Dudley Harris has been a fixture on the West
Tennessee blues scene for 45 years. So why in
the world has it taken that long for him to
release an album?!! Believe it or not, All
The Money’s Gone (BBH Productions) is Harris’ debut
release, and it took the combined efforts of
Elam McKnight, The West Tennessee Blues Society,
the Tennessee Arts Commissions, and
contributions from fans and friends to make it
happen. Blues fans should be grateful for the
effort because this set is the pure, unvarnished
blues at its finest.
The disc opens with ”Tired Baby,” a loping,
mid-tempo blues where Harris is tired of being
dogged around by his lady. Bob Bogdal guests on
harmonica on this smoking track and others,
including the driving blues, “Jack Rabbit,” which
follows. The catchy “Love Me” picks up the pace
a bit before Harris deals the the hard blues on
a pair of tracks, the desperate “Nobody Knows”
(nice guitar work from McKnight on this one) and
the somber slow blues “Hard Times.”
“Cinnamon Roll” is a sweet (sorry),
stripped-down acoustic blues where Harris sings
the praises of his lady, and the boisterous
“King Snake” is a slippery, funky track. “Feel
So Bad (Tell Jody Riley)” is a slow burner about
losing a lover to that ever-present rival Jody.
Harris’ vocal on this track, providing just the
right mix of sorrow, fatigue, and anger. “Go Get
My Gun” packs a menacing tone backed by an
irresistible groove, and the exuberant “Sweet
Honey Bee” is a fine choice to close the album.
McKnight serves as executive producer and
contributes guitar on several tracks, with
producer Michael Saint-Leon adding guitar and
bass as well as producing and recording the
album at his Nashville studio (Switchyard
Studios). Bogdal plays harmonica on
multiple tracks.
This is the blues like they
used to do ‘em --- raw, gritty, and
down-and-dirty. Fans of the real deal will want
to hear All The Money’s Gone.
--- Graham Clarke
Ghost Town Blues Band is one of the standout
bands of the current blues/roots community.
Celebrating their tenth year of existence, the
band issued their fourth studio effort, fifth
overall, late last year. Shine captures their
sound as perfectly as their previous release,
the awesome Backstage Pass, captured their live
show. Matt Isbell (vocals, guitar, cigar box
guitar, silverware chest guitar, harmonica)
leads this superlative musical ensemble (Taylor
Orr – guitar/vocals, Kevin Houston – sax/vocals, Suavo Jones – trombone/trumpet/vocals, Matt
Karner – bass/vocals, Andrew McNeilll –
drums/percussion/vocals, Cedric Taylor –
B3/piano/vocals) through a powerhouse 12-song set.
The opener, “Running Out Of Time,” is a capsule
summary of the band’s sound, beginning with a
mellow rock vibe before turning into a sweet
soul direction with Isbell’s slide guitar
seamlessly weaving
in and out. The wild and
salacious “Soda Pop” follows, tearing into a
driving, almost Hill Country groove, and the
exuberant title track (previewed on Backstage
Pass) features husband-and-wife team Paul DesLauriers and Annika Chambers on background
vocals.
“Lyin’ To Yourself” is a
splendid blues rocker with a touch of soul,
“Givin’ It All Away” (also previewed on the live
disc) is a southern rocker’s delight with the
whole band getting ample space to do their
thing, and “Dirty” is a atmospheric rocker that
mixes in a rap from Suavo Jones.
The funky “High Again” features a typically
strong Isbell vocal and excellent guitar and a
supple B3 break from Taylor. “My Father’s Son”
follows the same path with the Memphis vibe (via Stax
Records) being strong with both of these
tracks. The upbeat “Evangelie” keeps the funk
going, but in more of a Crescent City mode, and
the slow burner “Carry Me Home” has a smooth
gospel/soul feel.
“Heading Nowhere Fast” mixes
acoustic and electric guitar, containing the
great line, “... I’m heading nowhere fast, but I’m
making good time ...” “Hey There Lucinda” is a
touching closer, as Isbell reflects on the much
too quick passage of time and being separated
from his daughter. Ilana Katz Katz adds fiddle
to this sweet track.
Shine captures the energy and dynamic appeal of
this band as well as their previous live release. If Ghost Town Blues Band hasn’t
yet shown up
on your musical radar, I suggest you do
something to make that happen. Otherwise, you are
missing some of the best blues and roots music
being produced these days.
--- Graham Clarke
Chicken Grease (American Showplace Music) is the
fourth studio release from Biscuit Miller and
the Mix. Bass player/vocalist Miller, who backed Mojo Buford, Lonnie Brooks, and Anthony Gomes
before starting the Mix in 2000 as a side
project, is joined by drummer Myron “Dr. Love”
Robinson, rhythm guitarist Bobby B. Wilson and
lead guitarist Alex “Southside” Smith on this
ten-song set. Guests include keyboardist John Ginty and lap steel guitarist Marcus Randolph,
who serves as drummer for Robert Randolph (his
cousin) and the Family Band.
Chicken Grease mixes the blues with a heaping
dose of funk and R&B, and the combination makes
these tracks really pop. “Here Kitty Kitty”
opens the disc superbly, sporting plenty of
Memphis grease in the thumping backbeat.
Randolph makes the first of his two appearances
on the vigorous rocker “609,” his lap steel
weaving in, out, and around the driving rhythm,
and “Lonely Road” is a fine piece of deep
southern soul with a poignant vocal from Miller
and nice fretwork from Smith and Wilson.
Meanwhile, the percolating “Two-Legged Dog”
turns up the funk, and the band keeps things
moving right along (with help from Randolph once
again) on the jubilant title track.
The old school R&B ballad “Watching You” is a
keeper, and would have been a radio staple back
in the day, while “Take A Ride” is a scorching
rocker with some ripping slide guitar from
Smith. The lively “Southern Woman” moves
along at a brisk, danceable pace. “Creeping” is
a slow burner about being done wrong by one’s
significant other, with splendid guitar work and
moody keyboards from Ginty. The funky closer,
“Get Ready,” wraps things up with an optimistic
message that everyone should take to heart.
Chicken Grease is another fun release from
Biscuit Miller and the Mix. Miller is a strong
vocalist comfortable in a variety of styles, and
the songwriting and musicianship are first-rate,
making this album well worth a listen.
--- Graham Clarke
New Orleans bluesman Jeff Chaz’s latest release,
No Paint (JCP Records), is his first album in
three years, but that’s okay because, 1) he
released two outstanding CDs in 2016 (Sounds
Like The Blues To Me and This Silence Is Killing
Me), and, 2) this may be the best release in his
catalog. Recording for the first time in a power
trio format with bassist Augie Joachim and
drummer Rick Jones, Chaz offers up ten tracks,
nine original blues tunes that rank with his
finest work plus one dynamite cover, along with
his stellar guitar work and powerhouse vocals.
The album kicks off with the cover tune, Tyrone
Davis’ “Turn Back The Hands Of Time.” Chaz
rarely includes covers on his albums, but when
he does, as in this case, he makes it his own. His crisp guitar replaces the gentle
strings of the Davis version, giving it a
totally different spin --- powerful stuff. “The
Stars Are Out” is a nice slow blues with soulful
vocals and shimmering guitar runs, the humorous
“We Ain’t Shackin’ No More” is gritty blues and
funk, and “You Gotta Show Me” is a hard-driving
shuffle with a pair of distinctive yet equally
effective guitar solos.
The superb “Lowdown, Dirty
Blues” is another slow burner, with Chaz getting plenty of room to
shine both vocally and instrumentally during the
song’s eight-minute running time. Next is the
profound “Life Is Like Coffee,” another fine
example of Chaz’s songwriting skills, as is the
amusing “Blues Buffet.” The blues rocker “Little
Sips” continues the food and drink theme with
the tale of a lady who only gives her love in
small portions, and “She’s The Sweetest Thing”
is another slower blues. Chaz really does an
excellent job on these ballads, which are
tailor-made for his passionate vocal delivery
and guitar work. The album wraps up with the
dazzling instrumental, “deet, deet, deet,” a
driving boogie shuffle that you’ll want to hear
on repeat quite often.
I’ve been listening to Jeff Chaz since the early
2000s and he never fails to impress me with his
talent. There’s always something to enjoy on his
albums, whether it’s his clever and creative
songwriting or his strong vocals and guitar. I
really enjoyed the power trio setup of No Paint,
and I hope he explores this format for a while.
--- Graham Clarke
It’s always a bad feeling when a blues artist
passes away unexpectedly, but Sean Costello’s
death in 2008 really hit blues fans hard because
at 28
he was so young and seemed to have an
unlimited future as a guitarist, singer, and
songwriter. Costello released six albums for
Landslide Records and one for Tone-Cool during
his lifetime and built an impressive body of
work. Friends Dave Gross and Jon Justice have
devoted nearly a decade to putting together
Don’t Pass Me By – A Tribute To Sean Costello
(Landslide Records), an amazing 15-song set
featuring a diverse group of artists paying
tribute to Costello and his songs.
Albert Castiglia contributes “Same Old Game,” an
inspired choice to kick off the disc, and
Monkeyjunk frontman Steve Marriner’s reading of
“How In The Devil” maintains the same intensity
as Costello’s original. Watermelon Slim (with
assistance from Dennis Gruenling on harp) rips
through “Who’s Been Cheatin’ Who,” before Victor
Wainwright slows the pace for a sweet cover of
the soulful title track. The late Candye Kane
(with Laura Chavez on guitar) dazzle on the old
school rocker “I’ve Got To Ride,” Bob Margolin
(with Gruenling) do a splendid job with “Low
Life Blues” (Margolin also provides some
wonderful slide guitar), and Seth Walker’s
interpretation of the ballad “All I Can Do” is
simply marvelous.
Georgia-based singer/songwriter Sonia Leigh ably
handles “No Half Steppin’,” and The Nick Moss
Band (with the late Michael Ledbetter on vocals)
do a fine job with “Hard Luck Woman.” The North
Mississippi Allstars’ version of “Father”
captures the tone of Costello’s original
perfectly and Luther Dickinson’s slide guitar is
a perfect complement. Meanwhile, The
Electromatics, out of Atlanta, maintain the
good-time feel of “She Changed My Mind,” one of
several tracks from Costello’s Tone-Cool
release, and Debbie Davies’ tears into “Don’t Be
Reckless With My Heart” with fervor.
New Orleans band, The Morning Life, give “You’re A
Part Of Me” a mellow edge that fits the song
well. The trio of Matt Wauchope, Melvin Zachary,
and Terrance Prather (who were all members of
Costello’s band at one time) keep the slower
pace with “Can’t Let Go,” but in more of a
Memphis vibe. Oliver Wood (with harmony
vocals from Amy Helm) wraps up the tribute with
a poignant “Feel Like I Ain’t Got A Home,” which
will induce chill bumps, tears, or both.
It’s been 12 years since Sean Costello
passed away on the day before his 29th
birthday, and his loss is still being felt by
fans and his fellow artists. Don’t Pass Me By is
a wonderful tribute to his legacy, showing that
he was an immensely talented songwriter as well
as performer for whom the sky was the limit.
--- Graham Clarke
Brody Buster’s One Man Band took the blues world
by storm in 2017, taking home 2nd place in the I.B.C.’s Solo/Duo competition and winning the
Harmonica Player category. The Kansas City
resident’s energetic performance fired up the
Memphis crowd, including Kenny Neal, who was
serving as one of the celebrity judges that
year. Neal was able to get Buster into his Baton
Rouge studio to record for his Booga Music
label, and, like the musician who created it,
Damn! I Spilled The Blues (VizzTone/Booga) is
both inspired and exciting to hear.
The Delta-flavored “Old Dog Blues” opens the
disc with Buster’s vocals gritty and charming,
and his musicianship is most impressive. “Bad
News” is a basic electric blues, but his
harmonica and guitar work cut to the bone, and
“2029” is a driving southern rocker that finds
Buster predicting the end of the world on
September 23rd, 2029 and working on his bucket
list. “Reason” is a slow, somber blues about a
man truly down on his luck, but managing to
remain upbeat.
“The Wind” differs a bit from the other tracks,
as it deftly mixes blues with Americana, but the
wonderful harmonica is ever-present. The
humorous tall tale “Alligator Blues” is next, a
funky boogie that listeners won’t soon forget,
and the rocker “Like ‘em Like That” sings the
praises of women of all shapes and sizes.
“The
Hustle” tells the tale of a musician living on
the road, coming home and finding changes all
around. “Week Long” is a rugged countrified
stomper with drinking, lost jobs, broken hearts,
and more drinking, and the closer, “This Time I
Got The Blues,” is a straight-ahead blues
rocker.
There’s enough variation and diversity in these
ten tracks that it’s hard to believe that all of
the sounds are coming from one man. He’s one of
the finest harmonica players currently
practicing, but he’s most effective on guitar
and percussion as well. Damn! I Spilled The
Blues is rewarding listening for blues fans, who
will be wanting to hear more from Brody Buster
soon.
--- Graham Clarke
This Guitar And Tonight (VizzTone) is Bob Margolin’s first all-acoustic album. The
guitarist brings nine new songs to the set,
playing unaccompanied except for guest
appearances from guitarist Jimmy Vivino and
harmonica master Bob Corritore on one track
each. The production gives the listener the
feeling that they’re sitting in Margolin’s
living room. It’s a very warm approach, just the
blues with no bells and whistles.
The title track kicks off things, a
Delta-flavored rambler with Vivino sitting in.
The scathing “Evil Walks In Our World” looks at
the current state of affairs in the country, a
topic that’s revisited in the reflective
“Predator” that closes the disc. “Over Time”
tells of a dream involving Margolin having a
conversation with his younger self, backed by
his slide guitar. The lively stomp “Dancers
Boogie” will bring Django Reinhardt to mind,
while “Blues Lover” teams the guitarist with
Corritore with entertaining results.
The mid-tempo instrumental “Good Driving Song”
is just that, and the poignant talking blues “I
Can’t Take Those Blues Away” tells the story of
a female police officer who’s had a horrible
day. “Together” is a tender love ballad, with Margolin singing sweetly about the love of his
life. The aforementioned politically charged
“Predator” closes the disc.
Nearly 40 years after the passing of his
mentor Muddy Waters, Bob Margolin is one of the
last musicians connected with the great man, and
he’s as sharp and vital today as he was back
then. In the liner notes, Marolin describes This
Guitar And Tonight as the blues “with no sugar
added.” It is the pure blues, no doubt about it,
and few do them as well as he does. I think
Muddy would be proud.
--- Graham Clarke
Myles Goodwyn finally embraced his inner
bluesman a couple of years ago, releasing Myles Goodwyn and Friends of the Blues,
earning
the April Wine front man a JUNO nomination. It
was a very enjoyable set from Goodwyn (who’s
been a blues fan since the ’60s) and an
impressive list of buddies. It was so much fun
that Goodwyn decided to release an equally
worthy follow-up appropriately entitled Friends
of the Blues 2 (Linus Entertainment) with a long
list of “friends” chipping in on the 14
tracks, including, among others, Jack De Keyser,
Kenny “Blues Boss” Wayne, David Gogo, John
Campbelljohn, Jack Semple, and Angel Forrest.
The album consists of 13 tracks, plus a
bonus cut, mostly written by Goodwyn. The
easy-rolling “Hip Hip” opens the disc on an
upbeat note, with sterling piano from Wayne. The
mellow “Like A Dog Ain’t Had It’s Day” features
Ross Billard on keys and Matt Andersen on
acoustic guitar, while a smooth take on Bobby
Womack’s “All Over Now” includes appearances
from Billard along with Campbelljohn on slide guitar,
Shrimp Daddy on harp, and John Main on piano. “You Got It Bad” is a nice country blues
with Dewy Reeds on harmonica and Andersen on
acoustic guitar.
Slide guitarist Will Van Hansolo guests on the
impressive “Fish Tank Blues,” and “Speedo
(Revisited),” a fun remake of the Cadillac’s
1957 hit features wacky sax from Jeff Mosher. The rollicking rocker “Daddy Needs New
Shoes" includes guitar work from Jack Semple, a
return appearance from Campbelljohn on slide and Shrimp Daddy on harp. Forrest duets with Goodwyn
on “Being Good (Won’t Do Us Any Good Tonight),”
a stunning ballad that blends rock and soul with
the blues.
Goodwyn’s vocals are an enticing mix of soul and
grit, and he plays guitar and keyboards
throughout. “I Love My Guitar” is a clever
tribute to Goodwyn’s instrument of choice, and
the swinging “Help Me Baby,” with harp from Joe
Murphy, piano from Bill C. Stevenson and guitiar from Steve Segal, will get listeners on
their feet.
Guitarist De Keyser and harpist
Sherman “Tank” Doucette appear on the acoustic
blues “When Your Ship Came In (I Was At the
Train Station Drinking), “Sick And Tired (Of
Being Sick And Tired)” is an old school ballad
with Eric Khayat on sax. Guitarist David Gogo makes the most of his appearance on the
scorcher “I Saw Someone That Wasn’t There (And
It Was You).”
The bonus track, “Even Singing Cowboy Gets The
Blues,” is a country tune (complete with
yodeling) that teams Goodwyn with Campbelljohn
and De Keyser and wraps the disc up on an
entertaining note.
Myles Goodwyn sings the blues like he’s been
doing it all of his life. While he’s still
touring and playing with April Wine it wouldn’t
hurt my feelings a bit if he continued to make
regular forays into the blues if he maintains
the high quality of these previous two releases.
Blues fans are encouraged to check out Friends
of the Blues 2 at their first opportunity.
--- Graham Clarke
There’s no question that Chris “Bad News” Barnes
is a showman of the highest caliber. He was a
writer and comic before moving to the blues,
performing with Chicago’s Second City comedy team
and later as the opening act at Tramps in
Manhattan he improvised blues tunes based on
suggestions from the audience. He’s gone from
comedy to releasing three CDs of blues tunes,
including his latest release, Live (VizzTone),
which was recorded at the Legendary Rhythm &
Blues Cruise #32. Barnes is backed by a
veritable “A-Team” of blues musicians, including
guitarist Gary Hoey and harmonica master Steve
Guyger, and the set was recorded and produced by
Tony Braunagel and Johnny Lee Schell of the
Phantom Blues Band who were on board backing Taj Mahal.
The 13-song set list consists of cover
tunes, but Barnes brings a little something
special to each number. “Back In A Cadillac,”
first recorded by Coco Montoya, gets the
performance off to a rousing start. The Bo Diddley classic, “You Can’t Judge A Book By The
Cover,” gets the crowd into the show as Barnes
implores them to get on the dance floor and
Little Walter’s “Boom Boom” keeps them there,
with Guyger and Hoey really getting room to cut
loose. The next tune, “Hungry & Horny,” is an
amusing variation of Earl King’s “Come On,” with
ribald lyrics from Barnes (from his first album,
90 Proof Truth), before things slow down a bit
for “Hoochie Coochie Man,” a particularly strong
rendition with nice work from Barnes, Guyger,
and Hoey.
Don Nix penned “Going Down,”
made famous by Freddie King; Barnes and company give a
blistering take with assistance from sax man
Mark Earley and Doug Woolverton on trumpet. Paul
DeLay’s slow burner “What’s Coming Next”
follows, with Guyger’s superlative harp taking center
stage. Thomas Dorsey’s “It’s Tight Like
That” gets an interesting Bo Diddley backbeat,
Tampa Red’s “It Hurts Me Too” gets a rocking
treatment with splendid slide guitar from Hoey,
and Big Bill Broonzy’s “Keep Your Mind On It”
gets the Crescent City treatment.
“I Drink Alone” was a late ’80s hit for George Thorogood and Barnes has a ball with it. The
Allman Brothers Band’s “Whipping Post” gets a
funky read that runs closer to Gregg Allman’s
solo version from Searching For
Simplicity. This song closes the show, but
Barnes returns with Eddie Floyd’s “Raise Your
Hand,” a tune that probably sent the audience
away singing and dancing.
Live presents an energetic, enthusiastic
performance by Chris “Bad News” Barnes (on his
first Blues Cruise) with excellent support from
his band mates and a most appreciative audience.
Spin this one at your next party and I’m sure
your audience will feel the same way.
--- Graham Clarke
Live! collects 13 standout tracks from
Teresa James & the Rhythm Tramps, recorded over
four nights at one of their favorite venues,
Bogie’s in Westlake Village, California. The Texas-born
James has released several fine albums in recent
years that highlight her tough but tender vocal
style in a blues and soul setting. Her recent
release, Here In Babylon, was nominated for a Best
Contemporary Blues Album Grammy. The live set
features a mix of band originals and tasty
covers.
The disc opens with the horn-driven “In The
Pink,” written by James and her husband, bass
player Terry Wilson, for one of their earlier
albums. Next is a lively read of “I Like It Like
That,” a mid ’60s jump R&B classic from the “5” Royales (nice turn on the keys from Ms. James,
by the way), and a sexy read of the band’s “Put
The Squeeze On Me.” “Easier Said Than Done,” has
a funky R&B feel and a smoking sax solo from Rob
Dzuibla, and James pulls out all the stops on
the ballad “Forgetting You,” which received
second-place in the 2019 Unsigned Only blues
category.
I really like “She’s Got A Way With Men,” one of
my favorites from her Come On Home album. It has
a cool retro soul groove that reminds me of
Motown and she obviously has a ball performing
it. “Don’t Make A Habit Of It” is one of
those sweet soulful ballads that is putty in
James’ hands, and she and guitarist Billy Watts
nail a duet version of the Etta James’ classic
“If I Can’t Have You.” Meanwhile, the Allen
Toussaint-penned “Shoorah Shoorah” is a funky
New Orleans-flavored blast.
“The Day The Blues Came To Call” was one of the
standout tracks on Here In Babylon and James’
tender version (a tribute to the late Gregg Allman) is spot on with sensation fretwork from
Watts. William Bell’s “Everyday Will Be Like A
Holiday” is the only track not previously
recorded by James, who gives this one an extra
boost with an emotional performance. Glen
Clark’s rollicking “I Want It All” is a lot of
fun, and the roadhouse rocker “Long Way From
Texas” closes out the disc.
Teresa James has proven time and time again that
she can deliver the goods in a variety of
musical settings. Live! certainly does nothing
to disprove what was already known, but it also
demonstrates that she’s does it as well on stage
as she does in the studio.
--- Graham Clarke
British blues artist Mr. Downchild and
Texas-born singer/songwriter Kasimira have
joined forces as Blues Meets Girl. Their
eponymous debut release on Bad Inglish Records
consists of 14 original tunes, 13
written or co-written by the duo with one
written by guest guitarist Sean Carney. Mr. Downchild, who collaborated with Robert
Lockwood, Jr. early in his career, sings and
plays guitar, cigar box guitar, harmonica, and
stomp box, and Kasimira sings and adds
percussion. They are joined by Scott Flowers
(drums), Ray DeForest (electric/upright bass),
and Hank West, who plays bass on one track.
The opener, “Nightgown,” combines Chicago with
Louisiana with an irresistible rhythm and harp
from Mr. Downchild (he and Kasimira share lead
vocals). Kasimira takes the mic for the sassy
“Listen Up Boys,” Mr. Downchild picks it up for
the vintage rocker “Didn’t See It Coming,” and
the lady returns for the swampy “Grey Sky
Blues.” On “Backstabber” Mr. Downchild adopts a
downhome, country feel with his reedy harmonica
and acoustic backing, while “Snapshot,” borrows
liberally from the Wolf. “#87/Oh Baby” has a
hard rock edge.
Mr. Downchild’s “Going Home To My Baby” is a
strong blues track with a traditional feel, and
the instrumental “Swinging With Hank” is a tasty
shuffle with nice fretwork from Carney.
Meanwhile, Kasamira sings the solid country
blues “Fishing Blues,” backed by Carney on
guitar and Mr. Downchild on harp, and the
double-entendré-laced “I’m Your Handyman” sounds
like a song out of Lockwood’s repertoire from
years gone by. The funky R&B of “Shifting Gears”
(sung by Kasimira) is a change of pace, and
Downchild ably handles the rock n’ roller “What
Did You Do.”
The album closes with Kasimira singing the
lovely ballad, “Special Man.” There’s also a
bonus version of “Going Home To My Baby” that
packs a harder punch than the previous version
with a driving Chicago/Jimmy Reed beat.
Mr. Downchild and Kasimira make a pretty good
team, and Blues Meets Girl looks like the start
of a promising collaboration with it’s
entertaining mixture of traditional and
contemporary blues sounds.
--- Graham Clarke
Singer Kat Riggins has an
album forthcoming on Gulf Coast Records, and Cry Out, produced by Mike Zito, promises to continue Ms. Riggins’ hot
streak as one of the most talented active blues
vocalists. The powerful title track was released
as a single in late May. It’s a call to action
for our country to work through our difference
and find the common ground that is there within
us in plain sight for all to see, if we just
take the time to see them. It’s sound advice,
some of the best you’ll hear these days, and
Riggins has the vocal chops to make it stick.
Zito’s production work is pristine and I’m
assuming he’s playing guitar behind Riggins. All
in all, it’s a great track and one that everyone
should hear. Based on Riggins’ previous
releases, the rest of the upcoming album should
follow the same script.
--- Graham Clarke
During the pandemic, one artist who hasn’t
exactly been sitting on his hands is Stevie J
Blues. The Jackson, Mississippi-based
singer/songwriter/guitarist has been busy in the
studio, recording singles for his upcoming
release, Quarantined, and producing cuts for
other area artists. This current body of work
marks the first time that he’s served as
engineer, producer, vocalist, and musician.
“Come To Daddy” is a tasty, catchy slice of
funky soul blues inspired by Etta James' “Tell
Mama” that will certainly please fans of that
genre, who I’m sure will be chanting the lyrics
along with him at his live shows. He’s proven
time and again that he’s comfortable in either
the soul blues or the contemporary blues vein,
capable of providing the right mix of soul and
grit for either genre.
Next up is a collaboration with Stevie J and his
friend, singer Vick Allen, covering Little
Milton Campbell’s classic “If Walls Could Talk.”
Stevie J chips in a great Milton-esque guitar
solo, and he and Allen sound marvelous together.
The pair had discussed recording this song
several years ago and, finally, opportunity
knocked. Hopefully, this merger will lead to
future efforts, maybe an album. I think Little
Milton would certainly approve of this fine
effort, as will fans of all three artists.
Stevie J also teams up with Hattiesburg, Mississippi
singer LJ Echols for “My Ex,” an upbeat tune
about the desire to patch things up with a
former lover before it’s too late. Stevie J
wrote the song pretty quickly and decided it was
tailor-made for Echols, and it definitely is!
Both singers convey strong feeling of regret and
desire in their vocals and the funky arrangement
is pitch-perfect, definitely destined to be a
crowd pleaser.
Stevie J also recently produced an upcoming
album, The Summit, for Urban Ladder Society. He
plays guitar for the group, which includes victa
nooman – vocals, Chris Gill – vocals, slide
guitar, resonator, and Jonte Mayon and Tamera
Tate – vocals. The ULS concept mixes blues,
hip-hop, R&B, and classic rock. The group’s
irresistible first single, “Same Ole Thang,”
proclaims that the blues comes in many shapes
and forms. The song combines the above-listed
genre, but it is still very much the blues,
looking back and forward at the same time. The
follow-up, “All About You,” is a soulful ballad
featuring local R&B singer Malcolm Shepherd and
will hit soul-blues fans right where they live.
The Summit will drop in January of 2021.
Another project from Stevie J Blues is an
upcoming tribute to the late Jackie Neal, who
passed away in 2005 due to domestic violence.
This project features a host of southern soul
talents paying tribute to Ms. Neal, and Blues
Bytes will take a look at this release in the
coming months.