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 It's
always a good thing when a new album from Taj
Mahal & the Phantom Blues Band hits the
racks, so to speak, even when it's an "old" new
release. Time (Resonatin' Records/Thirty
Tigers) was taken from sessions recorded in 2010
with Mahal and the PBB (guitarist Johnny Lee
Schell, bassist Larry Fulcher, drummer Tony
Braunagel, saxophonist Joe Sublett, trumpeters
Lester Lovitt and Darrell Leonard, pianist Jon
Cleary, and organist Mick Weaver), along with
backing vocalists Sir Harry Bowen, Kudisan Kai,
and Maxayn Lewis.
If
you're familiar with Taj Mahal, you know to
expect a mix of originals and covers that span
the blues, reggae, soul, and whatever is piquing
his interest at the time.
Time is no exception.
The
album was produced by Steve Berkowitz and
several of the PBB (Schell, Fulcher, and
Braunagel). Berkowitz and Gary Nicholson wrote
the opening track, the upbeat island-flavored
"Life Of Love," about the power of music
bringing people together from all walks of life.
"Wild About My Lovin'" was originally recorded
by blues and folk guitarist Jim Jackson in 1928,
but Mahal transforms it from a blues song into
an irresistible reggae tune. Cleary brought the
John Bernard Johnson song, "Crazy About a
Jukebox," to the session, a Crescent City-styled
tune that drops the names of some great tunes
and artists as Mahal laments losing his lady to
the platters in the jukebox.
The
soulful title track also has an interesting
story. Written by Bill Withers, who did a demo
but never recorded it, Berkowitz brought the
demo to Mahal and they recorded it, asking
permission from Withers' widow before including
it on the album. Mahal does a marvelous job and
it makes you wonder why Withers opted not to
record it himself.
"You
Put the Whammy On Me" was co-written by
Braunagel and the band locks into a tasty Latin
soul groove that really cooks. Mahal keeps Bob
Marley's "Talkin' Blue," in the family by
including Marley's son Ziggy on vocals, creating
a seamless blend of reggae and soul.
He
keeps the soul groove going with a spirited take
on Isaac Hayes' and Otis Redding's "Sweet
Lorene" that includes horns and organ in the
best Stax Records tradition. "Ask Me 'Bout
Nothing (But the Blues)" is credited to Don Robey (as Deadric Malone) and Edward Boozier,
recorded by Bobby "Blue" Bland in 1969. Mahal's
powerful vocal conveys a pain and weariness that
fits the song to a tee, with the band matching
it perfectly.
Charles Sheffield's "It's Your Voodoo Working"
was cut in 1961. Despite not making much of a
mark at the time, it's become one of the
favorite songs of the Excello swamp blues/R&B
era. Mahal and the band have a great time with
the tune, giving it a swinging, upbeat groove
with horns and backing vocals from the band.
The
album closer, "Rowdy Blues," dates back to 1929
when Kid Bailey recorded it. Mahal and Cleary
(on piano) move the tune down south to New
Orleans with delightfully jazzy results.
I'm
not sure why Time wasn't initially
released some 15 years ago, because it's a
typically wonderful Taj Mahal release. His
vocals are as strong and soulful as they've ever
been, his ability to meld blues with reggae,
soul, jazz remains amazing, and the Phantom
Blues Band proves once again that they're one of
the best blues bands in the business.
Whatever the reason for the delayed release,
just go out and grab this one as soon as you
can.
--- Graham Clarke
 The
Neville Brothers were consistently one of the
best bands to see back when they were an active
group --- bar none! I still have so many
wonderful memories of seeing them, especially
the times I could get close to the stage.
Fortunately, one of the brothers, Cyril
Neville, is still active, and he doesn't
want us to forget him. The title of his new
album is Don't Wait 'Til I'm Gone (World
Order Entertainment), and that's a request to
appreciate his music now and not when it's too
late to give him props.
Produced by Shamarr Allen, it's his first full
album since the release of Magic Honey in
2013. It's a celebration of all things New
Orleans as well as a tribute to the music of his
family, both past and present. Cyril's son,
Omari Neville, brings in his own band, The Fuel,
to help out, and brother Aaron, one of the
greatest singers of all-time, shares vocals with
Cyril on one track.
The
album opens with a slow, pleasant number,
"Sunrise On The River, part one," showing off
Neville's beautiful vocals, with guitar and
organ accompaniment being prevalent. It's easy
to picture yourself relaxing on the banks of the
Mississippi River as the morning son starts to
illuminate New Orleans. At least that's where it
took my mind.
The
title cut follows, with Neville urging the
listener to not wait for him to be gone to put
him on his throne. He sings, ".... Listen to me,
before I'm history, don't wait 'til I'm gone
..." Aaron Neville provides backing vocals,
while Big Chief Donald Harrison Jr.
absolutely kills it on sax.
The
second-line song that inspired this album is
Neville's own "Lemonade," a song of
encouragement with lines like, "... when life
gives you lemon, make lemonade, just keep on
steppin', like you've already got it made ...."
The Hot 8 Brass Band provides the appropriate
Mardi Gras sound.
"Poppa Wa Diddy" sounds like it's right out of
the Wild Tchoupitoulas / Neville Brothers
songbook, as Neville reminisces back to 1974,
throwing in legendary names like Big Chief Bo
Dollis and other stalwarts of the Mardi Gras
Indian genre. This one features Meters guitarist
Leo Nocentelli and keyboard player Ivan Neville,
adding even more credibility to the music.
"This Rat Race is a slow tune that brings out
some of Neville's most inspirational vocals,
with a tuba being the most prominent background
sound. Up next is the funky, jazzy "Call On Me,"
with more soulful vocals from Neville and nice
trumpet accompaniment. "Our Love" is what the
title references, a gentle love song that's
soulful in a more contemporary style, with
producer Allen's 15-year-old son Donte on
trumpet.
"You
Hold Me Down" brings in another generation of
the Nevilles, a more modern R&B number written
by Cyril's 19-year-old grandson, Ari Neville.
Cyril sounds right at home on this more modern
tune.
Neville scats the intro to the mid-tempo happy
tune, "Positive Is How I Live," with Kermit
Ruffins joining on harmony vocals. This one has
some fun lines, incorporating parts of the
chorus from the classic song, "Later Alligator,"
and then ending quickly with Neville and Ruffins
stating that positive is how they live.
Bringing Don't Wait 'Til I'm Gone to an
end is a very different version of the opening
cut, "Sunrise On The River, part two," this time
as a much faster Mardi Gras Indian song. What a
great way to wrap up this delightful album!
Please give Cyril Neville his due recognition
now. Like his brothers, he's a natural treasure,
and I guarantee that you will play your copy of
Don't Wait 'Til I'm Gone repeatedly.
---Bill Mitchell
 Released
right around the time as the aforementioned
Cyril Neville album is the latest from Cyril's
son, Omari Neville & The Fuel. Voo Doo
(Dice Lab) takes the Neville roots into today's
music environment, but retaining a nod to the
past.
I
promised the label rep that I would listen with
an open mind. While it's not all for me, I found
stuff to appreciate and grooved to it.
It
didn't take long to enjoy Voo Doo, with
the title cut giving sounds of both old and new
New Orleans. It's an up-tempo, funky rendition
of Mardi Gras Indians music taken into the 21st
century. It pays tribute to the music from the
past, especially with lyrics like ",,, I've got
the voodoo, the alligator voodoo, screaming
dooby dooby do, scooby dooby do all day ..."
Try
getting that line out of your head after hearing
Omari sing it a few times!
"Normal" gets more of a reggae treatment, a slow
number with echo in the vocals, going on for
abut five minutes.
"Funk Train" is --- what else --- a funky number
that pays tribute to New Orleans musicians from
the past, calling out names like The Meters and
The Neville Brothers, but bringing their
recognition into current times. As Omari says,
it's one of the funkiest rides in town but worth
the wait.
"Learning How To Crawl" starts with scatting and
finger popping before a hot guitar lead takes it
into an up-tempo R&B song that allows the
younger Neville to show off his voice.
Among the remaining numbers, the keeper is
"Sweet Music," again giving Neville a chance to
recognize the music of his father and uncles,
with funky backing and harmony vocals. Moving
rapidly through the song, Omari reminds us that
he's putting the music in our minds.
Voo Doo broadens our collective horizons.
Omari Neville has learned from his ancestors,
but now incorporating their influences into his
own sound. It's worth checking out.
---Bill Mitchell
 The
first time I ever saw tenor saxophonist Greg
Piccolo was in 1987 when he was part of
Roomful of Blues. Their horn section appeared as
part of a Fabulous Thunderbirds revue show
during the New Orleans Jazz & Heritage Festival.
I also saw them the next day when the whole band
backed Earl King at the Fairgrounds. Piccolo was
a standout among a group of standouts and I
became a fan of the band. In the early '90s, he
released a fine solo album on Black Top Records,
Heavy Juice.
In
1994, he launched a new band, also named Heavy
Juice, and has recorded sporadically while
continuing to perform, earning multiple Blues
Music Award nominations and performing with a
host of artists, including Jimmie Vaughan, Stevie Ray Vaughan, Eric Clapton, Duke Robillard,
Ronnie Earl, Lou Ann Barton, Pat Benatar, and
Big Joe Turner.
His
latest release, Who Knows What the Future
Holds (MoMojo Records), focuses more on his
songwriting and vocal talents. It was produced
by the legendary Terry Manning, who suddenly
passed away soon after sending the first mix for
review.
The
album consists of 11 tracks, taken from a store
of previously unreleased material, and featuring
Piccolo on vocals and tenor sax backed by
Shinichi Otsu (keys), Bob Ruggiero (drums), Dean
Shot (guitar), Paul Tomasello (bass) with
additional horns from Mark "Kaz" Kazanoff
(baritone sax) and Al Gomez (trumpet), with
background vocals from 14 Karat Soul on the
title track.
"I've Lost Faith" is a clever little rock n'
roller with a sad subject that's belied by its
jaunty rhythm and cheery background vocals, with
Faith being the name of his lady friend who left
him. "Truth is a Sly Fox" is a slinky track with
a vintage R&B feel and a guitar solo from Shot
that brings to mind the shimmering fretwork of
Robert Ward.
"People are Hot" is a reggae tune with a tenor
solo from Piccolo and an upbeat vocal that pokes
a bit of fun at global warming. "Let's Play It
in the Car" recalls the days when people cruised
down the road with the radio going full blast,
the horns are particularly fine on this fun
track.
"She
Couldn't Stay" is a strong ballad about the end
of a relationship with a heartfelt vocal from
Piccolo backed by Otsu's piano and B3, and
"Don't Tell Me the Truth" is a funky R&B tune
driven by the rhythm section and Piccolo's
amusing vocal and lyrics.
"Dream Girl" sounds a lot like a track that
Piccolo might have done on a Roomful of Blues
album, a brisk jump blues number with a great
tenor sax break. "Break In The Clouds" is a
tender ballad that finds Piccolo looking for a
getaway from bad times, and "Guilty" is another
ballad, this one with no horns, just Piccolo's
soulful vocal backed by Otsu's piano.
The
title track will take you back a few years to
the days of vintage rock and doo-wop as Piccolo
sings about times past, with stellar supporting
vocals from 14 Karet Soul,
The
closer, "I'm Movin' On," is a spirited, driving
R&B song with an energetic horn chart, greasy
B3, and crisp guitar work that brings the album
to a powerful conclusion.
Who Knows What the Future Holds is a superb
showcase for Greg Piccolo as a singer,
songwriter, and instrumentalist, and also for
Heavy Juice, who provide an excellent musical
backdrop throughout.
--- Graham Clarke
 As
an eight-year-old guitar prodigy, Ryan "Bluwrath"
Newman was introduced to Jimi Hendrix via
"The Wind Cries Mary." At that point, his future
as a blues-rock guitarist was secured. There's a
rumor floating around that he was "quietly"
asked to leave the Berklee School of Music
because he played "too loud."
Over
the years, the music of Hendrix, SRV, B.B. King,
John Mayer, Albert King, and others helped the
young guitarist to develop his own amazing
sound, as evidenced by his stunning debut
release, Wrath of Blues (Feverbarn
Recordings).
Wrath of Blues opens with a blazing cover of
"Dust My Broom," making the blues classic sound
like new with inspired fretwork. "Leaving This
World," a Newman original is a well-crafted slow
blues about a departed lover, and he adds a bit
of grit with his playing to Mose Allison's
playful "Your Mind Is On Vacation."
Newman also delivers a nimble cover of "Texas
Flood," the Larry Davis tune that became an
anthem for Stevie Ray Vaughan, paying tribute to
SRV while giving the song his own personal
flair.
On a
dynamite take of "The Thrill Is Gone," the B.B.
King classic, keyboardist Vic Washington takes
the mic but Newman's guitar is still front and
center. Another King --- Albert King --- is
covered on "Oh, Pretty Woman" before another
sizzling B.B. King number, "Be Careful With A
Fool." Again, Newman acknowledges both Kings
with his guitar playing, but adds his own
distinctive touch to these tunes.
The
Jeff Beck blues rocker "Let Me Love You"
features Arlene Wow in the Rod Stewart position
on vocals before Newman moves to the islands for
a funky reading of Bob Marley's "Get Up Stand
Up," with vocal assistance from Anita
Antoinette. This is followed by the Rolling
Stones' "Miss You," which captures the feel of
the original with harmonica from Dave "The
Kosher Kid" Robbins and additional vocals from
Ms. Wow.
Hoagy Carmichael's "Baltimore Oriole," written
in 1942, may seem like an odd fit at first
glance but Newman transforms it into a workable
blues with his soaring guitar. "Come On," an
Earl King original that Hendrix and SRV famously
covered, is covered by Newman with a healthy
taste of funk more in line with King's original
version.
Bob
Dylan's "Highway 61 Revisited" gets a rowdy,
breakneck treatment before the album wraps with
Aretha Franklin's "Good To Me As I Am To You,"
beautifully sung by Ms. Wow with soulful guitar
backing from Newman.
Providing stellar support to Newman on these
tracks are Washington, Robbins, Mario E. Sprouse
(keys), Scott Spray (bass), Bobby Torello and
Tony Lewis (drums), John Isley (tenor/baritone
saxes), Charlie Lagoad (tenor sax), Artie
Brossler (baritone sax), Don Harris
(trumpet/flugelhorn), Dave Cafro (trumpet), and
Rob Funk (trombone), along with the KT Horns
(Patrick Casey trumpet, Keith Lafond tenor
sax, John Smayda baritone sax). Also
contributing are percussionist Jon Groussard and
Ken Floreado, guitarist Russell Landis, and
backing vocalist Wow, Washington, and Joan
DuQuette.
Newman currently fronts the power blues trio
Righteous Continental (bassist Tim Leffingwell
and drummer Mitch Igneri) and they back the
guitarist on "Leaving This World Tonight." He
also plays with Robbins in The Incredible
Amplifires.
Wrath of Blues is a standout debut release
from start to finish with amazing guitar work
from Ryan "Bluwrath" Newman, who pays his
respects to his influences while bringing the
blues into the 21st century. Can't wait to hear
what's to come from this talented artist.
--- Graham Clarke
 Canadian soul singer Sherri Harding
recorded her previous album, A Million Pieces,
in Muscle Shoals. For her latest album,
Storyland (Instant Replay Music), she
brought Muscle Shoals to Ottawa. Well, a few of
the musicians from there at least, such as
legendary guitarist Kevin Holly (Little Richard,
The Amazing Rhythm Aces), while the Muscle
Shoals Horns, who recorded their parts at home,
and engineer Jimmy Nutt, who mixed the album at
Muscle Shoals.
Of
course, none of this would mean anything if Ms.
Harding didn't have the pipes to give the 11
tracks the deep soulful feel of Muscle Shoals
and, trust me, she's certainly up to that
assignment. Although producer Richard Cooper
wrote these songs, she makes each one of them
her own. She delivers each track with an easy
assurance that makes listeners actually hear the
lyrics, never resorting to the over-the-top
delivery that's sometimes pervasive in modern
music.
The
optimistic "All Around The World" opens the disc
on an upbeat note, the horns really driving this
track which encourages everyone to unplug,
unwind, and live their lives.
"Down In The Shoals" captures the soulful
essence of the Muscle Shoals sound with Holly's
snaky slide guitar and haunting background
vocals, and "Money Man" is an amusing and catchy
mix of soul and R&B that really clicks with the
horns and cute background vocals.
The
love ballad, "Through It All," is a powerful
vocal duet with Harding and fellow Canadian
vocalist Jeff Rogers. "That Rainy Day" is a
strong blues rocker with crisp guitar work from
Holly and Robert Farrell and keyboards from
Clayton Connell and Rogers.
"Dark Eyed Junco" is a sultry mix of soul and
jazz with a Latin flavor in the rhythm, with
Harding also playing flute on this track. The
moody slow burner "Bad Weather" stays in the
soul/jazz vein, adding violin from Anne Lindsay,
and the swinging "What's The Matter (With My
Heart)" picks up the tempo with the horns
kicking in once again.
"Tell Me You're Mine" is an appealing piano
ballad that's radio-ready, and the spirited
"Don't Push (On An Open Door)" is a solid soul
burner that will lead to fingers snapping and
toes tapping. The stirring title track, a
soulful rocker, closes the disc in fine fashion.
Other contributing musicians include bassist
Brian Cooper, drummer Jamie Holmes, guitarist
Darwin Demars, the string section which includes
Lindsay (violin, arrangements), Nancy Kershaw
(violin), Claudio Vena (viola) Amahl Arulanadam
(cello), background vocalists DeeDee Butters,
Roxy Swan, Mackenzie DeMillo, Rob Holtz), and
the previously mentioned Muscle Shoals Horns
(Charles Rose trombone/arrangements, Steve
Herrman trumpet, Brad Guin tenor sax, Jimmy
Bowland baritone sax).
Sherri Harding is a powerful vocalist and she
really shines on Storyland, with its
outstanding mix of soul, blues, R&B, and jazz.
--- Graham Clarke
 Austin-based singer Leeann Atherton has
pretty much covered all the bases during her
musical career, from blues to country to rock
and soul. With her latest release, Good God
(Rainstorm Records), she focuses on gospel music
and songs of inspiration, singing ten of her
favorites along with three of her own
compositions.
Support comes from backing vocalists Austin
Atherton, Johnny Vernazza, Laura Jane Willcock,
and HeartBeat Pro, guitarists Vernazza, and Mac
McNabb, drummer Edward "Hott" Cleveland,
keyboardist Rob LaMonica and Bob Berman, and
bassists Mike Burnham, Kevin Cooper, and TJ Moss
(who also produced).
Atherton opens with a stirring read of "Saved,"
the Lieber/Stoller tune originally recorded by
Lavern Baker, a swampy take on "Drinkin' That
Wine," one of two tracks written by Gideon
Daniels of Gideon & Power. The other Daniels
original is the rousing "More Peace and Love,"
that's bound to get folks moving in the church
aisle.
"Joy" is the first Atherton original and it's an
outstanding mix of gospel and soul with call and
response vocals and great keyboard backing on
piano and B3. Jackie DeShannon's "Put A Little
Love In Your Heart" gets a treatment that adds a
bit of grit and soul to the original, and "Call
On the Lord," the second Atherton original, is a
powerful gospel number punctuated by slide
guitar.
A
reflective cover of Joe South's "Games People
Play" also features nice slide guitar work and a
strong vocal from Atherton, and the gospel
standard "I'll Fly Away," written by Albert
Brumley, will definitely put a hop in your step.
"I'm
Looking For a Miracle" was written and
originally recorded by The Clark Sisters, and
Atherton's version has a pop/soul feel with the
upbeat melody, the background singers, and the
B3 accompaniment.
There are also a joyful readings of the gospel
standard "This Little Light of Mine," and on
"How Great Thou Art." Atherton really digs deep
into the words and pours her heart into it.
The
last original, "Smack Dab in a Miracle," has an
easygoing, R&B feel and a melody that's
reminiscent of the soul standard "If I Can Turn
Back The Hands of Time." The closing track,
"Angel Band," is a moving a capella duet with
Atherton and her son Austin.
Leeann Atherton has a voice that was made for
performing these songs. She injects every ounce
of soul in her being into these performances and
one can't help but be moved by the songs on
Good God, whether you are a believer or not.
--- Graham Clarke
 The Name Droppers (Bobby T. Torello drums,
Scott Spray bass, Ron Rifkin keys, Rafe
Klein guitar, Simone Brown background
vocals) built an impressive r้sum้ backing
artists like Johnny Winter, Edgar Winter,
Michael Bolton, Grace Slick, Felix Cavalier and
the Rascals, and many others.
Let's Live Together (Horizon Music Group) is
their sixth release and includes four originals,
with two songs revisited from their years as
Charlie Karp and the Name Droppers, plus three
covers.
The
opening track, Klein's "Grey Haired Blues" is an
amusing rocker about the inevitability of
growing old and the potential advantages. This
is one of several tracks that includes saxophone
from Crispin Cioe. The funky title track, also
written and sung by Klein, addresses rising
above the turmoil and turbulence of the present
day and learning how to get along.
"Heartbreak City," written and sung by Rifkin,
is a tough, soulful blues, highlighted by more
sax from Cioe. The next track is a live track
recorded at The Fallout Shelter in Norwood,
Massachusetts, a reading of Aretha Franklin's
hit "Chain of Fools," sung by Ms. Brown, who
does a marvelous job on this cover, which adds a
bit of rocking goodness to the soul.
Next, Klein delivers a fine version of the Bob
Dylan tune, "Gotta Serve Somebody," which has a
gospel feel thanks to his keyboard playing and
backing vocals from Kevin Monroe and Devotion
(Brown is a member of this choir). Frank
Durazzo's "Don't Cry Over Me" is a soulful
ballad sung by Klein that adds guitar from Tim
Dehuff and sax from Cioe.
The
two songs reprised from the days with Charlie
Karp, who passed away in 2019, are the spicy
rocker "Talk Dirty," sung by Klein, and the
energetic "Love Lightnin'," which has the feel
of a southern rock track.
"Watch Pocket" is written by Torello and his
gritty vocal is a good fit for the song, as is
the slide guitar solo from guest Jay Willie. The
album closer is the Muddy Waters via Bo Diddley
classic "Mannish Boy," which the band takes in a
more upbeat direction with help from Richard
Hunter on harmonica.
The
Name Droppers' latest release offers fine
originals and well-chosen covers, with fantastic
musicianship throughout. You can always depend
on a high-quality release from these guys, and
Let's Live Together is another shining
example.
--- Graham Clarke
 Appropriate
for the name, Jump 66 is a jump blues
band from England with a bit of ska influence.
Their recent album, Every Dog Has Its Day
(King Tone), is an ideal set of a dozen tunes to
be played at a dance party.
Jump
66 consists of a tight, raucous band made up of
guitarist Rhod Davies, bassist Paul King, singer
Paul Kissuan, drummer Gaz Richardson, keyboard
master Pete Saunders, and sax man Andy Burns.
These British cats are explosive in performing
their own compositions with a few well-chosen
covers.
Up
first is the up-tempo jump blues, "Ain't That
Fine," with Davies getting plenty of chances to
show off on his guitar. This one came from the
Southern California blues scene, with Willie J
Campbell the first name on the credit list. The
Blind Willie McTell train song, "Ticket Agent
Blues," starts with the sounds of a locomotive
coming into the station before turning into a
reggae-influenced blues. Not exactly the way
McTell played it, but that's what makes this a
fun album.
The
title cut, "Every Dog Has Its Day," is a real
smoker, a mid-tempo funky tune written by Davies
that also carries a heavy ska sound. Maybe the
best cut of the album, it'll run through your
head for many hours after hearing it. "Straight
From the Bottle" is a mournful, slow blues, with
Kissuan emitting loads of emotion with his
sorrowful vocals, delivered over Burns' sax
accompaniment and very nice piano work from
Saunders.
"Out
of Your Head" is a dance number with shouting
vocals from Kissuan and a hot sax solo from
Burns. The tempo slows considerably as the
dancers hold each other closely while Kissuan
does some of his best singing on the Eddie
Vinson blues classic, I Needs To Be Be'd Wid."
An incredible version, and one worth hearing
over and over.
"Every Little Helps" starts with foreboding
sounds before the pace picks up with a pretty
much straight-ahead reggae tune, as Kissuan
sings about how has to perpetually economize his
budget by checking out and packing his own
groceries, and we get quirky accompaniment from
both Burns and Saunders.
Back
to a straight blues with a rollicking version of
Albert King's "Let's Have A Natural Ball," with
Burns' hot sax introducing the tune before
Davies lays down the necessary incendiary guitar
licks and Davies comes in with some of his most
impassioned vocals yet. Man, what a fun romp
down the blues alley!
The
canine on the front cover is recognized on the
slow love song, "Safe, Warm & Fed," as Kissuan
pays tribute to man's best friend, and we get
still another wonderful sax solo from Burns. We
then head down to New Orleans for the mid-tempo
"Thinking & Drinking," as Davies sings about
what went wrong with one of his relationships.
Of course, we've got to have lots of piano fills
as Saunders shows off on his own composition.
Getting close to the end of the show, the band
covers a John N้meth soulful blues, "If It Ain't
Broke," leading into the final number, "Out of
Sight," an eerie ballad-y thing with organ from
Saunders and more sax from Burns.
What
I can say about Every Dog Has Its Day is
that i dig it, and I think you will, too.
Remember that name --- Jump 66.
--- Bill Mitchell
 Two
Crows (Farm 189 Records) is the fourth release
from The Trevor B. Power Band since 2019.
A New Jersey-based blues rocker, who is singer
and guitarist, Power wrote all ten tracks and is
backed by drummer Steve Holley (a member of
Wings in the late '70s) and NY Blues Hall of Famer Dave Fields on guitar, bass, and keys,
with guest harp masters Dennis Gruenling and
Will Wylde sitting in on a couple of tracks,
along with bassist Kenny Thorstenson and backing
vocalist Laura Kate Marshall. Power and Fields
co-produced the disc.
The harrowing "Bobby Lane" opens the disc, a
stark, stripped-down blues about a man who
shouldn't be crossed. "Let It Ride" is a gritty
blues rocker with harmonica support from
Gruenling, and the cautionary tale "Ain't Got No
Bread" features Wylde on harp, and is even
grittier and rougher than what preceeded it.
After the intensity of the first three tracks,
the upbeat "My Neighborhood" strikes a lighter
chord as Power celebrates life in his locale.
The wistful "Speck of Life" finds Power
reflecting on how fleeting life can be, with Power
having lost his older brother John and one of his
musical mentors Bobby Whitlock in the past year.
The engaging "Horizon" has an almost psychedelic
pop feel, and includes flute from Jason Fields.
"The Message" has an inspirational feel,
with Power saying that we need to take advantage of
life while we have the opportunity.
"Puddles of Blood" takes a look at the ongoing
violence in the world and the fact that it's not
just starting, and "The Fire Burns" is a somber
look at losing everything in your world,
including your life.
"Out Time is Short" closes
the album, reflecting on those who have passed
on, with the reassurance that we will see them
again.
Two Crows is an album that looks unblinkingly at
the wonders and fragility of life as seriously
as I've heard in a long time. The Trevor B Power
Band really delivers a powerful set of blues
with this release.
--- Graham Clarke
 The Scott O'Neal Band won the Northern Arizona
International Blues Challenge in 2020, earning
the right to compete in the 2021 International
Blues Challenge.in
Memphis.
Established in 2002, the band is led by
O'Neal (vocals/guitar), Brian Waterbury
(guitar), Mark Winley (bass), Carl Dalgren
(keys), with background vocals from Mary Kelley
and Meri McKee, and contributions from Max
Bouchard (trombone), Brad Moors
(trumpet/flugelhorn), Alex Holland (tenor/alto
sax), and Carl Dalgren (horn arrangements).
Call Me Mr. Blues (Lightning In A Bottle
Records) includes 13 tracks written by
O'Neal, who also produced the album with Col.
Darryl Harrelson.
"Nothin' To Gain" opens the
disc, a relaxed, laid back blues, followed by
"Love Somebody," a steamy ballad that leans in a
jazzy direction, and "Just Another Day," a
mid-tempo, feel-good number with the horns
figuring prominently.
"Good Luck With That" has a funky feel with a
bit of swamp blues from the rhythm section and
nice solos from Dalgren and the guitarists. "Givin'
Me The Blues" is a blues ballad that also
features great keyboards and guitar. "Down
And Dirty Blues" is just that, a down and dirty
blues rocker, and so is "Cash Is King," with
rock-edged guitars and horns driving the tune.
The title track is a funky, mid-tempo blues with
great fretwork from O'Neal and keys from Dalgren,
and "It Ain't Worth Bitin'" sings the praises of
great food that packs a bite. O'Neal's slide
guitar packs a bite as well.
"Walk Away Blues"
is a gritty rocker, and the ballad, "That's What
Love Is," mixes blues with a bit of pop in the
lyric. "Free Man" is a cautionary tale in
the finest blues tradition.
The closer,
"Time For Walkin'," also touches on a familiar
blues theme.
Call Me Mr. Blues is a well-played, well-crafted
set of contemporary blues, a job well done by
The Scott O'Neal Band.
--- Graham Clarke
 "Ready To Rise" (Ruf Records) is a new live
single from Dana Fuchs, which was recorded
during her superb Live in Denmark release,
reviewed here a couple of months ago.
The song
was written after Fuchs lost her family members
one by one over the past few years. Instead
of being discouraged and ready to surrender, the
singer vows to get back on her feet and move
ahead with life. Fuchs delivers a vocal
performance loaded with soul and emotion, backed
by her powerful band.
If you enjoyed
Live in
Denmark, you will definitely love this track.
--- Graham Clarke
 If
you're a regular Blues Bytes reader, then you
likely are familiar with the name Mississippi
MacDonald, a name that suits the deep South more
than it does his native England. But that's
okay, because this cat, real name Oliver
MacDonald, can sing bluesy soul with the best of
them.
Mr.
MacDonald has now been spending his time in
Memphis, playing his guitar, learning from
the soul icons of the Bluff City, and
occasionally performing with the Hi Rhythm
Section and backing Carla Thomas on the Memphis
Soul Revue show.
His
Memphis adventures will now be captured on an
upcoming album, under the name Oli Mac & Hi
Rhythm. Our sneak preview comes in the form
of a pre-release single, "You Got To Call Me." I
kept looking to find out the origin of what
sounds like a soul classic from the past, but
instead it's his original composition.
A
very soulful voice. With the Hi Rhythm Section
behind him, you know what to expect from this
song. It arouses our collective curiosity about
the rest of the album. I can't wait.
***
GA-20
has been teasing us with singles featuring this
exciting band backed by harmonica ace Charlie
Musselwhite. We still don't know when the
full album will be released, but at least we've
now gotten a third single, "I'll Change My
Style," a slow, soulful Jimmy Reed blues with
dynamic harmonica playing from Musselwhite.
Since I typed the above paragraph, I've now
discovered that the full album, Blues Now,
will be released on July 31st, so expect a full
review from us in the August issue.
--- Bill Mitchell
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