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 I
have to admit that I was pleased to see that
Chris O’Leary had signed with Alligator
Records. I really enjoyed his 2019 release, 7
Minutes Late, for American Showplace Music,
but admittedly lost track of him during the
chaos of the last several years. His robust
vocals and harmonica, combined with his ability
to play a variety of blues and blues-based
styles make him a natural fit for the Genuine
Houserockin’ Music label. His Alligator debut,
The Hard Line, should certainly go a long
way toward advancing his promising career.
O’Leary produced the album and wrote all 12
tracks, and is backed by a host of musicians
that include guitarist Chris Vitarello, Greg
Gumpel, and Monster Mike Welch, keyboardists
Jesse O’Brien, Brooks Milgate, and Jeremy Baum,
bassists Andy Huenerberg and Matt Raymond,
drummers Dan Vitarello, Michael Bram, Andrei
Koribanics and Ray Hagan, backing vocalists
Libby Cabello and Willa Vincitore, and a horn
section on selected tracks that includes Andy
Stahl (tenor sax), Ron Knittle and Chris
Difrancesco (baritone sax), Darren Sterud
(trombone), and Nick Bartell (saxes). Also
contributing on multiple tracks are Tom Müller
(saxophone) and Simon Hartl (trumpet).
The
mid-tempo, soulful blues of “No Rest” opens the
disc with O’Leary’s vocals and muscular harp
work figuring prominently, as does Chris
Vitarello’s fretwork. “Lost My Mind” follows,
finding O’Leary trying to keep it all together
in the aftermath of a broken romance. “Ain’t
That A Crime,” “My Fault,” and “I Cry At Night”
(a splendid slow burner featuring Welch on
guitar) also deal with the frustrations
associated with affairs of the heart.
The
rollicking cautionary tale, “Things Ain’t Always
What They Seem,” picks up the pace and mood,
punctuated by nimble piano work from Milgate,
and the somber slow blues, “Lay These Burdens
Down,” features one of O’Leary’s most gripping
vocals. Milgate’s piano playing returns to the
forefront on the breakneck roadhouse rocker
“Need For Speed,” meshing well with O’Leary’s
torrid harp on the swampy blues of “You Break
It, You Bought It.”
“Who
Robs A Musician?” has a world-weary, bitter edge
as O’Leary relates the aggravations facing a
band on the road (obviously written from
personal experience), while “Funky Little Club
On Decatur” travels to the Crescent City both
lyrically and musically. The closer, “Love’s For
Sale,” is a gritty, raucous blues rocker
highlighted by Gumpel’s slide guitar.
Chris O’Leary is a perfect fit with the
Alligator Records family. His fierce mix of
blues, rock, and soul, his powerful vocals and
harp, and his excellent songwriting make The
Hard Line a compelling listen. Hopefully,
this is the beginning of a long and fruitful
partnership.
--- Graham Clarke
 B.B.
& The Blues Shacks celebrated 34 years of
playing the blues this year, showing no signs of
stopping anytime soon. Brothers Andreas Arlt
(vocals/guitar) and Michael Arlt (vocals,
harmonica) have been with the band since its
inception, and their rhythm section --- Henning
Hauerken (bass), Andre Werkmeister (drums), and
Fabian Fritz (keyboards) --- has been with the
band since 1996, 2014, and 2015 respectively, so
let’s just say that these guys know their way
around a blues tune.
Lonesome In The Moonlight (Rhythm Bomb
Records) is the band’s 17th release, featuring
14 tracks, seven originals penned by the Arlt
brothers plus seven tasty covers, immersed in
their heady mix of blues, soul, rock, and R&B
mixing the traditional and contemporary.
The
blues is the focus of the opener, a strong cover
of Chick Morris’ early ’50s blues shuffle “I Go
To Bed With A Worry” that finds the band firing
on all cylinder. Ray Charles’ late ’60s “That’s
A Lie” gets a funky treatment, with top-notch
soulful vocals from Michael Arlt. The first
original of the disc, “I Told My Eyes,” really
swings, and “Big Blue Diamonds,” a song that
charted multiple times since the early ’50s,
gets a retro R&B treatment that works well.
The
next three tracks are all Blues Shacks
originals. “Steppin’ Stone” deftly mixes soul
with a dash of pop flavoring, “Dead Notes” is
greasy Memphis-styled blues and soul (with zesty
B.B. King-esque guitar work from Andreas Arlt),
and the rocking “Feed The Flame” adds a bit of
zydeco feel to the album with Fritz’s accordion.
Gary
White’s “Long, Long Time” was a hit for Linda
Ronstadt in the early ’70s, with The Blues
Shacks’ interpretation giving the tune a soul
sheen that works well. The dazzling “What You
Mean” really jumps and swings, with the Arlt
brothers shining on guitar and vocals and Fritz
doing it on organ. Andreas Arlt’s fretwork on
“Heart Fixing Business” pays homage to Albert
King, who recorded the tune for Stax in the late
’60s.
Michael Arlt’s vocal on “This Time I’ll Be
True,” recorded by Bobby “Blue” Bland, is first
rate, comparing well to the original, and a
rip-roaring cover of B.B. King’s “I’ve Got
Papers On You, Baby” features more of Fabian’s
keyboards and Andreas Arlt’s superb guitar work.
The
album wraps with two more Blues Shacks originals
--- the soulful ballad “More To Life Than This”
and the raucous Texas-flavored roadhouse blues
“Ain’t Over Yet.”
If
you’re familiar with B.B. & The Blues Shacks,
you already know what to expect --- a stellar
set of original tunes combining blues, R&B, and
soul mixes with well-chosen covers and
outstanding performances.
Lonesome In The Moonlight delivers that and
much more. If you’re not familiar with this
excellent group, this album is a great place to
get on board.
--- Graham Clarke
 Last
October, I reviewed a single, “Lay Me Down
Marie,” from the Belgian band Red Red that had
me eagerly anticipating the November release of
their album, The Alabama Kid (Naked Records),
and it proved to be a thoroughly modern foray
into the blues genre. This intriguing band
includes Ohio singer/guitarist (and
ethnomusicologist) Tom Beardslee, along with hip
hop turntablist DJ Courtasock (a.k.a. Xavier
Scheffer), guitarist Steve Ceulemans, bassist
Chris Forget, and drummer Pieter Vandergooten.
“Lay Me Down Marie” opens the album and it was a
wise choice….the droning hill country-styled
rhythm, screaming slide guitar, and catchy
melody bode well for the rest of the set. “The
Cuckoo” follows, a fast-paced rumbling track
that has a country feel underneath the modern
sheen, and “Spoon and The Flame” is a pointed
look at the unchecked effects of drugs that have
ravaged young people throughout the world.
The title track tells the sad story of Clarence
Olin Reeves (a.k.a. The Alabama Kid), one of the
most formidable boxers of the 30’s and 40’s (290
fights, 208 wins, 118 KOs), who moved to
Australia after traveling Down Under for several
fights. He married and had two children, but was
sadly deported due to Australia’s policy
forbidding white Australians from marrying black
partners…..he never saw his family again.
The energetic “Long Black Train” is a standout
as well, with guitar work that has a definite
southern rock feel and irresistible
contributions from the rhythm section. The
driving rocker “Tear It Down” is propelled by
Forget’s thunderous bass and Vandergooten’s
drums, and “I Gotta Know” is a blues boogie
rocker with hip-hop-based percussion mixed in
that simply will not allow you to sit still
while listening, while the final track, “Here
Tonight,” tells listeners to make the most of
their lives, since time is short.
The Alabama Kid is a great set of modern blues
and roots music, highlighted by great songs and
performances. Hopefully, Red Red will break out
internationally based on this fine set of tunes.
--- Graham Clarke
 Blues
rock guitarist Alastair Greene recently
signed with Ruf Records and will soon release
his sixth studio album for the label. In
anticipation of that release, Greene recently
issued a single that should hold his fans over
until the album’s spring release, a powerful
performance of The Allman Brothers Band’s
classic “Whipping Post.” This version is unlike
any that have been previously heard, as Greene
performs solo on 12-string acoustic. Recorded
live in the studio in one take, Greene’s
understated version is as haunting and conveys
the same desperation in the acoustic setting as
it is in the numerous versions recorded by the
Brothers over the years. "Whipping Post" will
leave his fans hungry for the upcoming Ruf
release.
--- Graham Clarke
 Out
of Buffalo, New York come the Righteous
Villains, a tight four-piece unit that play
a rocking brand of blues combining Chicago,
Memphis, and West Coast blues with rock. The
band (Brian Gerbracht – guitar/vocals, Don
Wegrzynowski – harmonica/vocals, Cody Barcroft –
bass, Ryan Campbell – drums/percussion) recently
issued their debut album, Unusual Suspects,
consisting of 11 original tunes. One thing that
stands out about the Villains is their rough and
gritty sound, incorporating a rock edge into
their blues sound. Their songwriting is
impressive as well, with three different members
contributing. T
he
album opens with the mid-tempo “Rising From The
Ashes,” followed by the rugged blues rocker
“Finally Free” and the slow blues “Soul Of The
City,” which really pops with vivid lyricism and
Gerbracht’s guitar work.
The
next two songs deal with current issues, the
funky blues rocker “Cops Were Cool” and the
humorous "(Five Hour Bus Ride With A) Trumper
Blues.” Gerbracht takes the mic for “Steamroller
Blues,” an amusing tune addressing lack of
motivation and generally sitting on the
sidelines, while “I’m Coming Home,” a song about
returning home for weeks on the road.
The
rock-edged “Our Love Is Real” is a different
take on the tale of a cheating and lying lover
and features a tasty harp break from
Wegrzynowski, who turns in fine vocals on the
slow burner “Different World Of Pain,” and the
fierce seven-minute blues rocker “Price Of My
Soul.” The closer, “Me, My Thoughts, And The
Blues,” is a solid slow blues about the
inevitable end of a relationship.
There’s nothing fancy here, just raw,
unvarnished original blues and rock songs that
are well-crafted and played. The Righteous
Villains should get some attention with the
powerful Unusual Suspects.
--- Graham Clarke
 The
Pszenny Project hails from South Carolina,
with their musical sound combining the blues
with funk, rock, and R&B. Led by guitarist/lead
vocalist Mark Pszenny, the band’s self-titled
debut release, The Pszenny Project,
includes a dozen original songs. Pszenny is a
strong guitarist, adding an edge of rock to his
blues, and the rhythm section of Sam Hilliard
(guitar), John Bunucci (bass), and Ross Fleming
III (drums) is rock solid.
The
album is a sturdy set of straight-forward blues,
opening with “Hoochie Mama,” a driving blues
rocker that leads into the mid-tempo shuffle
“Chronic Pain,” and the rough and ready “Trouble
With The Man.” “I Told You” is a tough blues
boogie tune and “2 AM” is a sweaty slow burner
that also features harmonica from Jim
“Wallstreet” Couillard.
The
shuffle “I Digress” mixes funk, blues and rock
effectively and imaginatively, as does the next
tune, “What The Funk.” Pszenny breaks out the
slide for the thunderous rocker “Knee Deep,” and
“It’s Up To You” and “Tell Me Why” both continue
the band’s mix of blues and funk.
“She’s Long Gone” is an old school blues rocker
about a woman who has hit the rails out of town,
and the closer, “All Funked Up,” ends the disc
on a, well, funky note.
The
Pszenny Project has a strong instrumental attack
and their debut release’s blend of blues and
funk makes for compelling music.
--- Graham Clarke
 I
really enjoyed Sunnysiders’ previous
release, The Bridges, in 2020. The
Croatian duo (Boris Hrepić Hrepa –
vocals/guitars/harmonica/bass, Antonija Vrgoč
Rola – vocals/percussion) offers a impressive
mix of blues, rock, pop, and world music that
works extremely well. For their latest release,
27 Stitches (Dancing Bear), the group has
expanded to include Luka Banić Bane (guitars),
Mihael Vlah Miha (drums), and Tomislav Novak
Tomi (bass/dobro), plus numerous other
contributing musicians.
The
opener, “Shake And Shiver,” is an energetic
blues rocker that includes horns and Hrepa’s
deep rumble and Rola’s spirited vocal are a
potent combination. The somber “Who Stole The
Rainbow” is a song about a runaway girl seeking
shelter from abusive parents, with the moody,
hypnotic title track having a haunting quality
and a country feel, and “Weekend Cigarette”
describes a frustrating, unfulfilled romance.
“Soup” is an interesting tune that’s about,
well, soup. The lyrics could be interpreted
differently, but apparently it was written as a
tribute to a friend’s soup. “Love You At All” is
a romantic song that leans more toward the folk
side, but is a pretty tune with a heartfelt
vocal from Hrepa, and “Walk Till Tomorrow” mixes
blues (great harp from Hrepa) with pop, and
features some nice fretwork from Bane.
“You
Can’t Use Your Friend” brings the horns back (Šime
Glavia – trumpet, Luka Lazar – trombone, plus
Andrea Jelavić – flute) and has a real funky New
Orleans blues feel, while “Love Remote” is a
straight-ahead rocker that features guest vocals
from Coratian rock legend Davorin Bogović,
followed by the gentle and soulful “What About
You.”
The
powerful “Devil’s Bone” has a real European
flavor in its rhythm and instrumentation (guests
artists are Stipan Kujundzic – tar, Gogo Zujic –
rabab, and Hari Klarica – bodhran), and “Highway
To Blues,” the closer, has a haunting, ethereal
quality with Hrepa’s spoken-word vocal and the
bluesy guitar solo from Bane.
27 Stitches is another strong effort from
the Sunnysiders, who are doing their part to
bring the blues into the 21st century by
blending a variety of musical styles that work
well together.
--- Graham Clarke
 Hailing
from Baltimore, Maryland, Evan Nicole Bell
is a songwriter, vocalist, and
multi-instrumentalist whose cover of Albert
King’s “Crosscut Saw” went viral on X a couple
of years ago. She combines blues, pop, funk,
rock, and soul, but fell in love with the blues
when she was given an electric guitar back in
2018. Having already studied piano, acoustic
guitar, and classic guitar, everything just fell
into place.
She’s now released an EP called Runaway Girl
that displays her skills in full --- stinging
guitar, sultry vocals, and excellent musical
arrangements (she played all instruments but the
drums). The EP only features four songs (one an
extended version of another), but it should
encourage blues fans to dig deeper.
“Burn” is a wistful track with a gentle rhythm
that mixes soul, R&B, and a hint of jazz,
focusings more on her lovely vocals. Next up is
a scorching cover of “Catfish Blues” that
combines the original Muddy Waters version with
a healthy dose of Hendrixian fretwork.
The
title track comes in an “extended mix” and as a
“radio edit,” with her soulful vocals and
searing guitar nodding toward blues and funk.
The extended mix allows listeners to hear more
of her searing guitar work.
Runaway Girl serves as a nice introduction
to Evan Nicole Bell’s music. I strongly
encourage you to check out some of her YouTube
videos to get an even fuller picture. Looks like
great things are ahead for this talented artist.
--- Graham Clarke
 We
made a previous album by Patti Parks,
Whole Nother World, our Surprise pick in the
June 2021 edition of Blues Bytes, with my
opening statement saying that "if she continues
to make music this good I'll look forward to
years of building up my library of her
recordings." Not quite two years later we have
Come Sing With Me (VizzTone), another
worthy addition to the Patti Parks discography.
An
added bonus with this one is the appearance on
two of the cuts of soul/blues singer Johnny
Rawls. Rawls also produced the album, so there's
plenty of his influence throughout. She's backed
by a wide range of musicians on the sessions,
including more than a few of the VizzTone
regulars.
This
album is packed with soul, as heard on the
opening cut, "I'm In Love With You Baby,"
co-written by Rawls and keyboardist Guy Nirelli,
and borrowing heavily from Bobby Womack's "I'm
In Love." Rawls shares vocals with Parks and
Kenny Parker lays down a very tasty tenor sax
solo. Pianist Anthony Geraci shows up as special
guest on "DJ's Boogie," an up-tempo stomper that
brings out the sass in Parks' vocals.
The
tempo slows for the Derrick Procell / Terry
Abrahamson soulful number, "One Foot Out The
Door," with Parks' vocals going towards the
church, especially as her voice soars at times
and Nirelli plays gospel-style piano. "Sing
Around The World" is a feelgood tune written by
Parks and Nirelli, a mid-tempo lilting that
again has a gospel feel to it. Zuri Appleby
provides the backing vocals that seals the deal
on this one. Moving into more of a blues shuffle
sound is "I'm Sorry," with the bass line
reminding me of that from W.C. Clark's "Cold
Shot." Tasteful guitar from Aaron Flynt.
VizzTone head honcho Richard Rosenblatt joins in
with strong, unobtrusive harmonica accompaniment
on the slow, plodding blues, "Hamburger Man."
Aaron Blackmon's organ playing is the highlight
of the slow soul/blues tune, "Why," with Parks'
vocals projecting her pain and Flynt coming in
with a good blues guitar solo. The tempo and the
feistiness on Parks' voice increases on "A Lotta
Man," with Rawls returning to play guitar.
The
mid-tempo soul tune, "How Much Longer," has
Rawls back at the mic with Parks, with the two
stars sounding great together. It's a Rawls
composition, and he steals the show with his
raspy vocals, while Parker blows out a
delightful tenor sax solo. Putting a wrap on
Come Sing With Me is a mid-tempo blues
shuffle, "Good Day For The Blues," as Parks
sings that she doesn't care about your problems
because she's got her own. Nirelli comes in at
the halfway point with a strong piano solo.
Parks has another winner with Come Sing With
Me. It's got soul and it's got blues. Check
it out.
--- Bill Mitchell
 Sheryl
Youngblood was a relatively new name for me,
although she's been around Chicago for quite
some time, doing gospel music, and theatre, as
well as a drummer backing other blues musicians.
She had a couple of self-released albums in the
early part of the last decade, but nothing
currently available. That's going to change this
year, with a Delmark album in the works.
In
the meantime, we have a single from the upcoming
album, recorded live in Chicago at the Space by
Jackson Hamrick, a lively version of Jimmy
Johnson's "Every Day of Your Life." There's
plenty of blues here, with a run time of about
five and a half minutes. Youngblood has a
strong, relatively deep voice that's well-suited
to this song.
With
the longer length, there's time for killer blues
guitar solos from both Dave Specter and Mike
Wheeler, along with Roosevelt Purifoy adding
Hammond B3 accompaniment and a steady beat
maintained by Larry Williams on bass and Cleo
Cole on drums.
We
don't yet have a release date for a full album,
but it can't come soon enough. Ms. Youngblood
might just be this year's new star on the blues
scene.
--- Bill Mitchell
 Delmark
is making good use of the live show that
featured the set by Sheryl Youngblood, with
guitarist Mike Wheeler also leading the
same band and putting down enough material for
an upcoming album of his own. Wheeler was a
blues cat that I was late in discovering, but
since finding his past Delmark albums I've
become a big fan.
We
now have a single to keep us satisfied until his
album comes out, with Wheeler and the band doing
a killer six-and-a-half minute version of John
Lee Hooker's "Serve Me Right To Suffer."
Wheeler's rich voice suits the song and he
really, really smokes on guitar, nimbly managing
his fingers over the fretboard. We also get more
hot piano work from Purifoy.
If
these two singles are indicative of what's
ahead, it's going to be a great year for Delmark
Records.
--- Bill Mitchell
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