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 While we've reviewed plenty of previous Debbie
Bond albums in Blues Bytes, her latest, Blues
Without Borders (Blues Root Productions), was my
first chance to hear something from this very nice
Alabama singer and guitarist. What an introduction!
This album was planned to be released a year ago in
advance of a planned tour for the summer of 2020,
but you all know what happened last year. The idea
was to bring together musicians from around the
world, hence the title Blues Without Borders.
But the inability to travel to Europe didn't stop
Bond and her husband "Radiator" Rick Asherson from
pulling in contributions from various musicians via
the internet. The result is a delightful collection
of 10 songs featuring Bond and a host of other
musicians playing the blues with seamless doses of
soul and jazz mixed in.
Everything here is good but for my money the best
cut is "Radiator," an up-tempo soulful blues number
with a big horn sound as Bond sings about her man
with the automotive nickname. The title cut, with
its jazzy Latin-ish intro, is also very strong. We hear
plenty of good harmonica, keyboards and percussion
here, and Ray Carless checks in with a nice sax solo
while Lea Gilmore contributes guest vocals. The
sound of Joelle Barker's conga playing puts this one
over the top.
Asherson steps up with solid harmonica accompaniment
on the album opener, the mid-tempo blues "High Rider
Blues." His harp playing also contributes to the
slow blues, "Winds Of Change," which includes
backing vocals from Carla Don and Rachel Edwards.
Bond shows that she's more than just a good singer,
playing solid blues guitar on the slow blues, "Blue
Rain." She's quite the versatile artist. The album
closer starts with a harmonica intro from Asherson
before heading into a steady travelin' beat,
although I could have done without the background
male vocalist who sounds out of place here. Like
much of the album, it inspires the audience with
positive thoughts.
Now that I've heard Blues Without Borders
from Debbie Bond, I will start exploring her
previous albums. I suspect that I'm going to like
what I find.
--- Bill Mitchell
 It doesn't take a lot of logical thinking to realize
that Rodd Bland is the son of the late blues
legend Bobby "Blue" Bland. It's not just the last
name but also that he is recording here with The
Members Only Band, named after one of his
father's biggest hits. While only six cuts, the
music on this live recording, Live on Beale Street -
a Tribute to Bobby "Blue" Bland, packs a lot of
quality music into the half dozen songs from the
Bland songbook. It's high quality stuff, with a
tight, full band sound and three very fine soulful
blues singers, and the younger Bland keeps a steady
beat on the drums.
Chris Stephenson is the lead vocalist on two
numbers: the mid-tempo shuffle "Up And Down World,"
showing off his vocal range and backed by a wall of
sound from the horn section, and then again on
"Sitting On A Poor Man's Throne," highlighted by
funky Memphis-style guitar from Harold Smith and
Stephenson's piano work. Ashton Riker, who like many
other members of this ensemble performed with Bobby
Bland over the years, steps up to the mic for the
Tin Pan Alley number "St. James Infirmary," giving
this classic tune a heavy modern gospel feeling.
Jerome Chism takes care of the last three cuts on
the album and shows he's got the pipes to compete
with Stephenson and Riker. "I Wouldn't Treat A Dog
(the Way You Treated Me)" has always been my
favorite lesser-known Bland hit, and I believe Bobby
would smile while hearing Chism's delicate phrasing
and emotional voice. Smith contributes a strong
guitar solo on the slow blues "Soon as the Weather
Breaks," while the horns provide tasteful
accompaniment, and the band gets funky for a version
of "Get Your Money Where You Spend Your Time," with
sharp horn effects, a wonderful sax solo from Kirk
Smothers, and still another killer guitar solo from
Smith.
Listening to this EP over and over makes me wish I
had been at this show on Beale Street back in 2019,
although it hopefully lasted longer than the six
cuts we hear now. Live on Beale Street -
a Tribute to Bobby "Blue" Bland has
just whetted my appetite for more from Rodd Bland
and The Members Only Band.
--- Bill Mitchell
 I was very curious when I heard that Tito Jackson,
part of the famous Jackson family, was coming out
with a blues album. Hmm ... consider me intrigued.
The list of guest artists is also extremely
impressive, with names like George Benson, Joe
Bonamassa, Stevie Ray Wonder, Bobby Rush, Kenny
Neal, and others being predominantly listed on the
album cover for Under Your Spell (Gulf Coast
Records). So does the final product tally up to the
sum of its parts? For my tastes, not really. There's
stuff to like here and I'm certainly impressed by
the talent involved in assembling this project, but
too often the music sounds sterile and
over-produced. Most of the cuts here were both
written and produced by a combination of Tito and
Michael K. Jackson.
The songs that appeal most to me include a
horn-heavy "Big Leg Woman," with lead sax from Jason
Parfait, although I'd like to hear more power from
Tito's vocals. Grady Champion plays some nice
harmonica on the up-tempo blues shuffle "That Kind
Of Love." The album hits its real high note with a
version of B.B. King's "Rock Me Baby," with really
nice lead guitar from Tito, Benson and Wilbert
Crosby, trumpet from James "Boogaloo" Bolden and
backing vocals from B.B's daughter Claudette King.
Michael Lee and Russell Jackson also join in on vocals,
so it's really a full group of contributors here.
Those three cuts are what turns me on for this
album. I've got a very broad spectrum of what I
consider to fit in the blues genre, but this album
doesn't have enough to warrant a lot of interest
from me. It's trying to be too many things to too
many tastes.
--- Bill Mitchell
 Colorado blues standout Chris Daniels was
asked to help a worthy cause, Inner City Health,
during the pandemic, so he gathered a bunch of his
friends, many of whom play in Daniels' band,
The Kings, and others from Big Head Todd and the
Monsters, to put together a virtual concert. The
result is this new album, What We Did (Moon
Voyage Records), with Daniels, singer Hazel
Miller and keyboardist Dana Marsh forming
the core band. The result is a rather interesting
collection of 10 songs that at times will have you
marveling at how well everything fits together and
at other times rolling your eyes at the song selection.
I listened several times to the opening cut, an
acoustic version of the Doobie Brothers' 1976 hit "Takin'
It To The Streets," wondering why they choose to do
this song. Miller and Freddi Gowdy share the vocals,
and as much as I don't want to admit it I started
digging the song after about the third time hearing
it. I still don't know why, but I'll try not to
overthink it.
Up next is a slower version of Albert King's "Born
Under A Bad Sign" that had me thinking "that's more
like it!" Big Head Todd shows up to play lead
guitar, with Gowdy and Miller again taking turns at
the vocal mic. The song selection again heads in
another direction with Irving Berlin's "Check To
Cheek," with Sam Bush coming in with very nice
mandolin accompaniment. I especially like Miller's
vocals on this one, and can envision her
singing this classic in a 1940s-era supper club. She
sounds even better on a jazzy Daniels original, "I'm
Still Lookin'," on which she succinctly answers
Daniels that while she does her fine dining at home
she still likes to check out the menu when she's
away. Note: she's not talking about food, if you
catch my drift. Very nice piano from Marsh here.
Marsh provides a gospel piano intro on Al Jarreau's
"Could You Believe," a slow spiritual number that
gives Miller plenty of room to express her emotions.
We then head in a completely different direction
with a very mellow version of Louis Armstrong's
"What A Wonderful World." Does this fit the format
for this album? Why not.
Big Head Todd is back on slide guitar on the
up-tempo version of "Down Home Blues." with Daniels
and Miller again trading vocals and Kenny Passarelli
providing a steady bass beat. A very mellow "Stealiln'
Candy" features acoustic guitar picking from Daniels
and piano from Marsh.
I still haven't bought into the final two cuts, a
version of Carole King's "You've Got A Friend" and
Daniels' own inspirational number, "Better Days."
But like I did with the Doobie Brothers opener, I'll
give them another listen to see if either number
starts to do it for me.
What We Did isn't by any means strictly a blues album, but there's some nice, heartfelt music
here. If you're looking for Daniels' usual jump
blues and funk sound, it's not here. But if you keep
an open mind, you'll find some very nice music. You
may even start liking their Doobie Brothers song
after awhile.
--- Bill Mitchell
 A native of Crystal
Springs, Mississippi, Dexter Allen has paid
his dues playing the blues. He got his musical start
playing bass in his parents’ gospel band, The Gospel
Travelers, eventually relocating to Jackson,
Mississippi and serving as Bobby Rush’s lead
guitarist for several years before launching a solo
career that has seen him release several
well-received albums since 2008.
His most recent effort,
on the Endless Blues Records label, is Keep
Moving On, and it captures the essence of Dexter
Allen about as well as it can be done. Allen wrote
all 11 songs, a heady mix of blues, soul, funk, and
R&B, and he also produced the album and played
guitar, bass, and drums on most tracks.
On the optimistic title
track, a funky mid-tempo stepper which opens the
disc, Allen encourages us all to overcome our daily
struggles in the hopes that things will be better
the next day. The swinging “Love Talk” is a nice,
upbeat shuffle with a crisp guitar break, and “Blues
Eyed Girl” is a soulful number about the search for
his ideal mate. It's followed by “Pack Up My Bags,”
a tough straight-ahead blues about being fed up
enough to pack up, and “I Just Love That Woman” a
marvelous old school R&B slow burner.
I could easily see B.B.
King tackling and testifying to “F.A.B.U.L.I.S.T
Woman,” an amusing urban blues about a woman who
just can’t tell the truth. Some very King-like
guitar work on this track, too. “If I Ain’t Got You”
is a mid-tempo blues about having everything but the
right thing, and “Sleeping In My Bed” is a sharp and
funky blues with a unique look at a familiar blues
topic when the one you’re with isn’t the one you
want.
“I Can’t Live Without
You” is a deep soul blues ballad, and Allen is more
than up to the task on this track with a heartfelt,
powerful delivery, his best vocal on the album. “I
Like The Way” picks up the tempo with a funky
backbeat and some stinging fretwork from Allen. The
closer, “My Cup of Tea,” is a great slice of blues
and soul about that woman who’s just what the doctor
ordered.
Keep Moving On is
a wonderful set of contemporary blues from one of
the genre’s best. Dexter Allen should definitely be
better known in the blues world and, hopefully, this
album will help that happen.-
-- Graham Clarke
 Deep Dark Demon
(Gulf Coast Records), the latest release from the
Mark May Band, tells you pretty much everything
you need to know about this exciting artist and his
broad range of musical influences. A mainstay of the
Texas blues scene May incorporates numerous other
genres into his vision of the blues, including
various phases of rock music, R&B, soul, and funk.
May (lead vocals, lead/rhythm guitars) wrote or
co-wrote all 11 tracks on this stellar set, where
he’s backed by Billy Wells (lead/rhythm guitars),
Darrell Lacy (bass), Brandon Jackson or Geronimo
Calderon (drums), Eric Demmer (sax), Barry Seelen or
Shawn Allen (keyboards), Al Pagliuso (percussion)
and Gulf Coast head honcho Mike Zito, who plays
guitar on one track.
May opens with the
ferocious blues rocker “Harvey’s Dirty Side,” which
takes a pointed look at Hurricane Harvey, the
terrible 2017 storm that devastated Houston in 2017,
and its after-effects. The mood lightens thanks to
the light and breezy shuffle “BBQ and Blues,” before
May takes things in a Latin, Santana-esque with the
excellent “Back.”
The title track is a
moody slow burner with great guitar interplay
between May and Zito. “Sweet Music” has a tough
Texas roadhouse kick and the playful and funky
“Rolling Me Down” describes the love of a good woman
(sizzling slide guitar work from May on this one).
“My Last Ride” has a
southern rock feel, thanks to the dual lead guitars,
reminding listeners of the Allman Brothers Band (May
played with Dickey Betts and Great Southern for
several tours and an album). Meanwhile, the band
slows things down on “For Your Love,” not the
Yardbirds classic, but a fine soulful ballad with
Demmer on sax and a superb vocal from May.
“Walking Out That Door”
is a strong blues rocker singing the praises of a
good woman, while the easy-going “Something Good”
ventures into country blues territory. “Invisible
Man,” the closer, mixes the blues with funk and a
few modern, electronic flourishes that work just
fine.
I’ve only recently
become familiar with Mark May in the past couple of
years, but based on what I’ve heard so far, he makes
mighty fine, compelling music that should satisfy
any discriminating blues or blues rock fan. Deep
Dark Demon is a great place to start listening,
if you’re new to this fine
singer/songwriter/guitarist.
--- Graham Clarke
 Pennsylvania blues-rock
guitarist Jeff Fetterman opened a few eyes
and ears with his previous release, 18 Miles To
Nowhere, and his appearance at the 2018 I.B.C.
(advancing to the semi-finals). His powerful brand
of blues includes healthy doses of rock, soul, and
funk, and it’s all on his most recent release,
Southern Son, which was recorded at Greaseland
Studios under the guidance of Kristoffer “Kid”
Andersen, who produced, recorded, mixed, mastered,
and probably catered the entire affair. The new disc
features ten tracks, nine written by Fetterman, plus
two bonus tracks that you don’t want to miss.
The opener, “I Don’t
Want To,” has it all --- a driving blues rocker with
fierce guitar work, a relentless rhythm, Hammond B3,
horns, and a robust vocal from Fetterman. “49/61”
keeps the momentum going, a tune paying tribute to
the fabled crossroads of blues lore. The ballad
“Memphis Sky” has an easy-going Americana feel (with
some nice slide guitar mixed in), and the rousing
“Goin’ Down To Nashville” recycles that familiar
Elmore James riff. “Living With The Blues” is a
splendid slow burner with a soulful vocal and
inspired fretwork from Fetterman.
“Ain’t Got You” is a
second cousin, albeit a Texas blues-edged one to the
old blues classic previously recorded by Jimmy Reed
and Billy Boy Arnold. The catchy “Feels Like Rain”
is a mid-tempo venture into Americana territory.
“Tell Me” is a tight shuffle, while “Blues For
Charlie” is an instrumental paying tribute to
Fetterman’s father (he poignantly elaborates in the
liner notes) with fine interplay between guitar and
keyboards (provided by Andersen).
The album closer
(pre-bonus tracks) is an excellent cover of Bob
Dylan’s classic “All Along The Watchtower” (you’ll
want to hear this one through headphones to really
appreciate the guitar work). Two bonus tracks, both
instrumentals, close out the disc, the
appropriately-titled “Voodoo Funk,” featuring some
nasty bass, greasy B3, and sizzling guitar, and
“Southside Blues,” a smooth, slow-burning urban trip
that will just draw you in. I’m assuming these were
jams in the studio, and they were so good it was
decided to include them. If so, great decision.
Southern Son is
an extremely enjoyable album that really showcases
Jeff Fetterman and his musical vision. Blues and
blues-rock fans alike will love this one.
--- Graham Clarke
 Too Slim and the
Taildraggers return with another powerhouse set
of blues rock and roots that will thrill longtime
fans and probably bring in a whole new crop of fans
in the process. The Remedy (VizzTone)
features ten original tracks penned by Too Slim
and/or bassist Zach Kasik and drummer Jeff “Shakey”
Fowlkes, who certainly make up the rip-roaringest
power trio this side of ZZ Top. A trio of harmonica
players guest on several of the tracks – Sheldon
“Bent Reed” Ziro, Jason Ricci, and Richard “Rosy”
Rosenblatt (VizzTone head honcho).
The album opens with the
tough blues rocker “Last Last Chance,” a
southern-flavored rock ‘n’ roller that sets the bar
pretty high for the rest of the record. Fortunately,
Slim and the gang are more than up to the challenge,
as heard on the gritty “She’s Got The Remedy,” the
churning “Devil’s Hostage,” which has a cool ZZ Top
groove, and “Reckless,” with its skittering Bo
Diddley beat. Meanwhile, “Keep The Party Rollin’” is
a scorching breakneck boogie rocker, followed by the
album’s lone cover, Elmore James’ “Sunnyland Train,”
a wild and woolly slidefest.
“Sure Shot” is a nice
change of pace, a sparse roots/blues ballad with
Kasik on banjo complementing Slim’s slide guitar.
The mid-tempo “Platinum Junkie” nimbly mixes blues
and funk, and Kasik breaks out the banjo again on
the intriguing “Snake Eyes,” which is a little bit
blues, a little bit roots, and a little bit rock.
“Think About That” marries Texas roadhouse blues
with the swampy swing of the old CCR sound.
The album closer, “Half
A World Away,” is a reflective song of the road,
blending blues and jazz most effectively.
Blues fans know what
they’re getting with Too Slim and the Taildraggers
--- gritty, straight-forward, hard-driving blues and
blues rock, and that’s not a bad thing at all.
The Remedy indicates that the trio is as
powerful and potent as ever and shows no signs of
taking their foot off the gas.
--- Graham Clarke
 The debut release of
Dustin Arbuckle And The Damnations, My
Getaway, can be called a sequel of sorts to
Arbuckle’s time spent collaborating with Moreland &
Arbuckle, one of the toughest blues rock and roots
combos of the past decade. The new line-up brings
all of those elements together once again, but at
the same time it has a distinctively different vibe
from Arbuckle’s previous work, mixing in more of a
rock edge and even a touch of folk. Fans of M & A
can relax, because Arbuckle’s robust vocals and
harmonica is still right up front where they should
be.
Arbuckle is backed by a
stellar group in The Damnations --- Brandon Hudspeth
(guitar), Dr. Mark Foley (bass/harmony vocals),
Kendall Newby (drums/percussion/harmony vocals), and
Caleb Drummond (bass on three tracks). Hudspeth,
founder of the band Levee Town and BMA-nominated for
his release with Jaisson Taylor (Folie a Deux) from
a couple of years back, provides superlative support
on guitar and the rhythm section is rock solid.
Highlights include the
rumbling blues rocker “Say My Name” that kicks off
the disc, a great vehicle for Arbuckle’s vocals and
harp, the ferocious boogie “Across The Desert,” “You
Got To Go,” which blends rock and R&B seamlessly,
the Americana-flavored “Dealer’s Lament” and “Half A
Piece,” and the countrified blues “Darlin’ Dear.”
Meanwhile, the gentle ballad “Daniel Fought A Lion”
is also noteworthy, and “My Getaway” has Windy City
overtones, while the closer, “Swingling,” is a
marvelous jazz/blues instrumental with superb
interplay between the band.
My Getaway finds
Dustin Arbuckle building on previous releases with
this marvelous new band, expanding his musical
palette from his previous blues and blues rock,
leaning into new and interesting territory. It will
be interesting to hear where Arbuckle and the
Damnations move from here.
--- Graham Clarke
 Louisiana-based
guitarist, singer, and songwriter Eric Johanson
has built a strong reputation, serving as lead
guitarist for Cyril Neville and Terrance Simien. He
also released a fine album, Burn It Down, in
2017 on Tab Benoit’s Whiskey Bayou Records, as well
as an impressive album, Blues In My Blood, on
Nola Blue Records with New Orleans vocalist Tiffany
Pollack in 2019. More recently, Johanson
collaborated with Luther and Cody Dickinson at their
Zebra Ranch Studios to record Below Sea Level
(Nola Blue Records), a compelling set of blues and
southern rock.
The rip-roaring blues
boogie stomper “Buried Above Ground” opens the
album, Johanson’s searing guitar work perfectly
complemented by drummer Cody Dickinson and bassist
Terrence Grayson’s driving backbeat. Johanson’s
slide takes center stage on the powerful shuffle
“Down To The Bottom,” before the trio slows down to
the soulful side with the slow burning “Changes The
Universe,” which also includes Ray Jacildo on B3.
Meanwhile, the catchy “Never Tomorrow” is a strong
blues-rocker that leans more toward the rock side,
while “Hammer On The Stone” and “Have Mercy” are
slower-paced rockers, both with a dark, swampy mood.
The somber “River Of
Oblivion” takes a hard look at addiction and drug
abuse, but the mood and tempo pick up a notch with
the irresistibly optimistic rocker “Nowhere To Go.”
The noteworthy “Open Hearted Woman” is a slinky,
funky blues, and “Dose Of Forget” is an engaging mix
of sharp lyrics and musicianship.
The acoustic/electric
ballad “Love Is Rebellion” has a powerful message,
that love will overcome a divisive world. The
closer, “Riverbend Blues,” goes full acoustic, a
lovely track where Johanson pays tribute to New
Orleans with vivid lyrical imagery and nuanced
guitar work.
Luther Dickinson
produced the album, giving it the same earthy feel
of their North Mississippi Allstars releases, but
Johanson’s crisp, edgy guitar work and songs retain
a definite Crescent City vibe. Blues fans can expect
to hear and enjoy much more of Eric Johanson’s music
in the future and Below Sea Level is a great
place to get on board.
--- Graham Clarke
 Sean Ardoin
previously released Came Thru Pullin’ (Zydekool
Records) as Ven back in 2019. Ven,
meaning 20 in Creole was designed to celebrated
Ardoin’s 20th anniversary as a solo artist (he
previously led the acclaimed zydeco band Double
Clutchin’ until 1999). The set consists of ten
previously released songs from Ardoin, though it
isn’t really a greatest hits collection as much as a
“re-imagining” of those songs with updated, modern
production values and assistance from his son Sean
II (vocals/programming), guitarists Corey Stoot,
Andre Thierry, and Trey Ardoin, Linden Smith (scrubboard),
Brian Malbroux (bass), Savar Martin (drums), and
Zane Gipson (keyboards).
The exuberant title
track is mostly traditional zydeco that will put a
hop in your step for sure, and the aptly-titled
“Bounce” follows suit, keeping the party out on the
dance floor.The mid-tempo “No That Ain’t Right” has
a bit of a blues spin, and “Get Right Girl” leans
more toward R&B with the added keyboards. “I’m Not
Gonna Wait” is a soul/R&B-flavored ballad with a
nice heartfelt vocal from Ardoin.
“Gumbo Time” adds
hip-hop and rap to the zydeco framework, with Ardoin
and friends (Bryson “New Cupid” Bernard and Shawn
“Uncle Luck” Bernard) singing/rapping the praises to
the delicious Louisiana dish. “It’s Love” is another
soul/R&B ballad, although a bit more upbeat than
previously, and the lively “Kool Rolling” describes
Ardoin’s “Kreole Rock and Soul” musical approach.
“Nothing Like Our Love” is a modern pop-styled
ballad and the closer,. The guitar-fueled rocker
“Shut Them Down” closes the album.
I don’t get to hear a
lot of new zydeco releases these days, so Sean
Ardoin’s musical method of mixing in other genres is
probably the norm for new releases, which is
perfectly fine. It keeps the music vibrant and
alive. Came Thru Pullin’ will certainly
please new fans of the genre and there’s enough
traditional fare to keep the old folks interested,
and dancing.
--- Graham Clarke
 Cros formerly
served as bass player for James Cotton and Lucky
Peterson. He won the Phoenix Blues Society’s Blues
Challenge in 2018 and 2019 and was a finalist at the
I.B.C. in 2019. He recently issued his debut single,
“My Kind of Woman,” which will leave fans of blues,
soul, funk, and R&B hungry for more.
Cros takes lead vocals,
backed by singer Rosalee’s encouraging shouts and a
band (Pete Galanis – guitars, Walter Jones – bass,
Chris Foster – drums, Darren Sher – piano/organ,
Rick Mutter – Rhodes piano, Wayne Bliss – baritone
sax, Richard Little – trumpet, and Johnny Cotton –
trombone) that knows how to lock into a groove. This
song will get you on your feet and keep you there.
Hopefully, we’ll be hearing more from this dynamite
band soon.
--- Graham Clarke
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