Yank Rachell – Tappin’ That Thing 1929-41

Jasmine Records JASMCD3307

www.jasmine-records.co.uk

26 songs – 79 minutes

Born in Brownsville, Tenn., in the early 1900s – the exact year is in dispute, Yank Rachell was an unusual figure in the world of blues. Not only did he rise to fame primarily playing the mandolin, an instrument that’s as rare as hen’s teeth in the artform, he was the last surviving member of the first generation of blues stars, still dazzling audiences with his picking prowess into the mid-’90s, shortly before his passing.

He and guitarist Sleepy John Estes were among the first artists to emerge from the cottonfields and farms of the South to bring their music into the studio. They toured together frequently for 40 years, often accompanied each other on their individual sessions. And he worked with Sonny Boy Williamson, Washboard Sam and other talents, pumping out hit after hit in the pre-War era.

The co-writer with Taj Mahal of the standard, “She Caught the Katy,” Rachell recorded for Delmark, Blue Goose and Blind Pig and could often be found in his later years at the Slippery Noodle Inn, the legendary blues club in his adopted home, Indianapolis, Ind. – his adopted home.

But this set captures Yank at his youthful best, dazzling on the strings and delivering powerful vocals. It serves as a welcome companion piece to Estes’ Working Man Blues 1929-52, which came out on Jasmine two years ago.

Superbly remastered from shellac originally released by the Victor, Banner, Vocalion and Bluebird labels, the rotating lineup includes Sleepy John on three early cuts, and the lineup shines with appearances by Sonny Boy, Washboard Sam and Dan Smith, Elijah Jones, Jab Jones, William Mitchell and Alfred Elkins, all stars in their own right during the era. Three songs believed to be accompanied by guitarist Joe Williams spice things up even more.

Disc one opens with Estes aboard for “Little Sarah, “T-Bone Steak Blues” and “Expressman Blues,” for which the pair were paid $300 each, Yank recalled. It was more money than either man had seen in their life. The stock market crashed shortly thereafter. But with their songs being played on jukeboxes across the South, the duo hit the road and cashed in.

The remainder of the first half of the set features Smith – who’s also billed as Dan Jackson – on second guitar. The duo met in Jackson, Tenn., and – according to Alfred Rhode’s extensive liner notes — a young Sonny Boy badgered him to let him join sessions, which were laid down in Aurora, Ill., in 1938. The standout tracks include “J.L. Dairy Blues,” “Rachel Blues” and “I’m Wild and Crazy as I Can Be.”

A few weeks later, Rachell and Williamson made the short trip east to Chicago, where they teamed with Big Joe (?) for three pleasers: “Texas Tommy,” “It’s All Over” and “My Mind Got Bad.” Sonny Boy is present on all of the remaining numbers, which were captured in the Windy City during two sessions in 1941. The April set included Washboard Sam and Mitchell and produced the hits “Hobo Blues,” “Seems Like a Dream,” “Worried Blues,” “Biscuit Baking Woman” and “Insurance Man Blues.”

The final five tracks were laid down in December with Sam and bassist Elkins holding down the bottom. The hits kept coming with “Tappin’ That Thing,” “She Loves Who She Pleases,” “Bye-Bye Blues,” “Loudella Blues” and “Katy Lee Blues.”

This one’s a treasure trove for lovers of first-generation blues.

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.

Grainne Duffy – What Am I Supposed To Do

Independent

www.grainneduffy.com

9 Tracks – 29 minutes

Grainne Duffy was born in Castleblayney, CO, Monagan, Ireland in a family of seven. Growing up her mother did not allow a television in their home. Instead, she did allow them to own a family record player, and each child was encouraged to get a new record for their birthday and for Christmas. Her love of music grew as she sang in the local choir and in a band with her sisters. In listening to those records, she discovered early Fleetwood Mac with Peter Green, whom she now considers a primary influence on her guitar playing. Grainne obtained a degree in music from NUO, Maynooth, Ireland.

After performing session work in several bands in Italy and France, Grainne launched her own solo career in 2007 with her debut album, Out of The Dark.  This led to her supporting groups and opening for many acts including Robben Ford, The Yardbirds, and Little Feat. Following her second release, Test of Time, in 2011, she launched her solo career into high gear with tours across many European countries. In 2014 and in 2015 following the release of her third album, Grainne Duffy Live, her recognition was expanded with a tour of Canada and later in Germany. Blues Matters Writers Poll awarded her Best Vocals in 2014 and Best Artist in 2015. 2016 found her touring Australia. In 2017, she released her fourth album, Where I Belong, and followed that with “Dirt Woman Blues” In 2023. Her success has allowed her to play shows in Chicago and New Orleans and various festivals throughout the US.

Now nine years later, she has finally released her new studio album which was recorded in Los Angeles at 64 Sound Studios with co-producers Justin Stanley and Marc Ford. Marc was also a co-producer on her 2023 album and adds some guitar on this album. Grainne performing on guitar and vocals is joined by Kenny Aronoff, who has performed with Bob Dylan, John Mellencamp, Paul McCartneyand Bruce Springsteen among others.  Jorgen Carlsson from Gov’t Mule on bass, and Peter Levin from Blind Boys of Alabama on keyboards completes her band line-up with Paul Sherry also joining on guitar on some cuts.

She leads off by exclaiming. “Early In the Morning” I am doing it for me. Baby, if you need it, I am giving it for free” and allows her to rock out on the guitar.  She asks, “What Am I Supposed to Do” as she is “Hung up on love” and asks “Am I getting through to you?” But it reaches beyond her own personal turmoil as she also identifies “The whole world is crazy, fallin’ down outside”.  She next declares “I am down on my knees begging you please.  I am out of control on “Streets of Love”.

She advises that “Time and time again try to fling me around but I get back up again”.  “Never thought it would be so hard. Tried my best to please you and now “Tearing Me Apart”. On a soulful “Tragedy” she explains ” I think I am one of the fools today, the way I made my baby cry. I can’t believe the stupid things I say.” “But if you ever take your love away from, that will be a tragedy”. She slows things down with the acoustic “Hurts Just the Same” as she moans “I cannot even want to tell you, but I just cannot lie.” When you say nothing it hurts just the same'” “I don’t want to let go, even though I do not try.”

“Time keeps slipping, slipping away.” and “Takin’ Me Heart Away”. “I am a little lost fool for you”. When we said it, I won’t do.” ” When you try to tear me down again and again” she concludes I “Got to Give It Up for You”. ” She concludes with the proclamation that I “Need Your Love So Bad”, originally recorded by Little Willie John in 1955 and again recorded by Fleetwood Mac with Peter Green in 1968.

Grainne’s vocals are strong with a slight rasp that reminds me of Bonnie Tyler. The songs on the album clearly deal predominantly with lost love with guitars swirling in her emotional appeals. The music is solid blues rock with a touch of soul.

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.

John McDonald and Mark Maxwell – Blues & Beyond

Self Released – 2026

www.johnmcdonaldbluesamericana.com

10 tracks; 47 minutes

John McDonald has had an interesting career. He played a lot of solo shows before (Boston) and during college (Bloomington), played in a band called Buddy Funk in California, before taking a day job as the Head of the Genetics Department at the University of Georgia. But when in Athens, Georgia you get sucked back into that great music culture. He started a blues band called “the unforgiven” and has also released eight records under his own name (including three with Mark Maxwell co-billed). On Blues & Beyond, Maxwell handles the tasteful electric guitar work and bass, while McDonald is on acoustic guitar on vocals throughout. The two produced the record themselves and McDonald recorded it excellently at his Athens studio.

Sarah Lawing’s vocals on the opening track “What You Gonna Do About Me” was a highlight. Pat Strawser on organ and keys was particularly enjoyable throughout. The rest of the band was solid as well: Jason Fuller on piano, Glyn Denham on harmonica, Mindy Towe on sax, and William Kissane on drums. Janis Maxwell has the backing vocals on “Drive”. Mark Maxwell lets his guitar rip on several songs, including specifically on the terrific “Best in Town”. On “All That Makes Me Happy Is The Blues”, McDonald pens a love letter to the genre and its practitioners that can pull him out of that hole when called upon. Then he turns Maxwell loose, which is always a good idea. Maxwell is a guitarist that deserves more notice.

“I Got A Spell On You” turns the Screamin’ Jay Hawkins novelty hit into more of a slow torch song with McDonald moaning. Towe’s sax solo here and Fuller’s piano were both memorable. This one merited repeated listening. “Well, I Done Got Over It” was another well-selected cover and arranged as a duet between McDonald and Lawing. Fuller also gets the spotlight for here with some tasty honky tonk piano playing. The song was originated by Guitar Slim (Eddie Jones) in 1953 and covered by Johnny Winter, Joe Bonamassa, and others. “Same Old Blues” is slow and low, with a cool riff. Tom Waits’ “Heartattack and Vine” has a raw, barroom at midnight feel and features McDonald’s growl over the many verses, some loose percussion, Maxwell’s gritty guitar, and Strawser’s organ. The record wraps-up appropriately with an acoustic Americana take on “Keep Me In Your Heart”, Warren Zevon’s gutting goodbye song from his final album The Wind. McDonald gives a bittersweet vocal performance, and Denham adds the harp accompaniment. It was a perfect capper to an enjoyable, rootsy blues journey.

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.

Billy Price – Random Madness

Get Hip Recordings

www.billyprice.com

11 Tracks – 48 minutes

Pittsburgh’s Billy Price got his start as the vocalist for Roy Buchanon and appeared on two of his albums, That’s What I’m Here For in 1974 and Live Stock in 1975.  He released his first solo album, They Found Me Guilty in 1979. This is his 22nd solo album. In 2016, Billy was an inductee into Pittsburgh’s Legends of Rock ‘n Roll Award. Also in 2016, a collaboration with Soul-singer Otis Clayon on This Time for Real won the Blues Foundation’s Blues Music Award for Best Soul Blues album. Between 2019 and 2025, he has received eleven Blues Music Award nominations, including five nominations for Best Soul Blues Male Artist, two for Best Vocalist, and nominations for Best Soul Albums for Reckoning in 2018, Dog Eats Dog in 2020, and Person of Interest. in 2025. The latter album was also a nominee for Album of the Year.

Billy cites this album as his most personal release. Tony Braunagel produced the album and plays drums on a several tracks. Billy is supported by Ian Arthurs and Steve Delach on guitar, Jim Britton on keyboards, Dave Dodd on drums, Joe Herndon and Sam Jones on trumpet, Eric Spaulding on sax, Tom Valentine on bass, Reggie Watkins on trombone, and Lenny Castro on percussion.

The album opens with a Latin-tinged rhythmic blast of soul, “I Was A Fool” because “for the things I said”. “Good intentions die at the gates of Hell. My epitaph will be – he thought he meant well.”  “Hungry Ghost” continues with a Latin rhythm as he declares “an unrequited love leaves a residue. It’s haunting you. Something’s been missing since the day you began. Tied yourself to a whipping post”.  ”I Got That Dogi n Me” opens with a funky guitar lead and advises she “should keep me on a short leash, always sniffing around…I’m looking for a poodle in every yard.” “I start to salivate, spoiling for a fight with everyone I see.”  with the horns punctuating his admission.

In a smooth soul keyboard led song he declares “I Said What I Said” “no holding back. It don’t matter to me how you react”. “it was obvious to me you were living a lie after all the hearts you’ve broken, might be your time to cry.”. The jazzy horn-driven “Curiosity” states “you put me on display and examine me, interrogate me closely, dig inside my brain”. “Appears you never tire of pulling me apart”. “To you, I am just a curiosity, an inscrutable mystery.”  “Rent Free” opens with a tinkling piano as Billy says “In the years since we parted, I never think what used to be. I have no regrets, cancelled all the debts. But your still living in my mind rent free.” Reggie Watkins’ trombone lends a New Orleans fee to the song.

The band gets things jumping as Billy declares himself a “Creature of Habit” “with a negative attitude” and warns “You won’t find people skills on my resume”. and concludes “The definition of insanity is repeating the same behavior and expecting a different result. I ain’t going to change.” The horns roar as Billy cautions you should always have an “Exit Strategy” “…on the move that’s where you want to be”. “Know what you’re gonna do, when and where you gonna do it, who you gonna do it to, and how you will get through it,” “Dirty Knee Revelation” is another slow soulful horn-led exclamation noting “I made my last move, told my last lie. Lifted my head and looked to the sky. Burned all my bridges, ran out of hope” as he begs “Please set me free”.

He asks her “Whatcha Doin’, how’s your day. If you don’t have nothing else goin’ on, come out to play unless these “Stickers on My Suitcase” scare you away.” but notes that sticker “might be my final stop”. “Random Madness” has a touch of New Orleans and an eerie touch as Billy provides a social concern “Keep your eyes on the road”. “A rock through a window, somebody with a gun, a hopeless diagnosis. Who will be the next chosen one”. “Professional enablers tell you what you want to hear”. “When the noise dies down, all that remains is random madness”. Sean Jones solo trumpet cries through the song providing a woeful tone.

Billy proves again why he has received his many nominations as one of the best soul blues singers currently performing. As can quickly be determined from some of the album titles and the cited lyrics, the album displays some sharp wit and humor among his personal anecdotes and concludes with a real-world observation of our modern society in the title cut.

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.

Fiona Boyes & The Fortune Tellers, featuring Hubert Sumlin & Chris Wilson – Live at Bluesfest 2004

Blue Empress Records

www.fionaboyes.com

10 tracks

Recently discovered, this recording from the Byron Bay Blues Festival in Australia features Boyd the year after she won the International Blues Challenge. She was working on a US tour with Bob Margolin but he was unavailable. Hubert Sumlin was suggested to be featured and the rest is history. Hubert accompanied her at this event and they frequently played together afterwards, too. The liner note on the record regale in the stories of Boyd and her being mentored by Sumlin. I shall not repeat them (buy the damned record!) but they and the music contained on the album are well worth the investment!

Appearing on the album are Fiona Boyes (guitar/vocals), Hubert Sumlin (guitar/vocals), Chris Wilson (harmonica/vocals), Dean Addison (double bass), and Mark Grunden (drums). These guys are outstanding.

“Card Sharp“ opens the album. It’s a mid-tempo frolic with great harp, guitar and Boyes singing with gusto. Then it’s “Mailbox Blues” which is another fun and swinging cut with more gritty vocals and a great groove. “Spoonful” with Chris Wilson on vocals and harp follows, and he does a standup job.  He emotes blues with every breath (both in and out). The guitar is restrained and sublime but oh-so fine.

“Sitting on Top of the World “ is  an acoustic trio and Fiona nails it. It’s a pretty song with one of the blues world’s oldest songs. Its well done. Then we get to hear “Hubert’s introduction,” spoken word with he and Fiona; their respect was mutual. They continue with “Run Here,” another acoustic trio cut. Boyes sultry vocals, the greasy harp and finessed guitar work make it memorable.

Then another classic from Magic Sam is next, “Easy Baby.” The guitar is understated yet exceptional and Boyes once again nails the vocals. This is blues done right. More cool harp punctuates the cut well. “Hubert speaks” again before “Feed Me.” This is another acoustic trio with Hubert fronting the band.  He grunts and growls, just having fun and the band appreciates him. Wilsom again does some special harp licks and the guitar work show the listener that shredding is not necessary to impress. Laid back, cool and just another winner. They conclude with Wilson leading “Who’s Been Talking” and he grease up his harp nicely for this one before giving us another deep, down and dirty blues song to savor.  They get a bit of a rhumba going and it’s really well done.

This album features blues players who deliver fine performances without overdoing it. One appreciates that music does not have to be over the top to be special. Each cut shows players who know their craft, deliver the goods, and just make for some outstanding music. The quality of the recording is good, too. The only downside is that it was lost for over two decades, but we are lucky to be able to hear it now. I highly recommend this one!

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.

Eddie Cotton, Jr. was born and raised in the heart of the blues: Mississippi. After playing music his whole young life, Cotton earned a music scholarship and was graduated from Jackson State University, where he played jazz, blues, and learned music theory. His real launching pad was not uncommon for a musician of his generation though.

“Most definitely church. It seemed like the first day of my life I was in church…the Church of God in Christ. One of the few things I remember vividly was standing in the middle of the aisle, watching musicians play. I was playing drum set for the Sunshine Band (the children’s band at Zion Chapel Church), at about three years old. I always had instruments at home. When I was five or six, I started diddly daddling around with my daddy’s guitar, then my mom bought a piano.”

Cotton’s late father, Eddie Cotton, Sr. was a Pentecostal minister who founded Christ Chapel Church of God in Christ in Clinton, Mississippi in 1978. That close proximity to vibrant, stirring music struck a chord with young Eddie.

“At that time preachers played guitars. I was always fascinated and watched them play. The COGIC Church is a very musical church, they have never been conservative when came to music and instruments. I got all my zeal from church watching guitar players. Later on, when I was a teenager, I used to hear stuff on the radio: blues, Muddy Waters, Howlin’ Wolf, Albert King, B.B. King. The connection between the two, it always sounded the same to me,” Cotton explained.

It’s that connection that defines Cotton’s music. Saturday night vs. Sunday morning. It’s a blend of gospel, soul, and blues. It feels like an authentic connection to blues history, by someone who has been there and done that. His singing is reminiscent of Rev. Al Green. His guitar playing is melodic and lyrical in a B.B. King kind of way. That’s a combination that he describes in his 2025 single “Delivered By The Blues”, giving credit for his musical exploits to his family and the church.

“My daddy was a no-nonsense person. He was dedicated to what he did. He was a hard-working man. I learned a lot from him. I use some of the business that I learned from him, because church has a business side also. My daddy taught me one thing, ‘Don’t ever wait on nobody to do nothing for you, make your own way. Let ‘em find you on the grind. In business sometimes some people wait on certain people to catch ‘em by the hand and lead ‘em’.”

With that mantra in mind, in 2015 Eddie Jr. found himself a 45-year-old bluesman with several records under his belt and great talent, but a need to increase his national recognition. So, he took the bull by the horns and entered the International Blues Challenge… and won. It would be a boost to his career. “The IBC was kind of personal for me, because at that time I was trying to take every excuse from people that was saying that they didn’t know me. It came with $200,000 worth of advertising. That business side of it, I tried it out. It did help, because if you win a title and you’re experienced, you know how to use titles.”

That platform proved useful. In addition to playing across the United States, Cotton has traveled to Canada, France, Finland, Norway, Switzerland, Germany, and other countries to spread the gospel of the blues. He has played the Chicago Blues Festival, Central Park in New York, the GRAMMY Museum in Los Angeles, the National Folk Festival, the National NAACP Convention in Las Vegas, SXSW festival in Austin, and other large stages, but these days, he has mainly been playing in the South and Mississippi specifically. He was just announced as part of the lineup for 49^th Annual Mississippi Delta Blues and Heritage Festival, one of the Delta’s most anticipated cultural events. The September event is held annually in Greenville, Mississippi and is recognized as the world’s longest continuously running blues festival. Other artists on the bill this year include Bobby Rush, Leela James, Jimmy “Duck” Holmes, Lil’ Jimmy Reed, Big A and the Allstars, Lattimore, and others.

“I still have playing opportunities, but there are certain opportunities that I want now. I’ve never wanted to just run and play three-hour sets across the country, I don’t believe you have to wear yourself out like that. I love to promote my own thing and have freedom to do what I want to do. I love festivals and casinos and stuff like that. In 2001, when they opened up the Bottleneck Blues Bar in Ameristar Casino, we had a good ten year run of casinos in Mississippi. That stopped a lot of running around, I liked the casino circuit. I’ve always picked my shots,” Cotton said. “If somebody wants me, I’ll go anywhere to play if it makes any sense. But I concentrate more on when Dave wants to come to Jackson, that Dave gets the real deal.”

Meeting legendary blues picker King Edward Antoine would be a pivotal moment for Cotton in the early days. As he told Jefferson, the magazine of the Swedish Blues Association, “I met King Edward one night and he let me sit in with him and he gave me a job the very next week at the Subway Lounge and that’s where it started from for me and that was in 1991. I played with King Edward at the Subway Lounge for about two and a half years. One thing led to another and then I got my own band and we never looked back from there, and I started my own band in 1996 and that’s when I put The Mississippi Cotton Club together.” That’s a pretty good mentor to have. Antoine is the cousin of zydeco legend Clifton Chenier. He played for many years in Chicago with Buddy Guy, Junior Wells, Magic Sam, and others, before making Mississippi his home. He is honored on three Mississippi Blues Trail markers (Cotton is so mentioned on four). Beatty St. Blues Club in Jackson just held an 89^th birthday party for King Edward.

When he hit the road, Cotton (no relation to James) learned a lot from opening for some of the biggest blues legends ever. “My career started when a lot of the old heads were going out and I was coming in. So, I got to play shows on the lineup with B.B. King, Buddy Guy, Little Milton, Ike Turner. Those moments there were very special to me. I was real young out there at the time from Mississippi and trying to play blues. But I made it to see, play on the same bills, and meet a lot of these people before they died. I enjoyed that,” Cotton remembered. Buddy Guy, of course, continues to thrive and win GRAMMYs at age 89. Cotton has also shared the stage with stars like Robert Cray, Hubert Sumlin, John Mayall, Etta James, Cassandra Wilson, Jonny Lang, Gladys Knight, Mavis Staples, Charlie Pride, and many more.

Cotton’s most recent LP is 2024’s The Mirror. It was a strong effort, given a glowing review by this magazine. He mixes up the tempos and blues styles. One of the tunes that shows off his singing range best is “Leaning Towards Leaving”.Many of the songs are about a tried-and-true blues subject matter: women, both good and bad. “I’m not thinkin’ about no religious lyrics. I’m singing from experiences and life lessons that I’m trying to teach. I’m just trying to stay true to what I know,” he said. The record also turns the trick of authentically sounding like 1970s-era blues and soul, while being comprised of newly written songs. He has also released several other albums, including One at a Time, Here I Come, and Live at the Alamo Theatre that are worth checking out. The live record is a snapshot of Cotton in 2008. The Texas-tinged soloing and confident singing on Albert King’s “Born Under a Bad Sign” is one memorable moment. He bounces effortlessly between his then-contemporary R&B material like “Why Must I Cry” and old blues numbers like Howlin’ Wolf’s “Shake For Me” and Hound Dog Taylor’s “She’s Gone”. There will be another addition to Cotton’s discography before long, his eighth album is in the can.

“I just finished a brand-new recording, I’m working with Malaco Records. It should be out sometime this year. I’m trying to do something with the blues that competes with other genres, but not changing it too much. I was able to keep that traditional feel and I believe that it will do well in the commercial market.” One of the standout tracks is called “Bubblegum Lover”. Cotton produced and wrote the 12-song record, used his regular road band, and didn’t have to go far to do it. “I could walk to Malaco. It’s very interesting to have a label of their reputation right in your own backyard in Jackson, Mississippi.”

When discussing blues cities in Mississippi, Clarksdale has the Crossroads and a thriving scene that must be mentioned. Vicksburg, Tupelo, Greenwood, Tunica, Bentonia, Robert Johnson’s hometown Hazlehurst, Howlin’ Wolf’s birthplace White Station, B.B. King’s birthplace Itta Bena, the North Mississippi Hill Country, and many small towns throughout the state have their history. Cotton acknowledged that these days Biloxi has the coast, casinos, and tourist appeal, but they’re no Jackson.

“The cream of the crop is going to always have to migrate to Jackson. Jackson is a happening place and has a very diverse music scene. Playing in Jackson is very competitive,” Cotton said. “You have some great players in Jackson. I don’t know why Jackson isn’t talked about more. If you anything in Mississippi, at some point you’re going to have to come to Jackson to prove yourself. You got to get your pressure test in Jackson (laughs).”

The Blues Blast Music Award nominee is a throwback. He does not seem to care much about social media or the trappings of modern blues rock stardom. He largely plays in the soul blues and juke joint styles that he grew up with. He speaks politely, with a strong Mississippi accent. He likes his guitar and his hometown. That made it even more meaningful when he was recognized by his home state. In 2025, Cotton received the Governor’s Arts Award from the Mississippi Arts Commission for excellence in music. Established in 1988, the annual awards recognize outstanding achievements in artistic disciplines, arts education, and cultural leadership. It is the highest honor a living artist can receive in the state.

“That was a great honor to be honored in your own state like that. I enjoyed it. My momma went with me. She was so proud. Certain things mean more to your parents than they do you, but I was happy to have that.”

Cotton has gone from young buck to a late 50s veteran of the blues. He still listens to all the young artists coming up and has some advice for them.

“Stay humble. You’re not doing anything that hasn’t been done before. Stay true. Politics is what it is, but the most important thing is keep trying to improve. You can learn from anybody. Don’t ever think that you know it all. Even if you’re in the limelight, stay humble.”

The goal for Cotton these days is pretty simple: give the people what they want, which is not coincidentally what makes him happy.

“Anytime that they see me, I’m trying to give them the best blues and music experience that I can. I really love music, other artists. I’m just blessed to be a part of the scene. I’m glad about that. I’m still trying to get better and take advantage of every business opportunity, even if I have to create it. I’m still competing.”

Visit Eddie’s website for more information and performance dates at https://eddiecotton.com/

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.

Ghalia Volt – Burn The House Down

Ruf Records

www.ghaliavolt.com

11 songs time – 37:42

Belgian singer-songwriter and guitarist Ghalia Volt (Ghalia Vauthier), although touted as an American Roots Music artist, owes more to Siouxsie Sioux of the British Alternative band Siouxsie & The Banshees, by way of her vocal inflections and energy. Ghalia’s vocalizations appear to be a bit of an affectation, but one well suited to the music. As the dueling slide guitars of her and producer JD Simo churn up the ether, there are bits of blues influence. This is a basic guitar free-for-all with just a rhythm section, no frills. Whatever you wish to call this musical tornado, it grows on you and surrounds your sensibilities before you realize what has hit you. I mean that in the best way. At times some of the lyrics are difficult to discern, but the atmosphere created by the swirling music is intoxicating. Ghalia wrote ten of the songs and co-wrote one.

Throughout the CD, the assault of the guitars on your senses is aural bliss. On “No Ice Please” and occasionally throughout the proceedings, the lyrics are almost an afterthought. The song maintains a bouncy vibe. “Don’t water it down” is repeated frequently. The blending of the tom-toms, guitars and voice bring up the Siouxsie Sioux comparison in “Mine”. The pulsating attack is infectious. “Me myself and I”. The hypnotic Siouxsie vibe continues with echoed vocals and a prominent bass riff in “Ride”. Slow slithering slide guitar underpins her vocal in “Where Do We Go”.

“Wrong Horse” slide guitar skips along, ending with brief whistling by Ghalia. A similar atmosphere is achieved on “Wreckin’ & Rollin'”. The Devil’s heavy hand is felt in “Lucifer’s Grip”. The title tune is a pleasant noise. “River Song” is slow and haunting with a you-know-who vibe. “Let Yo’ Hair Down” is mainly a hypnotic slide-fest instrumental except for chants of the title, “I love it, I love it” and others. The brief solo acoustic “Black And White” closes out the CD.

Ghalia, JD Simo and a crack rhythm section live up to the age-old motto of less is more. This small combo kicks up the dust in a delightful fashion. Label this music whatever you care to. All I know is that it is a welcome addition to my music collection.

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

John Brennan – Down Home

Guitar One Records – 2026

www.johnbrennansounds.com

10 tracks; 37 minutes

This album by John Brennan is aptly named. It has a definite “down home” feel. Some of the songs would feel good on the front porch at dusk, others like “One Way Ride Revisited”, “Last Night”, and the Sun Records classic “Mystery Train” feel like a ride on a southbound freight train. The whole record has a southern gothic and rural feeling. Brennan is from New Jersey, but Collingswood is South Jersey, which is its own thing and can certainly feel like small town U.S.A. He mentions in the liner notes that he has been traveling to Memphis and the Mississippi Delta almost yearly and the record emanates from those experiences. He feels at home in the “Home of the Blues” as the second track goes.

Half of the ten songs are originals. “Don’t You Lie to Me”, originally written and performed by Tampa Red (aka Hudson Whittaker) in 1940, fits in well and is a good showcase for Brennan’s electric guitar chops. This one also has echoes of The Little Willies/Richard Julian (high compliment) and is one of the stronger songs on the record. Brennan busts out the slide very effectively on several songs like “The Things That I Used To Do” by Guitar Slim, an old-time, traditional Delta blues. “Keep Rollin’” is an original tune with chooglin’ Texas guitar and an overall ZZ Top feel. The Muddy Waters classic “Honey Bee” wraps the record and sails along at a relaxed pace. The whole thing is a little more stripped down than his last record, 2025’s Bring It On Back To Me, which had more of an upbeat electric groove.

Robert Johnson’s “Ramblin’ On My Mind” is the one live track on the record and it might be the most countrified blues on the album with Brennan taking us into a Delta time machine with his slide. It was recorded at one his regular haunts, Jamey’s House of Music in Lansdowne, PA, an intimate listening room. The rest of the album is DIY – mixed, mastered, engineered, produced by Brennan, and he plays all the instruments. It’s refreshing that there are artists out there listening to and producing their own versions of foundational, analog blues music. You can tell that Brennan has a respect, love, and knowledge of old-time blues and he executes it superbly on Down Home.

I’m sure these songs go over well in juke joints, folk clubs, and neighborhood blues bars. Brennan has a gaggle of dates booked for the next few months in Pennsylvania and New Jersey. I may just have to take a jaunt down the New Jersey Turnpike to check it out. Mr. State Trooper, please don’t ya stop me.

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.

Greg Piccolo & Heavy Juice – Who Knows What The Future Holds

MoMojo Records – 2026

www.gregpiccolo.com

11 tracks; 44 minutes

Now 75, Greg Piccolo has had a stellar career and remains an in-demand sax player on the scene. He came to prominence with Roomful Of Blues where he spent 25 years leading the band on tenor sax and lead vocals. In 1994 he established Heavy Juice, a smaller band that would allow him to ‘do his own thing’. Greg has played with Heavy Juice ever since but has also featured on sax with the likes of Jimmie Vaughan and his Tilt-A-Whirl band. On this album Greg handles all lead vocals and tenor sax, joined in the horn section by two-thirds of The Texas Horns, Mark ‘Kaz’ Kazanoff on baritone sax and Al Gomez on trumpet. Heavy Juice is Shinichi Otsu on keys, Dean Shot guitar, Paul Tomasello bass and Bob Ruggiero drums; vocal group 14 Karat Soul feature on the title cut. All the songs here are originals written by Greg over the years but not recorded until now. This was one of the final recordings produced by Terry Manning who passed away unexpectedly just after the session.

The horns feature on nine of these tunes and, although Greg does take four tenor solos, the emphasis is more on the songs which exhibit a great mix of styles. Opener “I’ve Lost Faith” has a chugging rhythm with exciting horn blasts as Greg feels totally let down by a departed lover, whose name was, of course, Faith! Dean adds a ringing solo to give the tune a Texas feel. “Truth Is A Sly Fox” has a slinky rhythm and contains a clear warning: “when you least expect it he’ll come sneaking in your yard and if you’re lying he’ll detect it, and when he bites, he’ll bite you hard”. We then get some Ska rhythms on “People Are Hot”, Greg singing this one particularly well and taking a fine solo on the infectious tune. “Let’s Play It In The Car” is an appropriately joyous celebration of the joy of music on the move with a great horn chart and terrific drumming that drives the tune forward.

The horns sit out the heartfelt break-up ballad “She Couldn’t Stay” which features Shinichi’s piano stylings and a superb organ solo before we return to upbeat Rn’B with “Don’t Tell Me The Truth”. One of the highlights of the album is the swinging “Dream Girl” which sounds like a lost Roomful tune, twinkling piano, great horn arrangement and a booting tenor solo from Greg – a terrific tune all round! “Break In The Clouds” is a lush ballad with world-weary lyrics: “We all have our dreams, they can be a heavy load; we do our best to carry them along the path as we go, look for a place to lay them down and forget them for a while”. Greg’s moody solo fits the mood of the song perfectly, as does his expressive vocal. That leads us to “Guilty”, the second song without horns, a tune that focuses all the attention on Greg’s vocals as he is supported just by the piano: “If trusting people was a crime I’d have to plead guilty every time”. The title track changes things up again with the doo-wop style backing vocals of 14 Karat Soul a perfect fit for the leisurely island rhythms of this one, whilst lyrically Greg is looking back at his life, reflecting on how hard it is to guess to predict the future. The album concludes on an uptempo feel with “I’m Movin’ On”.

At this stage of his career it is great to find Greg coming out with an album that is all his own material and ranges across many styles. Most Blues Blast readers should find music they enjoy on this strong release.

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’.

Boogie Beasts – Don’t Be Mean – A Tribute to R.L. Burnside

Donor Productions

www.boogiebeats.com

11 Tracks – 42 minutes

Boogie Beats are a Belgian blues rock group celebrating their 15th anniversary together based on the first album release, Wild Feeling with the Beasts, in 2011. In celebrating that anniversary, they decided to also pay tribute to famed Hill Country Blues artist R.L Burnside who would be celebrating his 100th birthday in 2026 (born in Lafayette County, Mississippi on November 23, 1926, died September 1, 2005). R. L. (alternately known as Robert Lee or Ruel Lee) moved to Holly Springs, where Mississippi Fred McDowell also lived and became his mentor.

The band consists of Jan Jaspers on guitar and vocals, Patrick Louis on guitar and vocals, Fabian Bernardo on harmonica, and Gert Servaes on drums, percussion, and piano. They are joined by guests, Duwayne Burnside, R.L.’s son, on two cuts; Kenny Brown, R.L.’s. guitarist for many years, on two cuts, and Luther Dickinson, band leader for the North Mississippi Allstars and former guitarist with The Black Keys, providing a contribution to the Hill Country legacy, and Philadelphia’s G. Love providing his own unique interpretation or “special sauce” as he likes to call it to the Hill Country.

With exception of one song, all were written or co-written by R.L. Burnsides. Kenny Brown was R.L.’s co-writer on three tracks. The album leads off with “Jumper on the Line”, a song first recorded by R.L. in 1967. Duwayne Burnside provides the vocals for the track. The band keeps some of the rhythms but offers their own unique sound while Duwayne provides the definitive Hill Country vocals as he states, “This White Lightnin’ done gone to my head”. 1993’s “Goin’ Down South” is one of R.L.’s best known songs and is given a standard but very robust approach as he tells her “I’m gonna leave you baby. Don’t care where you go” after he catches her with another man.  Kenny Brown plays slide guitar on 1995’s “Skinny Woman”, as they declare “Don’t want a skinny woman, her meat don’t shake”.

Cedric Mae joins the band on guitar and backing vocals on the only non-R.L. Burnside track. “You Gotta Move” was written by Mississippi Fred McDowell and Rev. Gary Davis in 1965 and was recorded by Fred in the same year.  As Fred was R.L.’s mentor, it is a fitting addition to the album. On “Peaches” from 1965, he says “Don’t your peaches, they look mellow way up in your tree.” “Heaven know they sweet. Every time I decide to climb your tree, baby, I wonder what makes you smile.”  G. Love adds vocals, harmonica, additional lyrics, and a rap on “Shake ’em  on Down” recorded in 1993 as he tells, “Me and my baby went to get some money. Well, she got some dum dum, she shoved him down, shook him down twice.”

“Poor Black Mattie” likely was written sometime in the 60’s, is featured in a video from 1984, and appears on an album in 1990, but the lyrics are shown as copyrighted in 1995. Go figure! He sings “Poor Black Mattie ain’t got a change of clothes. Girl got drunk, throwed her clothes outdoors”.  Luther Dickinson plays slide guitar on 1997’s “Over the Hill” with dark lyrics citing, “There is nowhere to run when the reaper comes.” “What’s over there that I can’t see. Swear this world is a disease. All this pain but what does it mean. Tryna maintain till God sets me free.” Duwayne Burnside takes the vocal lead again on “Fireman Ring the Bell” from 1994 as it is noted that he “Spent 90 days in jail, man., my face turned to the wall. All I could hear is my baby call.”

Kenny Brown returns on slide guitar for “Snake Drive” from 1996 as they sing “Love in the devil but he won’t get me”. The album concludes with 1997’s “Alice Mae”, a final break-up song citing “Verbally, we’d agreed it was over. And we were through. I’m trying to compose myself, but I just can’t get over you girl.”

When R.L. Burnside recorded many of these songs, his instrumentation was frequently limited – many times just the man with his acoustic guitar. The Boogie Beats leave no doubt in the integrity of the of the Hillside sound, but delivers an expanded full band that only adds depth to the songs but never takes away its raw style. The result is a viable cross section of both the anniversary of the Boogie Beats and a solid homage to the legacy of R.L. Burnside. Fans of the Hill Country sound will not be disappointed with this release.

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.