Tedeschi Trucks Band – Future Soul

Swamp Family Music

www.tedeschitrucksband.com

11 tracks/42 minutes

Susan Tedeschi, Derek Trucks and their band are one of the hottest items in the blues rock world. Some write them off as a a rock band, but they are truly more than that.

I’ve watched Trucks expand his repertoire over the years. Adding his wife to the band certainly places a larger emphasis on the blues and roots music in their releases and shows. What I’ve always felt is that Derek grew up in the shadow of the Allman Brothers and internalized the essence of what Duane Allman was doing before his untimely passing. Duane spent years at Muscle Shoals and gained a superb knowledge of so many genres of music. I see what Truck has done as a continuation of where the Allman Brothers might have gone had Duane lived on.  The deep ties to the blues, the jazzy and improvisational nature of the jams that are so much more than just a local jam, the R&B infusion into the mix, the expansion of instrumental use in the music, a strong set of vocalists to lead and back the band, and just an amazing depth of knowledge and feeling for what makes music tick.

This album offers us 11 new songs to savor. Susan fronts the band for ten of the cuts and plays guitar on most of them. Mike Mattison is up front for “Under The Knife.” Trucks, of course, is on lead guitar. Mattison sings on all but one track and adds his guitar to many of them. Brandon Boone is primarily on bass; also appearing on bass is Mike Elizondo. Tyler Greenwell and Isaac Eady share the drumming duties. On B3 and keyboards is Gabe Dixon. Adding backing vocals and percussion are Alecia Chakpur and Mark Rivers. Horns are provided by Emmanuel Echem (trumpet), Elizabeth Lea (trombone) and Kebbi Williams (sax). Elizondo also adds keys to a few tracks. Austin Hoke is on cello and Abe rounds is on percussion for “Shout Out.”

“Crazy Cryin’” gets the album started. It’s a cut with a slick groove and features Tedeschi singing of a relationship that has not worked out.  It’s funky and cool, and Trucks comes in with an amazing short guitar solo late in the cut that makes it even better. Backing vocals add nicely to the mix.

Next is “I Got You” with some acoustic guitar added to the electric guitar. It’s an up tempo and fun love song. Derek offers an early restrained guitar solo. The organ and horns are sweet in support here as are the backing vocals. Trucks takes us home with a prolonged guitar solo that eventually fades to wrap it up.

“Who Am I” is a pretty ballad that Susan sings with passion as Trucks strums out some equally pretty licks with restrained poignancy until the end when he lets go to again take us home with some vibrant signature guitar to enjoy.

Up next is “Hero” is a passionate and emotional cut where Tedeshi pleads to leave where they are at as she reiterates the theme as she sings, “I’m not your hero, I’m number zero.” The song builds into a dervish of instrumental anguish to conclude, a wild ride that finally comes to resolution.

“What In The World” is another cut with sweet acoustic guitars, some ethereal organ and horns. and Tedeschi testifying with true feeling. Trucks steps in to punctuate the tune with his electric slide guitar. Beautiful stuff here.

The title track is next and picks the pace up significantly. Vibrant guitar, strident vocals and a driving beat make this one a winner. Trucks offers a concluding solo to once again finish things off and it’s in your face and it’s just wickedly cool guitar.

Mattison leads the fray for “Under the Knife,” a song with a very cool groove, great horns and a sweet pacing that makes the song interesting. Derek offers up an echoey guitar solo and Susan backs Mike to add a nice touch to the sound.

“Be Kind” bounces along  with the horns and organ helping to drive the song as the electric guitars layer over each other to cool effect. Dixon adds a sweet and distorted piano solo that is quite cool. Overall, it’s a driving and fun number.

Then it’s time for “Devil Be Gone,” as Tedeschi  casts our the devil while the guitar rings loud and clear in support of that idea. It’s a driving and vital cut with a heavy beat and the players and the singers give it their all in support. Susan and Derek take us home vocally and on guitar on this one.

“Shout Out” is a lighter track with Tedeschi shouting out to ask the person to return to her for support. It’s got a ton of feeling and the cut builds and builds in vocal and instrumental intensity to hearken the person to return.  Nicely done.

The album concludes with “Ride On,” where Tedeschi sings, ”I guess I’m just along for the ride.” The songs is a country/southern rocker that is emotive and quite slick. Slide guitar adds emotion to the sing as Trucks wails his way to the end to add to the tension and feeling.

This is another superb studio album for Tedeschi and Trucks. Every song is crafted well to allow each musician to become part of the continuum they create in every song. I truly loved this album; it is another winner for the band that will garner many an accolade for them. 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.

Amani Burnham – Roots & Wings

Blind Pig Records – 2026

www.amaniburnham.com

12 tracks

There will inevitably be Jimi Hendrix comparisons for Amani Burnham his whole career. If you’re favorably compared to one of the best ever, that’s probably a good start. Burnham was signed to Blind Pig Records one year ago. He recorded his debut album at Carriage House Studios in October and will release Roots & Wings on May 29. Four of the 12 songs are already available as singles on the streaming platforms. 11 of the 12 are originals (10 co-written with producer Jeff Schroedl). Burnham was born in Ethiopia, adopted young, and raised in Middletown, Connecticut. On the title track, he refers to his heritage and ascendance. The prodigious talent is only 20 years old. He plays a Stratocaster with his right thumb instead of a pick, which gives a little bit of a warmer feel to the solos. The timbre of his soulful vocals and incendiary guitar playing certainly echo Hendrix and he even slips a “kiss the sky” lyric into the title track with a wink. He also adopts the power trio formation with Ray Hangen on drums and Matt Raymond on bass to revisit that psychedelic era of the blues. It is a little eerie, you almost want to sing “Stone Free” or “Crosstown Traffic” to some of the tunes. But there’s no doubt Burnham can sing, play, and write and he has a bright future.

On the lead track, Burnham sets the tone with a seriously smokin’ ear-opening Stevie Ray-eque instrumental “Fastlane”. He slips seamlessly from a clean rhythm tone on the verses to dirty solos on “I Wanna Know”. In the lyrics, he’s reaching and wondering. He wants to know if he can make a difference in the world and if love is really all we need. “The Last Thing I Remember” is a slow burner in a traditional blues structure that is really just a vehicle for a few searing, in-your-face guitar solos. “Sideways Thru Time” picks up the pace a little, adds some percussion, and has echoes of the late, great Jeff Healey. The whole band really cooks on “Bluejay”. Burnham wraps the album with a 7:54 long version of the Elmore James tune “Bleeding Heart” that Hendrix also performed.

As debut albums go, this one is particularly strong and will likely be nominated for blues awards. It’s going to take a while to displace it from this reviewer’s CD carousel. You can tell Burnham is an old soul. He’s absorbed Jimi, Muddy, Cream, Beatles, the Austin scene, and other forefathers to come up with his own thing. “Blues, like nature, has to keep evolving,” Burnham said recently, “You can trace heavy metal, prog rock, grunge, everything back to it. I want to be part of that evolution.” Amani has a handful of shows booked across the U.S. this summer, including Joe’s Pub in New York on June 2. He’s bound to be a popular and exciting performer on the blues festival and club circuit. Burnham has more than 200,000 social media followers, which helps promote the music to a new generation. This is one of those “I saw him when” moments of which to take advantage.

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.

Bob Corritore and Friends – Ernestine Blues

VizzTone Label Group

www.bobcorritore.com

16 tracks

Whenever a new Bob Corritore album arrives it’s always a pleasure to get to spin what he offers up. Here we have his latest adventure into Chicago blues with an exceptional cast of musicians recorded from 2023 to 2025.

The front people for the cuts are listed in the review below. Also appearing instrumentally are a host of stars. On guitar you’ll hear Pat Harris, Johnny Rawls, Jimi Primetime Smith, Bob Margolin, Johnny Rapp, Kid Ramos, Johnny Main, Nick Moss, and Billy Flynn. On keys you’ll hear Anthony Geraci, Ben Levin, Ross Harwood, and Terry “TJ” Harris. On bass there are Bob Stroger, Yahni Riley, Mike Torturro, and Rodrigo Mantovani.  One the drums Wes Starrm Brian Fahey, and Pierce Downer are banging away. Doug James is on saxophones. Tia Carroll, Teeny Tucker, Eboni McDonald, Diamond Porter,  Yolanda Tharrington, and Clarke Rigsby handle backing vocals

“How’s You Learn To Shake It Like That” gets the ball rolling with Tony Coleman on vocals, This cut is a rollicking good time with Coleman’s baritone voice blazing, barrelhouse piano and Bob’s poignant harp. A beautiful start to another great album!  Carla Denise is featured on “Tell Me Darling” with more good time piano work and fantastic vocals. The band jumps and jives behind her and Corritore offers his always tasty harp licks to savor.

“Big Fat Mama” features Pat Thomas singing and on acoustic guitar. He sings with vibrato and passion as he switches back and forth into his head voice. He and Corritore give us down home perfection in this cool cut. Slow and greasy blues is then the order of the day as Sugaray Rayford and Corritore offer up some deeply moving stuff. Another excellent performance!

Tia Carroll then delivers “Ernestine” to us, Carroll’s big and beautiful voice grabs the listener and won’t let you go.  Slick backing vocals, sax and Bob’s harp help to make this special. Willie Bick offers up ”Trouble No More” and gives it his all. The tempo is hot and the rendition is hard driving.

Johnny Rawls then gives us his soulful take on his own song “I Love The South.” Rawls’ voice is sweeter than the sweet tea he refers to in the song. Pretty stuff and Corritore’s harp makes it even prettier. “Going Fishing” is a Jimmy Reed cut that Jimi Primetime Smith delivers the good one. His vocals and guitar are solid and soulful, as is Bob’s harmonica.

“Troubles On Your Mind” is Carla Denise again. Slow blues with just piano, some harp and her superb voice make for a meaningful and emotive listen. She returns for “Wild As You Can Be” and gives us another fine performance. This one is raucous, jump blues and it is just as the title states: wild as you can be! Corritore adds some harp and the interplay of it then sax makes it even wilder.

“Pretty Girls Everywhere” is the eternally young Bob Stroger giving us a super cut with he and Corritore bouncing, shucking and jiving. There’s some cool guitar and piano here, too. Willie Buck gets another turn and he sings “Standing On The Bank;” its some traditional blues done oh, so right. Old school blues with pretty harp– there’s nothing better.

Charles Wilson gives us “Sorry I Had To Leave You Behind.” Corritore blows to open the cut and then Wilson smoothly flows into the slick groove. It’s another pretty and cool cut with some nice, ringing guitar licks. Oscar Wilson delivers the soulful and emotional Joe Tex cut “She Might Need Me” and it’s really special and quite moving. The organ helps set the mood, Bob blows some great stuff and Oscar just lets it all hang out.

Oscar also gives us the next cut, “Down In Mississippi,” another Jimmy Reed classic.  Wilson sings with authority and makes this slow blues all his own. This track is greasy, grimy and sublimely powerful stuff. Teeny Ticker gets to close things out with “Shoes,” a topic that was first discussed by her Dad. Here we have Teeny rejoicing in the plethora of footwear that spans across here abode. Corritore offers some final pretty licks as we enjoy the finale to an exceptional set of tunes.

What is not to like here? There are sixteen superb songs by the best of the blues world. Go get this one now!

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.

Seth James – Motormouth

Qualified Records – 2026

www.sethjamesmusic.com

13 tracks; 42 minutes

Kevin McKendree’s Qualified Records is on a roll with several fine releases already on the books, now comes this fine effort from Texan Seth James. In fact, Seth has already released one previous album on Qualified, 2024’s tribute to Delbert McClinton, Lessons. Recorded at Kevin’s Rockhouse studio in Nashville, most of the tracks use Delbert’s backing band Dick 50, consisting of Kevin on keys, Rob McNelley on guitar, Steve Mackey on bass and Lynn Williams on drums, all familiar names who have played on many records. In addition a three man horn section (Jim Hoke on sax, Steve Herrmann on trumpet and John Hinchey on trombone) adds power to six tracks and backing vocalists Etta Britt, Alice Spencer and Jackie Wilson perform on eight tracks. Two tracks were recorded with The Time Jumpers; Andy Reiss on guitar, Doug Green on archtop guitar, Eddy Dunlop on steel guitar, Jeff Taylor on piano, Brad Albin on upright bass and Billy Thomas on drums, plus no fewer than three fiddle players, Larry Franklin, Kenny Sears and Joe Spivey! Writing credits include four of Seth’s songs, co-written with Kevin, Bob Britt, Gary Nicholson and Pat McLaughlin; covers include songs by Delbert McClinton, Doc Pomus, Leon Russell and Don Bryant. Seth handles all lead vocals in clear and pleasant style, as well as playing lead guitar on half the material.

Let’s start with the two songs recorded with The Time Jumpers. “I’ll Be Gone” is a song written by the late Russell Smith, lead singer of The Amazing Rhythm Aces. The bright country sounds of the fiddle and pedal steel fit the song perfectly and it’s one of those to which you find yourself tapping your toes or nodding along, very infectious! “Start A Brand New Day” is credited to C. Allen and has a very 1930’s feel to it, plenty of swing, a touch of jazz and country, the fiddles sweeping the tune along, a very pleasant end to the album.

The other tracks have that blend of music styles that we all associate with Delbert, who is clearly a massive influence on Seth as he delves into all types of Americana, some roadhouse rockers, some gentle country influences, touches of jazz and soul – it’s all here. Seth frontloads three of his own songs; believing that he is being falsely accused, he asks “Why Should I Suffer”, a loose feel with piano to the fore in the verses before B/V’s and horns beef up the chorus and Seth lays down a short, twangy guitar solo. The funky title track has more horns and B/V’s, the lyrics having an amusing touch: “Sometimes nothing is enough, sometimes a little bit’s a little too much; give me time for my mind to catch up, sometimes enough is enough”. Delbert is definitely channelled in “I’m In Trouble”, the central character admitting that “I been dodging trouble for most of my life but this kind of trouble is the kind I like”! “I Can’t Find Your Mind” completes Seth’s originals as he reflects on how his relationship has changed over time.

As Seth’s friend and mentor, the influence of Delbert is all over this album, but most clearly on two of Delbert’s own songs. “Just A Thought” is the kind of country-tinged ballad that Delbert has always sung well and Seth follows suit here while also delivering a sensitive solo; Delbert himself joins Seth on vocals on “I Can’t Wait”, the honky tonk piano and Jim Hoke’s accordion giving the song a real sing-along feel. Seth shows his soulful side with a great version of Don Bryant’s “I Got To Know”, a song that he originally wrote for The Five Royales when he was still a teenager, the Rn’B sound enhanced by the backing vocalists, one of the highlight tracks here. Doc Pomus’ “Lonely Avenue” dates from a similar period and was famously covered by Ray Charles; nobody does it like Brother Ray, so Seth sensibly adopts a funkier approach with a strong horn arrangement. Another soulful effort is Glen Clark’s “I Feel The Burden”, originally sung by Rita Coolidge. Leon Russell’s “High Horse” and a jazzy take on Colin Linden’s “It’s Later Than You Think” complete the covers.

Motormouth establishes Seth James in the Americana world, the sort of varied performer who can take the genre forward as Delbert and others of his generation begin to fade from the scene. An important, varied and thoroughly entertaining album.

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’.

Charles Tiner – Good Soul

self release

www.charlestinermusic.com

12 songs time – 60:09

Chicago singer-pianist-organist Charles Tiner’s second CD surely lives up to its’ title-Good Soul. Possessing a powerful and expressive voice and delivery, he and the musicians infuse their music with soul, gospel, preaching, blues, funk all rolled into a righteous stew. Charles’ singing grabs you and takes you on a spiritual ride. He has gathered a group of players that are sympathetic to his intent. He managed to corral a plethora of hot guitar players. He wrote all but one song.

His hearty voice is matched by his commanding organ on “Be A Man”. John Virgin rips off some nasty guitar licks here as well. He takes a cool stroll along with Theodore Fisher’s wailing sax on “Bad Woman”. He professes his need for a bad woman. Clipton Smith keeps the guitar goodness going. “Blue Moon” is a preachy soul modern classic. Charles’ stern voice intertwines with Chris Camp’s wandering harmonica on “Don’t Bau Me Nun”.

The funky soul of “Night Rider” conjures up a midnight journey through the dark and mysterious city. The vocal drips with cool. Thunderstorm sounds and Theodore “Theo” Fisher’s sax lead into the dramatic vocal and continuing sax magic on “Peace By The River”. The late Conrad Lee handles bass and guitar on “Stick Around”, a love song to the blues.

What is a soul record without a slow soul ballad? “She Made A Move On Me” fits the bill here with Ezra Casey adding his drama-filled piano goodness. “Two Wrongs Don’t Make It Right” is a slow burner that features Eddie Smith’s biting guitar, along with Charles’ smokin’ organ and piano. A gospel vibe imbues “Don’t Be A Fool Too Long”, including a spoken word sermon midway through.

The lone cover, Reverend Orvis Mays’ gospel song “Don’t Let The Devil Ride” gets revved-up via Eddie Smith’s guitar and the driving horn section. Things end on an optimistic note with “Put Your Money On Me” with just piano, upright bass and more of Chris Camp’s Charlie Musselwhite meets Toots Thielemans harmonica playing.

Charles Tiner and company keep soul music alive in a most refreshing and energetic way. The combination of emotive vocals, sincere lyrics and a sympathetic group of first call musicians make this a worthy addition to anyone’s music collection.

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

In 2017, as Brody Buster was waiting to perform at the International Blues Challenge, he was asked by an audience member if he was nervous. He laughed and stated, “not at all”.  That seemed difficult to believe at first, because what young artist wouldn’t be nervous in such a situation?  If that audience member had only known who he was, it would have been abundantly clear why Brody Buster was able to honestly say he was not at all nervous.  The reason was that, as a child, Brody had already performed on the Tonight Show with Jay Leno, and had already shared the stage with such greats as Quincy Jones, Chaka Khan and Keb Mo.  Since that extremely early career achievement, Brody made several changes in musical direction before leaving the spotlight.  He then returned as a one-man band, winning the best harmonica player in the 2017 International Blues Challenge and placing second in the overall solo/duo category.  The next year he played at the Big Blues Bender and seemed headed back to greatness.  However, he then once again dropped out of the music scene, this time due to a severe drug addiction problem, a problem which was severe enough to alienate his colleagues in the music industry.  Brody has now returned clean, sober, and sounding better than ever, and has regained the respect of those in the music industry.  Recently he was nominated for a Blues Music Award for best emerging artist with his soul-baring new album “Redemption”.  Blues Blast Magazine had the opportunity to catch up with this extraordinarily talented artist in Washington DC, where he was touring in support of Danielle Nicole.

Brody’s mother was a harmonica player as well, and performed with Kansas City Legend, Annetta “Cotton Candy” Washington, (who was a founding member of the Kansas City Blues Society).   His music was also strongly influenced by Eugene Smiley, (co-founder of the BWB Show Band, with ‘BWB’ standing for Black and White musicians playing together.) His songwriting has been influenced by Billy “Beale” Woods, and his harmonica playing was most influenced by observing Lee Oskar.

“When I was only seven years old my mom gave me a harmonica, and I watched Lee Oskar a lot when I was little.  A lot of my phrasing comes from watching Lee Oskar.  ‘Cotton Candy’ was the first person to get me on stage, at age seven, in the blues tent.  And Eugene Smiley taught me how to do pretty much everything.  I played with him in the BWB Band, and I also learned a lot about singing and writing from Billy Woods.  Then I started to play at the Grand Emporium.  I would play there every Friday from 5pm until 8 pm.  The guy who owned it started this festival and went on a cross-country trip to get bands nobody heard of to go along with the super big names.  He offered to buy me and my mom a plane ticket and gave me a backstage pass and asked if I could sit in.  The first one to let me sit in was Richie Havens.  After that everybody let me sit in.  When I was fourteen BB King said I was one of the greatest harmonica players of our time, despite my age.  I don’t know why such a blues legend would help me out like that.  He was the nicest guy in the world, and he set me up and I basically threw it away.  I’m forever thankful to him.”

At age eleven, Brody was playing on the Tonight Show with Jay Leno, and at age twelve, he joined Quincy Jones and Chaka Khan onstage at the Montrose Jazz Festival in Switzerland for a version of Celie’s Blues.  (You can see his amazing performance here: https://www.facebook.com/watch/?v=427461444671633). However, it is a sad but well- recognized fact that that the experience of child stardom can often lead to significant mental health challenges as the child transitions into adulthood, putting them at a higher-than-normal risk for depression, anxiety and substance abuse.

“It’s hard to shake off the novelty aspect of it—a cute 11-year-old playing the blues.  There is this extremely high bar that people expect you to hit. It’s almost impossible and it’s a lot of pressure.  I was burnt out on it and stopped focusing on music.  I was working in a pizza place and doing drugs.  I had started smoking weed at the age of twelve and started drinking alcohol in high school.  Around 19 or 20 I started dabbling in cocaine.  But it was at age 28, when I got into meth that things took a really bad turn. It started with COVID, which led to some depression.  I had just started my third big tour when it all shut down. Then my older brother killed himself.  He was a saxophone player—as good as I am. He got extremely good at the saxophone but then stopped.  He had tried to kill himself in the past.  I don’t know what made him finally do it, but he shot himself in a Walmart parking lot.  Then I went back to a bad relationship and things just spiraled out of control.  Eventually one day I realized I was out of options.  There was nothing left.  I did not even have a family member I could turn to.  I had to move out of Lawrence, KS to get away from everyone I knew who was using. I had to realize they weren’t really my friends. I moved to Kansas City.  I didn’t do a treatment program or go to meetings.  I just realized that I have way too much to lose at this point, so I can’t go back to using.  I’m keeping myself busy, keeping myself motivated, and trying to have something to look forward to—a record, a tour, a new pair of shoes.  I get myself a new pair of shoes every month for staying on track.”

In 2019, Brody had collaborated with blues icon, Kenny Neal, who produced Brody’s album, “Damn, I Spilled the Blues”.  That would seem like a match made in heaven, and to most fans, it sounds like a really good release.  However, it’s painful for Brody to hear it, knowing what potential could have been there if he had been in a more stable condition.

“Kenny Neal is super cool.  I spent four days at his house, and it was a great experience.  But I was on drugs the whole time.  I can hear that I was not in a good place when I made that.  I’m embarrassed about not making better use of that opportunity.”

Brody had the opportunity to play with so many wonderful musicians from such an early age, he was asked if there was anyone with whom he still hoped to play.

“I’d love to play with Eric Gales, and Kingfish—his stuff is great.  I’d also like to re-play with Charlie Musselwhite.  I met him as a little kid, but I didn’t appreciate how cool that was.  I had no idea.  It took me a little time to grow.”

Brody’s latest release, Redemption, reflects his resilience and true metamorphosis.  Seven of the nine tracks are originals that chronicle his journey, (with good friend, Danielle Nicole, providing some backing vocals).  “Born to Be Bad” doesn’t mince words in describing what his life was like.  “When you’re born to be bad, the drugs come quick and the money comes too slow…It only took me 40 years.  I finally learned how to just say no.  When things got bad, I slept with shame and my best friend was sin…things got so bad the blues wouldn’t even let me in.”  His song, “Can You Hear Me?” assures us that the change is a genuine one, while continuing the raw honesty of the lyrics:  “It’s like I woke up from a long bad dream, I burned a lot of bridges and I have to make amends…I done turned the page, I learned living life too fast will only make you grow real slow.  You’ve got to leave it all behind, you can’t live that life no more.”  There is a very intriguing and well-made video that accompanies this song, depicting Brody digging a version of himself out of a grave.

“Like a lot of my favorite songs, that song just came to me in about five minutes.  I was looking for a way to show that I was serious about what I wanted to do.  I had to rebuild my name in Kansas City.  I had even been kicked out of BB’s Lawnside BBQ.  I had to go to open mics to prove myself all over again, and some musicians had to step in and vouch for me.  Danielle is doing that for me with this tour, and she jumped on the record with me.  At one point everyone had given up on me.  This song is my way of saying, ‘hey—I f—ked up.  I’m an idiot and I’m embarrassed.  I’m sorry and I’m here to show you that I can do this.’  It’s resonated with all sorts of people.  I was invited to play at Hope House for incoming addicts, and I played at their Healing House Festival.  People who are just coming out of addiction message me and parents message me about their kids.  And that video shows that I had to bring myself back from the dead, almost.  I’m really proud of the album.  The musicians that helped me do it—they are one hundred percent behind me, and I owe them a lot of favors.  When you know you have a bunch of people behind you it feels good.  And my partner, Tania, is the best thing that ever happened to me.  I’ve known her forever—met her when I was only seventeen.  She saw me trying to get sober and she offered to help.  She’s always believed in me.”

The blues community is happy to welcome Brody back, and if you haven’t heard him recently, you haven’t heard him. Check out his wonderful new album and his live shows, and you’ll see why he is being inducted into the Kansas Music Hall of Fame and is also nominated for a Blues Music Award.  It’s no wonder that John Muller described him has having “extraordinary passion, and fiery, raw energy…but at the same time, radiating a unique charm and warmth!”

You can find out more about Brody Buster, see where he is touring and purchase his new album at https://brodybustermusic.com

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.

Eliza Neals – Thunder In The House

E-H Records

www.elizaneals.com

9 tracks/34 minutes

Neals offers up nine new tracks on this, her thirteenth studio album. Neals calls on some other Detroit area musicians to help her on this release and it’s a well done collection of cuts. Neals poses on an Acacia Street road sign which symbolizes the resilience and energy of her musical endeavors, hearkening to the acacia tree which symbolizes resilience, immortality, purity, divine wisdom, and spiritual connection.

Joining Neals are for the most part are Michael Puwal on guitars, Justin Headley and Steve Lacross on drums, and Doug Woems on bass. Mark ‘Muggie Doo’ Leach adds B3 on two tracks; Neals handles keys on one of those  and on four other cuts. Puwal switches to drums on ”One Monkey” and New England’s  Frankie Maniero is on guitar for that one. Neals fronts the band and adds her own backing vocals.

“Speedy Beady” begins things and it is a bit of take off on the classic “Little Red Rooster” featuring a throbbing beat and vibrant sound. It’s a slick cut. “Love Will” follows, featuring Neals signature vocals and some in your face guitar licks by Puwal. It’s a driving, midtempo blues rocker. Slide guitar abounds on “Blues Bombshell,” a slow blues where Neals testifies with feeling.

“All Alone” features Neals on organ and piano; it’s a somewhat ethereal cut with big rock anthem qualities. Neals sings with passion and the guitar reaches into the stratosphere. ‘Locked Up”  is a ballad with attitude. Piano adds to the overall feeling of the performance as Neals sings with deep emotion. “Wicked Heart” switches gears as Neals and company rock out. Guitar and B3 help drive this along nicely.

The guitar stings on “Unoriginal Bitch” as Neals growls out the vocals. A rocking guitar and driving beat get the listener’s  blood flowing here. Then it’s “One Monkey” with piano, B# and guitar making for a nice musical mélange. Neals sings with passion on this jumping cut. The album concludes with the title track. A slow blues with vocals that growl and grind and slide guitar that offers lamentations equal to the vocals. This is a dark and cool cut.

Neals delivers a swaggering and confident performance that her fans and blues rock lovers with find to their liking. I hear a maturity in this release that shows growth in her musicality and delivery. Thirteen is not always an unlucky number.

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.

Mike Guldin – While I Can

Blue Sky Tunes – 2026

www.mikeguldin.com

12 tracks; 43 minutes

Mike Guldin has recorded before at Kevin McKendree’s Rockhouse studio in Nashville, but on this occasion he handed the producer’s role to Kevin, who in turn brought in a band of familiar names from the Nashville scene, dubbed ‘The Hot Links’; a rhythm section of Steve Mackey on bass and Lynn Williams on drums, guitarist James Pennebaker, Kevin on keys and Mike handling guitar and vocals. On two tracks Mike’s regular band, Rollin’ And Tumblin’ replaces The Hot Links, Bill Sharrow on bass, Billy Wear on drums, Tim Hooper on keys and Craig Thatcher on guitar, aided by a horn section of Sal Lombardo Sr. and Kyle Hummel on sax, Andrew Portz on trumpet. Jackie Wilson adds vocals to four of the Hot Links tracks and The McCrary Sisters add their gospel tones to the two Rollin’ And Tumblin’ cuts. Mike wrote most of the songs here, writing mainly with Kevin and James Pennebaker, the two Rollin’ And Tumblin’ tracks co-writes with Bill Sharrow and John Cumming; just three of these songs were not written by Mike, two from Kevin McKendree’s back catalogue, one a Don Gibson cover.

The album opens with a tune first recorded by Curtis Salgado on his Clean Getaway album back in 2008. “Driving Rain” would make a good track for the drive home with its insistent rhythm over which Mike adds some guitar stabs and a solid vocal turn, the chorus aided by Jackie Wilson’s support. Jackie features more prominently on “Heartbreak In Disguise” on which she duets with Mike who is feeling wronged by accusations of infidelity: “Did I break your heart? Have I done you wrong? If so, please tell me. Let’s get our love back strong.” It seems that both parties are suspicious of each other on this soulful number! “Let It Shine” is the first of the Rollin’ And Tumblin’ tracks and it’s a highlight, horns in discreet support, James Pennebaker’s violin adding a country feel and the soaring vocals of The McCrary Sisters enhancing a moving song about a simple life with friends, making music and memories. The busy, uptempo “Always A Woman” is Kevin and Gary Nicholson’s song before Mike offers us “Luck Runs Dry”, a wry look at the ageing process, delivered in a deadpan vocal style. “The rhythm of the ocean is a soothing sound” sings Mike in the gentle “Placencia Nights”, a tribute to relaxing vacations in Belize.

The second Rollin’ And Tumblin’ track is “Goin’ Back To Memphis”, a funky blues tune with an autobiographical element as Mike recalls advice given by his late father, as well as recounting another visit to The Bluff City with his current band; the horns feature strongly on this attractive tune. An issue that will be familiar to many, “When The Bills Come Due”, is dealt with in a deep vocal from Mike over a funky backdrop while Don Gibson’s “Oh Lonesome Me” is given a great Rn’R treatment with superb piano and a classic rockabilly guitar solo. “Roll Chattahoochee Roll” pays tribute to the river in Georgia, clearly a place that Mike cherishes as “the soul of this river runs deep in my veins”, more fine piano and choral vocals. The album closes on two further originals: “Deadwood” is a tale of bad deeds and greedy people set in the Wild West and “Down The Hatch” is, not surprisingly, about drinking.

Mike Guldin describes himself as a ‘journeyman of the blues’, but that is not a negative, as he demonstrates his abilities as singer, songwriter and musician, ably supported by the other musicians on the album.

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’.

Rick Vito – Slidemaster

MoMojo Records – 2026

www.rickvito.com

12 tracks; 39 minutes

Veteran bluesman Rick Vito has released an enjoyable instrumental record showing off his prodigious slide guitar talents. The leadoff track “Vegas Jump” does just that. The guitar work hits you right in the kisser and the hand claps and drumming drive the song. It’s like going to church, but like, with whiskey. Seven of the songs are originals. There are several notable covers, including “A Change Is Gonna Come” by Sam Cooke and two from Peter Green, “Albatross” and “The Supernatural”. Vito has interpreted Green’s work extensively over his career. “Steal Away” by Jimmy Hughes is a slow shuffle where Vito lets the slide really cry. “The Danger Zone” has a film noir vibe. Who is that shadowy figure lurking behind the corner? “Red Hot Baby” would feel right at home in a Texas roadhouse. On “River of Blues”, Vito switches to the acoustic to take us to the Delta. The emotional final track “The Lord’s Prayer”, written by Albert Hay Malotte, sends us out of the pews with something to ponder.

Vito’s vintage guitar tone and overall playing are superb throughout. This is one of those records that you can listen to actively and appreciate the musicianship and nuances or, largely because there are no words, it can be played in the background to set a mood. Many of these songs are not in a hurry, more to be savored than to burn down the house. It’s a mix of new material and some of the best of previous releases. While widely hailed as one of the top slide players on the scene, Vito also plays bass, keys, and percussion on many of the tracks. Rick Reed, Lynn Williams, and Charles Johnson contribute drum work, while Charlie Harrison plays bass on four tracks, and a couple other musicians join on selected songs.

The GRAMMY Award-nominated Vito has had a long and successful career that include an iconic slide solo on Bob Seger’s “Like A Rock”, his work with Fleetwood Mac between 1987-1991, and as a long-time member of Bonnie Raitt’s band. He won the W.C. Handy Award for his song “It’s Two A.M.”, performed by Shemekia Copeland. His resume also includes studio work with John Prine, Roger McGuinn, John Mayall, Dolly Parton, Roy Orbison, Jackson Browne, Boz Scaggs, and Maria Muldaur, to name a few. He has also released 12 solo albums between 1992 and Slidemaster this April. With this record, the lion in winter has made a wonderful contribution to the blues canon.

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.

G.E. Long Band – Ain’t No Rain

40 Watt Music

www.gelongband.com

10 tracks/39 minutes

G.E. Long is founder and songwriter for the band Lone Crow Rebellion and his latest effort is this band under his own name. Born and raised in western Pennsylvania, he is a multi-instrumentalist. His background in Americana, blues and roots music and southern rock serve him well. These are all original songs that he offers up here.

He opens with the title track. Kate Miterko joins him on vocals here and on “Change.” This cut is a rocking tune with a nice groove. They sing of the plight of the downtrodden and homeless. “Who’s Eyeing Up Our Happy Home” follows; his guitar rings true and some organ accompaniment fleshes things out nicely.

“Change” is another rocking cut with a vocal duet and southern rock flair. This one is a slower tempo-ed piece that talks about changing from his small town ways. Then it’s “Drowning In Shallow Water,” another slower tempo cut  that tells of being consumed by life in today’s middle class. More guitar soling showcasing Long’s prowess on guitar is featured here.

“How Many Days” is another somber, blue collar-themed tome with cool guitar licks. Jason Sopic provides drums and bass here and later on “Baptize Me.” “1965 Lincoln Continental Blues” follows, a song about the redesigned luxury car that featured suicide doors and is a fond memory for most Boomers that Long rocks to.

“Simple Life” is up next, hearkening to just what the title says. The organ makes another appearance on this one, too, as it does on the next cut, “Working Man.” The theme of the plight of the working man and living a life without excesses are the premise throughout this work.

Then we have “Baptize Me” where Miterko returns and adds her fiddle to the cut. Her violin adds a nice down home feeling to the song as Long talks about going down to the river to be spiritually purified as he longs for a pastor’s daughter who he says doesn’t deserve him. Long concludes with “Trouble’s Knockin’” where he sings that being a bad man just comes naturally. The guitar and organ are once again prominent fixtures.

Long presents a mix of slower to mid tempo rocking cuts that feature a lot of his guitar. His picking on this set of original tunes is the highlight of the album and demonstrate his love for the six stringed instrument. There are no other credits listed than noted above, so I assume Long provides all the other instrumental support and he does a fine job with all of 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.

Beyond 1969 – Back To The Blues

Self-Release – 2025

www.tomthesuitforst.com

10 tracks; 43 minutes

Beyond 1969 is a four piece band featuring Tom ‘The Suit’ Forst on guitar and vocals, Tony Delisio on bass and vocals, Jeff Bousfield on keys and Bryan Caudle on drums. Although the band started out doing covers of ‘Hippie era’ music (“Get ready for a far out experience”), this latest album is all-original, Tom the main writer, Tony chipping in with two songs.

Tom and Tony are both credited with lead vocals, so it is not possible to say who is singing which song. Opener “I’m Never Gonna Leave You” is quite a heavy track, mainly from the core riff and plenty of hefty soloing from Tom, placing the track firmly in the Blues-Rock category; an uncredited sax player adds a solo towards the end. Issues around relationships feature heavily in the lyrics, that opener being about a controlling man, “Feels So Good To Feel So Bad” also being about relationships that are really not good but we hold on despite that. This tune is more of a rock ballad and the keys shine through, the vocalist delivers the lyrics convincingly. More problematic relationships in “Consolation Man”, the guy still ready to carry on, despite being abused by the woman, rather the reverse of many such songs, Tom’s guitar work standing out.

The title cut “Coming Back To The Blues” has a bouncy rhythm and is certainly closer to the blues than the preceding three cuts, though the guitar tricks were not to this reviewer’s taste. The stripped-back “I’m Not Over You Yet” has despairing lyrics about a failed relationship, the echoey vocals over a repeating riff an interesting contrast to most of the album’s heavier sound. “Darkest Before The Dawn” is a co-write between Tom and Tony with a stop-start rhythm. When you see the title “Goin’ Down” you inevitably think of Don Nix’s tune made famous by Freddie King, but this is Tom’s song, a semi-acoustic tune with mysterious lyrics, something of a meeting with the Devil at the crossroads moment.

The last three tracks are all full band performances. The mystery sax player is back on “If I Stay With You Tonight”, the catchy tune driven by the swirling organ and an infectious rhythm while “It’s My Own Damn Fault” finds the guy having an affair with a married woman, lyrically a little reminiscent of Robert Cray’s “Right Next Door”, a slow tune with the organ featuring strongly and Tom adding some quirky guitar. The final track was written by Tony, “When It All Falls Down” being a solid rocker with lyrics about the need to keep a balanced view of the world.

There is little or no actual traditional blues here, but if you enjoy original blues-rock there should be something of interest to you on this album.

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’.