Delta By The Beach – Cold Night Rainy Day

C Street Records

www.DeltaByTheBeach.com

12 songs time – 43:02

This is the sophomore release by Delta By The Beach, a blues trio from Ventura, California. Doc Ventura handles vocals, guitar and bass, Otis Bradley on harmonica and Eddie Layman on drums. There are various guest artists. Their music is a musical stew of blues, blues-rock and rock with a modern bent. Doc Ventura wrote eight of the songs and co-wrote four with TONE Scott. Tone also produced the recording along with Doc as the executive producer. The musicianship is solid throughout.

The title track “Cold Night Rainy Day” is a slow, moody and atmospheric saga about trying to find salvation. Otis’s harmonica weaves in and out, adding drama. Doc lets loose with a nifty guitar solo. Sort of a Jr. Wells jumpy and rhythmic groove and a strong bass line by Doc propels “Get Your Wish”. Financial woes are the subject of “Don’t Ride On My Money”. Doc uses a throwback psychedelic guitar tone here. Doc recorded rhythm and lead guitar parts for “Lonely As Two”. Fine guitar playing here as usual. Guest Jimmy Vivino from Canned Heat provides the lead guitar on the heavy blues-rock of “Little Rock Arkansas”. It concludes with a fragment of Steppenwolf’s “Born To Be Wild” riff.

Longtime Canned Heat drummer Fito De La Parra is featured on “Hit The Bricks”, a brief blues-rocker. Piano ace Carl Sonny Leyland struts his boogie-woogie goodness on the jump blues of “Thanks For Nothing”. Jimmy Calire adds his considerable organ skills to “Bad Dream Coming True”. “Fever” is another heavy rocker. Harp man R.J. Mischo and guitarist Frack Goldwasser (aka Paris Slim) liven up the blues of “Is That You Baby”. Robert Kimbrough sr., the son of the legendary bluesman Junior Kimbrough delivers his ‘Cotton Patch Soul Blues’ guitar to the pounding “Like Nobody Else”. The brief “I Made It Over” closes out the show with a vocal accompanied by only acoustic guitar accented by chiming electric guitar.

Three California blues guys and various friends have delivered a satisfying, blues-based record tempered by blues-rock, rock, Americana Music along with their own modern twist. Good stuff!

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

Mark Easton – Dark Horse

Self-Release – 2026

www.markeaston.net

13 tracks; 54 minutes

This is not your average blues record. It is, as the kids say, a vibe. The album is aptly named and has a dark cover design to match. If you know Tom Waits’ and Bob Dylan’s spooky, midnight blues periods, you can start to get the idea. Add in violins, harmonica, jaw harp, zhongruan (Chinese plucked instrument kind of like a banjo), didgeridoo (ancient Aboriginal wind instrument, yes I had to look it up), and khoomei (an ancient style of throat singing), and you’ll get a better idea. Better yet, just listen to it.

Things get started with a very different cover of Led Zeppelin’s “Gallows Pole”. Easton’s vocals sound like the grim reaper and he adds propulsive snare work on the drums and harp solos that drive the freight train to purgatory at best and maybe further south. The whole album has a definite “world music” feel. Easton is Australian and he incorporates a lot of diverse elements which sound cool and different to American ears. One publicity blurb calls it “a hard driving blues rock record crossed with Central Asian folk music.” A song that personifies that is the quirky “Chinatown” which feels like Joe Walsh in a runaway rickshaw. A number of the selections, including “Playing With The Big Boys” and “Goyo” feature echoey background vocals, almost chants, that lend a religious or at least spectral aftertaste. Easton recorded and mixed the record himself, in addition to singing and playing many of the instruments, which must have been a monumental task. A lot of thought and layering went into this one.

Dylan’s “Serve Somebody” has crunchy rhythm guitar, a pyrotechnic guitar solo, growly vocals, and is generally one of the highlights here. There are a handful of covers on the record and none of them are straight re-creations of the original, including The Doors’ “Roadhouse Blues”, which kind of sounds like ZZ Top in a gypsy caravan. Speaking of the bearded wonders, there’s a guitar-driven cover of “Black Betty” included as the penultimate number before things veer off into an acoustic vein for a live version of “The Drinking Song”, which wraps things up with a stein-raising reverie.

The album was well-received by Easton’s homeboys upon its release this Spring, jumping to the #1 spot on the Australian Blues and Roots Airplay Charts. Now the rest of the world needs to get hip to it. It’s available on the major streaming services and at the artist’s website.

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.

Handsome Jack – Barnburners

Alive Natural Sound Records

www.handsomejackmusic.com

10 songs – 34 minutes

A percussive roots-rock trio based out of Lockport, N.Y., Handsome Jack explodes out of the gate from the first note of this 10-tune pleaser. They mix blues, old-school boogie, R&B and rock to create a raw, swamp-infused sound that’s both familiar and suited for any of the backwoods juke joints that used to populate the Mississippi Delta.

Led by guitarist/vocalist Jamison Passuite with Joe Verdonselli on bass and harp and Bennie Hayes on drums – both of whom sing, too, Handsome Jack have been keeping crowds in Western New York entertained and on the dance floor since the 2010s. They’ve also built a following that includes Chris Robinson of the Black Crowes, Zachary Gabbard of the Black Keys and Ben McLeod of All Them Witches.

The eighth disc in their catalog, Handsome Jack casts a trance like spell throughout most of this set with brief interruptions to deliver a taste of traditional blues rock. A driving guitar beat accompanied by rapid-fire, syncopated percussion kicks off the opener, “Barnburner,” which announces: “We’re really gonna pitch a party. The old man bought the farm…and we’re gonna burn the barn down.” And, with five gallons of moonshine on hand, they’re definitely not kidding.

The rhythm evolves into a boogie beat for “Tonight We Ride,” which invites friends to join in as they head west and “chase down the dotted line” as “the sun is on the run.” Their plan is to ramble over mountains and across rivers all night long. A slowed-down shuffle beat drives “It’s Only Business,” an apology to a lady while letting her go. Jamison still wants to love her, but inflation has forced him to cut his budget because she costs too much.

The only cover in the set, Tony Joe White’s familiar “Polka Salad Annie” is up next. While the delivery is straightforward, it’s still as funky as funky gets. The financial woes that existed in “It’s Only Business” carry forward with the languorous rocker, “Blue Falls Motel.” It’s delivered from the standpoint of being cheated out of the closing costs after the purchase of a new home fails.

But the pace quickens and theme brightens with the first notes of the medium-fast shuffle “Do It! To It!,” which states that it doesn’t matter who you are or how you look. If you treat the singer right, he’ll treat you right, too. Next up, the loping “I’m Hooked” finds Jamison head-over-heels for a lady, and it doesn’t matter how she treats him because he’ll never let her go.

The band lays down a slow, true-blue Chicago shuffle for a description of “Polly Molly” next. She’s a lady who also goes by the name Marie, and she’s unfaithful as a gal can get. Not only does she have a man downtown, but when the singer gets up from her side another man quickly assumes his spot on the chair. The album ends with the rapid-fire rocker “Let’s Go Downtown,” which urges a lady to have a ball, and the deep blue “Ghost Woman,” which describes another woman who comes calling like a specter in the middle of the night and then disappears as rapidly, too, leaving no trace of her whereabouts.

Handsome Jack might fly under the radar in the blues world, but they’re definitely worth a listen. There are no loose ends in this set. Highly recommended.

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.

Mary Flower & Leon Cotter – Chants of Rain

LIttle Village Records

www.maryflower.com

11 Tracks – 41 minutes

Mary Flower and Leon Cotter bring a unique instrumental duo configuration to the world of blues and jazz. Mary is a seasoned fingerpicking and lap-slide guitarist with thirteen solo recordings and is a teacher of blues guitar for twelve years with her “Blues in the Gorge” intensive school.  She helped found Denver’s Swallow Hill Music school.  Jeff is an internationally touring reed player who plays clarinet and saxophone with the California Honeydrops. For this duo, he is playing clarinet.

Mary is a master of the Piedmont style of acoustic guitar. She was born in Indiana but relocated to Denver, and in 2004 she relocated again to Portland Oregon. Mary’s roots extend to Mississippi blues, swing, ragtime, jazz, and folk while writing much of her own music. She became the only woman finalist, Top 3, at the National Fingerpicking Guitar Championship in 2000 and 2002. She was nominated for the Blues Foundation’s Blues Music Awards in 2008, 2012, and 2016 and is a multiple winner of the Cascade Blues Association’s Muddy Award. All of the odd numbered songs on this album were written or co-written by Mary.

In addition to playing with The California Honeydrops, Leon is active in the Portland, Oregon music scene performing regularly at jazz clubs and swing dance parties with Reb & The Good News world/ music & jazz band, drummer Alan Jones, and with his own band playing original songs inspired by African and New Orleans roots. He is currently working on his own solo release. All even numbered songs on this album were written by Leon.

Mary and Leon first met on an airplane several years ago. He recognized her and initiated a conversation about music. In 2025, they met again at a jazz festival and later at a backyard fundraiser. Leon suggested they play something together. Three months later the duo played for the first time together at a small local venue arranged by Mary.

The album kicks things off with a taste of New Orleans on “Mary’s Rag” with Leon’s clarinet blending with her guitar and quickly demonstrating the duo’s original and diverse style.  The jazzy “Dauphine” features Leon’s clarinet on the lead with Mary supplying a steady rhythm. “Trip Around the Sun” is a smooth journey with Mary showing her guitar prowess. Leon slides in mid-song punctuating her playing. “Half Moon” is a jaunty stroll that will get your feet tapping along.

“Chants of Rain” starts quietly and slowly builds in intensity. “Chain” is another easy going and flowing tune that just makes you relax and enjoy. “Farewell Waltz” feels moody and perhaps reflective of some loss. “Eagle Creek Bounce” gets things jumping again.

“Eve of The Eve” moves back into a jazz feel with Leon’s clarinet taking the lead.  “Strawberry Lane” is another quietly paced song. The album closes with “Wisecrack”, a fun tune with Mary’s guitar featured.

Both musicians establish themselves as masters of their instruments and a creative force of an unexpected diverse style of music providing a very pleasant listening experience.

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.

Harrell Davenport – Young Rell

Little Village Foundation

www.youngrell.com

12 Tracks 47 minutes

In the 12 years since he started playing music, Harrell Davenport has managed not only to develop an almost masterful grasp of the blues music idiom but has also spread the word about himself with the savvy use of social media platforms. For the last four years he has been making appearances across the country and internationally, steadily growing a wider audience. He was nominated for Blues Blast Magazine’s Sean Costello Rising Star Award the last two years With the release of his first album, courtesy of Jim Pugh’s esteemed Little Village Foundation label, the full scope of Young Rell’s artistry on guitar and harmonica, as a vocalist, and as a songwriter shines at every turn, a truly amazing debut recording.

Things get started with “Tomorrow,” a steady-rolling shuffle with Davenport relating a tale about a older woman looking to make his acquaintance. When he’s not blowing some hearty harmonica licks, he politely promises to look her up at some point in the future, but his voice betrays a bit of immediate longing. His original, “Fatherless Child,” is a stark lamentation on being alone, conveyed with stunning maturity. The mood shifts on “Spinning, “ a soulful romp that Davenport wrote, his joyful vocal punctuated by Aaron Lington on saxophone and Niel Levonius on trumpet. It is the type of song that has been a staple for Johnny Rawls for years.

If you are wondering about Davenport’s instrumental abilities, just give a listen to “Richland Swing” and “Nite Creepin’”. The former is a blazing guitar workout with Davenport conjuring up the likes of Clarence “Gatemouth” Brown or Little Charlie Baty as he fires off one fiery, swinging passage after another. The later track is a rousing harmonica workout, Davenport’s full tone and clever improvisations are a marvel, at times channeling harp master James Cotton. But in the end, it is Davenport who makes a lasting impression.

Other highlights include “Giving Me The Blues,” with the singer promising to speak his mind as he struggles to deal with others intruding on his peace of mind, tightly drawn guitar licks echoing his pain and frustration. Davenport blows some mournful harp tones on “Hurt People, Hurt People” while offering his own illuminating assessment on dealing with life’s trail and tribulations. “I Be Tryin’” has plenty of the grit and grease you might find in Chicago’s West side clubs. The track gets a boost from Jim Pugh’s stellar organ accompaniment, just one of his many noteworthy contributions.

Along with his ten originals, Davenport weighs in with two bold covers. His version of Fenton Robinson’s “I Hear Some Blues Downstairs” is a joyful rendering with a sparkling vocal turn set off by beautifully crafted guitar passages. Even better is his timely cover of Bob Dylan’s classic, “Masters Of War,” turned into a full-blown shuffle that is far removed from Dylan’s solo acoustic version. Davenport sings with more than hint of anger in a strident performance that encapsulates the feelings of a new generation that faces the possibility of fighting yet another war. He drives the message home with a level maturity and vulnerability rare for his age.

The project was recorded at the famous Greaseland Studios, with head honcho Kid Andersen co-producing and engineering, plus adding guitar on six cuts. June Core is behind the drum kit while Endre Tarczy and DaQuantae “Q” Johnson fill in on bass. Larry Batiste adds backing vocals on one track in addition to writing the horn arrangements. With the horns and Pugh’s always memorable keyboard elements, it is a veteran group that brings plenty of life to Davenport’s efforts. The project was produced by another Chicago harp player, Matthew Skoller, who has been Davenport’s manager. The glowing liner notes were composed by Blues Hall of Fame member Billy Branch, another mentor and harmonica legend.

In the end, Harrell Davenport leaves little doubt that he has what it takes to build a memorable career. One can only wonder what the future will hold. The important thing is to enjoy all that this one has to offer. He may be “Young Rell”, but his blues are timeless!

Blues Blast Magazine Senior writer Mark Thompson lives in Florida, where he is enjoying the sun and retirement. He is the past President of the Board of Directors for the Suncoast Blues Society and a former member of the Board of Directors for the Blues Foundation. Music has been a huge part of his life for the past fifty years – just ask his wife!

Many blues fans are disappointed and angered lately about the seemingly unavoidable wave of AI-generated music tracks.  In addition to the concerns about copyright infringement and loss of revenue for musicians, it has been noted that the tracks themselves are too perfect or “soulless,” and are contributing to the erosion of authentic artistry.  What’s a good antidote for that?  Attending an Eric Gales performance!  This highly gifted guitarist displays passion and authenticity with every note he plays.  And the fact that he is an excellent songwriter with a great voice is an extra bonus.  Blues Blast Magazine had the opportunity to catch up with Eric prior to his set at the Heritage Blues Festival in Wheeling, West Virginia.

Eric came from a very musical family, with older brothers who played guitar.  Modeling after them, he picked up the guitar at age four and, like them, he turned the guitar upside down and played it left-handed.  While he focused first on drums, and then bass guitar, it was soon clear that he had a special gift on the guitar, and everybody was starting to notice.  Perhaps his most significant supporter at that time was Carlos Santana who, during an interview on the Arsenio Hall show, mentioned Eric when asked whether any new talent had caught his attention.  By the age of sixteen, Eric had his first record deal, and at the age of twenty, he was asked to share the stage with Carlos Santana at the Woodstock’94 festival.  He released two albums relatively quickly.  However, he then slipped into the haze of a 27 year-long drug addiction, sabotaging his skyrocketing career and even doing some prison time in 2009.  But, with the help of an excellent drug treatment program, the unwavering support of his talented and beautiful wife, LaDonna (who is also a bandmate), and a tremendous amount of hard work, Eric got clean and sober and regained the admiration and respect of his fellow musicians by demonstrating that his undeniable talent was back, better than ever, and here to stay.

One supporter who was very happy to welcome him back to the music world was Joe Bonamassa.  Joe featured Eric on several of his Keeping the Blues Alive at Sea cruises.  He also produced (along with Josh Smith) Eric’s 2022 release, Crown, which went on to place Number One on the Billboard Blues Album Chart and was also nominated for a Grammy for Best Contemporary Blues Album.  One of the most popular songs on that album is a track featuring Joe Bonamassa.  In “I Want My Crown”, Eric playfully pretends to be envious of his good friend, with lyrics like:

“tired of bein’ in the backseat–I want my crown!

Tired of hearing ’bout Joe B. and how he tweaks that sound.

 Now it’s my turn, my time to eat.

I want my crown!”

In the video they step into a boxing ring together, trading licks in a guitar battle.  The video ends with a crown on Eric’s head.

“That song came about from us doing a jam together on the boat.  We just kind of made it into a song and it turned into this big thing.  We thought the world might have a strong reaction to it and that’s exactly what happened—they did.  We’re actually very supportive of each other.  It was never about a competition.  It was never about who was better than who.  We just did that for the audience and we really enjoyed it.  We were like two kids in a sandbox.  We could do that all day long!”

Eric was asked if he was aware that many other musicians seem motivated to find reasons to criticize his good friend and might question Eric’s collaborations with him.

“They do, and I don’t know why.  Maybe they just think of Joe as a privileged white kid, but he’s paid his dues.  I’ve seen him pay his dues.  We started at the same age.  We came out around the same time.  His career went one way and mine went another, but he did it the right way.  And if you want to be mad at somebody for doing it the right way, then go ahead, but if I was him, I would just laugh all the way to the bank.  There are a lot of things that Joe does that go unmentioned too.  He supports a lot of people.  In COVID he provided a lot of stipends for bands when it was time to get back on the road, and he paid some artists’ rents.  Then there is what he is doing to try to keep the music in the schools.  There are other things that I know about personally, being a friend of his, that he has done.  He just chooses for the world not to know about them, but he has done a lot for many people.”

Eric was asked how he manages to achieve such a beautiful pure tone and articulation of notes, but in a smooth, connected way that seems so rare.  Additionally, he seems to consistently throw himself physically into every performance in such a way that it can’t be anything but a very emotional experience for those in the audience.

“I guess everything I do just comes from in here (pointing to his heart).  It just translates through the pedal or whatever I am using.  I just know the authenticity of where it is coming from is so unmatched and so powerful that I think it comes through to the listener in one way or another.  And I don’t know any other way to do it.  It’s pretty powerful.  I’ve tried to explain it before but found it difficult.  I try to do my best to stay up with the Source that is providing it to me.  I get so overwhelmed sometimes that I feel like I’m going to bust open.  It’s such a powerful thing.  I’m just trying to relay that to the audience and hopefully they will receive what I am giving.”

One of Eric’s guitar-playing older brothers was Emmanuel Gales, known to fans as “Little Jimmy King” (a name he chose to honor Jimi Hendrix and Albert King).  Emmanuel died in 2002, and in 2025 Eric put out the album “A Tribute to LJK”.  He was asked if it got the response that he hoped it would receive.

“Yes, but I was just happy the moment I finished the record.  That was response enough for me, as far as my own personal acceptance of paying homage to my brother after so many years.  I just wanted to let the world know that this guy was a bad, bad man and he was my brother.  But people are taking well to the record.”

In 2025, Eric’s music was featured on the soundtrack of the movie “Sinners”.  Set in 1932 Mississippi, this movie portrays blues musicians opening a juke joint but encountering vampires.  It has an exceptional soundtrack, featuring music from many artists including Christone “Kingfish” Ingram and Bobby Rush.  Buddy Guy is also featured at the end of the film.  The film earned 16 nominations for Oscars, including one for best original score, and broke the industry’s records for the most nominations for a single movie.  Eric was asked how it came about that he was involved in the soundtrack for the movie.

“We just got a phone call to be involved in this movie.  I was actually supposed to have a role in it, but I was obligated with a tour with Joe (Bonamassa) over in Brazil.  I would have loved to have been in it.  But they still wanted me to be a part of it, so luckily Ludwig (Goransson) looked me up through Raphael Saadiq.  He said, ‘I have some scenes that I want you to play on’.  So, I flew out there and some scenes were put up on the screen, and I was told to ‘just play what you feel’—and the rest is history”

One of the most memorable moments at the Oscars ceremony was the live performance of the song “I Lied to You”, from the Sinners soundtrack.  With the stage set up as a juke joint, and a wide variety of dancers symbolizing different areas of Black cultural expression throughout the generations, viewers were treated to numerous blues legends sharing the spotlight, including Eric Gales, Buddy Guy, Christone “Kingfish” Ingram and Bobby Rush. As the song ends, there is a dance sequence by Misty Copeland, the first African American female principal dancer with the American Ballet Theater, who came out of retirement after undergoing hip surgery for this performance.  The audience jumped to their feet for a standing ovation, and many believed that this was one of the most unforgettable performances in the history of the award ceremony.

“It was incredible to be a part of something like that.  I’ve never done something like that before.  To be part of such an enormous platform, being witnessed all around the world.  It was huge!  The Grammys, the Oscars, the BT Awards—it was amazing to be a part of all of them.”

Most recently, Eric was somewhat surprisingly featured on an album put out by the Ohio-based Red Hands Band, who are sometimes categorized as “Christian Soul Music”.

“Yes—we got together and did this mashup which turned into something incredible.  Nothing was rehearsed.  I walked in and played and what you guys hear is what happened.  We did it in one take.  It was an amazing outpouring of emotion and music coming together.  We called the album “Kinfolk” because come to find out the guitar player in that group and I are cousins.  A couple of worlds came together and created a perfect storm.  We landed number one not only on the gospel charts but also on the blues charts.  That was really mind blowing!  I don’t think that has ever happened in history, so it gives me foresight about the history of labels.  With labels, I think that they will be all out the window soon, and we’ll go with whatever feels good—whatever comes out.  I have lived by that for quite some time now. Even though I have been labeled before, I’m much more than a blues rocker.  I play what I feel—whatever comes out.  I can’t help it.”

Coming up later this year, fans can look forward to seeing Eric play at Buddy Guy’s 90^th birthday celebration at Radio Music Hall in New York, and at Eric Clapton’s Crossroads Guitar Festival, a benefit for the drug treatment center founded by Clapton.

“I’m so excited to be at Buddy Guy’s Birthday celebration.  Buddy is a legend, man.  One of the last living ones.  Luckily our schedule was open, so of course I accepted.  I want to be part of such a legendary guy who paved the way for a lot of artists.  He was very influential on the style of a lot of guitarists.  Inspirational and influential, whether they choose to admit it or mention it or not.  He’s still alive and kicking, doing a bunch of dates each year.  I was just with Robert Cray the other day too.  Him, and Bobby Rush and Buddy and Taj Mahal—they are some of the legends that are still around.  And yes, I’m doing Crossroads again.  I’m going to be guesting with Robert Randolph.  We’ve played together before, so it should be a whole lot of fun.  I am really looking forward to that.  It was exhilarating to have the conversation with Clapton—yet another legend, and to be a part of this.  It’s not a small event, and it’s a great cause.  So, we have those two really huge events happening almost back-to-back. and there are a lot of other things happening later this year.  Some of them I’m not at liberty to mention yet, but I can say there will be some exciting mashups that are on the horizon that the world is probably going to be pretty shocked to see.  It’s going to be fun!  I have a few acoustic shows coming up too.  It’s just me, my wife, and Trevor, and I incorporate this kick drum.  It’s like this backyard, back-in-the-day feel.  I really love doing those formats.”

It’s been an incredible year for Eric Gales, and it seems like he is finally getting the well-deserved recognition of his hard work.

“It does feel like that.  It’s been a long time.  I put in a lot of time—paid a lot of dues.  It’s good to be able to smell the flowers while I can.  And I just want to say thanks to everyone for their support.  Thanks for hanging with Eric and LaDonna Gales throughout all of these years and know that there is definitely more to come—stay tuned!”

Do yourself a favor and go feel the emotional cleansing you will experience after watching a live performance by this intriguing, passionate and extraordinarily talented artist.  You can check out his schedule at www.ericgales.com

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

George Thorogood And The Destroyers – The Baddest Show On Earth

UMG Recordings, Inc.

www.georgethorogood.com

11 Tracks – 70 minutes

Score one for the promise of truth in advertising. This collection is a raucous batch of guitarist George Thorogood’s enduring tracks, served up live to appreciative audiences across North America over a 45 year span. What makes this release special is that only three tracks have been previously issued while the rest, according to the liner notes, “brings together the most scorching Destroyer performances we could find.”

Thorogood’s cover of Bo Diddley’s classic “Who Do You Love” gets things into high gear right out of the gate, with the guitarist firing off wicked slide licks over the driving rhythm laid down by Jeff Simon on drums and Bill Blough on bass. Simon has been a Destroyer from the beginning while Blough’s tenure has now stretched across six decades A second number from the same show, recorded in 1980 at the Agora Theater in Atlanta, Georgia, is another standout performance as Thorogood leads off with a spirited take on John Lee Hooker’s “House Rent Blues” before sliding into “One Bourbon, One Scotch, One Beer,” a song that helped him establish his career. Over the frequent screams from the audience, Thorogood rips through a menacing rendition, the energy never flagging, leading to him trading licks with Hank Carter on tenor saxophone.

The earliest tracks date from shows in 1978. “Ride On Josephine,” released on the Live In Boston 1982 on Rounder Records in 2010, is another tune from Bo Diddley, sporting the famous Diddley beat and Thorogood’s raw vocal about an infatuation with women and automobiles. Borrowing another from the Hooker catalog, the band’s 12 minute version of “Boogie Chillun” recorded at the El Mocambo in Toronto, Canada, aptly incorporates the gritty elements of their approach in addition to their relentless, rough & tumble enthusiasm.

The three previously issued cuts are from a 1982 show in Boston. Thorogood’s version of Hank William’s “Move It Over,” originally released on the Live In Boston 1982 on Rounder Records in 2010, has always been a crowd-pleaser, as the audience makes clear during a spirited exchange. Hank Carter certainly earned his keep with his hard blowing throughout. The other two cuts were included on a 2020 release, Live In Boston, 1982: The Complete Concert. Thorogood pays homage to one of his primary influences on “Madison Blues,” doing his best to pay respects to to the legacy of the slide guitar master Elmore James, complete with taut guitar licks and more fiery sax blowing from Carter. Thorogood wrote “Bad To The Bone,” and while this performance doesn’t offer anything new, it epitomizes the band’s strengths that have allowed them to still be a top draw on the concert circuit.

Another Thorogood original, “Born To Be Bad,” was recorded in Sarasota, Florida, two years ago. Thorogood’s vocal tone seems to have mellowed a bit but the band rocks as hard as ever, with Jim Suhler on guitar and Buddy Leach taking over on tenor sax. They both get an opportunity to shine on an instrumental run-through of Memphis Slim’s “Steppin’ Out.” The band goes full-tilt boogie on Howlin’ Wolf’s “Howlin’ For My Baby,” a blistering rendition that leaves subtlety far behind.

Willie Dixon wrote “Tail Dragger” but Howlin’ Wolf brought the song to life. Thorogood introduces the song with a guitar soliloquy. When the Destroyers join in, they unleash an interpretation that sizzles and crackles with a primal energy that leaves a lasting impression.

Long-time Thorogood fans probably have several recordings of many of these songs. The lure here is the unreleased versions, and the promise that these are the best of the best live performances. There is no way to prove that claim, but rest assured that what this release does offer is Thorogood and the Destroyers doing what they do best across the decades without a hint of losing their stride. Their approach is simple, but they do it quite well.

Blues Blast Magazine Senior writer Mark Thompson lives in Florida, where he is enjoying the sun and retirement. He is the past President of the Board of Directors for the Suncoast Blues Society and a former member of the Board of Directors for the Blues Foundation. Music has been a huge part of his life for the past fifty years – just ask his wife!

Lance and Lea – Blues For Breakfast

Self Released

www.thelanceandleashop.com

5 tracks/15 minutes

Lance and Lea are a duo that met up in Nashville  after each of them moved there to jump start their musical careers. Lance moved there from Texas, a blues rocker who left Austin after garnering notice in Nashville for his  songwriting. Lea moved there from Colorado to focus on writing songs instead of performing country music. The two hit it off as song writers and decided the duo project would be a focus for them, and they are a great duo, blending their roots and rock music and it works quite well.

Lance  and Lea have three prior album releases listed on their website This collection of tunes showcases their musical skills quite well. Lance Kotara plays guitar and sings as does his musical partner Lea (LeAnna Kaufman). Evan Seiling joins Lance on the acoustic and electric guitar work and also adds other layers of instrumentation to the mix. The backline is Peter Wilson on drums and percussion and Christan Harger on bass. Kirin Gupta plays B3 organ on the release.

This EP features five of their songs.  It starts with the swinging title track. Lance plays a nice guitar groove and opens the cut vocally. Lea joins in as the two rock out  together. “Salt and Pepper” follows, a semi-biographical cut about their differences making them into a great blend of musical talent. It’s a slow, bluesy song with a nice guitar lead. Next is “Blues Man” which is pretty much a big, old rocker where the two let it all hang out. Stinging guitar, a rocking beat and great vocals sell this one.

“Let it Burn” follows, another rocking blues with a slick groove, some cool organ and more vibrant guitar work. They conclude with “True To These Roots” where Lance pays homage to his roots in Austin and now Tennessee. It’s a slower tempo-ed cut with some ethereal guitar and haunting organ. All in all, another well-crafted song.

I liked the album a lot. The songs are solid, the performances on vocals are strong and musically the instrumental work is solid. Blending blues and rock  with their other musical roots, Lance and Lea deliver a nice package of original songs to enjoy. This is well worth listening to!

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.

Michael Rubin – 5 Minutes of Passion

Many Hats Records

www.michaelrubinharmonica.com

11 Tracks – 43 minutes

Michael Rubin was born in New Jersey and hopped around the country from Pittsburgh, Sonoma, New Orleans, and Manhattan before settling into Austin.  Now if you want to see perform, he seldom ventures outside of Texas. Michael started playing the harp at age 15 and started performing at 16. Today, he makes most of his living teaching harmonica. He has performed in genres ranging from the blues to opera, and in the band pit for the Tony nominated Broadway play, The Civil War. He has also backed Ruthie Foster and Cyril Neville. He cites Paul Butterfield, Sonny Boy Williams II, and James Cotton as his favorite harp players. He is considered a master harmonica player playing all variations of the instrument from a chromatic harp to the smaller diatonic harp.

Michael on harp and vocals are joined by guitarists Cesar Crespo, Josh Futero, and Matthew Smith on various cuts, bassist Michael Archer, drummer Jason Corbiere, and Emily Gimble on keyboards. Michael advises that he has “Non-traditional vocals” and his storytelling falls outside of the lines of what would be considered traditional blues topics, but all are presented with wit and whimsy, with the harmonica in the forefront of every song.

Guy Forsyth on banjo and backing vocals, Patrick Harwell on trumpet and trombone, Paul Santios on sax and clarinet, and The McMercy Family Band adding backing vocals join Michael on the first cut as he exclaims in a Dixieland vibe that “I ain’t going to sing “Dirty Words” no more” and “no more double entendres” “although I am a grown man”.  He then moves to an instrumental “Doo Doo Da” in a bluesy romp. On “Big If” he determines “If I were king, I would rule world. If I had hair, I would get all the girls.” “It all depends on if your if is true enough.”

“Alien in a Chair” offers advice and perhaps some chastisement citing “Spaceship came down and began to land. Alien was friendly and held my hand. Offered him a chair but he didn’t understand.  Brought him and set him down. Said it was the greatest thing ever and need to get chairs on my planet. ” He then notes “Talking about something is not the same as doing it. Some people like to watch; all they’re doin’ is viewin’ it.  You ain’t movin’ forward until you start pursuin’ it.” On a somewhat countrified tune “5 Minutes of Passion” he acknowledges “If you keep talking about the harmonica, she’ll think you odd, her head will nod. Just give her five minutes of passion and then pull out”. Sweet Gary Newcomb guests on the pedal steel guitar.

He again offers advice in a swing tune “Dig That Ditch”. “You  can’t dig a ditch till you know how to do it. But if you don’t dig that ditch that don’t ever get dug”.  “Little Circus Town” is a plaintive cry about life acknowledging “You can leave the little circus town, but you can’t quit the freak show”. “Gravity” is a message song stating, “I don’t use gravity, if you want to use it go on feel free.” “I can be just as happy floating in the air”.  and further notes he does not want any vaccinations or politics, as “I have not voted for years” He concludes “I don’t need anybody else” “I may be crazy, but I got my health”.

He defends taking a “Nap”. “If I did nothing, would that be so wrong? “One thing I got to get done, take a nap is at the top of the to do list. Doing less don’t make me less than.”.  Greg Izor guests on the chromatic harp for a solo as Michael switches from a chromatic harp on the lead and then plays the diatonic on the solo. The song offering the opinion “The propaganda is in the hands of people, and the people are in the hands of the propaganda.”  But the harmonica leads are the focus of the song with the cited interjection in a fuzzy vocal are the sole lyrics repeated in the song. On “Grudge” he notes “That thing you said to me 25 years ago you thought I forgot but one day you will find when I hold a grudge, I hold it for a long time”. “My kindergarten teacher put me in a corner, and I have not talked to her in a long time.”

Michael’s skills on the harmonica are impeccable and certainly delivers on the stated mastery on the instrument. Gary’s vocals have a somewhat weary, but appealing texture. And as noted, his lyrics for the most part shift well away from what would be called traditional blues. But it is that wit and humor he throws into them along side of his harp that together will cause you to want to come back for more.

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.

Anni Piper – Men Are Like Potato Chips

Sugar Daddy Records

www.annipiper.com

9 tracks – 36 minutes

Anni Piper is known as the First Lady of the Blues in her homeland of Australia. She started playing bass guitar at age 14. At age 19, she received a Contemporary Music Degree. After giving birth to her son, she found it difficult to continue her performing career. But her passion for the blues that was initiated after hearing Stevie Ray Vaughan encouraged her to record what she considered a demo debut album, Jailbait, in 2004. But she was surprised when the all-original album was picked up by Black Market Music, Australia’s most prestigious blues label. The album led her to be named Best New Talent at the Australian Blues Music Awards and at the ABC Radio National “Fresh Air” contest. She also was 2nd at the Australian National Songwriting contest.

Subsequent releases have led to many other nominations and placed her as a finalist in the Australian Music Awards for Best Female vocalis, the UK Songwriting contest, and the MusicOz Awards. In 2008 she signed a contract with the USA label, Blue Leaf Records. In 2014 she moved to the USA and started touring throughout the US and was a semi-finalist at the 2019 International Blues Challenge. She now lives in Portland, Oregon. In the meantime, she also became a registered nurse working daytime hospital shifts and nighttime music gigs,

This is her seventh album. Her son, Flynn joins her on backing vocals with Anni on lead vocals and bass. Percussionist Jim Bott, drummer Bruan Foxworth, tuba player Chris Shutteworth, and trumpet player John Dover completes the band. Steve Kerin plays organ and piano on four tracks Joe Rump plays drums on three.  In the notes, Piper cites that she has been making music for over twenty years and is “tired of that I needed to be careful not to be too sexy, and finally I said f*** that. I am sensual person, and I have been doing this too long to not release art that authentically reflects my personality”. So, get ready for a completely uninhibited release,

Eight originals open with a rocking declaration that “I am no angel, I’m your “Devil Bride” and explains “Standing at the altar, you’re expecting white. but my address is red and yest it’s latex tight.  You won’t even notice the lack of a bouquet and a gleaming pitchfork is more stylish anyway.”  She then exclaims She throws in several double entendres as she exclaims, “Today’s your lucky day, your appointments with the “Naughty Nurse” and offers her medical advice “Now I can’t diagnose you cause I am not supposed to tell you…but I can kiss you down under and you won’t wonder how we will treat you in Australia.” She advises “Men Are Like Potato Chips”. “They go to my thighs. They go straight to my hips and lordy when all is said and done, I can’t stop at just one.”

She says she is a “Cactus Girl” “so wet inside but you’ll never open me” and warns “don’t you try to touch my spines”. Ted Swanson plays Hammond organ on the song. Next, she describes herself as a “Cheetah” but “could change her spots” in a quieter, sultry voice and advises “a woman will treat you the way you treat her”. She explains her fears that her ex is a “Stalker” “wanting more than sex, to put his hands around my throat to show he’s in control, then he’ll choke the life right out of me. There’s no 911 call to this night stalker.”

She then rips out that she wants a “Match with a Sasquatch” as she “doesn’t find him scary, just likes him hairy”. “Nothing about him is small. My primate date is ten feet tall”.  Tim “Too Slim” Langford guests on guitar on the sole cover of John Prine’s “Angel from Montgomery” and she delivers a very soulful rendition that stands out against the other songs on the album. She moves into a totally R-rated flare with “F.I.G.J.A.M” as she says I will tell you “how sexy I am” noting she has a “double major in brain salad surgery” and rattles off some explicit imagery.

Anni shows she has the pipes, shifting from deep sultry come-hither to soulful appealing vocals.  Her bawdy songs bring to mind the hidden sexual lines many of the early blues performers like Memphis Minnie performed but falls more in line with rock performances than the blues. She even acknowledges in the last song “Oh my, this is not a blues recording!”

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.

Donna Herula – Cold Feet

Self-Released

www.donnaherula.com

10 Tracks – 40 minutes

Donna Herula was born on the northwest side of Chicago in the Portage Park neighborhood. She began playing the piano at age 5 and started writing her own songs. At age 10, she took up the guitar and played in all-girls band, No Men Momentum in high school. She studied voice and jazz and classical guitar in college. Her 2021 album, Bang at The Door, hit No. 1 on the Acoustic Blues Album charts, was named the Best Acoustic Blues Album at the 2022 Independent Music Awards where she was also named the Best Traditional Blues Artist. The title song was also selected as the Best AAA/Alternative Song in the 2022 International Acoustic Music Awards. It is notable that in 2011, she released “The Moon Is Rising: Songs of Robert Nighthawk” establishing her blues roots.

Donna is equally adept with the slide guitar, playing both that instrument and the acoustic guitar across this album, her fourth release, and does all lead vocals. Her band includes Tony Wittrock on acoustic and electric guitars, Mark Edelstein on upright and electric bass, and Kenny “Beedy Eyes” Smith on drums. Special guests scattered throughout the songs include producer Jon Shain on acoustic and electric guitar, Alton Smith on organ and Wurlitzer, Anne Harris on Violin, John Jochem on harmonica, Steve Eisen on sax, Rick Barnes on percussion, and backing vocals by Candy Flora, Kary Ream, and Rebecca Toon.

She opens the album with an instrumental “On My Way Home” featuring her National Tricone slide guitar, a clear demonstration of her mastery of the instrument. As she faces her impending wedding ceremony, in a rocking number again featuring her slide she determines she has “Cold Feet” telling “Last night he had to get something off his chest. Today I want to call it off, take off this wedding dress.” He said that we were meant to be together. Now I’m thinking I could do a whole lot better.” and concludes with an announcement “And I’m keeping the ring”. “Honey Darlin’ Baby Please” is a soulful cry with a slight country tinge as she begs him “Pick up your phone and talk to me. I know that I was wrong.”. “Honey, please don’t say goodbye”.

She plays both her resonator and slide guitar on a cover of Skip James’ 1931 song” Cypress Grove Blues”. The song is very moody and haunting as she cites “I would rather be dead and six feet in my grave than to be up here, honey, and treated this way”. “The Good Book declare you got to reap what you sow”. She is fed up with her “Backseat Driver”, a humorous tale of a war of words leading to her saying “If you don’t shut your mouth we’re gonna get in a fight.” and ultimately declares “I’m pulling over now. I’ll be a back seat driver for you.” John’s harmonica punches up the chaos of a road trip. ” She questions “What You gonna Do” confronting him about an affair and telling him “I’m not gonna tell your momma. I am not going to tell your son. I’m gonna let you tell ’em about the damage you’ve done.” and “You’ll have to decide will it be me – will it be her”.

On “Wish I could See You Again”, she moves to her acoustic guitar with Jon Shain playing an acoustic slide guitar in a pure guitar duet. A lament of a loss cites “Memories are on display. Graduation, wedding day. I’m packing all of them away. Wish I could see you again.” She promises that “That Things Can Change” with John’s harmonica giving an emphasis as she sings, “You feel like giving up. Nobody’s on your side. Water’s rushing in but can you turn, turn the tide?” Donna says that after playing at a Canadian folk festival, she was inspired to write the John Prine style of storytelling song, “Float to Heaven”. Anne Harris adds violin to Donna’s acoustic guitar in a tale of a man who is haunted by the death of a friend as a teenager and who blames himself for the death resulting in alcoholism and unable to keep a job. “He’s been fighting the devil in his head every day ever since the river stole Jimmy away.” “So tomorrow he’s gonna take his boat down to the river and float to heaven”. “He said “In heaven the sun will shine on my face. The angels will forgive all my mistakes”. The album concludes with a cover of Elmore James’ “Dust My Broom” with some dynamic slide work.

Donna proves herself a powerful, soulful vocalist establishing a wide range across multiple genres crossing blues, rock, and folk. Her guitar is equally adept at reaching across the varying songs she provides in this excellent album. While the greater focus on this album is her slide guitar, she delivers an album equally compelling for awards as her 2021 album.

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.