoot as his songs move along in roots music somewhere between folk and blues. And as can be read in the sample lyrics provided above, his songs are frequently humorous with his tongue deeply in his cheek and with the occasional dollop of double entendre. All in all, an enjoyable way to pass an hour.

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.