Duwayne Burnside – Red Rooster

Lucky 13 Records

www.northmississippimafia.com

10 Tracks – 40 minutes

The son of R.L. Burnside continues to grow his father’s Hill Country blues sound but turning it into his own. Born in Holly Springs, Mississippi, he grew up in the backbone of the Hill Country sound. He learned to play by listening to the music that regularly occurred on the back porch of homes. Growing up he played alongside R.L. and his neighbor and another mentor in Junior Kimbrough.  He initially played drums in his father’s band and was first recorded at age ten playing drums with the group Sound Groove Machine.

He quickly moved on to playing guitar, bass and providing his own vocals. Still in his teens, he moved to Memphis where he encountered another mentor, Little Jimmy King, who had him playing regularly in his band. He also had the opportunity to play with Albert King, B.B. King and Bobby Bland among others. He released his first record, Live at the Mint, in 1998 on Lucky 13 Records. He grew up playing music with Luther and Cody Dickinson who lived in nearby Hernando, Mississippi which led him to join the brothers in The North Mississippi Allstars from 2001 – 2004. He was featured in that band’s 2003 release, Polaris, which featured Duwayne on lead vocals on two songs. In 2005, Duwayne released his second album, Under Pressure, again on Lucky 13 Records. That record led to his nomination for Best New Blues Artist at the 2006 W.C. Handy Blues Awards. He released a third album, Acoustic Burnside, in 2022. Along the way he opened his own juke joint, the Burnside Bar & Grill, in Holly Springs to carry on his family legacy.

Duwayne had been working on the record that would become Red Rooster for some time. Going full circle with his connections, Cody Dickinson produced the album and joins with his brother, Luther Dickinson, playing on the album with Jimbo Mathus, the founder and frontman of the Squirrel Nut Zippers, completing the band.

He opens the album with his version of R.L. Burnside’s “Nightmare”, keeping the haunted roots of the song but giving it a modern edge with some stirring guitar work as he declares “you’re a nightmare just for me. I went home last night and sat down on my bed and cried thinking about my woman who just cannot be satisfied.  He next moves into the roots rocker “Circle in the Sky”, a song from the Allstars’ 2001 album, Phantom, but again converting it into his own sound complete with Jimi Hendrix styled overtones and a Hillside touch to a slightly psychedelic song. The first original “Somebody Done Stole My Girl” clearly identifies the song’s theme and moves into a more soulful approach.

He establishes “Things Ain’t Going My Way” as he says “I am walking around this Mississippi town, can’t find my baby, might as well lay these blues down” with a ripping guitar run amid a move back to the classic Hill Country sound.  He slows things down for a soulful song written by Jimbo Mathus as he pleads “Don’t treat me mean. I can’t argue you with you no more. All I want you to do, baby, is “Talk Sweet to Me”. “Tribute” is a memory of his early learning at the feet of R.L. Burnside, Junior Kimbrough, and others noting that “I will never forget the way you played the blues”.

Duwayne announces “I don’t care what people say, I don’t care what they do, I’m “Crazy About You” as he moves back into the rhythmic Hillside sound with a touch of soul in the vocals. R.L.’s grandson, Cody Burnside, who died in a car crash in Minnesota in November 2025, adds a rap on “King” melding the traditional sound with the more current musical direction. Bobby Womack’s “Down & Out” moves into a bit of funk and soul. He concludes with the 7-1/2 minute “Mississippi Here I Come”, featuring an acoustic guitar instrumental that runs over half the song’s length before Duwayne starts singing about returning to Mississippi and the things he enjoys there noting he is “tired of this city living”. and looks forward to “Cornbread, black eyed peas”. “If you want to get a good meal, baby, just go on back to the farm”.

Duwayne’s guitar is a standout supporting his raw, energetic vocals. While clearly maintaining much of the elements of his upbringing, he moves the songs into new directions mixing his roots with his Memphis leanings and the more modern sound from the Allstars.

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.

Jimmy Witherspoon & Robben Ford – Jump Blues Live 1972

Liberation Hall

www.liberationhall.com

9 tracks/41 minutes

Recorded live on March 14, 1972 at the famed Troubadour rock club in West Hollywood, California, blues hall of famer Jimmy Witherspoon is joined by the young guitar wizard Robben ford in this previously unreleased session  from Los Angeles. The cuts are classic blues songs performed by a blues legend and his then 21 years old protégé.

Witherspoon was a premier vocalist who got his start during the Second world War in 1945 when he recorded with Jay McShann. One R&B song hit number one the next year, but the 1950’s saw the decline of the big band. Jimmy resurfaced as the British invasion gave rise to R&B being “rediscovered” and regained some of his former fame. In 1972 he joined up with a rising young guitar player from California, recorded a few songs and did this gig at the Troubadour. Witherspoon and Ford both rose in stature and notoriety over the years. The discovery of this session’s recording affords us a glimpse back to a fantastic night of music.

Joining the pair on stage were Paul Nagel on piano, Stan Poplin on bass and Jim Baum on drums.  This quintet deliver a fine performance that the crowd at the club enjoyed with gusto.

The set begins with Sonny Boy Williamson II’s  “Don’t Start Me to Talkin’’ with rousing guitar and Witherspoon in great form. Jimmy’s hit of Willie Dixon’s “Ain’t Nobody’s Business” follows, a heart felt tune with soulful vocals and Ford offering some retrained and tasteful guitar. Little Walter’s “My Babe” gets a fine cover by Witherspoon and Ford again plays some wickedly cool guitar.

Dixon’s “Spoonful” follows, and Witherspoon takes it in a soulful direction with his excellent vocals. Ford offers some pretty licks here, too. “Past Forty Blues” gets a disclaimer by Jimmy as being over 40 is not a pretty subject. He delivers a very impassioned rendition as he and Ford get down and dirty in this beautiful cut. The classic “Kansas City: follows with a rousing guitar intro by Ford. Witherspoon gives it his all as the duo and players play their hearts out.

Up next is “Nothing’s Changed” which Witherspoon recorded and made famous in that era. A pretty and slow blues with a fantastic vocal performance and guitar that sounded like a blues master had played; what a nice performance! “Around the Clock” follows that, a great 1940’s swing blues that Witherspoon and Ford pay great homage to.  They conclude with “Goin’ Down Slow,” a 1941 song by St. Louis Jimmy Oden. A delightful and moving slow blues, Ford does a very pretty job on guitar as Witherspoon does what he does best. A wonderful finish to a show that gets to live on via this release.

After this, Ford went on to fame with Tom Scott and his L.A. Express and then a host of famed acts after his start with both Jimmy and Charlie Musselwhite. Witherspoon was inducted into the Blues Foundation’s Hall of Fame in 2008 after his passing in 1997. This is destined to a special added and limited LP release on Record Store Day on cobalt blue vinyl, too. This early Ford recording with Jimmy is a great fine and worthy of adding to any blues lover’s collection. I most highly recommend it!

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.

Ryan Hartt – Be About It!

Far-Tone Records

www.ryanhartt.com

11 tracks; 42 minutes

From its opening shuffle to its slow-burning heartbreak, Be About It! (2025) announces itself as a harmonica-driven blues record with teeth. On his first solo album, New England bluesman Ryan Hartt leans into West Coast swing and Chicago grit, delivering catchy hooks, sharply observed blues storytelling, and a full, sax-like harp tone. At its best, the album crackles with biting harmonica lines, soulful vocals, and a deep feel for groove—even if not every stylistic detour lands cleanly.

Hartt wrote five of the album’s 11 songs and handles harmonica and vocals throughout, pairing clever lyrics with dynamic instrumentation. Be About It! marks his fourth release on his own Far-Tone label, following three albums with his longtime band, The Blue Hearts, dating back to 2002.

Uptempo guitar and shuffling harmonica kick off “Breakin’ Even,” a tune built around a catchy hook and a soulful, forward-driving feel. Hartt sings, “No matter how I try, I can’t get a head / Breaking even’s my new plan,” as Jad Tariq’s infectious guitar riff locks in with Hartt’s powerful harp lines. The result is an ecstatic, upbeat track rooted in resilience and transformation.

Saucy, electrified harmonica launches “Queen of Everything,” a sharp-eyed portrait of a mistreated fool in love. “She’s the queen of everything / I’m the king of what’s left,” Hartt sings, as Jeffrey Berg’s gnarly guitar work and Mike Law’s bass create an off-kilter, jubilant groove. Hartt’s virtuosic harmonica solos cry out repeatedly, bemoaning the imbalance of the relationship with biting blues emotion.

“Lonely Hour” is a slow blues burner from the first note, led by dreary, moaning harmonica and a lingering emotional weight. Hartt’s vocals simmer with pain—“Don’t know what time it is, if it’s day or night / Since my baby left me, nothing feels alright”—as Brooks Milgate’s piano adds subtle jazz textures beneath the surface. Hartt’s harp takes center stage, swinging between raw, emotional solos and heaving bursts that feel like a man wrestling with the blues. It’s one of the album’s most powerful and fully realized tracks.

A torrent of guitar and harmonica blasts open “I Wonder Why,” followed by gritty yet smooth vocals. Hartt sings, “I wonder why, why that girl won’t treat me right,” as Nick Adams unleashes electrifying, dominant guitar solos with rapid-fire note changes and relentless rhythm. The track is soulful, passionate, and driven by sheer momentum.

“All Night Long” rides a steady, rain-like guitar line from Jad Tariq, supported by Nick Toscano’s tight drums and percussion. Exquisitely placed harmonica gives the song a funky edge, while the call-and-response chorus—“All night long”—locks in with a rapid-fire harp hook, making it an undeniable foot-tapper.

“That’s Right, You’re Wrong” delivers jazzy, upbeat West Coast blues, anchored by shuffling harmonica and a mesmerizing mid-song guitar solo from Nick Adams. Hartt croons, “That’s right, you’re wrong, you better go back on home,” as the harmonica howls and growls with triumphant bite. The chorus is a genuine earworm.

“I Can’t Stop Loving You” is a high-tempo blues-rock charge, punctuated by sharp bursts of harmonica. Toscano and Milgate combine fast-paced percussion and rhythmic piano, while Tom Ferraro fires off a barrage of guitar notes. The result is an uptempo, ferocious track.

“Old Habits Die Hard” is the album’s weakest original. It opens with a pop-leaning gloss that immediately undercuts any sense of urgency. The lyrics tread familiar territory—trying and failing to move on—but without the grit or emotional punch that gives blues its weight. Musically, it gestures toward R&B without committing, resulting in a soft-edged track that lacks both soul and conviction.

“Nothing Sweet As You” leans too far into polish, smoothing out any rough edges that might have given it character. The sentimentality feels canned, more mid-century pop than blues, wrapped in a slick veneer that prioritizes sweetness over substance. The track fades quickly beside the album’s stronger cuts.

“Hawaiian War Chant” is a curious inclusion that never quite finds its footing within the album’s blues framework. Driven by heavy, steady drums and melodic harmonica lines, it carries a tribal, almost ceremonial feel, but it sits far outside the Chicago or West Coast idioms the record otherwise embraces. Without vocals or a stronger blues anchor, it feels out of place.

The instrumental take on “You Belong To Me” drifts into ambient, jazz-tinged territory that slows the album’s momentum. Its ethereal textures and unhurried pace create atmosphere, but little tension or payoff. As a closing stretch, it feels detached rather than reflective, lacking the emotional punch that marks the album’s best moments.

With Be About It!, Hartt delivers a strong and confident first solo release that showcases his deep roots in Chicago and West Coast blues. The album is packed with powerful guitar work, tight rhythm, blues-smart songwriting, and, above all, howling harmonica. While a few tracks stray from the core sound, there’s plenty here to sink your teeth into—and ample proof that Hartt knows exactly who he is as a bluesman.

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.

Christina Crofts – The Best of Bottleneck

Self Released

www.christinacrofts.com

12 tracks/46 minutes

Christina Crofts is an Australian blues rocker with four albums/EPs to her credit, This is a collection of her best original slide guitar tunes from those releases and her live shows.

Crofts is based in Sydney and won the 2022 Sydney Blues Challenge and then participated in the January 2023 International Blues Challenge in Memphis. She performs as the Christina Crofts Band and previously as Croftstown Traffic. Her guitar style is vibrant and heavily rocks. The album is a dozen rockers with lots of slide guitar licks to enjoy.

Appearing on the album with her are her husband, mentor and guitar teacher Steve, Stan Mobbs, Ian Millard, David Millard, Ian Pritchett, Peter Heckenberg, Steve Melville, Paul Scott, Tony Boyd and Ty Coates.

“Voodoo Queen” starts things off. Crofts wails on her guitar, demonstrates her slide prowess amd sings with a distinctive attitude. “Breakaway” continues the onslaught, a hard rocking midtempo cut. Crofts talks about her ex-love in “Lookin’ Back on You” as she watches him fade in her rear view mirror. Another big, driving, and rocking number. Then in “Someone Younger” she sings about someone who was looking for someone younger whose next conquest will release he’s not what he claims to be.

“Midnight Train” is a blazing, hot tune. “Gonna Find a Way” then slows things down but remains heavy and driving. Next is “Lucy,” a bouncy and fun cut about a woman who needs to come home and make amends. “Like We Used To” follows, another cut with a bouncing groove and fun approach.

“Stone Cold Tomb” has a more ethereal and dark feel to it, showing a different side to her music. “Can’t Take It” is another song about a relationship gone bad, this one partly to her own doing. Then it’s “See You Stumble,” another cut with some haunting guitar and a dark mood to it. She concludes with “Escape to Blue,” a massive instrumental cut.

The album really focuses on the rock side of her music. There’s not a lot of pure blues here, but if you are looking for a hard rocking album of driving tunes with attitude, then this is something you will enjoy!

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.

Earl Thomas – Live in London

Earl Thomas Music

www.earlthomasmusic.com

12 Tracks – 47 minutes

Earl Thomas was born in Pikeville, Tennessee and grew up in a house filled with music, His father was a bluesman, and his mother was a gospel singer. He never intended to have a musical career, but in college he and a friend, Philip Wootton, recorded a self-produced album titled I Sing the Blues for a college practical exam. It was not intended to be sold, but a friend suggested they send it to radio stations. After being passed around, it ultimately ended up in the hands of Herb Cohen, the President of Bizarre – Straight Records. Within a month, Earl had a two-album deal with the label, and the album now renamed Blue…Not Blues was released worldwide in 1991.

Earl has since traveled all over the world to perform. His songs have been recorded by Etta James, Solomon Burke, and Screamin’ Jay Hawkins. He has shared the stage with B.B. King, Gladys Knight, Albert Collins, Joe Louis Walker, Aretha Franklin, and Ike Turner. His songs have been featured in films and on tv shows ER and more recently on Netflix’s Hacks. This album is his 21st release. In 2019, he announced his retirement, but in 2022 he somewhat grudgingly returned to performing. This is his third album release since that return. Earl has received two Grammy nominations and four San Diego Music Awards. He maintains a residency at San Francisco’s Biscuit and Blues.

The album as noted is Live in London and was recorded at the legendary Ronnie Scott’s Jazz Club. After performing at Norway’s Notodden Blues Festival, one of the largest annual European blues festivals, Earl received a star on the Notodden  Blues Walk of Fame. He says his music blends his mother’s gospel roots with his father’s love of blues and his own love of 70’s soul music. He leads The Gospel Ambassadors featuring Sister Leola. He calls “gospel music the foundation of the blues”.

This album has twelve traditional gospel songs performed in an explosion of sound not unlike a Southern Saturday night gospel tent revival fused with Earl’s blues and soul. Oddly, the back cover of the CD I received only listed ten songs.

The first song not listed on the album cover is “Strange Things Happening Every Day”, which opens the album I received. It was first recorded by Sister Rosetta Tharpe in 1944.  By title alone, the song seems appropriate for our current times but is in fact an infectious call to do right to get to heaven with Sister Leola leading and noting “If you want to view the climb you must learn to quit your lyin'”.  Earl joins the group for “Woman at The Well”, which is based on the Bible story of the lost and dejected woman who met Jesus at the well.  “Elijah Rock” comes with the warning that “Satan ain’t nothin’ but a snake in the grass. He’s a conjurer, he’s a liar. Hallelujah Lord”.

Sister Leola joins with Earl on a rousing version of “It’s Gonna Rain” which tells the story of Noah and the great flood and tells “You better get ready and bear this in mind…It won’t be water but fire the next time”.  Lyrics for the song were written by Charles Johnson in 1992. After a brief interlude, they launch into “How I Got Over”, which was originally written by Clara Ward in 1951 and popularized by Mahalia Jackson who delivered it in front of 250,000 people at the 1963 March on Washington for Jobs and Freedom. Jackson received a posthumous Grammy Award for Best Gospel performance in 1976. Earl classically delivers the testament of faith and resilience in the face of oppression.

“I’m Pressing On (Amazing Grace)” blends the initial song about trying to reach the “heavenly home” with the more well-known Amazing Grace and features a run of sacred steel mid-song. “Twelve Gates to the City” references the Old Testament where God promises a new land with twelve gates inscribed with the names of the twelve tribes of Israel protected by angels at each gate and the gates made of pearl. Earl describes the beauty inside the gates and declares “the streets are paved with gold”. “Glory Glory” will definitely make you want to get your feet and shout out as he tells “I feel so much better since I laid my burdens down”. An instrumental section at the end provides the guitarist and piano player an opportunity to shine.

“When We All Get to Heaven” is the second track not listed on the album cover. The hymn was written by Eliza Hewitt in 1898 with music composed by Emily Wilson. After getting everyone to their feet with the previous song, Earl keeps them there with a “day of rejoicing” offering an uplifting message of joy upon reaching heaven. He introduces the singers accompanying him near the end of the song.  “No Hiding Place Down Here” is an Afro-American spiritual first included in a collection in 1907, first printed in 1915, and made popular in 1955 in a recording by Dorothy Love Coates & The Original Gospel Harmonettes. Earl proclaims “when the sinners gonna be runnin’ at the knowledge of their fate. They’re gonna run to the rocks and the mountains but their prayers will be too late.” The guitars and piano and rock out driving the exuberance of Earl’s presentation.

“Old Landmark” urges everyone to return to the old times where preachers preach to “stay in the service to the Lord”. The band ignites with the fervor that Earl has generated with the song bringing the concert to a powerful end.

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.

The Matt Swanton Band – Growing Pains

Self Released

www.themattswantonband.com

12 tracks/54 minutes

This is the sophomore release of this 2023 International Blues Challenge semi-finalist band from Massachusetts.  They power their way through blues songs with a heavy rock feel to their work. The band, in addition to Swanton on guitar and vocals, are Dave Osoff on keys, Ken Edleman on bass, Dan Vaccari on drums and Will Tattan on auxiliary percussion. All songs were written by Swanton.

“Mulpus Bop” opens the album with a driving instrumental with hard rocking guitar licks and some nice organ behind it and later soloing. The guitar remains wickedly hot on “Soldier” and the organ continues superbly, too.  Swanton’s vocals are solid, too. Next is the title tracks. Swanton plays lead and slide here and  offers some tasty licks. The organ remains a big part of the action here, too. This is ain’t your grandfather’s blues, these are some hot, rocking performances. “Cooking With Fire” slows things down a bit. Matt and the band deliver another fine performance as he sings and plays with passion and deep feeling.

The electrifying rocker “Sick” is next and begins with some really fiery guitar licks. A slower to mid-tempo delivery and fine performances make this a cool cut and a standout. More solid organ helps sell this one. “Beggin’ for Your Love” follows and Swanton gives us some funky pedal on his guitar and he and Osoff deliver another rocking winner.  Up next s “Testify,” a slow and soulful tune with Swanton testifying vocally and on guitar. “Too Close to the Sun” is about self tip toing and medicating one’s way through mental health issues. Dark and somber, we see another dimension of Swanton here.

“Me and My Friends” is a rollicking cut and the piano soloing after the guitar also adds a nice touch, as does the slide guitar. Next is “Nothing Can Keep Me from Loving You,” a slow and somber tune delivered with passion. This is pretty and slow blues done well. “You Think You’re Slick” is another slower blues with a great little groove and cool sound and nice finger picking and ivory tinkling. They conclude with “Rain Dance,” which has breathy song delivery that reminds us to take the time to appreciate life. It’s a driving number with a good vibe and some uncredited female backing vocal along with a little funkiness.

This band gives their all, merging psychedelic rock, blues, soul and funk into a fun album that I enjoyed. This one is well worth a spin, especially if guitar and keys are something you appreciate.

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.