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Legendary '20s and '30s blues singer Victoria Spivey took a young up-and-coming vocalist named Maria D'Amato under her wing when the youngster was breaking into the music world in the early '60s. Ms. D'Amato became close to her mentor and learned a lot from her, eventually becoming known as Maria Muldaur and enjoying much success of her own over the past 60 years.

Her track record includes six Grammy nominations, numerous blues awards and The Lifetime Achievement Americana Trailblazer Award, plus a monster pop hit in 1973 (“Midnight At The Oasis”) that is still frequently heard on the radio.

Muldaur has paid tribute to several women artists over the years, so it only makes sense that she honors Spivey, based on their personal relationship. One Hour Mama – The Blues of Victoria Spivey (Nola Blue Records) offers 12 Spivey classics lovingly rendered by Muldaur.

Three of the tracks come from an earlier Muldaur tribute album for Stony Plain Records, Naughty, Bawdy and Blue, featuring James Dapogny's Chicago Jazz Band in support. Two of the tracks feature Muldaur backed by Tuba Skinny, the New Orleans band who collaborated with her on her last release. The remaining tracks find Muldaur supported by a five-piece group (see below) with guests Elvin Bishop, Taj Mahal, and Chris Burns.

The tracks Muldaur recorded with the Chicago Jazz Band include the opening track, the lusty “My Handy Man,' the sassy title track, and the closing track, “TB Blues.” Muldaur's sultry delivery is a seamless fit with the bawdy lyrics, and the band provides a swinging backdrop in support that touches on blues and jazz, venturing toward a New Orleans feel.

That Crescent City vibe recurs on the two tracks with Tuba Skinny (“Organ Grinder Blues” and “Funny Feathers”), which recall the good-natured fun of their 2021 release, Let's Get Happy Together, and Muldaur is obviously enjoying the material.

The remaining tracks find Muldaur backed by a five-piece band that includes Danny Caron on guitar, Johnny Bones on saxophone, Neil Fontano or David K. Matthews on piano, and Beaumont Beaullieu on drums. These tracks include appearances by Elvin Bishop who playfully duets with Muldaur on “What Makes You Act Like That?” and Taj Mahal, who has a good time on “Gotta Have What It Takes.”

The remainder of these tunes include “Don't Love No Married Man,” “Dreaming of You,” “No Papa No!,” “Any-Kind-Of-Man,” and “Down Hill Pull.” These numbers are a bit more laid back in their delivery, but, as on the other tracks, Muldaur's vocals are front and center and really don't need much embellishment.

Sadly, many blues fans are not familiar with Victoria Spivey, which is a genuine shame because if ever a lady was ahead of her time in the blues world, she would certainly qualify.

Maria Muldaur has always acknowledged her roots and influences, and Ms. Spivey was one of her most influential mentors. One Hour Mama – The Blues of Victoria Spivey will hopefully spotlight the talents of both singers and lead listeners to dig deeper with both artists.

--- Graham Clarke

Larry McCray has been on the blues scene for quite a while, with albums being released on a variety of blues labels. For his last couple of releases, he's aligned with Joe Bonamassa's nonprofit Keeping The Blues Alive label, a partnership that's resulted in some good stuff from the veteran blues guitarist.

The latest from McCray, Heartbreak City, just might be his best yet. Co-produced by Bonamassa and Josh Smith, this is a consistently solid album of 11 cuts, with nary a mediocre song among the mix.

Bonamassa and Smith are both credited with guitar parts throughout the album, so it's hard to tell who's providing the solos, but let's assume that McCray is laying down some incendiary guitar licks throughout. In addition to his guitar work, we hear McCray's rich vocals on every cut.

McCray opens with an important lesson to all male listeners on the up-tempo, funky blues, "Try To Be A Good Man," his handbook on how to treat your woman right. The title cut is a slow blues that allows McCray plenty of time to show the pain in his voice over snaky guitar accompaniment. Like on most songs, we get wonderful backing vocals from the vastly underrated Jade MacRae and Danielle De Andrea, as well as keyboards from Reese Wynans.

One of the singles, "Bye Bye Blues," starts with a subtle intro to this pleasant soul/blues, with the background singers and the Sunset Sound horns later adding so much to the song. Southern California guitarist Kirk Fletcher joins the band with tasteful rhythm guitar. The other single, "Bright Side," is a mid-tempo blues with plenty of emotion coming from McCray's voice as he persistently asks how many times a man's heart can be broken.

The vibe gets funky and soulful on "Everything Falls On Me," before McCray admits to his faults in a previous relationship on the slow blues, "I Know What I've Done." With Fletcher back in the studio, we hear some of the best guitar work on the 12-bar blues, "Keep On Loving My Baby," with Wynans adding strong piano accompaniment.

"Hangman" takes it to church with limited instrumentation, focusing McCray's vocals over top of a hypnotic rhythm driven by the drumming of Calvin Turner. The vocals are front and center again on the slow blues, "Stop Your Crying," as McCray pleads with his woman to stay with him. He tells her that if he can't make it with her, he can't be with anyone else.

The mid-tempo funky blues, "Crazy World," has McCray reflecting on how everything seems to be backwards in our current lives, with some innovative guitar licks throughout. McCray then goes into a country sound on the closing song, "Drifting And Drifting," with slide guitar mixing in a blues mood.

Heartbreak City will hopefully bring McCray some recognition at awards time, as it's a worthy collection of solid blues tunes.

Not to be overlooked are the contributions that Bonamassa is making in promoting blues artists who need a boost, and not just McCray. Paying it forward in a manner of speaking.

--- Bill Mitchell

The latest album by Long Tall Deb & Colin John, Light It Up (VizzTone), was initially previewed by the early news of an upcoming release of the album's first single, a version of Annie Lennox's major Eurythmics hit, "Sweet Dreams." That news had me eagerly anticipating the single to see what Deb and Colin would do with Lennox's soulful original.

I had heard plenty of other covers of "Sweet Dreams" before, most notably the New Orleans brass band version of "Sweet Dreams" by The Soul Rebels Brass Band that turned me on to those Crescent City cats, and I even dug the movie version by Maria Bello from the 2000 guilty pleasure flick, Duets.

Long Tall Deb's version is great, as John's guitar playing turns it into a Texas blues shuffle. Jennifer Milligan adds a touch more soul with her background vocals, kind of like an extra layer of icing on top of an already sinfully good layer cake.

The other cover here is a much heavier version of Willie Dixon's "Spoonful," a cacophony of sounds, at times dissonant, but still something I think Dixon would enjoy hearing. Steve Marriner sits in with the band on harmonica, keeping a Chicago blues sound imbedded in the song.

As for the rest of the album, each number is written by Deb with co-writership credits going to co-producer Chris Butler, formerly of The Waitresses back in the 1980s. Many of the original songs delve into political and societal topics, with Deb's leanings to the left clearly on display.

Deb's concern about the state of the nation shows up right away on the opener, "Light It Up," an up-tempo blues rocker on which she encourages a new kind of fire, emphasizing freedom over fear, people over profits, and eliminating hunger, greed, and misinformation, among other hopes. A pair of notable guitarists, Alastair Greene and Pascal Fouquet, make their first appearance on this cut.

Another heavy blues/rock, "My Love," has Deb explaining how to earn her love, singing, "... fire can only burn when it can breathe, you've got to give the love you want to receive ..." Returning to the political environment on "Lessons In The Ground," Deb reminds that we've got to remember the lessons we learned in the past (i.e. the Civil War, the 1960s marches for freedom) so that we don't fight against each other again.

"Hear Them Moan" starts with very quiet drumming before Deb comes in to explain her changing religious beliefs, questioning the faith that was taught to her when she was young. Nice slide guitar work from John over polyrhythmic drumming gives the song a spooky vibe.

"Deflection Blues" holds nothing back, starting first with nothing but Deb's pleasnat voice before the rest of the band comes in laying down plenty of blues/rock sounds. Her message is that a fascist's game plan is to divide and conquer, creating distractions from simple truths, calling out "fake news," using weapons not approved for war against you and me, and more. We know who she's singing about here ... no question about it. All of this comes over a heavy slide guitar sound.

"Black Light Wolf" opens with Deb's howling, as she sings about a black light wolf whose eyes follow her all around the room. There's a hidden message here, so your challenge is to figure out the meaning. Greene and Fouquet return to exchange guitar licks on the up-tempo blues instrumental, "Out For A Rip." It drives us hard for three minutes and 20 seconds.

Bringing Light It Up to an end is a much quieter number, "Crooks, Thieves, And Liars," a subtle song of hope with a message for what we as a society will overcome. In her gentlest voice, she calls out embittered bigots with QAnon dreams, and that we will send them back into the shadows.

Some very powerful messages coming at us in Light It Up, showing that life is more than just sweet dreams. Sometimes we've got to be reminded that we are living in dangerous times in a pretty screwed up society. Deb and Colin have us wading us into both sides of the pool of emotions, making for a very important album.

--- Bill Mitchell

Ten years ago, Argentinian blues rocker David M'ore last release, the powerful Passion, Soul & Fire, was well-received by fans of blues rock. His latest release, Holy Sinners & Sinful Saints, finds the singer/guitarist keeping the fires hot, with 12 tracks and backing from his stalwart rhythm section (Wade Olson – drums, Marshall St. Clair – bass). Two of the tracks are covers of sorts, put together more to pay tribute to M'ore's influences than to serve as replications of the original tunes.

Opening the disc is “Me And My Baby,” a gritty blues rocker highlighted by M'ore's gravelly vocal and his soaring guitar work. “Rock Me” is a re-imagining of the B.B. King classic, with robust guitar and vocals, and the intriguing title track features M'ore on resonator and wah-wah pedal as he mixes in other sound effects to give the song a haunting atmosphere.

“Let Me Take You Home” is a rocking ballad with a '70s feel, and “Bleeding Heart” is an excellent, mid-tempo instrumental that gives M'ore ample space to display his guitar chops.

The muscular rocker “It's Alright” features more soaring fretwork and M'ore's growling vocals, while “Love Is” is another old-school rock ballad, the guitar and vocals giving this track an '80s metal vibe. “Let's Get Together” adds a bit of funk to the rock and blues, and “Hoochie Man” is a variation of the Muddy Waters standard, altering the lyrics somewhat over a droning, nearly Hill Country rhythm and grungy guitar work.

“Armenia” adds spooky Eastern percussions and overdubbed vocals, proving that regardless of where in the world the blues originates, it's still the blues. “Still In Love With You” is a nice slow blues reminiscent of early Santana with M'ore's fretwork, and “Insanity” is a crunching rocker with a memorable riff..

Closing the disc is “Money And Trouble,” which plays it closer to contemporary blues, wrapping the album most effectively.

David M'ore's brand of blues will certainly appeal to blues fans who dig a healthy dose of rock in their mix, with a few dashes of metal thrown in for good measure. Holy Sinners & Sinful Saints continues the musical traditions forged by many of the American and British blues rockers of the '60s and '70s that still appeal to fans today.

--- Graham Clarke

Brad “Guitar” Wilson has toured with Chicago, opened for Buddy Guy, Cheap Trick, .38 Special, the Marshall Tucker Band, and Tommy Castro, among others. He's also written songs for TV and film. The Carmel, California native is also a blues rocker of some note, having released several fine albums over the years. His latest release, on Cali Bee Music, is The Californian, a 14-song set with eight originals and four interesting cover selections.

Opening the set is a high energy cover of Tampa Red's immortal “It Hurts Me Too.” Wilson's vocals are powerful and so is his fretwork. Next are a pair of Wilson originals, the meaty shuffle “Lightning In A Bottle” and “Say You Wanna Dance,” a lively rocker that will get listeners on their feet.

Wilson's well-done cover of the Rolling Stones' “Dead Flowers” retains the country rock feel of the original, and the muscular rocker “Monterey” pays tribute to the California city.

“Heartbreaker” is a gritty blues rocker driven by a crunchy guitar riff, and the cover of the late Mick Ralphs' (via Mott The Hoople) “Ready For Love” features a soulful vocal from Wilson. The Wilson original “Back Roads” is a catchy tune about traveling down those off-the-beaten-path roads, with a crisp guitar break at the mid-point. The Eddie Cochran rock n' roller “Summertime Blues” is a fun cover that leads to the fine Wilson-penned ballad “Goin' Home.”

“I Work Alone” is a look at the truck driving profession, reflecting on the long hours and lonely times involved. “Love And Peace” is an instrumental written by Arthur Adams and recorded by the Jazz Crusaders in the late '60s, showing Wilson knows his way around the jazz genre as well as he provides superb guitar on this track.

The “Teaser” reprises one of the tracks Wilson wrote for a movie soundtrack (in this case, 1998's John Carpenter film Vampires) and it's a powerful rocker. The album closes with an outstanding cover of Willie Dixon's “Groaning The Blues,” with a masterful performance from Wilson and the band.

Among the musicians contributing to these tracks are drummers Toto Poznantek and Tony Braungel, keyboardists Chris Rhyme, Luca Catalfamo, and Frankie Virens, bassists Hal Cragin, Brian Beal, and Fabrizo Erba, with Maria K on harmonica, and Leanna Baxter, Francis Buckley, and Galen Keith on background vocals.

The Californian is another winner for Brad “Guitar” Wilson, who continues to be one of the go-to voices and guitars for blues rock fans, thanks to his songwriting, musicianship, and fresh takes on classic blues and rock material.

--- Graham Clarke

The Jus' Blues Music Foundation may not be as well-known as The Blues Foundation, but the work they have been doing for the past 25 years to support and promote blues is just as important. To commemorate their silver jubilee, the folks running this organization have released a compilation of key artists, Jus' Blues 25th Anniversary Legends Collection. It's available in digital format and limited-edition gold vinyl LP.

There's a wide range of artists on the album's 11 cuts, some numbers that we've heard before and others that were either previously unreleased or recorded just for this collection.

We begin with Houston-based singer Diunna Greenleaf, hearing her big voice on "Sunny Day Friends," originally appearing on her 2022 Little Village I Ain't Playin' album. As expected, her powerful vocals and Kid Andersen's smokin' guitar licks dominate the song. We then head to the Mississippi Delta via Detroit for an outstanding raw Delta blues, "Stranded In Clarksdale," from Jimmy Burns, courtesy of his 2003 Delmark album.

Zakiya Hooker pays tribute to her late father, the legendary John Lee Hooker, on "Bluesman's Journey,"  a single she released in 2023. We even get a few snippets of John Lee's voice interspersed with Zakiya's tales of her father on this up-tempo blues shuffle. That song pairs well with Benny Turner's "Who Sang It First," from his 2024 Nola Blues album, on which he mentions many of the early blues pioneers during the course of this slow, gospel-sounding blues.

"Turning the Same Ole Corners" is a previously-unreleased soul/blues from Trudy Lynn, and hearing just a few seconds of this song will have you wondering why it hasn't seen the light of day before this. But if it introduces Ms. Lynn to some new listeners, mission accomplished. "Garbage Man," from Bobby Rush, was recorded just for this album, featuring the unaccompanied Bobby on vocals and harmonica. It's obvious that this was a home recording, but the lesser sound quality doesn't take away from the beauty of the song.

It's obvious that I haven't listened to enough Theodis Ealey in my blues lifetime, prompting me to start digging through my racks of CDs to get caught up on his discography. The B.B. King influence certainly shows on a live version of "Blues is Calling My Name," with a nice horn section backing his smooth vocals and guitar playing. Another performer that I've overlooked too often is Teeny Tucker, with her soulful vocals on the mid-tempo "Ain't That the Blues" being one of the gems here, coming to us from the 2010 album Keep The Blues Alive.

A deep south blues/soul legend is Latimore, with his "Let's Straighten It Out" an iconic song in the genre. We don't get the original here, but instead a version cut just for this album. Not the best sound quality, but the dude can still sing. Another unreleased number is Mr. Sipp's up-tempo soul/blues number, "Hold It in the Road." It moves along quickly with a driving rhythm that suits Mr. Sipp's soulful voice.

Our closer is an unreleased gospel mover from Lucky Peterson, "See My Way God," with funky effects added. It ends the album on a happy beat.

Hoping this album encourages listeners to seek out other stuff from these 11 important artists. Thanks to Jus' Blues Music Foundation for everything they do. Please support these folks by adding this enjoyable album to your collection.

--- Bill Mitchell

Alan Arena has been writing songs since the late '70s and had two Top Ten New England albums when he relocated to care for his best friend, a veteran who was suffering from Huntington's Disease. He figured performing was a thing of the past for him until a studio and venue called The Music Room opened on Cape Cod and he met Grammy winner Paul Nelson, who played with Johnny Winter for 14 years and was a partner in the venue. Nelson heard some of Arena's songs and he offered to produce his next album, collaborating on some of the songs with Arena.

That album, Deceived, features eight songs (two are present as a “radio edit” and an instrumental version). Arena handles vocals and guitar, and Winter plays guitar, as well as producing the album, bringing in a great rhythm section that includes Brad Hallen (bass), Marty Richards (drums), Brooks Milgate (piano/organ), and Stephen Clements (percussion), along with vocalists Allyssa Jones, Jamie Brown, and Joe Russo, harp master Jerry Portnoy on one tune, and “Sax” Gordon Beadle on two tracks.

The opening track, “Raised On Radio,” finds Arena recalling his early days listening to songs of various genres on his radio, culminating in southern blues and soul. The track has a gritty rocking feel with Nelson's guitar leading the way.

The inspiring “Believing In Yourself” mixes a bit of soul and gospel with Arena's heartfelt vocal driving the track. The Latin-flavored title track, co-written by Arena and Nelson, is a tense track addressing betrayal in a relationship. “Big Black Cat” is a lively blues rocker with sparkling guitar work from Nelson.

“Devil In The Bottle” is a funky blues that seeps down in your bones (great work from the rhythm section on this track), and Arena and company deliver a masterful cover of Memphis Slim's “Mother Earth,” with Portnoy contributing harp to go with Arena's soulful vocal.

The fast-paced “Speed of Life” is a rock-edged blues with terrific guitar, organ, piano, and a driving rhythm. “Hypnotized” maintains the brisk pace, adding Beadle's saxophone to the mix, along with backing vocals and rollicking keyboards and guitar.

The album closes with a nice radio edit version of “Believe In Yourself” and an instrumental version of the title track, which plugs in Beadle on sax, giving the song an even edgier tone.

I am certainly glad that Alan Arena had the opportunity to get into the studio again. Deceived is a fine, well-crafted set of blues and soul tunes. Sadly, there will not be a second Arena/Nelson collaboration since Nelson passed away in early 2024, but fortunately blues fans have the chance to hear them together one time with this great effort.

--- Graham Clarke

Patrick Kaiser has been assembling premier blues artists to perform at the Groove Now concert series, a world-renowned concert series held in Basel, Switzerland since 2010. For the 2023 series, he invited bassist/vocalist Lisa Mann, two-time BMA nominee and BMA winning drummer Jimi Bott to put together a Pacific Northwest supergroup, which included guitarists Ben Rice and Jason “JT” Thomas, and B3 master Louis “King Louie” Pain, forming Lisa Mann's Northwestern All-Stars.

Kaiser requested that the band include a tribute to the great women of the blues as part of one of their three nights of shows, so Mann invited singer Terrie Odabi, another multiple BMA nominee, to join the group, providing a voice that would be representative of the history of the music.

Recorded live at the historic Atlantis Club in Basel and mixed by Bott himself, the impressive performance can now be heard by blues fans all over via the JayRay Records release, The Great Women In Blues, which includes 11 masterful performances of blues classics associated with the lady legends of the genre.

Odabi begins the set with a capella readings of “Wade In The Water” and “Swing Low Sweet Chariot” as she explains the origin of the blues. The band kicks in behind her on the Etta James number “I Sing The Blues,” written by Earl Bridgeman and Philip Wootten. Odabi drops in a line or two from the Koko Taylor classic “Wang Dang Doodle” during this rollicking tune.

Mann sings on the powerful “I Don't Hurt Anymore,” a hit in the late '60s by Dinah Washington, showcasing nice guitar interplay and keyboards from King Louie. The Staples Singers' “Why? (Am I Treated So Bad)” opens with a short instrumental run, with robust guitar work from Rice, leading into a superb vocal from Odabi.

Sister Rosetta Tharpe's “That's All” follows, an excellent version with another strong Mann vocal, and Koko Taylor's “Let The Juke Joint Jump” (written by Vasti Jackson) finds Odabi getting the audience involved in the performance after a bit of encouragement and persuasion. Next is Ruth Brown's “5-10-15 Hours,” composed by Rudolph Toombs and playfully sung by Mann, who adds nasty bass with great fretwork from Thomas.

The Big Mama Thornton standard “Ball and Chain” is a wonderful slow burner with a marvelous vocal from Odabi and extraordinary guitar work from Thomas throughout the track. Mann takes the next two vocals – a swinging take of Big Maybelle's (via Rose Marie McCoy and Leroy Kirkland) “So Good To My Baby,” and a supremely soulful version of the Etta James song “I'd Rather Go Blind.”

The album wraps with an extended, enthusiastic version of “Wang Dang Doodle,” referred to at the beginning of the set, with more audience participation.

Mann and Odabi are both outstanding on these tunes, and the band is phenomenal throughout. The Great Women In Blues is a rock-solid set from start to finish, and will satisfy blues, soul, and roots music fans and possibly send them out in search of the original performers of these classic songs.

--- Graham Clarke

The California-based group All Things Swamp consists of musicians from a diverse group of bands who gather on their days off to play the music of New Orleans for their own pleasure. These musicians are led by tuba player Luke Kirley, a mainstay of the Bay Area salsa scene. The remainder of the band includes session giant Dean Parks (tenor sax/guitar), San Jose State Director of Jazz Studies Aaron Lington, America's Got Talent finalist Tim Hockenberry (vocals/keys/trombone), restaurateur Dan Gordon (trombone), jazz educator Brian Switzer (trumpet), session musician Gary Novak (drums), Dillon O'Brian, writer of the theme song to The Office (piano/vocals), and Little Village Foundation chief Jim Pugh (B3).

Their debut release, hopefully the first of many, is Dressed (Little Village Foundation). The spiffy opening track, “Sidewalk Strut,” is driven by Kirley's tuba, in lieu of a bass guitar, and he takes a deep-down solo on this track, which also features a tasty New Orleans backbeat from Novak.

“Bah Duey Duey,” originally from Big Sam's Funky Nation, dives deep into the funk with superb work from the horns, as well as crisp fretwork from Parks and B3 from Pugh. “Dancing Machine” was a mid '70s hit for the Jackson 5 (Parks played guitar on the original), and the group gives this tune a nice second line groove that fits the song perfectly.

Joe Zawinul's “Mercy Mercy Mercy” is associated with Cannonball Adderley's hit version from the mid '60s, with the band retaining the original's irresistible melody while adding a dash of funk to the mix. This is New Orleans music, of course.

There's also a terrific cover of Hoagy Carmichael's “Rocking Chair,” featuring a marvelous vocal from Hockenberry that's right out of the Crescent City. “Blues For Ben” jumps right back into the funk, as Hockenberry shines on his trombone solo, as does Switzer on trumpet, and Kirtley on tuba (the secret weapon of the disc).

O'Brian provides vocals on the great cover of Robert Palmer's “How Much Fun,” a track taken from the British vocalist's wonderful debut album in 1974, which served as a tribute of New Orleans music itself. The closer is a raucous read of the Rebirth Brass Band's “Take It To The Streets,” which wraps the album up about as well as it could possibly be done.

Though these musicians come from a variety of musical backgrounds, they all come together for the wonderful music of New Orleans, and they do it with style.

Dressed is a fantastic set that will drop listeners right in the middle of the Crescent City, no matter where they are. If you're a fan of New Orleans music of any kind, you need this set from All Things Swamp in your collection.

--- Graham Clarke

Eric Wilson Adams got his musical start in South Dakota, singing in a rock band at the age of 14, later forming the band Cocoon with four of his high school buddies. The band played all over the state at many locations, continuing through high school and college throughout the Midwest in their monster green, converted school bus.

The band was inducted into the South Dakota Rock Hall of Fame in 2018. Relocating to Texas a few years back, Adams began writing his own songs, and his latest release, Losing Ground, is a fine display of his songwriting and performing, a mix of blues, rock, and country.

The title track opens the disc, sort of a country blues with slide guitar, about the end of a relationship, a track that shows the song themes of blues and country are similar. Adams has a good, solid voice with a vulnerability that reflects well in either genre.

The gritty rocker, “I Have Lived,” finds Adams recalling things that happened in his past. “All Alone Tonight” is a mid-tempo country track with fiddles and steel guitar, and a jaunty rhythm that belies the subject matter, while “A Time I Had” is an upbeat rock track.

“Says She Loves Me Just The Same” is a bluesy ballad, and “Make A New Memory” is a lively dance track, while the high-energy “Rock Partay” is just that. Meanwhile, “Destination” is an upbeat slice of Americana that will get feet to moving, and “Stronger Man” is a splendid blues track with nice work on the keyboards (sorry, no track information, so not sure who's playing what, though it's all really well done).

“Wicked Old Time” and “Play'n That Love Song” have the feel of classic southern rock in the tradition of The Amazing Rhythm Aces.The closer, “Star Country,” is a strong country rocker paying tribute to the working class folks who work hard and play hard.

As stated above, Losing Ground, is a mix of blues, rock, and country.....mostly country. However, it shows that there's not a lot of difference in those styles of music as far as themes and topics go.

Eric Wilson Adams is a fine songwriter and singer, and the musical support is first-rate,. If you are a fan of any of those genres, give this set a spin and you will hear something you like.

--- Graham Clarke

Rusty Ends has a most fascinating back story. Raised in Kentucky, he started playing on the Dixie Highway between Louisville and Fort Knox in the bars and taverns along that stretch of highway. The band had to play a variety of styles to entertain the soldiers, bikers, laborers, hustlers, and working ladies, and that variety included blues, soul, country, and rock n' roll. He soon joined The Premiers, a popular band on the Louisville scene, and made his first recording with the band Cooper 'n' Brass at Phillips International Recording Studio in 1969.

He began focusing on the blues in the early '90s and was a founding member of the Rusty Spoon Blues Band. He also began working on his songwriting. Over the years, he's backed The Shirelles, The Drifters, Dobie Gray, Bobby Lewis, The Coasters, and The Marvelettes, and has played at blues festivals on bills with Koko Taylor and Otis Rush. He also recorded with Kelly Richey, Eddie Kirkland, Robbie Bartlett, and Wayne Young.

After a brief hiatus in the early 2010's, he returned to playing the blues and packaged it with rockabilly, soul, gospel, and anything else that captured his fancy. Ends' latest release, with the band Hillbilly HooDoo, is Roadhouses, Juke Joints and Honky Tonks (Earwig Music). Ends (vocals/guitar) is joined by Dave Zirnheld (vocals/bass), Gene Wickliffe (drums), Roosevelt Purifoy (keyboards), and Wayne Young (guitar on four tracks). Ends and the band wrote 11 of the 15 tracks.

The mid-tempo opening track locks into a cool groove, finding Ends totally into the sound of his guitar and how playing makes him feel “Bad Like Billy The Kid.” “The Same Thing” picks up the pace a bit as Ends states that wherever you are, the blues is there with you in some way, shape, or form, thanks to its universal appeal.

“Honky Tonk Man,” recorded by Lonnie Mack in the late '80s, gets a rollicking roadhouse treatment, complete with piano from Purifoy and enthusiastic vocal from Ends. “Lost In The Blues” is a sentimental old school ballad with a nice vocal turn and guitar from Ends, while “Rockabilly Train” is an upbeat rocker that should send folks to the dance floor.

“Angels Sing The Blues” is another slow burner that encourages us to be thankful for what we have. The stirring cover of Betty James' “A Little Mixed Up” is sung by Zirnheld, and “The Worm's Turned” is a raucous rocker with a surf guitar break.

“Midnight Screams” is a slow blues highlighted by Ends' emotional vocal and his “weeping” guitar. It's followed by a terrific cover of Ray Sharpe's “Linda Lu,” and another ballad, “Lie To Me,” with a vintage rock n' roll feel.

“Thing Called Love” is a funky blues rocker sung by Zirnheld, and the autobiographical “When A Geezer Plays The Blues” is a lot of fun and should appeal to both artists and fans who've been around for more than a few.

“Bourbon Moon” is an instrumental in the “Sleepwalk” tradition. The closer is Willie Nelson's “Night Life,” with the band managing to capture equal parts of the Nelson and B.B. King versions.

As the album title indicates, Rusty Ends & Hillbilly HooDoo cover all of the musical bases for blues fans with Roadhouses, Juke Joints and Honky Tonks. It's a very enjoyable listen, and the blues world is fortunate that Rusty Ends found his way back to the music he loves.

--- Graham Clarke

The Arizona-based blues rock band Teskey (Brandon Teskey – guitar/vocals, Matt Baldwin – bass, Peter Murphy – keyboards, Brandon Gaddy – drums) recently released their debut effort, White Wolf. Founded just last year, the band has composed 11 original songs that cover a wide range of blues-related theme within a high energy fusion of blues and rock.

On the opening track, “Under The Sun,” the emphasis is on the “rock” side of blues rock, with a catchy opening riff, followed by Teskey's scorching guitar solo and vocals. “Cast Aside Child” is only slightly less intense, mixing in a bit of funk in the rhythm and guitar work.

“Upside Down World” is a slow blues that really gives Teskey room to stretch out on guitar, and he certainly satisfies on this track, both vocally and on guitar (“Under The Sun” and “Upside Down World” were previously released as singles).

“Don't Take My Angel” is another slow burner, a darker song describing the potential loss of a loved one. Teskey's vocal is mournful and pleading, as is his guitar playing on this somber track. “Lemon Tree” is a laid back, acoustic walking blues that provides a bit of a break from the intensity generated thus far, as Teskey proves to be a nimble acoustic guitarist.

The title track is a moody and atmospheric blues rocker, and “Digital Window” is an instrumental that mixes funk and blues with rock. “Beneath The Tupelo” has a folk/rock feel reminiscent of the late 60's/early 70's British blues rock bands, the ominous rocker “Shadow Side” has a menacing tone, and “Redemption Blues” has a gritty Delta blues tone with Teskey on acoustic guitar and growling vocals.

The closer is “Make The World Sing,” a pop-flavored acoustic blues that ends the album on a positive note.

White Wolf is an impressive debut release from Teskey, loaded with fine original tunes and outstanding musical performances. Blues rock fans should enjoy this album.

--- Graham Clarke

Big Dave & The Dutchmen are a Belgian-Dutch blues band who recently released their self-titled debut release on Naked Records. Led by David “Big Dave” Reniers (vocals/harmonica), the band includes Mischa den Haring (guitar), Roel Spanjers (keyboards), Dusty Ciggaar (bass/guitar), and Darryl Ciggaar (drums/percussion).

The band's musical palette is a mix of traditional blues of the Chicago and Gulf Coast variety, along with a bit of gospel and swing. The band collaborated on nine of the 11 tracks, which were recorded in just two days in Antwerp-Hoboken.

The opener, “Never Love Again,” is a driving shuffle narrated somberly by Reniers, with nice piano from Spanjers and tasteful guitar accompaniment. “I Dig You Baby” is a cool Windy City shuffle with an absolutely vintage sound. Reniers really turns loose on harp, and on Billy Bizor's “Screwdriver,” the band really locks in and swings behind Big Dave's charismatic vocals and harp.

“Daring Haring” is a sharply played instrumental that puts Haring's guitar front and center, with support from Spanjers on B3. The gospel standard, “Trouble Of The World,” gets a subdued treatment with Reniers' solemn vocal and harp, backed by Spanjer's churchy B3 and piano.

“Lonesome” continues the somber theme, but takes a slightly more upbeat musical approach, with some wicked guitar from Haring. “So Sweet” is a lively shuffle, with Reniers singing the praises of his baby, and “This Work” has a swampy southern blues feel. “Never Love Again (Upbeat)” is an energetic reworking of the opening track, and one is relieved that they chose to include both versions on the disc.

“When You Go To Sleep” is a marvelous down home blues, with superb instrumental performances by all and a strong vocal from Reniers, and the closer, “Blues Jump In,” is a tour de force for Big Dave and his harp, bringing this impressive debut album to a great conclusion.

Any fans of a modern take on traditional blues sounds will be rewarded with Big Dave & The Dutchmen, a great set from a European band who knows their way around the blues.

--- Graham Clarke

Belgian harmonica ace Steven Troch has released his fourth album with the Steven Troch Band. The Dawning (Naked Records) continues Troch's innovative approach to the blues, merging various styles with the music, but still retaining a firm grasp of the roots with his harp playing and his insightful songwriting. Troch is backed by guitarist Matt T. Mahony (Matti de Rijcke), with Liesbeth Sprangers (bass) and Dennis de Gier (drums) anchoring down the rhythm section.

The opener, “Be There For Myself,” has a funky, R&B vibe with Troch's Motownish harmonica and a pop -flavored rhythm. “The Mountain” was reviewed here in February as a single released prior to the album's release, and it mixes blues, pop, and reggae influences as Troch warns of reach exceeding grasp.

“Deleted Scene” is an amusing jazzy blues with a gritty noir theme, and “Double Down” is a really cool instrumental, with Troch's harp teaming up with Tom Eylenbosch on B3 and Mahony on guitar.

The Americana track “God Pulls The Strings” sounds like a lost track from an old western movie, and “On The Road Again” is a fun tune with entertaining lyrics. Sprangers' deep bassline opens the funky rocker “Stuff,” which is driven by a catchy guitar riff and solo from Mahony.

“Wonder Why” is a dreamy blues that's uniquely loaded with banjo and keyboard dynamics (from Eylenbosch) and more guitar heroics from Mahony, making it one of the most memorable tunes on the album. “Buckriders” is a C&W tune of sorts, a long-lost theme from a long-lost Western TV series.

“You Came Along” is a neat pop-flavored track, while “The Lottery” sounds like a '50s/'60s pop-jazz single with the doo-wop backing vocals, the lilting harmonica solo, and Troch's smooth vocal. The album concludes with “The Only One,” revisiting the earlier reggae theme.

The Dawning is an intriguing album with lots of twists and turns along the way, proving that the Steven Troch Band is not remotely interested in standing pat as far as their musical approach goes. Good news for blues fans who don't like the same old, same old every time they listen.

--- Graham Clarke

In late June, Christone “Kingfish” Ingram announced that he would be releasing a new album, Hard Road, on his own Red Zero record label in late September. In advance of the new album, the Mississippi singer/guitarist issued a single, “Voodoo Charm.”

The new track is a fierce and funky blues with plenty of Kingfish's trademark soaring fretwork, backed by his soulful vocals.

It is certainly a good sign that his long-anticipated next album will be a monster.

--- Graham Clarke