Peter Parcek – Most of the Time

All Sound Recordings

www.peterparcekband.com

15 tracks – 78 minutes

Peter Parcek was born in Connecticut, moved to London, England in the 60’s, and now lives in Boston. While in England he saw many of the English performers including Eric Clapton, Jeff Beck, and Peter Green and many other guitarists on the scene in that era. While there, he joined a band as a vocalist and harmonica player and played many venues including the famous Marquee Club on a bill that included Pink Floyd. But he was ordered to return to the US as he did not have a work visa.

Returning to Connecticut, He studied the techniques of the American blues artists and other guitarists of the era, witnessing Skip James, Muddy Eaters, B.B. King, and Buddy Guy among others and also Jimi Hendrix in concert. When he moved to Massachusetts, he started practicing his guitar eight to ten hours a day to perfect his style, which he references as “soul guitar”, which is based in the deep emotional feelings he creates with his sound and to the roots of the blues.

In 1990 he became the guitarist for Pinetop Perkins playing on his albums and touring as his band leader.  In 2000, he released his debut album, “Evolution”. This is his fifth album release, which combines seven original songs with eight covers.

Peter sings and plays guitar on all tracks with his bandmates Tim Carman on drums and percussion, Marc Hickox on bass, and Tom West on Hammond B-3 and Fender Rhodes with numerous guest performers scattered throughout the album. Mark Earley adds horns on five tracks.

Duke Robillard joins on guitar on the opening track “Twistified” as he declares “my woman quit me, run off with a younger man. I got something to tell you, if you’ve never been told. Don’t go gray and don’t never grow old.” He then asks, “How Many Times” “you gonna treat me like you do? Took all of my money and my love too.” as he makes his guitar talk with a smooth run. The title song is a cover of a Bob Dylan song from 1989 that Peter turns into a smooth blues noting “When the road unwinds, I can handle whatever I stumble on. I don’t even notice that she’s gone – most of the time”. Kevin Barry plays lap steel and acoustic guitar with Danielle Miraglia on vocals on this and on the next song, a cover of Mose Allison’s 1962 “I Don’t Worry Bout a Thing” “cause I know everything’s gonna be alright”. Tom West keyboards lead into an excellent ripping guitar from Peter.

”Just Play Rhythm, Baby” features some jazzy B-3 from Tom West and Peter again sailing off in a terrific solo.  John Hiatt’s 2021 “Mississippi Phone Booth” tells the story of a frantic late-night call for help as he begs “Please don’t hang up on me this time”. Elmore James’ 1962 “Stranger Blues” addresses a newcomer trying to fit into a new town as he questions “Well, I wonder how come they treat a poor stranger so, and they all should remember they’ve gotta reap just what they sow.”

Duke joins Peter again on guitar with Marcos Anthero guesting on harmonica as Peter notes he is “Just a “Poor Boy” growing old…in a strange land”. ” I have a mortgage on my bike and a lien on my soul”. Luther Dickinson on guitar and Mickey Raphael on harmonica join Peter as he gives her “a picture, put it into a frame so “When I’m Dead & Gone” you can see me just the same”. Marco Giovino plays drums and percussion on the song with Dominic John Davis on acoustic and electric bass.  “Cold in Hand” is a rocking instrumental. Next, he says, “I am out of my body “Three Feet in Back of My Head”. I woke in a cold sweat. I was floating on the ceiling looking down at my bed.”

He closes the album with four more covers starting with Mississippi Fred McDowell’s “Highway 61” with Kevin Barry on lap steel.  He prays, “If you see my baby tell her she’s alright with me. Lord, if I should happen a-die ‘fore my time have come, I want you to bury my body down on Highway 61.” Bill Wither’s 1971 “Grandma’s Hands”, written as tribute to his grandmother recognizes all the people and places his grandmother’s hands touched. The final two songs are listed as bonus tracks.  Jesse Mae Hemphill’s 1987 “Lord Help the Poor and Needy” seems particularly appropriate today as many are homeless and rising prices are forcing an increasing number of people to get their food from pantry donations. Steve Scully plays drums and Daniel Kellar plays violin on the song.  Duke joins him again on Freddy King’s 1961 instrumental “Swooshy” for a rocking finish.

Peter proves himself to be a guitar master deserving recognition to be in the lists of the best currently performing guitarists. His vocals are smooth with a slight weary rasp. He delivers an excellent album that is definitely recommended.

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.

Brigitte Purdy – Mother Of The Crossroads

Dirtshack Records

www.brigittepurdy.net

9 songs time – 33:18

Los Angeles based singer-songwriter, blues DJ Brigitte Purdy on this her second release, unleashes her powerhouse of a voice to the accompaniment of a sympathetic producer and first-rate band. Her dramatic vocalizations draw the listener in. Producer and guitarist-piano player Dave Osti wrote or co-wrote all the songs with Brigitte. The music pulls from the blues, roots music, R&B and gospel music. Her voice breathes life into the lyrics.

Right from the get-go, her take charge vocals rip into “Sugar Fried Candy”. The dynamics are astounding along with a searing guitar solo from Dave Osti. A snappy drum groove powers “Blue Collar Woman”, again with more of her hearty voice. Electric piano, organ and guitar drive her forceful vocalizations. Backing vocals near song’s end. Obviously, Memphis references in “Memphis Hotline”. “Make it greasy, like my blues”. The mysterious and soulful title song “Mother Of The Crossroads” has a funky bass line. Acoustic guitar, electric guitar and electric slide guitar blend under Brigitte’s dramatic vocal in “Losin Time For Love”. “Slow down this world”.

“Make Love Higher” is an elegant and earnest ballad with majestic electric slide guitar. She commits a super sassy vocal in “Too Full Of You”, a confrontation to her lover, bolstered by forceful slide guitar. Slide guitar and Michael Fell’s harmonica lead the energetic attack of “Come To Mama”. “Rise Like The Water” concludes things on a gospel-tinged note, with textured guitar and Drake Shining’s soaring B3 organ.

A rather short CD, but once again it is about quality over quantity, and this disc overflows with quality music infused with deep feeling. Dave Osti, aside from producing, he plays most of the instruments. That is not to slight Drake Shining’s skills on B3 organ and additional keyboards. From Brigitte’s powerful and engaging vocals to the excellent musicianship and production values, she is truly The Mother of the Crossroads! Everything that comes from Brigitte’s mouth exudes authenticity!

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

The CD Woodbury Trio – Bulldog

Self Released

www.cdwoodbury.com

11 tracks/47 minutes

Seattle, Washington, is home to this guitar slinging blues and roots rocker on his third studio album. The trio are Clint CD Woodbury on guitars and vocals, Robert Baker on bass and backing vocals and Bill Ray on drums.  A few guests help out on four tracks.

“Wicked Grin” gets thing started. It’s a a dark themed cut with impassioned vocals and big guitar. Vengeance is the main point of this song, and Woodbury expresses those feeling well. “Born Under a Bad Sign” gets a rousing cover to follow the opener as he picks out some cool licks. CD turns Elvis’s hit “Little Sister” into a slick little shuffle and it works well. His guitar rings and Bill Davis adds some nice harp to the mix.

Bobby Bland’s “I Wouldn’t Treat a Dog (The Way You Treated Me)” has some well done guitar and Woodbury sings with emotion. The original “Gas Light Road” is a blues rock piece with CD noting about the deceptiveness in life. Cream’s “Politician” gets a distorted and psychedelic cover that remains a commentary on today’s politics. He gives a slow and deliberate pacing to the cut which works well.

CD goes acoustic on “Dollar Store Readers” where he laments about old age forcing the cheap devices for far sighted who regularly break  glasses; it’s a fun track. James Brown’s “I Got You (I Fell Good)” gets a jazzy bluesy cover as Woodbury thoughtful picks his way through this one. This cut features Jonathan Sayre on drums. Willie Dixon’s “Spoonful” is next with added flute by Mike Marinig. Another Cream-like rendition, the songs works with the ringing guitar and cool flute.

Joel Astley adds harp to Mark Dufrene’s “A Song In There.” The harp and guitar intertwine sweetly as this grooving cut drives along. CD concludes with his song “(Call Me The) Bulldog” with some more stinging guitar and (pun intended) biting vocals.

This Pacific Northwesterner and his trio deliver a high powered set of tunes with a few originals and a host of interesting covers. Woodbury keeps the listener hopping to his takes on familiar songs and his brand of rocking blues. The Washington Blues scene certainly has a plethora of bands that serve up high octane performances!

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.

Jay Lang – Blues Vol 2

Schauer Road Records – 2026

www.jaylangmusic.com

11 tracks; 40 minutes

Mississippi native Jay Lang wears his influences proudly on Blues Vol. 2 (2026). Drawing on lessons learned playing alongside members of the Burnside family, Lang pairs Delta blues standards with strong originals, backed by a band whose swinging piano, tasteful accordion, and nimble guitar work make for an engaging listen.

Kicking off the album, “Squeeze Your Lemon” revels in dirty innuendos, driven by a blues shuffle and a strong piano presence, from Eric Carlton. Lang’s deep, soulful voice rings out, “Please roll your lemon and squeeze it all night long,” accompanied by some mean guitar playing.

Gorgeous finger picking starts out the blues standard, “Stagolee”, featuring softer vocal intonations describing gambling gone wrong, and the fight between Stagolee and Billy de Lion. “You stole my Stetson hat, so I’m bound to take your life,” Lang croons in a smooth, masculine voice.

Perhaps the best song on the album, “Holes in My Shoes”, employs gnarly guitar licks to start, and boogie-woogie piano. It tells the story of a rag-tag man, just keeping on, and the theatrics on the piano are quite good. Lang sings about traveling the country, and how “My mind is running and it’s moving for a natural mile. I turn down the volume and enjoy the quiet for a while.”

“Movin’ On” , a good rollicking’, rocking fun track, features a rhythmic piano shuffle, while Lang sings “I crossed the hottest desert and I sailed the 7 seas, circumnavigated to Memphis, Tennessee. I’m movin’ on.” Lang’s ode to troubadours and travelers, to songsters on the road, is defined by the dizzying piano display, full of barrelhouse charm and adept playing. The Delta track has hints of New Orleans flavor.

Fickle changes of fortune are the focus of, “I Got Mine”, a song with a catchy melody, solid rhythm, and strong acoustic guitar playing. “I went down to a big craps game, that was against my will. Lost every single dime I had except a greenback dollar bill,” Lang sings. His luck changes when the police bust in, and he grabs hundreds of dollars; “I’ve got mine.” It’s a rowdy, disreputable tune, written by Frank Stokes, describing being in high society, yet on the run from the cops.

Guitar enters with trepidation – cautious and gentle – in the pain-inflicted “Last Kind Word”. Lang’s voice emerges as an injured moan, “The last kind word I heard my daddy say… If I die far off in the German war, please send my body home.” Carlton provides chilling accordion in the haunting, mournful, yet reverential track, imbued with lyrical poetry.

Undulating, swinging accordion gives a carnival-like, comical quality to the satirical song “Bourgeois Blues”. In syncopated vocal delivery, Lang sings “me and my wife we went all around town. Everywhere we went, the people turned us down, cause its a bourgeois town.” Working with Carlton’s accordion, Lang cries out, “All you working folks, listen to me, they trying to trip you up and bend your knee, in a bourgeois town.”

The sole instrumental track on the album, “Keep on Gwine”, features refreshing, funky acoustic guitar, employing the full neck of the guitar, engaging dynamic harmonica from Harold Tremblay, and complex guitar patterns. The instrumental layers produce a cheery, uplifting tone, like rolling on down the track.

“Statesboro Blues”, the Blind Willie McTell song famously covered by the Allman Brothers Band, concludes the album. Solid finger-picking intermingles with piano from Carlton, producing texture and soul. Lang’s honey-laden voice calls out “Wake up mama, turn your lamp down low. You’ve got the nerve to turn a sweet man from your door.”

With Blues Vol. 2, Lang shows a clear understanding of the tradition that shaped him. His interpretations of songs by Lead Belly, Blind Willie McTell, Frank Stokes, and others are confident without trying to reinvent the material, while Eric Carlton’s piano and accordion add depth throughout. The album’s originals—particularly “Movin’ On,” “One More Day,” and “Holes in My Shoes”—fit naturally alongside the standards, suggesting Lang is as comfortable writing within the tradition as he is interpreting it. Lang proves himself to be a skillful arranger, bandleader, vocalist, and guitarist, with a firm grasp of the Delta blues tradition.

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.

Paddy Smith – Could Have Found Grace

Self-produced digital download

Available at Amazon.com

8 songs – 30 minutes

A longtime fixture in the Irish blues scene, harmonica player/vocalist Paddy Smith packs a punch from the jump of his latest album, a gritty, in-your-face collection of tunes that deal with hardship, resilience and redemption. It’s a beat-heavy production that drives forward relentlessly, building tension with every note.

Paddy made his recording debut with Let These Blues In in 2013, and this one’s a welcome follow-up to The Devil’s Backyard, which  was released in 2023. While he may be a new name for blues lovers in the U.S. and although his music is relatively hard to find, this digital download is definitely worth your ear.

Produced by Ivan Jackman at Hellfire Studios in Dublin, Smith coordinated the project with guitarist Danny Tobin of The Business Blues Band, and Smith notes: “Over three intense days, we sat together and worked through (the songs) line-by-line, chord-by-chord. The process was completely organic…nothing forced.”

Lending a hand was an all-star roster of UK musicians. Tobin handled six-string with James Delaney (Van Morrison, Rory Gallagher) on keys, Aongus Ralston (The Waterboys) on bass and Jason Duffy (The Corrs) on drums.

“One Dollar Bill” finds Paddy at the bar at 6 a.m. with a beer in hand but downhearted and wishing for more. The lonely single that had been in his pocket was enough for the brew but he also yearned for a shot in order to feel human again. Tobin’s fretwork and the rhythm sector provide simple support until Smith launches into a plaintive mid-tune run on the reeds, demonstrating thoroughly original, but traditional technique in a world of Little Walter and Sonny Boy Williamson wannabes.

The sound brightens a little thanks to a brief intro and stylish fills from Delaney, but the mood remains the same for “Ain’t Got Nobody,” which finds Paddy sitting around, watching the time pass slow and stewing because he also has nowhere to go. His mind’s in turmoil and tears flow from his eyes. Despite the theme, it’s a catchy little number.

Delaney’s rollicking runs propel “Hard Luck Blues,” which bemoans the fact that we can’t choose our fate in life no matter what we do – and that includes Smith, who’s still dealing with everyday problems despite having witnessed “dumb men speak,” dead men walk and more. He works out his frustrations on the harp in the second half of the number.

Optimism finds its way into the lyrics with “Still Standing Tall,” which finds Paddy ignoring the all the names he’s been called and standing at the crossroads of his life while smoking a cheap cigarette. All he can do, he says, is the best that he can while living it on his own terms. The medium-paced pleaser, “You Don’t Know Me,” which states that while you might know the good and bad he’s gone through, the hurt, shame and more, there’s a whole lot more about his character hidden from the world.

Tobin gets to step out of the background and shine on the brief but beefy instrumental, “Stratoligy,” before Smith breathes new life into Elmore James’ “Shake Your Money Maker,” the only cover in the set. The album closes with the title tune, “Could Have Found Grace.” It’s a sweet, swinging number in which Paddy states that he’s traveled the world and slept serenely at night but always awakes in tears because he’s never found peace.

Paddy packed this little treat full of sorrow, but it’ll leave you with a smile. Take a chance on it. It’ll be worth your while.

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.

Keb’ Mo’ is, by any metric, one of the most successful, talented, and popular blues artists of all-time. He’s played major stages around the world, has won five Grammy Awards (15 nominations) and 14 Blues Music Awards, and sold millions of albums. He also knows you can’t take that stuff with you.

His philosophical new album The Breakdown could have been called The Phoenix because despite the trials and tribulations of open-heart surgery and a divorce, our hero has emerged hopeful, with a new lease on life. For some fans, this new record (scheduled for August 21, 2026 release) will be their favorite kind of Keb’ Mo’ album. It’s mostly just the master with an acoustic guitar, telling stories.

It’s a gorgeous record. It feels more confessional, intimate, and personal than usual. Naming the record The Breakdown covered a lot of ground.

“The breakdown of the heart, of health, of personal things, of just one instrument. A little stomp here and there, a little handclap. I wanted to get it all with one main instrument,” he said.

“Fussing and Fighting” is the first track on the new album for a reason. It seems to capture the zeitgeist of this moment for him. It’s a nostalgic, sad, thankful, fatalistic, hopeful, prideful, catchy, but mostly bittersweet look at a relationship that has probably run its course. “Stitched Up Heart” is a double entendre that brilliantly covers both recent crises at once.

“Walking on Water” is ballad that most artists could only dream to write. While “More Yesterdays” bravely confronts the 74-year-old artist’s reality and mortality:

“Every day I count my blessings, doing a little less second guessing

This life and every breath you take is borrowed

I’m takin’ myself too serious, tell myself lighten up

You have more yesterdays than tomorrows”

For Keb’ Mo’, there are a couple songs on the album that are particularly meaningful. “The ‘Stitched Up Heart’ song and ‘Every Step of the Way’ are very pivotal songs in the record. Those two for me are probably the anchor songs, the other ones are relevant, and one ‘Living in the Moment’ is almost 45 or 50 years old,” he said.

“My sister liked it. She just had heart surgery herself. She’s like my biological twin. She’s three years younger than me, but we’re basically cut from the same genetic cloth. She had a much more extensive surgery. Mine was like a three-hour thing. Hers was like eight hours. She’s recovering now.”

The Los Angeles native has indeed been writing, recording, and performing for over a half century. His first record Rainmaker under his given name Kevin Moore came out back in 1980, but it was his 1994 major label debut Keb’ Mo’ that put him on the map. It was an acoustic, Delta blues-feeling record that immediately crossed over to many audiences and featured the classic “Anybody Seen My Girl”. The Breakdown has echoes of that stripped-down album, but at the time Keb’ Mo’ didn’t want to be pigeonholed.

“After I did the first one, people started expecting me to do the same, but better hopefully, and I didn’t do more of the same on purpose. I wanted to cut that concept off at the knees and get some freedom right away.”

He’d go on to release 18 more records in a variety of blues and roots styles.

The new album sounds organic, clean, and fully formed in concept, but it didn’t come easily.

“It was a challenge to do the songs with a guitar. It took a lot longer than the first record. It’s a whole trick. I’m no Segovia. I had to figure out where the meat was on the bone. Each song was a whole journey, an average of three days a song. Just to keep going through different versions of it. Try this approach, try this guitar, try this tuning, try this position on the neck, things like that, so that it had a difference across the board. At first, I used nylon string guitar on ‘Every Step of the Way’. It was a journey. I think overall I’m happy with the way it reads and communicates, talks back to me. Maybe people can have a similar experience or one of their own, but if it talks back to me, it might talk back to somebody else,” he said.

That kind of attention to detail is consistent through his discography. He remastered the last TajMo album Room on the Porch (with Taj Majal) four times before releasing it to the world. Does he always exhibit those perfectionistic tendencies?

“Yeah (laughs). The thing is, it’ll never be perfect, but I’m going to do my best efforts. It would be one thing, if I was so talented to the degree that everything I did was spectacular, mystical, magical like (British pianist) Jacob Collier. I don’t have to worry about something being too polished, but it’s processed. I ain’t perfect,” he said humbly.

Most of the new record is Keb’ Mo’ solo, but he did use the Soweto Gospel Choir for vocals on the track “Hand It Over”.

“That was done on a whim four years ago, before my surgery. I was in South Africa. The beginning of my sufferings and my breakdown. So, they wanted to do something. I figured you guys could do something with it and put it out, but I had it sitting around and nothing had been done with it yet, so I pulled it out and I had to figure out some kind of guitar part that reflected a South African feel. Even though it wasn’t an authentic South African feel, it was my take on the rhythm and something that fits to the song. I was really happy the way that came out. The choir and the sessions were amazing. We did it at Flame Studios in Johannesburg, right near where Nelson Mandela was incarcerated. To be collaborating with the folks in the motherland was a cool deal.”

The Soweto Gospel Choir wouldn’t be the only guests invited.

“The concept of having an ensemble for a guest was good, so when I did ‘They Don’t Make ‘Em Like The Used To’ I said, ‘OK, what can we do with that? We can get a gospel group or we can call Take 6 (laughs)’. That was the most fun choice. I had been on a Chris Botti cruise with them hanging out with those guys and joking around and we could do Keb’ Mo’ and Take 6 and call it SixMo. So, I took them up on it. They were like, ‘that would be really cool’. It was great, I love those guys. They’re just so badass. Those guys are real musicians.”

So, back to that whole open heart surgery thing. I spoke to Keb’ Mo’ for an earlier interview a few weeks prior to that 2024 surgery and it turns out he had no idea at the time how sick he was.

“Oh, yeah, that thing. No, I didn’t know that was coming. I started coughing on the road. I was having trouble living and breathing. I got back home and went to the doctor and he said, ‘You need to go to the emergency room right now.’ So, I went there and they kept me and the rest is history. I’m still here, so that’s good.”

And he’s not wasting time. In addition to the new album, Keb’ Mo’ has hit the road in earnest. He just completed a successful solo swing through Europe. He has TajMo shows starting in September that will cover the western and southern United States. Then he’ll bring his own band around through the South and Midwest and several cruises in a schedule ranging from November through February.

“I hope folks enjoy the new record. We’ll do a little band tour, then I’m going to disappear. I gotta slow down. I’m just glad to be around. I thank the fans for their support.”

He specifically mentioned looking forward to the upcoming shows with one of his early heroes, Taj Majal, to support last year’s Room on the Porch record.

“I liked that album. That was like walking blind through the forest. What I learned about that record is that we can do it in our sleep. I couldn’t tell, I couldn’t read what we were getting and we were getting something. Sometimes my perfectionist head gets in the way, but it was working. When the dust cleared, I took about a two-week break and I was scared to listen to it. Oh no, finally I botched something up. I don’t want to be late and I don’t want to waste money.”

Room on the Porch ended up being a worthy successor to their first joint project, TajMo, which won the 2017 Grammy Award for Best Contemporary Blues Album and reached #1 on the Billboard blues album chart.

In Europe, the only new song that Keb’ Mo’ played on the tour was the first single, “Fussing and Fighting”, but now with some time between tours and the album about to be released, he’ll lean into the new record more this Fall.

“I’m working my way into it. I’ll have a chance to get in and suss it out. Because I obsessed over them so much, I know where the bones are buried, so I can go out and do it now.”

One noteworthy stateside appearance this year was playing the opening night of the “Music America: The Songs That Shaped Us” at Monmouth University in West Long Branch, New Jersey, which coincided with the opening of the Bruce Springsteen Center for American Music. The concert took place over two days and touched on many eras of American music, with the first day (June 4) concentrating on pre-Elvis Presley artists.

“That was cool man. We got to go out for the second line with Trombone Shorty. Whenever The Boss calls you, to be in the presence of guy with that kind of iconic energy, creativity, and character, that’s always a ‘yeah, I’m going’. He’s a great human,” he said. “I played two Robert Johnson songs. ‘Walkin’ Blues’ and ‘Kind Hearted Woman Blues’.”

Keb’ Mo’ has taken opportunities like that his entire career. He’s appeared at various benefits. He played on the Vote for Change tour in 2004, on a No Nukes project in 2007, and Playing for Change in 2015. He did a children’s album called Big Wide Grin and appeared on Sesame Street. He played at the White House multiple times for Barack Obama. He’s appeared in films, including Martin Scorsese’s The Blues, John Sayles’ Honeydripper, and the Robert Johnson documentary Can’t You Hear the Wind Howl? He’s appeared on many TV shows, including The West Wing and Touched By An Angel. He appeared on stage in the George C. Wolfe musical, Spunk. He’s played Eric Clapton’s Crossroads Guitar Festival multiple times. In 2012, he played the Hubert Sumlin all-star tribute show at the Apollo Theater in New York. He’s played the Rock ‘n Roll Hall of Fame ceremony, the Musicians Hall of Fame and Museum concert, the Glastonbury Festival, the Sundance Film Festival, and much more.

Keb’ Mo’ has been one of the main torchbearers for the blues over the last 30-plus years, so he has great perspective on the genre and its future. He’s bullish on the crop of young artists on the scene, including Harrell Davenport.

“He’s great. There’s a whole bunch of them. Harrell, Sean McDonald, Kingfish (Ingram), Jontavious Willis. I was on cruise with them. They’re friggin’ fantastic. They’re turning the younger generation on to the roots. It’s really cool to watch. They’re all great, they’re not one trick ponies, these guys can play. They’re broad-based musicians. It’s crazy. They got it. If you’re worried about the blues, you ain’t gotta worry none. I never worried about it. Don’t worry, they’re coming.”

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.

Reverend Raven & Westside Andy and the Chain Smokin’ Altar Boys – Way Back Home

Nevermore Records

https://reverendraven.com

11 tracks/49 minutes

It’s been nine years since we’ve had the privilege to hear a new Chain Smokin’ Altar Boys album. Rik Raven and Andy Linderman have been together many a year now and this is the first release that features an entire set of songs with those two on each cut.  These two original tunes and nine well-chosen covers are the amazing sound of the band that tours and plays hundreds of gigs each year. Each song captures the essence of these seasoned professional musicians.

Reverend Rik Raven sublimely handles the vocals and guitar. Westside Andy Linderman on the Mississippi saxophone is one of the best at his craft and showcases those skills on each track. Craig Panosh on drums and P.T. Peterson on bass serve as one of the most solid and in sync back-lines of any band, anywhere. These four guys are a team and their playbook is something they all know and believe in. We get to hear them deliver the goods as few bands can– these guys are amazing and have created an album that needs to be in your collection!

“Fine Woman Blues” gets the ball rolling with a tight boogie, strident guitar, solid keyboard and superb harp. Raven delivers the goods to open this album with a cut Elvis made famous. The Chain Smokin’ Altar Boys make it their own with this outstanding effort as they rock things out sweetly. “Crazy For My Baby” takes Willie Dixon’s tune and works it into a slick rendition with Andy’s harp and Dennis’ organ filling in the blanks sweetly.  Raven’s guitar is spot on and his vocals are oh-so smooth. Linderman offers up a wonderful solo to seal the deal for the listener. This is truly great stuff!

The title track follows. This is the old Jazz Crusaders cut that Westside Andy has made his own with some of the most spectacular harp work anyone has ever heard. This is five and a half minutes of harmonica bliss, one of my all time favorite instrumentals. The organ fills in sweetly to help set the tone and the guitar offers splendid punctuation to the tune, but the solid harp is what makes this special. I can listen to Westside Andy play this over and over again and never tire of it; this alone is worth the price of admission. “Black Coffee” is up next. The tune was written by Sonny Burke and the lyrics are by Paul Francis Webster. Published in 1948, Sarah Vaughan charted with this song in 1949 on Columbia Records and made it a jazz standard. Peggy Lee jumped on the tune four years later on her initial album and countless performers have taken this hit song to play and sing. Reverend Raven swings with his own take on the tune, accompanied by the CSABs. He sings with emotion as PT lays out a slick groove. The piano and organ back things up nicely and Andy offers some tasty licks on the harp. Rik concludes with a cool guitar solo before taking us home with the final chorus.

The next two cuts are Reverend Raven originals. “Jiggle My Junk” is a fun rhumba cut I’ve heard many times at the CSAB’s shows with the Rev telling us what the TSA did with his dangling stuff. Andy offers another fine and blistering solo for all to enjoy. Rik concludes the track with another great guitar solo to conclude things with a musical exclamation point. The somber “Help Me Ease the Pain” tells the story of a lost love who abandoned her man. Despite her beloved’s amorous affection, she has go to California and left him behind. Andy helps set the tone with some down and dirty harp that stings at your heart as do Rik’s vocals. The song builds to an angry conclusion with hot guitar licks and accompaniment to musically show the spurned lover’s ire.

The old Slim Harpo piece “I Need Money” jumps and swings under the Rev’s delivery. He gives it his all to get the ball rolling Westside Andy joins the fray with some delightful harp and later helps bring things to a rousing conclusion and he and Rev have a ball with this one. “Comin’ Home” is a song written as an instrumental by Ben Tucker. It was first recorded by the Dave Bailey Quintet for their 1961 album 2 Feet in the Gutter, and then was covered by Herbie Mann on his live album Herbie Mann at the Village Gate. Lyrics were later added by Bob Dorough, and Mel Torme made the lyrical version became a Top 40 hit on the Billboard Hot 100 in 1962. Here we have the instrumental version with Westside Andy giving us some impassioned harp and the Rev playing inspired guitar. This is another super cut!

The 1949 cut “Hip Shakin’ Mama” by Chubby Newsom & Her Hip Shakers is covered here in a very swinging version. Not to be confused with an Irma Thomas tune of the same name, this one is a jumping and cool song with the Rev telling us how well his woman can shake it. Andy gets to offer up some more exceptional harp licks and the Rev returns for more vocal delights before offering up a solo of his own on guitar. Craig Panosh gets time to shine on drums and he’s always a delight to hear when he is featured on the drums. “I’m Leavin’ You” is a classic Howlin’ Wolf song that the Rev takes charge of and makes his as he sings with authority. The formula of a Linderman Harp solo followed by another verse and chorus and then a fine guitar solo works well once again as the CSABs deliver another winner.

The album concludes with a track from on one my favorite artists, the inimitable Magic Slim. Raven give it his all on vocals, Andy nails his harp solo as does Rik on guitar. It’s a rollicking and rousing tune to finish off a wonderful album that the Chain Smokin’ Altar Boys feature these great songs here on the album and at the their amazing shows. There is nothing like hearing them live, but in the meantime one can enjoy their work with this fantastic new album of their songs. This is truly great stuff and you really need to have a copy to keep in your collection and play over and over again!

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.

PK Mayo – All Before Yesterday

New Folk Records

www.pkmayo.com

Disc 1: 12 tracks/50 minutes; Disc 2: 11 tracks/58 minutes

Paul Kennedy Mayasich, aka PK Mayo, has been recording under his own name and his stage name since around the turn of the century, Mayo offers up 23 tracks here that span his musical career and they offer a variety of musical styles to enjoy. A Minnesota native, Mayo has had a long and storied career playing and singing the blues. Here we have a pair of CDs and nearly two dozen songs that give us a variety of his styles and influences to listen to.

“Mercury Blues” starts of the first CD. Mayo’s resonator and gritty vocals tell the tale of his woman who was a stolen by a suitor with a Mercury that ran it up and down the road. Nice finger picking on this cut. “Tell Me” is a rousing R&B sort of cut with a funky groove, cool horns and organ and great sound. Next is “Prisoner,” a swinging track with breathy vocals, nice organ and electric guitar work and a great vibe.

Up next is “Be An Angel,” a somber piece with passionate vocals and piano that concludes with a ringing guitar solo before the outro. “Too Gone” is a nice acoustic cut with rootsy feel to it. “Jelly Smackin Mama” continues in the acoustic mode and Mayo and company lay down a good little boogie with a old time feel. Some barrel-house piano adds nicely to the mood as does the guitar solo work.

“Love For Money” switches back to the funky mode with a great groove and vibrant delivery. The bass and guitar are funked up and make for a great ride. The rocking “Texas Toast” is next and it begins with some jumping instrumental. Mayo joins in vocally and on guitar with some slick piano to savor on this swinging song. Things go a little swampy on “Somewhere In The Night” with slightly distorted guitar and added organ.

“That Man” follows with a southern blues rock thing going. Organ and guitar team up for some nice licks. “The Road Behind” stays down home and gets country-like as Mayo testifies to us and gives us some electric and slide guitar. The first CD concludes with the spiritual “Amazing Grace” with some very cool instrumental slide guitar work.

The second CD begins with more slide on “Black Coffee.” Mayo sings and plays with emotion.  “Next is “Good Man Blues,” a slow to mid tempo blues with big guitar and upright bass. Mayo is back on the resonator for “Big Fat Mama” as he goes down to the Delta and howls out the vocal lead.

“Fishin’ Fool” is next, a short and romping piece with Mayo testifying to his love for dropping a line in the water. Then we have “Vidalia, Georgia” where Mayo sings with emotion and we have acoustic and electric guitar and slide layered nicely. “Campaign Road” offers up some cool resonator in this lengthy and very well done acoustic piece.

Things lighten up with “Gimme a Break (Bartender),” a fun number with piano and horns that is just a romping good time. This one tales us down to New Orleans ad Mayo also lays out some sweet and heavy guitar licks. “Devil’s Face” follows that,  another cut with some swampy guitar and vocals; lots of dirty guitar licks to savor here.

“Watch Out Boy” is a slow and solemn cut with cool national steel guitar and touching vocals. There is more of that on “Road of Love,” as Mayo continues to sing and perform with emotion. The song builds and concludes vibrantly. The final selection is “Arms If The Blues,” a slow and somber cut with electric guitar that ring and stings at the heart as the six stringed beast grows in intensity and vibrancy as the song moves on and concludes with a quiet moment going out.

There is a lot to digest here with this retrospective of his work. He’s toured the globe and played with the likes of Johnny Lang, Tracy Nelson, David Hidalgo, Shannon Curfman, Dinah Washington,  Jack McDuff, Terry Evans, Big Walter Smith, Bernard Allison, Leland Sklar and Mark Naftalin just to name a few. Mayo embraces the blues and offers up a nice mix of his stuff in solo and small ensemble tracks to large scale orchestrated stuff. It is quite the musical journey here to listen to, so grab a seat and settle in for two hours to enjoy this double CD set!

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.

Danielle Nicole – Fireflies

Forty Below Records

www.daniellenicolemusic.com

11 tracks – 49 minutes

Danielle Nicole grew up in a family of musicians in Kansas City, Missouri. Both her mother and father played in a blues group, Little Eva and The Works. Danielle joined with her two brothers to form the group, Trampled Under Foot, which gained national and international recognition through the early 2000’s. They released seven albums and two DVD’s between 2000 and 2015. Danielle played bass and did vocals with brother Nick on guitar and vocals and Eric on drums.

In 2015, Danielle decided to go solo and released her first solo album, Wolf Den, which peaked at #2 on the Billboard Blues charts. Successive releases, Cry No More (2018), and The Love You Bleed (2024) continued her success and has brought Nicole ten Blues Music Awards both for bass playing and for her soulful vocals. She was inducted into the Kansas City Music Hall of Fame in 2017. After starting her professional music career slightly over 25 years ago, she steps back with this fourth release to examine her roots in an album that is about “the growth that occurs when reflection, resilience, and real artistry all combine”.

Danille Nicole performing vocals and playing bass is joined by Barndon Miller on guitar and vocals, Jim Pugh on keyboards, and Tony Brauanagel on drums and percussion with Tony also producing the album. Melody Perrye and Maxayne Moriguchi provide backing vocals. Nine original tracks were all written or co-written by Nicole with the addition of two covers of Bill Withers’ songs.

She exclaims on the opening track that “Radical Love” “that’s what is going to save us, radical love is the only weapon that we need…. belongs to the bravest.” “Pull together and there is no mountain we cannot move…triumph over hatred”.  North Mississippi’s Allstar’s guitarist Luther Dickinson guests on “Take Me Back”.  in a funky blues tale citing, “Cut my teeth barefoot singing by the railroad tracks in a town you wish that you could leave and not look back.  Keeping warm in the winter, burning cold from the train.” “Dreaming of the city and its bright shiny lights, try so hard to get away from this civil kind of life”. But now she asks to be taken back to those roots as Luther’s slide rips out. She slows things down as she looks inward to her “Memories” and asks “Why has love got to be such a funny thing?” “I don’t want to just be a memory…when you asked if you would wait for me while you make up your mind?”. The song would certainly invite everyone to the dance floor for a slow, romantic dance.

“Soulside” shifts back into a slightly funkier groove but maintains a slow pace as Nicole cries, “Pain has a way of making you feel out of place. No matter where you go, you’re missing something in your life.” “You got to break down the walls, find inside just what you need, it is the soul of your heart that will heal your needs.” Brandon has a fine guitar solo in this song with Jim’s organ defining the song. “Gaslight” gets things jumping again as she declares he has “Got me going round and round till I don’t know which way is up or down”. “I been thinking about what you been thinking I should be, after much reflection I think I am just going to be me”. “Piper” is a reflection of attitudes that seem to be growing in today’s public as she notes “There ain’t nothing wrong with a little bit of sin cause it’s a cutthroat game and I know you want to win.” “All you think about is getting richer”. “When the Piper comes to collect their pay, there ain’t no tears dripping down this face hiding behind that humble chin, but the Piper knows the truth behind that grin.”

“The Same Love That Made Me Laugh” is the first of the two Withers’ covers. Danielle’s bass kicks off the song. She says, “Your love is like a truth I’ve told, hard to get, hard to hold. Like a rose that’s soft to touch, love has thorns that hurt so much.” She declares him a “Chameleon” in a soft, swooning vocal. “More that you give, the more they consume, hang on your command.” “Ever looking back with a broken heart”. “You can change your pain, fool everyone”. “Tug of War” offers a good time vibe’ “So here we go again. You want me to pretend you didn’t say the words that we both know you said”. This ain’t no tug of war, ain’t going back and forth,” “I am telling you baby, I ain’t keeping the score.”

“Dreams” is the second Withers’ cover. “Think about your heroes, think about your horse coming in at the races. Sometimes a dream is a good as the real thing.”  “Trips on your fantasy don’t cost a dime”.  She closes with the title song, a moving, emotional song as she sings, “Goodbye “Fireflies”, hello sweet surrender, every melody you hold dear.” “Do you recall when you said goodbye. At first did not seem like it was so long ago, when I could close my eyes, I could see the gentle glow.” “Now you’re in someone else’s lullaby”.

The album is a warm, comfortable ride along in a soulful and emotional journey blending heartfelt lyrics and masterful musicianship featuring Nicole’s rich, expressive vocals. Fireflies is a standout addition to her solo catalog and a must-listen for fans of contemporary soul and blues which seems to be a certain nomination for next year’s Blues Music Awards.

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.

Rogue Johnsen Project – Next / The Same

Independent

www.roguejohnsenproject.com

7 tracks – 27 minutes / 10 tracks – 33 minutes

Rogue Jonsen learned to play the keyboards from Charles Brown. He toured nationally with Archie Bell and The Drells, W.C. Clark and Lavelle White, played professionally with Bo Diddley and Catfish Hunter, and recorded with Clark on his Heart of Gold album. In 2016, he released two albums that he recorded as a solo effort plus one additional album, Way Back that he recorded as the Rogue Johnsen Project. The Project released a fourth album, Home, in 2024. Now that group released an EP, Next” in February 2026 with seven songs. Rogue followed that release with a full album, The same, with ten songs six weeks later. Both are being reviewed here.

Next features Rogue Johnsen on keyboards and keyboard bass. He is accompanied by Mike Dutton on guitar and Joe Wells on drums on a solely instrumental album reminiscent of Booker T. and The MG’s. The album opens with the funky “Chicken Feet” with Mike’s guitar expanding the sound behind Rogue’s organ. “Sunday Papers” is a slow laidback cruise along a lazy day perhaps relaxing while reading the newspaper. “Baby Girl” is a feel good, smooth appreciation presumably of his daughter.

“Sour Grapes” definitely touches on Booker T. in a mid-Tempo song not too far stretched from Booker’s “Green Onion’s”. He has a quiet “Midnight Prayer” before coming back to life with a “Lo-Fi Funk”. The album closes with the jazzy “Cool Papa”.

With “The Same”, Rogue adds vocals to the mix while playing keyboards, keyboard bass, bass guitar, lap steel guitar, harmonica, drums and percussion. Mike Dutton plays guitar on the final track; Fred Gray is on drums on tracks 1,5,8 & 9 with congas on track 5; Lance Foster plays drums on track 3 and 10, and Ernestine Chambers plays the cowbell on track 5.

“The Same” title track opens the album as he tells her that he shares the same feelings as she does, noting “I never met another that affects me like you do, and if you wondered, baby, you got more to fear from you than you do from me. And I’d hoped you feel the same way too.”  The song features his piano and slide guitar. “Rathskeller” is a smoky, piano driven song as he cites “Save that wine, some other time, I’m going downstairs. Me and most folks get along, but right now I don’t care. Set me up with top shelf bourbon. Don’t ask me what I’m thinking.” On “Twilight” he states, “Sitting there thinking about my used-to- be’s, and how they all started as make-believes.” “So don’t start thinking about your might-have-beens cause that’ll make you think you just can’t win.” His piano and organ both play into the music.

He tells her “It Doesn’t Really Matter” if we disagree. It doesn’t really matter how that makes me feel. All that really matters is you’re living the good life.” On “That” a jazzy piano with congas accompanies his statement “That thing she’s got sits on my mind”. “I’ve only always dreamed you’d ever come around”. He then tells her “Every time I look at you, I understand how very near and far you are; how small I am. “They Don’t Know”, like I know”.

“Hide in The Hills” again features his organ and piano with some harmonica thrown in an instrumental only song. In a slightly raucous song featuring his slide guitar “Well, baby “With You Gone”, you’re gonna be on my mind. When you’re leaving out that door why’s it always seems so forevermore.”  On “Here in This World” he cries amidst some jazzy piano, “Baby I tried to reach you. You wouldn’t even answer my calls. That’s after you said I should get through to you even if I had to crawl”. He ends the album with “Thunder and Rain (Heartache and Pain)”.  “When you’re lost and you’re caught in the storm. “I’m right here, just find a way to my door.” “This Heartache and pain, it’s like thunder and rain. Make your way to my door and it all goes away.”

Rogue’s vocals are a unique weary growl set in a theme of lost love and hopes for a recovery. While not a direct comparison, Tom Wait’s vocals come to mind for a relevant similarity. His instrumentals are strong and he clearly shows a capability on all the instruments on the album, but his piano and organ are still at the front of his music.

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.