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 I've
been holding on to the latest album from The
Jesse Williams Band, Keep Steady
(Family Tree Productions), for way too long.
It's such a diverse album with so many styles
baked into her music that I struggled at first
in what I wanted to say about it. I set it aside
to cover the next month and forgot about it for
way too long.
That
doesn't mean I don't like the album, rather it's
a sensational collection of tunes showcasing Ms.
Williams' rich, sultry vocals and exquisite
guitar playing. Let's give it another try of
finding the right words to describe the ten
songs on Keep Steady.
But
first, a little background. The band is based in
their home area in the hills of north Georgia.
Like other music fans, I first became aware of
Williams when Joe Bonamassa raved about her
music, leading to an
article in Guitar World magazine.
After sampling various cuts from previous EPs
and singles, I fell in love with this young
woman's melodic voice and creative guitar
playing. I eventually got a copy of the new
album and started playing it on my radio show.
Better late than never, here's what I have to
say about Keep Steady. It's a rich
tapestry of songs with at times complex themes,
with blues, soul, jazz, and Americana all
wrapped into these ten original compositions.
Let's start with my favorite tunes.
"Quit Quiet" starts with jazzy acoustic guitar
backed by Spencer Pope's organ playing. Williams
sings about a past relationship that didn't
work, as she's just gotten a letter from the
man. Reflecting on their time together, she's
thankful for those years but still doesn't want
to open the letter because she fears his words.
He could have said goodbye at the end of the
relationshiop, but instead he quit quiet.
Williams is playing some incredible riffs with
plenty of effects. "Quit Quiet" was the first
single, and it's truly an incredible song.
The
title cut, "Keep Steady," with a very quiet
intro, is a true story of when she didn't
perform her best in a songwriting contest. Her
vocals gain more power as the tune progresses,
motivating herself by singing, "...Just know
there is no true measure of your worth like
keepin' steady at it." Her gentle guitar playing
and nice piano accompaniment frame the song
well.
"Yesterday and Tomorrow" starts with gentle
acoustic guitar and then eerie electric guitar,
maintaining the slow tempo when the band comes
in as Williams sings with power in her voice
about the hard times and the good times . Solid
organ once again from Pope, leading into a
faster pace when Williams lays down a strong
guitar solo with plenty of effects.
We
get more of a straight blues on the mid-tempo
"Aim To Please," beginning with acoustic guitar
and more limited instrumentation, before the
band breaks into more of a quietly chaotic jam
giving the feeling that we are all in the
Williams family living room listening to this
unrehearsed buty very pleasant jam. One of her
best blues guitar solos happens towards the
song's end.
Another heavy blues is "Dream Til I'm Dead,"
with a funky beat and lots of big sounds from
the horns. The tempo changes throughout and
there's a lot going on here, with ethereal
sounds from the background singers and later a
killer trumpet solo.
The
album opener, "Making Headway," sounds a
bit country with a very slow tempo before
transitioning into a soulful song of progress.
We're drifting along on a slow flowing river
before turning almost blues/rock towards the end
as she's making headway to her goals, the tempo
picking up and the guitar playing getting
heavier.
"Lesson We Learn" is bluesy, with a touch of
echo mixed into her vocals, and we also hear
strong guitar and organ solos. "These Days' is a
funkier blues with the heavier sound of vocals,
horns, organ, and rhythmic drumming.
Williams' vocals carries the mid-tempo "Leaving
The Veil," which later picks up the pace and
volume, with her singing eventually projecting
more of a shouting blues.
Closing this very unique and fulfilling album is
the very slow, late night jazzy number, "No
Finer Company," with soulful vocals from
Williams before it transforms into an up-tempo
rockin' soul/blues with our singer taking on a
more commanding voice and laying down a kind of
Allman-esque guitar solo. It's like there are
two different songs wrapped into one, and I like
it!
I've
tried my best to paint an accurate picture of
The Jesse Williams Band and Keep Steady,
but, really, you need to hear it for yourself
and develop your own interpretations of these
songs. There are no short three-minute songs
here, as Williams takes every moment to expand
and elaborate on the theme of the number.
I
hear something different every time I listen to
the album, and if reviewing this album another
day I may be interpreting the songs very
differently. It's wonderfully complex, and I
highly recommend taking this trip to the hills
of north Georgia.
--- Bill Mitchell
 The
Colorado band Reckless and Blue was
assembled in 2017 by guitarist George Williams
when he returned to Denver after three decades.
The band consists of Williams (guitar/vocals),
Allen Anderson (keyboards), Tom Dillard (bass),
Steve Gaskin (drums), and Shaunda Fry (vocals).
The
band won the 2026 Colorado Blues Society Blues
Challenge, so they will head to Memphis in
January for the International Blues Challenge.
They also recently issued their second album,
Seven Deadly Gins, with ten songs written by
Williams, who shares lead vocals with Fry.
The
opener, “Come Back,” begins with Williams on
cigar box guitar and Fry's sturdy blues vocal
carriying the day. The up-tempo title track
follows, with Fry lamenting the loss of a lover,
and the slow blues “Triflin' Blues” finds
Williams and Fry sharing lead vocals quite
effectively with fine musical support from the
band.
Williams provides lead vocals on the lively
honky-tonker “Don't Expect Me,” before passing
the mic back to Fry for “Burnin' Daylight,”
another splendid slow burner.
Williams and Fry team up on lead vocals again
for “Can't Give Me The Blues,” which describes a
relationship that probably would have been
better off never happening.
The
pace picks up considerably with the rowdy
“Shimmy Shakin' Blues,” highlighted by
Anderson's stellar work on the keys. “If The
Blues Was Whiskey” is not the Bumble Bee Slim
tune from the '30s, but a moody slow blues
delivered by Fry. “Hey Pretty Baby” is an
energetic rocking blues, with Anderson on organ
as Williams searches for that special someone.
The
album closes with “Stormy Night In Denver,” a
cool track that adds Jeff Miguel's saxophone and
Derek Banach''s trumpet to the mix as Fry longs
for her man to come home. Backing vocals
provided on this track by Annie Phillips and
Ernie Martinez. Though it hasn't been mentioned,
Williams' guitar work is spot-on for this track
as for the rest of the album.
Seven Deadly Gins is a fine release with
excellent songwriting and performances from the
band. I could see Reckless and Blue making some
noise at this year's IBC, based on what's on
display here.
--- Graham Clarke
 Terry Robb is one of the finest acoustic
blues guitarists ever, and his latest effort,
Howlin' Waters (New Folk Records), is a
delight from start to finish, with 13 original
songs composed by the guitarist.
He's
assisted by Dave Captein (upright bass), Gary
Hobbs (drums), Eddie Parente (violin), David
Vest (piano), Lisa Mann (vocals/electric bass),
Hank Lionhart (vocals), and Ray Merideth
(vocals) on selected tracks.
The
lively opener, “St. Charles Rag,” demonstrates
Robb's nimble fingerpicking style, and “Alleluia
Shuffle” is equally effective and energetic. The
jazz-flavored “Back Door Mirror” adds the
upright bass and drums to the mix with
satisfying results with fiery fretwork from
Robb.
“One
Way Train To Sorrow” is the album's first vocal,
with Robb sharing vocals with Mann on this
jaunty country blues tune, which also features
Parente on violin. Robb goes solo – vocal and
guitar – on the slow blues “But Not Now,” with
keening slide work.
“When It Gets Cold” is a lovely, gentle
instrumental, and “Boogie in 7” takes up the
John Lee Hooker sound with Parente's violin
providing an interesting addition to the boogie
rhythm.
“Hobbs Captain” is a relaxed instrumental with a
mellow jazz feel, and “Fires In The Country”
finds Robb ruminating over the disturbing number
of fires affecting many areas of the U.S. “Kate
and Annie” is a lively, Piedmont-styled
instrumental, and “Ride To Ticina” is a slower
jazz tune with a Latin feel.
The
upbeat blues, “Tripped and Fell,” features
Lionhart and Merideth on vocals, backed by
Robb's guitar and Vest on piano. The closing
instrumental, “Fahey at Bush Park,” beautifully
pays tribute to John Fahey, one of Robb's
friends and biggest guitar influences.
It's
always a pleasure to see a new release from
Terry Robb, but it's even more of a pleasure to
hear that new release. Howlin' Waters is
another wonderful addition to the guitarist's
catalog, and any blues fan or acoustic guitar
fan would love to have this album in their
collection.
--- Graham Clarke
 Multi-instrumentalist Larin Michaels,
born in Detroit, got his start at the age of 7
playing drums. By the age of 15 he was playing
guitar and piano in a rock band (The Noblemen)
that toured the Midwest and performed on radio
and television.
In
the late '70s, he served as musical
director/performer for the European show Hair
and Now. After returning to the U.S., he
played or recorded with Del Shannon, Freddy
Cannon, Willie Tyler and Lester, Frijid Pink,
and The Evereadys. In 2025, he released a new
album, It's All About Love (Conch Town
Records).
Michaels wrote all nine songs, produced the
album, and played all of the instruments.
The
opening track is the pop-flavored soul track,
“Straight From The Heart,” punctuated by a B3
solo from Michaels. “Look At You” is a more of a
straight-ahead rock n' roller, with strong piano
and guitar work.
“All
That Matters Is The Bottom Line” is a bouncing,
horn-driven track, and “I Just Can't Do It All
Alone” is a classic-sounding ballad with backing
vocals and strolling piano out of New Orleans.
Speaking of the Crescent City, “Mardi Gras
Louisiana” is an entertaining tribute to the
city and the state it calls home. “I'm On The
Outside Looking In” features some dazzling
keyboard work from Michaels, a song about
loneliness despite its upbeat tone.
“Boogie With Da Feel” is a rollicking boogie
track with a Louisiana feel, and “Try And Do It
Like Jerry Lee” is a piano-driven tribute to The
Killer.
The
closing track is the delightful “Wooden Spoons
Boogie Woogie,” a charming instrumental track
with Michaels playing wooden spoons backed by
his own piano and harmony vocals.
The
album is well-produced. There's no indication at
all that this was a one-man band effort, so to
speak.
Larin Michaels is dynamite as a vocalist and
instrumentalist, and he's a talented composer as
well. Blues, classic rock, and R&B fans will
certainly enjoy It's All About Love.
--- Graham Clarke
 In
the summer of 2024, New England
singer/songwriter/guitarist Mike Hallal
decided to do solo guitar and vocal recordings
for around 40 new songs he had been working on
for several years. Along the way, he liked what
he was doing so much that he decided to make an
album out of his work.
Time For A Turnaround (Mike Hallal Music &
Words) consists of 14 of the tracks Hallal
worked on, all new and intimate tracks that
cover a broad range of styles – blues, rock,
folk, and country.
The
title track kicks things off, a jaunty blues
where Hallal calls for a change of direction in
the way things are going. “Melody Road” is an
easygoing, relaxing tune, “Lookin' Out For Me”
is a bit more vigorous in approach with crisp
fretwork from Hallal, who's certainly glad he
has a guardian angel or someone watching over
him. “EE Stomp” has more of a folk bent as
Hallal reflects on a day when the playing field
is leveled.
“Mollyocket Song” continues down the folk/blues
path, and the gentle “Little Love” warns of
danger all around to a loved one. The bluesy “In
Spades” tells the tale of a woman in firm
control of her life after overcoming demons in
her past.
“Oh
My Girl” describes a beautiful girl who bears
scars from the past that can be easily seen if
you get too close, while “You Rolled Me” is
about a love that has endured over the passage
of time.
“What You Gonna Do” is a story of bouncing back
from a tough ending to a first romance, told
with a country blues feel. “Wish You Well” bids
farewell to a worrisome lover, a move beneficial
to both parties, and “Old Tricks” is a tough
blues about helpful ways to work your way
through tough times.
“Bluejays” is a lovely tune showing that the
bird's behavior is not so different from our own
in most situations, and the exuberant closer,
“Free To Dance,” brings the album to an
optimistic conclusion.
Time For A Turnaround is a captivating
collection of acoustic tunes with skilled guitar
and fine vocals, an interesting change of pace
for Mike Hallal.
---
Graham Clarke
 Just
A Little More Time (self-released) is the
latest from guitarist/singer Greg Nagy,
the fifth album to his name. It's blues with a
little bit of soul, gospel, and rock to this mix
of original songs and well-chosen covers.
My
preferred songs include the slow swamp blues,
"It Hurts To Love Someone," a cover of the
Guitar Slim version, with Nagy putting plenty of
passion into his voice. An original number,
"Breaking Me (but making me a better man),"
opens with nice organ accompaniment from Jim
Alfredson before Nagy comes in on guitar,
providing a tasty solo while sending out soulful
vocals throughout.
The
opening number, "Just A Little More Time," is a
mid-tempo lilting blues with heartfelt vocals
from Nagy, contrasted by another original,
"Between the Darkness and the Light," that is a
touch closer to blues/rock.
Bobby Murray joins the band on guitar on his own
tune, "the slow jazzy "Love Letter." Another
change in style comes on the funkier
instrumental, "My Buddy," but then it's back to
the blues on the up-tempo, rhythmic number, "Big
City."
One
of the more interesting tunes is a cover of the
soul classic, "Rainy Night In Georgia," done in
a slower pace than the original. Nagy's pleasant
vocals are complemented by the horn work from
Keith Kaminski (sax) and Charlie Miller
(trumpet). If you've always loved this song (and
who doesn't?), you'll dig this rendition.
Another blues classic taken in a completely
different direction is John Lee Hooker's "I'm In
The Mood," done very, very slowly, with strong
vocals and guitar from Nagy and a killer organ
solo from Alfredson. That follows a version of "Sugaree"
that was also at a slower tempo than the
original, with Alfredson and the horn section
pumping out plenty of volume.
I'll
stop short of declaring Just A Little More
Time an essential purchase, but it's a nice
trip into the variety presented by Nagy.
---
Bill
Mitchell
 The Rousers date back to the '70s, with
their rugged sound influenced by artists as
diverse as the New York Dolls, Ramones, and a
host of '50s rockers such as guitar master Duane
Eddy. They attracted a lot of attention in NYC,
but never attracted a recording deal other than
a 45 released in 1981.
The
band actually recorded a session with Sire
Records in 1979 which, oddly, was never
released. It languished in the Sire Records
archives at the Rock & Roll Hall of Fame for
decades until being recovered, remixed, and
restored in 2025. These tracks feature the
original lineup – vocalist Jeff Buckland,
guitarist Bill Dickson, bassist John Hannah,
lead guitarist Tom Milmore, and drummer Jerid
O'Connell.
1979 Sire Session (Left For Dead Records) is
a 12-song set that mixes rock, pop, rockabilly
and a little bit of soul. The grittier side of
punk rock basically steered me on a winding path
toward the blues over the years
Although I was not familiar with the Rousers, I
was familiar with bands who influenced them,
especially Eddy and his band. The Rousers took
their name from Eddy's hit “Rebel Rouser,”
covering two of his tunes, “Ram Rod” and “Movin'
and Groovin'.”
The
track “Twanged If I Do, Twanged If I Don't” is
definitely a nod to the guitarist's sound.
Several other songs kick rock n' roll butt, such
as “Product of the USA.”
“Be
My Girl,” “Party Boy” (the “A” side of their
1981 single), “Man Oh Man,” and “Lonely Summer”
are all tough rockers with classic pop
sensibilities lyrically.
The
band also shines on the ballads “Smother” and
“Angel Town,” as well as a terrific cover of
Wilson Pickett's “If You Need Me.” The rowdy
closing track, “Bumblebee Rock,” is also a lot
of fun with plenty of gritty guitar.
There's also a bonus disc that includes six
additional songs, among them covers of “Baby
It's You,” written by Burt Bacharach and Hal
David that was covered by the Beatles, and the
surf guitar classic “Pipeline.”
The
“B” side of the 1981 single, “Don't Let The Band
Stop Playing,” is also included, as well as a
couple of live tracks that show the band's
onstage prowess.
It's
pretty cool to be able to hear these tracks.
They show the influence of classic rock n' roll,
rockabilly, and R&B that was prevalent in the
punk rock genre, and therefore the influence of
the blues, like with just about every other
music.
It's
a shame the Rousers didn't really get a chance,
because 1979 Sire Sessions definitely
showcases some outstanding songs and
performances.
--- Graham Clarke
Looking into the
future ---
We
recently received singles from Lil' Ed & The
Blues Imperials, Tinsley Ellis,
The Altered Five Blues Band, Bywater Call,
Elise Frank, Jamiah Rogers, and a
few more, indicating that reviews of full albums
will be showing up on these pages in the coming
months!
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