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 My
blues friends know how much of a priority I put
on hearing good singers. If I receive an album
with bad vocals, I don't care how good the rest
of the band is, it probably won't get much play.
That's just me. I love the sound of a great
voice.
That's why I jumped right on to the new six-song
soul EP, Hotel Texas (Gypsy Soul
Records), from Ottawa, Ontario-based singer
Matthew Chaffey. This cat can sing!
The backing band is top-notch, too, as Chaffey
and his pals headed to Austin, Texas to record
these half dozen cuts, produced by sax wizard
Kaz Kazanoff and backed by The Texas Horns, Red
Young (keys), Brannen Temple (drums), Anders
Drerup (guitar), and Chris Maresh (bass).
The
album opens with spooky staccato synthesizer at
the front of "Paper Shoes," as Chaffey's rich
voice sings about the false value put on having
money instead of love. We get funky guitar
effects on the backbeat of the up-tempo "It
Rains Forever," merging soul with R&B and blues,
in a song about the ups and downs through life
with a chosen partner.
"Monday To Tuesday Woman" is classic soul like
we've heard over the last half century, with
Chaffey belting out the lyrics in a falsetto
voice and The Texas Horns providing the big wall
of sound. It's a fun tune that's just full of
energy, documenting his period of recovery from
the weekend. "Candi" is another heavy chunk of
soul, a mid-tempo tune in which that other
person isn't quite like his vision of her in his
dreams.
"Like I Used To" is a slow, dreamy number, with
the pain in Chaffey's voice coming out in a way
that makes it a soulful blues. Young's keyboard
fills give it a richer foundation, while the
horns provide subtle accompaniment, never
overpowering Chaffey's tortured vocals as he
repeatedly sings "... I sure don't sing the
blues like I used to ..."
Drerup's tasty guitar licks set the tone for the
mid-tempo soul/blues anthem "Waiting On You,"
with every band member getting a chance to
contribute without taking it to extremes. Just
the right instrumentation behind Chaffey's
passionate voice, as he tells that woman that
he'll wait on her.
Hotel Texas has whetted my appetite for more
recordings from Matthew Chaffey. Six songs is
just not enough, and I haven't found any other
recordings by the man. Let's hope there's more
music coming down the line, because this dude's
a star in the making.
--- Bill Mitchell
 Lara
Price's life started with a serious case of
the blues, but this woman is quite the survivor.
Orphaned at birth in her native Vietnam, she was
brought to the States in Operation Baby Lift, in
which a small percentage of the babies actually
survived. She wound up in the San Francisco Bay
Area with the dream of being a singer, and she's
been doing blues and soul for more than 25
years.
Her
latest album, Half & Half (Gulf Coast
Records), is another gem in her rich
discography. The title comes from the recordings
being done in both San Francisco and Austin,
places in which she's spent most of her adult
life.
The
album kicks off with the mid-tempo blues, "We're
Still Friends," with Price's powerful, raspy
voice sharing the spotlight with Mike Zito's
harder edge guitar playing. "Evidence" starts
with an eerie sound as it turns into a funky
blues/soul, and she sings that she's got enough
evidence to put that man away. We get a strong
guitar solo from David Jimenez and sax from Dr.
Matthew Maldonado. The pace increases
significantly on the up-tempo stomper, "Fools
Like Me," driven by Mighty Mike Schermer's
guitar and Baxter Robertson's honky tonk piano.
We
then get into my two favorite cuts on Half &
Half, the mid-tempo funky blues "Things
Ain't Everything," with Jimenez's guitar effects
giving it that Memphis funk sound and more great
sax from Maldonado. Price really projects her
voice on the slow blues, "Rain," sounding a bit
like Janis Joplin, while Jimenez lays down a
killer blues guitar solo.
Jimenez takes the guitar lead and also shares
vocals on the up-tempo mover, "Days Ago," and
for this one song we don't miss hearing as much
of Price's voice. The pair fit well together.
Don't miss the slow, late night number,
"Solitude," that includes only Price's beautiful
vocals and Matt Burger's tasty Spanish-style
acoustic guitar. Sublime.
Price puts more sass and power into her voice on
the mid-tempo funky, soulful blues, "The Way
Love Goes," with effective drumming from Mike
Ingber. An even stronger voice is heard on the
mid-tempo soul tune, "Trouble, Heartache,
Sadness," with Maureen Smith and Lisa Leuschner
Andersen providing very nice background vocals.
Closing the album is the George Jackson soul
chestnut, the up-tempo "Heart On A String," with
Price's voice gaining powerl as the song
progresses. Very good piano work from Robertson.
It's a strong ending to a superb album.
If
this is your introduction to the music of Lara
Price, it's a good start. Just be aware that
she's got more gems in her catalog, so you are
likely to be hooked after listening to Half &
Half.
--- Bill Mitchell
 Righteous
Souls (Gulf Coast Records) is the latest by
guitarist
Albert
Castiglia, with a whole host of special
guests appearing on the album. The visitors
include Joe Bonamassa, Josh Smith, Danielle
Nicole, Christone "Kingfish" Ingram, Popa
Chubby, Ally Venable, Kevin Burt, Monster Mike
Welch, Gary Hoey, Rick Estrin, Jimmy Carpenter,
and Alabama Mike.
That's quite a diverse group of musicians, which
means it's sometimes hard to figure out what
this album really wants to be. Not every cut
suits my tastes, again often depending on the
guest artist. You may have a different opinion,
and that's alright.
Let's review my favorite numbers, starting with
the Luther "Snake Boy" Johnson-penned blues
shuffle, "Get Down to the Nitty Gritty,"
featuring Alabama Mike sharing vocals. Castiglia
rips off a fast-paced blues guitar solo that's
one of the highlights here. Raine Castiglia
comes in on vocals with her dad on "You Can't
Judge a Book by the Cover," with Ingram
contributing his usual hot blues guitar.
Venable stars on guitar on the fast-paced
Castiglia original, "Till They Take It Away,"
with good vocals from the man. One of the best
cuts here. That's followed by another of the
keepers, a slow Chicago blues, "Come On In This
House," written by Junior Wells that is a
showcase for Rick Estrin's harmonica. Next is
the up-tempo jumper, "You Were Wrong," with
Jimmy Carpenter blowing his sax. We also hear a
strong organ solo from Kid Andersen.
Josh
Smith provides a funky blues guitar intro to the
Buddy Guy tune, "The Dollar Done Fell," with a
heavier guitar sound throughout. Lisa Andersen
provides backing vocals. This song goes in a lot
of different directions, jumping between soul,
funky blues, and blues/rock. The closing number,
another Junior Wells 12-bar blues shuffle, "What
My Mama Told Me," brings back Estrin and his
trusty harp and Monster Mike Welch on guitar.
Another of the keepers here.
I'd
prefer a more cohesive album, but there's enough
good stuff on Righteous Soul that it's
worth a spot in any blues collection.
--- Bill Mitchell
 Sam
Joyner is always compelling because he not
only plays a variety of blues styles, but he
excels at all of them. His latest release,
Come What May (I’ll Always Love You), is a
prime example of his diversity as a blues man.
With a dozen tracks (eight originals, four
covers), Joyner ventures into old school blues,
contemporary blues, Southern soul blues, and R&B
on these songs. The key word in each style
mentioned is “blues” and there’s plenty of it in
his music.
Supporting Joyner on the album are musicians Lil
Ray Neal, Guitar Slim Jr., Jellybean Alexander,
The Saint Anthony, Kevin Hayes, Mayumi Shara,
Marc Stone, Seizo Shibayama, Brian Wingard, and
Joe Eagle.
The
opening track, “It’s That Mojo That Makes Me
Stay,” is a funky blues describing Joyner’s
inability to cut a cheating woman loose.
“Teddy’s Juke Joint” is a fun tune that pays
tribute to Louisiana’s “last authentic juke
joint,” a place near Baton Rouge where Joyner
still plays on a regular basis. The somber title
track describes the drug crisis in America,
while “No One But You” and “As Long As You Are
Here” are both splendid Southern soul blues
songs.
Joyner’s amusing “(If I Could) Thank You For
Leaving Me” is a novel approach to the old
kiss-off tune and his take on the David Alan Coe
hit “Tennessee Whiskey” completely transforms
the country hit into a slow burning classic R&B
number. Speaking of transforming, Joyner
converts the T-Bone Walker standard “Stormy
Monday” into a jaunty, upbeat shuffle that works
almost as well as the previous track.
“Feels Like I Can’t Go On” is a good ol’
low-down blues ballad driven both by Joyner’s
keyboard and his world-weary vocal. The Willie
Dixon-penned “Too Many Cooks” is often
associated with Robert Cray and Joyner’s version
pays tribute to Cray’s cover, mixing in some
scorching guitar work, while his version of
Muddy Waters’ “Hoochie Coochie Man” (also
written by Dixon) features stinging fret work,
Joyner’s keyboards, and an electric drum set.
The album wraps with a wonderful, lively
piano-driven instrumental, “Holmez Boogie.”
Come What May (I’ll Always Love You) has
something for any fan of the blues. It’s an
entertaining mix of modern and traditional blues
with a touch of soul and R&B. Sam Joyner’s
original tunes are first rate and the cover
songs are all transformed into something new,
different, and enticing. Trust me when I say
there’s a lot for blues fans to love on this
album.
--- Graham Clarke
 Rory
Block grew up in Greenwich Village, and as a
teenager she encountered Bob Dylan talking with
her father, who owned a sandal shop on 4th
Street. It was not uncommon to see Dylan or Jimi
Hendrix or John Lennon walking down the street
in front of her father’s shop, but Block
remembered Dylan’s “unique, artistic presence,”
which the world would soon come to recognize
once the singer/songwriter catapulted to fame.
Dylan is the subject of Block’s most recent
release in her “Tribute” series, Positively
4th Street – A Tribute To Bob Dylan (Stony
Plain Records), which features nine of the music
legend’s songs spanning Dylan’s 60-plus year
career that resonated the strongest with Block.
She plays all of the instruments on the album,
except for the baritone guitar solo played by
Cindy Cashdollar on one track.
The
first two songs are two of the more memorable
tracks from Dylan’s 1989 release Oh Mercy,
“Everything Is Broken” and “Ring Them Bells.”
Block’s vocals are a perfect fit with Dylan’s
tunes and her guitar playing, of course, is
icing on the cake, and her vocals really sell
the melancholy “Not Dark Yet,” from Dylan’s 1997
album Time Out of Mind. Cashdollar’s
baritone guitar solo is featured on this tune.
Block’s covers of the more familiar tunes from
the ’60s, “Like A Rolling Stone,” “Mr.
Tambourine Man,” the title track, and “A Hard
Rain’s A-Gonna Fall” naturally don’t measure up
to Dylan’s storied originals. That’s an
extremely high bar, for sure, but listeners will
hear, and feel, the emotion that she brings to
her interpretations both vocally and
instrumental, and the love she has for these
songs.
The
album closes with two of Dylan’s more recent
compositions, both from his 2020 release
Rough and Rowdy Ways. “Mother of Muses” has
a gentle, gospel tone, her guitar work is supple
and her vocals reverential.
The
album closer is “Murder Most Foul,” Dylan’s
musical epic that starts with the JFK
assassination and branches into myriad
historical and cultural directions. Block does a
great job on this tune, her vocals convey that
she also lived through many of these events and
her spare guitar accompaniment adds to the
effect.
Although Bob Dylan is not a blues man by
definition, as he has acknowledged, the blues
has colored his work throughout his career.
Block’s reading of his songs brings out that
quality while retaining the spirit of the
original versions. Positively 4th Street – A
Tribute To Bob Dylan will satisfy Rory Block
and Bob Dylan fans, and possibly steer a few
newcomers to Dylan’s expansive music catalog in
the process.
--- Graham Clarke
 Ping
Rose is a singer/guitarist from Memphis
whose influences include Jimi Hendrix, George
Benson, The Cure, B.B. King, Jerry Reed, Prince,
and Smashing Pumpkins. His musical palette
combines blues, jazz, funk, country, and
alternative rock. Conjure Man is Rose’s
second release with his band, The Anti-Heroes,
and it consists of nine original tracks that
incorporate most of the genres mentioned above.
The
instrumental “Cloverhill Stomp” opens the disc,
which blends blues and rock effectively thanks
to a mix of slide and crunching lead guitar work
from Rose. “Don’t Drink Me Dry” mixes funk,
blues and rock with sizzling guitar work and
soulful lead and backing vocals, while the title
track is a sultry slow blues, and the mellow R&B
track “Should I” has a lilting island vibe.
“Salty” is a slow cooker about the side effects
of dealing with a no-good woman highlighted by
terrific slide guitar and simmering keyboards.
“Careful What You Wish For” and “Darkness” are
both funky soul blues, the latter with more of a
rock edge. “Much Left To Lose” is a slow,
acoustic blues with finger-picked fret work from
Rose. The album closes with another
instrumental, “The Tail End,” which really shows
the Benson influence in Rose’s guitar playing.
The
songs on Conjure Man are all
well-crafted, with catchy lyrics and melodies.
Ping Rose is a talented guitarist and vocalist.
This is a strong set that bodes well for his
future and blues fans should check it out.
--- Graham Clarke
 Detroit-based
blues-rock singer/songwriter/keyboardist
Eliza Neals’ latest release, Colorcrimes,
leans in a bit more of an R&B direction from her
previous efforts, which makes sense because (1)
her Detroit roots, and (2) collaborating with
one of the Motor City’s finest composers, the
late Barrett Strong, Jr. on three tracks.
Strong, who worked with Neals during her early
years as a performer, knew a thing or two about
R&B and soul, having written multiple hits for
Motown and working with some of the label’s
finest artists, as well as writing and singing
the label’s first hit, “Money (That’s What I
Want).”
The
influence of Strong on their collaborative
tracks really seems to have inspired Neals’
songwriting as well as her vocals on the rest of
the album. The opener, “Heal This Land,” is a
stirring acoustic blues with Neals backed by
guitarist Michael Puwal. The amusing “Banned In
Jackson” tells of Neals’ experience being banned
from a performance for wearing a skirt the
promoters deemed to be too short, and the
powerful title track pleads for peace and
justice in dealing with the racial strife
besetting the country at the current time.
Strong and Neals’ compositions comprise the
middle portion of the album. “Something’s Better
Than Nothing” is a upbeat tune with a definite
Motown feel encouraging others to appreciate
what you have instead of missing what you don’t
have. The funky “Love Dr. Love” adds horns and
clavicord with a jazzy New Orleans feel dropped
in at the midpoint, and “Sugar Daddy” is a
soulful romp that brings in King Solomon Hicks
on guitar and backing vocals. These soul/R&B
numbers fit Neals’ vocal style like a glove.
“Candy Store” is a gritty midtempo blues rocker
that showcases Neals’ piano playing, and “Found
Me Another” locks into a smooth soul and pop
groove, sounding a lot like a radio-ready track.
The closer, “Friday Night (All Day Long),” is a
rocking party anthem for those looking forward
to letting their hair down on the weekend after
a grueling week.
Colorcrimes is the strongest album that I’ve
heard from Eliza Neals, whose vocal chops are as
potent and powerful as ever. These are the best
set of songs she’s written to date, and I really
enjoyed the soul/R&B tracks with Strong as well.
The musicianship is stellar with a host of
musicians collaborating Too many names to list.
Fans of blues, rock, and soul will want to get
their hands on this one, for sure.
--- Graham Clarke
 Alastair
Greene is with a new label (Ruf Records),
but everything else remains the same as the
guitarist maintains his high energy approach to
blues rock with an album, Standing Out Loud,
that deftly walks the line between the
traditional blues-flavored rock and Southern
rock of the late ’60s/early ’70s and the 21st
century version. Greene wrote 10 of the 11
tracks – eight of which were recorded in
Nashville with Todd Bolden on bass and Adam
Abrashoff on drums, while three were recorded in
Austin with Mark Epstein on bass and Kevin Hall
on drums.
The
scorching opener, “You Can’t Fool Me,” has the
raw and rugged feel of early ’70s rockers, while
the driving “Slow Burn” sounds like an early ZZ
Top-esque album track with slide guitar added.
“Only Do” adds a taste of funk to a catchy
guitar hook, and “In Trouble” is a mid-tempo
blues rocker with metal overtones. “The Last To
Cry” revisits the funky side of blues rock as
the rhythm section locks into a steady groove
while Greene’s slide guitar adds a touch of
grit.
“Trouble Blues” is a fierce slower blues that
builds up intensity as it goes, featuring some
fierce fretwork from Greene throughout. “Am I To
Blame” is a churning boogie shuffle that
revisits the ZZ Top vibe, and the memorable
title track has a really distinctive melody and
immaculate guitar work from Greene, while the
rumbling rocker “Temptation” is another standout
track.
Greene’s slow blues takes are always a treat to
hear, and on this album’s effort, “Rusty
Dagger,” his guitar work belies the song title
with its piercing effect. Hard to choose a
favorite track, but this one is in the running
for sure. The album closes with a terrific cover
of Rory Gallagher’s “Bullfrog Blues” that starts
out in a traditional direction, but quickly
redirects to a sizzling slide guitar fest that
makes you hate that things are coming to a
close.
Standing Out Loud is another stellar
addition to Alastair Greene’s musical catalog.
Packed with great songs and performances, this
album should be in every blues rock fan’s
collection.
--- Graham Clarke
 Reverend
Freakchild’s latest release, Bare Bones
(Treated and Released Records) is a two-CD set,
which includes live acoustic renditions of the
nine tracks from his 2023 album, Songs Of
Beauty For Ashes Of Realization. The
Reverend recorded these solo tunes live with no
edits at the Chattanooga Public Library Studios.
As I’ve said before, you never really know what
to expect with a new Reverend Freakchild disc,
but you always know it will be a fascinating
listening experience.
“All
I Got Is Now” opens the live set and, really,
what would a Reverend Freakchild album be
without a new version of this song (he devoted
an entire CD to multiple interpretations)?
That’s okay, because it’s a really cool song and
it’s obvious that the Rev really likes it, too,
because he never puts less than 100% into each
rendition,. It never fails to impress. The funky
“Dial It In” has also been recorded before (the
title track of his 2018 release) and it’s a
great, catchy road song.
The
lively, reflective “All Across America”
continues the road theme, and the amusing
shuffle “Hippy Bluesman Blues” retains its
psychedelic feel in the acoustic setting.
“Amsterdam Blues,” which originally appeared on
the Reverend’s 2001 debut album, is a fine
country blues with Delta-influenced guitar work.
“Tears Of Fire” has appeared twice before as
well, but this stirring acoustic version is as
intense as the electric version on Beauty For
Ashes.
The
lovely, stripped down reading of “Skyflower” is
a standout, as is the country blues “Don’t Miss
Nothing ‘Til It’s Gone.” The previous version
featured Reverend Shawn Amos on harmonica and
vocals, but this rendition really captures the
isolation and loneliness of the lyrics. The set
closes with the Rev’s wonderful tribute to Blind
Boy Fuller and Grateful Dead lyricist Robert
Hunter, “Keep On Truckin’.”
The
Reverend always has a few surprises with each
album and this set is no exception. The second
“Bonus” CD is subtitled Odds, Ends &
Interviews and includes a few interview
snippets taken over the years that really
explain the essence of Reverend Freakchild ---
his musical and spiritual journey, plus several
songs including a Grateful Dead medley of “Dark
Star” and “Truckin’,” a “Psychedelic Folk Rock”
mix of “Good Shepherd,” another version of “All
I Got Is Now” from a radio broadcast, and a
radio performance of “Keep On Truckin’” with
Hugh Pool, before concluding with nearly
28-minute “Spiritual Warrior Chant.”
If
you haven’t experienced the music of Reverend
Freakchild, Bare Bones is a great place
to start, but you certainly will want to hear
more once you’ve dipped your toe in the waters.
--- Graham Clarke
 Stories
(Hudtone Records), the latest album from the
Kansas City-based Levee Town (Brandon
Hudspeth – guitar/vocals, Jacque Garoutte –
bass/vocals, Adam Hagerman – drums) is a robust,
well-balanced set of blues, roots, and rock n’
roll. Hudspeth penned eight of the nine tracks,
with five tracks featuring Tilney Erhardt on
accordion, piano, or organ. The band has
released nine previous albums over the last 20
years, and Hudspeth has also recorded with
singer/percussionist Jaissón Taylor. That duo’s
Ridin’ The Blinds release last year won
critical acclaim.
Stories opens with the driving rocker “The
Healthy Woman,” followed by “I Got A Hole In My
Pocket,” a raucous vintage rock n’ roller that’s
certain to get folks moving at their live shows.
Hudspeth breaks out the slide for the standout
track “Where I Lay My Head,” a hard-charging
blues, while the brisk “Worn Soul” is a jumping
shuffle, and the country-flavored “Harley Lou”
rolls in a Southern rock direction.
The
hilarious “Dumb Ole Smart Phone” is a topic that
more than a few of us can relate to, definitely
qualifying as a “modern blues tune.” “My
Daughter’s Eyes” is a sweet tune with a Cajun
feel, thanks to Erhardt’s accordion.
The
instrumental “Shuffling Sea” is a blues guitar
fan’s dream, and the closer “Back Then” is a
bluesy shuffle that looks to happier times
ahead.
Stories is a fine set of blues, roots, and
rock that looks back but has both feet firmly
planted in contemporary sounds. Each song is
compelling in a different way, and the album
holds up well to repeated listening. If you’re
not familiar with Levee Town, this is a great
place to get on board.
--- Graham Clarke
 The
Cass Clayton Band returns after a four-year
absence from the studio with Midnight in a
Bottle. The band’s previous effort, Play
Nice, hit #1 on the National R&B Radio Chart
in 2020, and their latest release mixes blues,
R&B, funk, and soul as deftly as its
predecessor. Clayton (vocals/guitar) is backed
by Taylor Scott (who also co-produced the album
with Clayton) on guitar, Jon Wirtz on keys, Jiho
Han on bass, Eric Imbrosiciano on drums), and a
multitude of musical guests. Clayton and Scott
wrote or co-wrote nine of the 11 tracks.
“Rear View Mirror,” the opening track, is a
moody, soulful number with guitar work from
Scott that adds a bit of a country feel and nice
accents provided by Wirtz on the keys. The title
track follows, mixing blues and roots quite
effectively (Clayton adds slide guitar to the
mix), and the funky “Take Me Home” adds horns to
Wirtz’s Memphis-flavored keys. Next, “Don’t
Sleep Through The Revolution” has a nice, smooth
jazzy vibe, and the retro R&B “Make Believing”
marks the midpoint of the album.
The
funky “Slow Fade” locks in on a Memphis groove
and doesn’t let go, leading into the album’s
first cover, the Earl Randle-penned “Somebody’s
On Your Case,” previously recorded by Memphis
soul queen Ann Peebles. Clayton’s version
measures up quite nicely to Peebles’, thank you
very much. “First Thing Smoking” adds a bit of
bluesy grit to the proceedings, thanks to
Scott’s guitar and the hard-hitting rhythm
section.
The
after-hours jazz of “City Noise” is punctuated
by Patrick McDevitt’s upright bass, while
Clayton’s cover of Bill Withers’ “Grandma’s
Hands” is a bit more upbeat version, but retains
the funky gospel feel of the original. The album
wraps with the somber, mid-tempo “We’re All
Going Down.”
Clayton’s vocals are marvelous and fit easily
into the variety of musical style presented on
the album, and the band’s work is equally
first-rate. Message in a Bottle offers
something to savor for blues, soul, jazz, and
R&B fans, but any discerning music fan will find
a lot to enjoy with this set.
--- Graham Clarke
 Canadian
guitar master Shawn Kellerman has been
playing the blues since the late ’90s, having
been encouraged by his parents, who ran the
Kitchener, Ontario club Pop The Gator. Guitarist
Mel Brown took Kellerman under his wing, and the
youngster later moved to Mississippi where he
joined Bobby Rush’s band. The late Lucky
Peterson came calling (you can see Kellerman
backing Peterson and his wife Tamara on the
CD/DVD set Live at the 55 Arts Club Berlin),
which further boosted the young guitarist’s
fortunes, encouraging him to launch his own solo
career.
Kellerman’s third release, Kell’s Kitchen
(Songsurfer Records) is his first in 15 years
and features 14 tracks, 12 written or co-written
by the guitarist, that showcase all of his
influences. Guests include Rush, Peterson, Jason
Ricci, Bywater Call singer Meghan Parnell, and
Noah Allard.
The
album blasts off with the torrid blues rocker “SKB,”
and the funky blues tracks “Drivin’,” and “Show
Me What You Got” before Kellerman teams with
former boss Bobby Rush (who also plays harp) for
the duet “We Are Blues Men.” Things finally slow
down somewhat for “Together,” but Kellerman’s
fret work continues red hot, and Ricci helps
keep things ablaze with sizzling harmonica on
“Hard Man To Please.”
“Bad
Mamma Jamma,” which Kellerman co-wrote with his
wife, is a superb, funky blues rocker with a
strong ’70s feel, and “Down By The River” has a
rootsy, gospel feel with a strong vocal from
Noah Allard, who contributes backing vocals on
several other songs.
Kellerman got his start working with a Detroit
blues singer called ZOOM, and the pair reunite
and reminisce on the driving shuffle “Mac &
Cheese” before Ricci returns on harp for the
sweaty slow blues “You’re Gonna Learn From This
One.”
The
hard-charging instrumental “Jig Jiggity” adds
horns with a cool Tower of Power vibe. Ricci
sits in on harp again for the album’s first
cover, “Runnin’ Back To Saskatoon,” which was
written by Burton Cummings and Kurt Winter and
released as a single in 1972 by the Guess Who.
The
brisk Southern rocker “In A World Of Blues”
finds Kellerman breaking out the slide as he
calls for love and unity. The album wraps with
the second cover, Little Milton’s “Living Off
The Love You Give,” with Peterson guesting on
keyboards.
Kell’s Kitchen is a strong and diverse set
of tunes from Shawn Kellerman that allows him to
pay tribute to his many influences. He attacks
these songs with a relentless energy and
enthusiasm, indicating that this set was a labor
of love for the guitarist. Blues rock fans will
find a lot to enjoy with this album.
--- Graham Clarke
 I
was not familiar with the New England blues band
Frankie Boy & The Blues Express until I
got a copy of their release, Young Man’s
Blues. Upon investigation, I discovered the
band was a two-time winner of the Granite State
Blues Society Blues Challenge (2019 and 2022)
and competed in the 2020 and 2023 I.B.C.,
advancing to the semi-finals in the latter year.
They also served as Luther “Guitar Junior”
Johnson’s backing band and played with numerous
blues artists over the years, with Frankie
touring worldwide with blues rock singer Eliza
Neals.
The
core band (Frankie Boy Blues – vocals/guitar,
Mickey Maguire – bass/lead and backing vocals,
Harrison Foti – drums/backing vocals, with Mike
Morgan sitting in on guitar/backing vocals) has
an interesting sound blending Chicago-flavored
blues with rock, funk and a bit of hip-hop on a
couple of tracks. Frankie Boy Blues penned eight
of the 14 tracks for this impressive set.
The
opener, “Guitar JR,” serves as a nice tribute to
their former employer, who passed away in late
2022. St. Louis blues man David Dee, who passed
away in 2023, taught the band his signature tune
“Going Fishing,” and the band honors his memory
with a faithful cover. The title track is a
tasty slow burner, and the funky “Anna” is an
upbeat track with a bit of a pop feel, while
“Lose My Cool” has more of a rock edge.
The
Windy City shuffle, “Hey There Anayah,” features
some crisp guitar work from Frankie Boy, and
“Talkin’ About Soul” incorporates some of the
aforementioned hip-hop and funk into the mix
effectively. Next up is a rocking cover of the
Wicked Pickett’s “Engine Number Nine,” the
splendid slow burner “Something About You,” and
a rollicking medley (sung by Maguire) combining
two Guitar Junior favorites “Flippin’ and
Floppin’” and “So Mean To Me.”
The
band also offers rousing covers of Jimmy and
Jeannie Cheatham’s “Meet Me With Your Black
Drawers On,” along with Buddy Guy’s “Mary Had A
Little Lamb” and Magic Sam’s “You Belong To Me.”
Closing the album is a midtempo original, “What
More Can I Do,” which may be the best of an
exceptional set of original tunes.
As
stated above, this was my first exposure to
Frankie Boy & The Blues Express, but hopefully
it won’t be the last, given this rock solid
debut release, Young Man’s Blues.
--- Graham Clarke
 Seattle-based
Stevie and The Blue Flames have been
making music since the ’80s, performing at local
clubs, parties, and assorted festivals on the
West Coast, Europe, Israel, and South America.
The band has won numerous awards from the
Washington Blues Society, including Best Band,
Best Harmonica, and were recently inducted into
the society’s Hall of Fame. Fronted by harp
legend Steve Bailey, the band offers up their
latest album, Destination: Blues, which
features ten original tunes by Bailey and one
well-chosen cover.
The
album opens with the wild swinger “Blue Flames
Bar-B-Que” that should get toes tapping and
fingers snapping. “Every Dog Has His Day”
follows, a mid-tempo groover that satisfies, and
the shuffle “First Class Fool” teams Bailey’s
harp with guitar work from Steve Blood and
Richard Newman.” “Blues Comes A Callin’” is a
terrific tune that’s a little bit traditional
and a little bit modern in its approach, and
“Unemployment Blues” slows the pace down a bit
with a vintage Mississippi Delta flavor.
The
album’s lone cover is an edgy version of Elmore
James’ “Stranger Blues” that measures up well to
James’ intense original version on Fire Records
in 1962,. The original “Let Me Go” sounds like
an old school rock n’ roller, but adds slide
guitar from Bailey for extra spice. The
instrumental “Slim and Love Dealers” gives
Bailey room to showcase his harmonica skills,
and “Tell Me When” is a gritty blues rocker.
The
album closes with “Talk Is Cheap” and “Down And
Out,” a shuffle and boogie track, respectively,
both of which offer more dynamite harp playing
from Bailey and super support from The Blue
Flames.
Destination: Blues is an outstanding set
from Stevie and The Blues Flames that will
hopefully earn the band some recognition beyond
their West Coast stomping ground.
--- Graham Clarke
 Chicago
blues singer Denise La Grassa has an
interesting background which includes a former
entry in the Guiness Book of World Records (for
muscle grinds on the trapeze), serving as a
former member of the Second City comedy and
improv team, and leading the music program at
Lincoln College in Central Illinois. In addition
to all those duties, she’s also performed for
decades on the Chicago music scene, deciding to
focus completely on singing and songwriting
after the 2022 closure of the school.
Sundown Rising is La Grassa’s follow-up to her
successful 2023 release, The Flame, and it’s a
heady mix of blues, rock, roots and soul. She
wrote eight of the nine tracks featured, playing
keyboards with backing from guitarists John
Kregor and Stephen Ryan, bassist Steven C. Manns,
and drummer Mike Gee, with guest appearances
from The Nunn Sisters, harmonica master Pierre
Lacocque, and violinist Anne Harris.
The
somber title track opens the disc, a frank look
at the treatment of the downtrodden in the
country. “None of Your Business” has a jazz/funk
feel and takes a jab at social media, while the
optimistic “Hope In Love” mixes the funk with
the blues. The blues classic “Key To The
Highway” features Lacocque on harmonica and La
Grassa doing an excellent job conveying a
world-weariness with her vocal.
The
energetic, uptempo rocker “Vision Of Good Rule
Makers” gives the current slate of politicians a
good lambasting, while “The Door” is a lovely,
delicate ballad that serves as a fine platform
for La Grassa’s vocals, and “Sweet Talk” is a
tasty bit of blues and funk. The brisk “Quit
Your Whining” takes on a breakneck pace, driven
by Harris’ violin, and the closer, “Love For
Love’s Sake” is a mid-tempo shuffle that wraps
the disc up nicely.
I
wasn’t familiar with Denise La Grassa prior to
Sundown Rising, but based on her strong
vocals and equally strong songwriting, I plan to
dig deeper into her catalog. There’s a good
chance listeners will want to do the same.
--- Graham Clarke
 Live
at Woodystock 2022 (Blue Cobra Productions)
captures blues rockers extraordinaire Jay
Gordon and Blues Venom at full throttle.
Backed by bassist Sharon Butcher and drummer Tom
Parham, guitarist Gordon rips through this nine
song set (two originals, seven covers) with such
sound and fury that one wonders if the fire
department was on stand-by. Gordon’s influences
are pretty obvious --- Jimi Hendrix, Buddy Guy,
Johnny Winter, and Stevie Ray Vaughan --- but he
adds his own distinctive twist to those
influences.
Opening with Willie Dixon’s “Hoochie Coochie
Man,” Robert Johnson’s “Crossroads,” and George
Throrogood’s “I Drink Alone,” Gordon sets the
bar pretty high with lots of guitar
pyrotechnics, intense vocals, and a driving
backbeat from the rhythm section. With his
original “Slow Burn Biker Mama,” Gordon slows
the pace down, but not the intensity, and the
follow-up, another original called “Fire and
Brimstone Boogie” is a gritty tribute to the
master of the blues boogie, Mr. John Lee Hooker.
Sonny Boy Williamson’s “Good Morning Little
School Girl” is taken at a pace similar to Ten
Years After’s rendition, which fits Gordon’s
sound to a tee. Next up is a sizzling medley of
a pair of tunes associated with Creedance
Clearwater Revival, “Green River” and Dale
Hawkins’ “Suzie Q.” There’s also a dynamic cover
of “Train Train” (recorded by Blackfoot in 1979,
but originally written and recorded by Blackfoot
singer/guitarist Rickey Medlocke’s grandfather,
Shorty Medlocke) before the set closes with an
electrifying take on Elmore James’ “Stranger
Blues.”
Jay
Gordon and Blues Venom pull out all the stops on
Live at Woodystock 2022. Obviously from
the audience reaction after each song, this set
was much enjoyed and appreciated. Blues-rock
fans will have the same feeling listening to the
album.
--- Graham Clarke
 Growing
up in the ’70s, I learned to drive in a 1962
Plymouth Fury with a push-button transmission
and an AM radio. During that time radio was
transitioning to FM frequency, so it was
difficult sometimes for a teenager to find an AM
station that wasn’t playing classic country
music or featuring a loud preacher. Fortunately,
there was an R&B station in a local town that I
could pick up until about 5:30 in the afternoon.
That station introduced me to a lot of great
performers that I might have missed otherwise.
One
of those performers was Johnnie Taylor,
who had a monster hit in 1976 with “Disco Lady.”
That was the only song I knew of his until a few
years later, when he signed with the Jackson,
Mississippi label Malaco Records. At that point,
I truly got on board with the singer (via AM and
FM stations by this point) and he became a
favorite with his smooth vocal style. At the
same time, I began to backtrack and learn about
his earlier recordings, many of which I
originally knew through other artists’ cover
versions.
Sadly, Taylor passed away in mid-2000 from a
heart attack, and I think in the nearly quarter
century since his death, his contributions to
blues, soul, and R&B may have been minimized
somewhat, which is a shame.
Hopefully, that situation will soon be remedied
via a new biography written by Gregory M. Hasty
and T.J. Hooker Taylor (Taylor’s son). I
Believe In You – The Incredible Journey of R&B
Legend Johnnie Taylor (Archway Publishing)
recounts the singing legend’s life and his music
in absorbing detail, giving fans both old and
new a more complete picture of the man and the
performer.
In
meticulous detail, the authors detail the
entirety of Taylor’s career, from his humble
beginnings in Arkansas, where he began
performing in gospel groups as a youngster to
his time as a member of The Highway Q.C.’s and
the Soul Stirrers. Sam Cooke was a member of
both groups, and the book recounts Taylor and
Cooke’s close relationship and Cooke’s mentoring
of Taylor, who eventually signed to Cooke’s SAR
Records, where he recorded his first secular
single, “Rome Wasn’t Built In A Day.”
After Cooke’s tragic death, Taylor signed with
Stax Records, where he became the label’s
best-selling artist, earning a million seller
for “Who’s Making Love” and recording many other
hits that remain fan favorites (“I Believe In
You,” “Cheaper To Keep Her”). Taylor nearly
singlehandedly kept the label afloat until the
mid ’70s.
After Stax folded, Taylor signed with Columbia
Records and achieved his greatest success with
“Disco Lady,’ the first certified platinum
single. The authors also discuss Taylor’s
relationship with his producer, Don Davis, on
Stax and Columbia, and Taylor’s growing
frustration with Columbia, who tried to steer
the singer away from the soul music that earned
him recognition in the first place toward disco,
before releasing him from the label in 1980.
Eventually signing with Beverly Glen Records,
who failed to promote his single release, Taylor
moved on to Malaco Records, where if he didn’t
enjoy his biggest success there, his tenure with
the Jackson, Mississippi label probably proved
to be his most satisfying as he stayed with them
over 15 years until his death in 2000, venturing
more toward the blues side of the aisle for most
of his albums there.
Though there is much written in the book about
Taylor’s generosity, his religious faith, and
his general good nature, the book doesn’t steer
away from his foibles. He was a substance
abuser, occasional pimp, and fathered at least
13 children, nine acknowledged, by a number of
women, and had varying degrees of contact with
them. Co-author Hooker Taylor’s stories about
lack of contact with his father are particularly
poignant and several others discuss their own
issues, and the dispute over inheritance after
Taylor’s death (he left no will) are detailed as
well.
Hasty and Hooker Taylor used a number of sources
for their book including most of the Taylor
children (several of whom became performers in
their own right), fellow singers Ernie Johnson,
Gregg A. Smith, and Bobby Patterson, Malaco’s
Tommy Couch, Jr., and Rodgers Redding (brother
of Otis), who served as Taylor’s manager/booking
agent. They also provide a complete discography
of Taylor’s available recordings, and also make
a case that Taylor deserves to be inducted into
the Rock & Roll Hall of Fame, which is really
beyond dispute, given his 30+ years of chart
success.
Hopefully, the publication of I Believe In
You – The Incredible Journey of R&B Legend
Johnnie Taylor will get the gospel, soul,
and blues legend’s name out into the public, and
this wonderful talent will be able to get the
recognition that he richly deserves. Gregory M.
Hasty and T.J. Hooker Taylor have done a fine
job telling the story of one of music’s unsung
heroes.
--- Graham Clarke
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