|
 The
first two reviews in this section will feature a
pair of blues singers who need to become famous.
Excellent work from both Mississippi MacDonald
and Chris Vincent!
We've reviewed
previous albums from British blues/soul singer
Mississippi MacDonald, but his latest,
Slim Pickin' (APM Records), is different.
Instead of a full band with a big sound, this
collection of 10 tunes from MacDonald are
stripped down and acoustic,
As much as I liked
his previous records, man, this one is the real
deal!
A combination of
originals and well-chosen covers, Slim Pickin'
is solid throughout. Opening the album is the
Zachary Logan song, "Trouble Doing The Right
Thing," a mid-tempo blues that shows the
powerful subtlety of MacDonald's voice. The
title cut, an original composition, adds piano
from MacDonald on this nice 12-bar acoustic
blues,. He also shows off nice tasty guitar
picking.
The agony in
MacDonald's voice comes out in another original,
"Bad Attitude," as he sings that he's not as bad
of a dude as some say. The tempo slows
considerably on MacDonald's "I'm Sorry," with
his voice being more expressive as he apologizes
for the mistakes in this relationship.
While there have
been plenty of covers of the blues classic
"Statesboro Blues," MacDonald uses his acoustic
guitar in more of a finger-picking style,
perhaps taking it back to the early roots of the
song. His voice growls a little more here. "Got
To Get Walkin'" has MacDonald trying to figure
out how to get Memphis, knowing that better days
are ahead when he reaches that destination, and
the vocals are framed by nice guitar breaks.
Jimmy Oden's blues
standard, "Goin' Down Slow," is performed at a
more dirge-like tempo than other versions,
allowing him to put more pain and suffering into
his voice. The mood changes completely on the
Sister Rosetta Tharpe gospel standard, "Strange
Things Happening Every Day," with a steady
mid-tempo beat. There have been many other fine
versions of this song recorded over the last few
years, but this one just might be my favorite.
Another MacDonald
original, the very slow-paced "Sad Songs," is a
late night blues, with plenty of piano backing
his vocals. I love this song, as he really packs
plenty of emotion while singing that sad songs
will kill you every time.
Closing the album is
a version of Keb' Mo's "You Can Love Yourself."
MacDonald's finger picking work is outstanding,
with his vocals giving reassurance that
everything will be alright if you just love
yourself.
MacDonald's voice
makes one think that he must have been born
somewhere in the Deep South of the U.S. A., but
remember that this dude is from London, England.
His occasional trips to Memphis to learn from
some of the icons of soul have helped put
Mississippi MacDonald in the running for the
title of one of the better blues/soul singers
around today.
--- Bill Mitchell
 New Orleans-based singer/songwriter/guitarist
Chris Vincent has lived a tough life. A
recovering alcoholic, his songs reflect the hard
times and the good times on the other side on
his latest release, Good Crook (Chris
Vincent Music), with his band, the Raw Deals
(drummer Johnny Vidacovich and bassist Dean
Zucchero) . The 12 tracks, all originals, are
raw and unvarnished, taking a honest look at the
ups and downs of daily life.
Recorded in two
sessions, one session with Vidacovich and
Zucchero and the other just Vincent's voice and
guitar, the songs are all stripped down to their
core, done in single takes. Vincent lives in the
French Quarter, and the experiences permeate his
songs.
The title track is a
briskly-paced rocker that looks at the end of a
relationship. “Midnight After All” previously
appeared in a different incarnation on Vincent's
2024 release, Things Have Changed,
looking at a fruitless attempt to salvage a
relationship. The bluesy “Come Clean” finds
Vincent confronting a liar, trying to pull out
the truth.
“Bloody Mary Monday
Morning” is a grim solo tune with a note of
hope, and “Skinned Knees” describes facing and
dealing with failures on several levels.
“Screwdriver Keys” and “Half Block Cadillac”
(another previously recorded tune re-cut for
this album) are both uniquely rhythmic blues
tunes, with Vincent's nimble fretwork a
highlight on both.
The road-weary blues
“What Johnny Said” was inspired by a remark
Vidacovich made at the previous day's session.
“New Orleans, My Darling” is a love letter of
sorts to the Crescent City that reflects on its
qualities, warts and all.
“Snakes” is a love
song for a particular lady, and “Cows” was
inspired by a Cajun saying, encouraings all to
seize the initiative. The closer, “Catherine the
Great,” about a poor soul who struggles with
addiction could possibly serve as an
autobiographical piece for Vincent before his
recovery.
Thankfully, Chris
Vincent was able to shake his demons and live to
write about doing so. Good Crook is a
testament to the power of determination and
perseverance. The stripped-down arrangements,
coupled with Vincent's fierce fretwork and his
gritty vocals, are a perfect fit for these
songs. This album is a must-hear for blues fans.
--- Graham Clarke
 Several months back,
Blues Bytes reviewed the reissue of Right On
Time from Anthony “Big A” Sherrod,
his 2016 debut that was a bit of a challenge to
track down. At the close of the review, we
mentioned his upcoming follow-up release, but
weren't sure when or who was going to release it
(Nola Blue reissued the 2016 set in 2022).
The 31-year-old
blues man is now part of the Music Maker
Foundation lineup, having recently released a
five-song set for the label, called
Torchbearer of the Clarksdale Sound.
Sherrod has become a
mainstay on the Clarksdale, Mississippi blues
scene, getting his start playing with Johnnie
Billington, who taught Sherrod and many other
kids the basics of the blues. Sherrod learned
his lessons well, playing with Billington in his
band, the Midnighters, until Billington passed
away in 2013.
He remains in the
city, working with the Delta Blues Museum and
playing the area's clubs regularly. This session
was recorded in two hours at Clarksdale Reels,
an old storefront, with Jimbo Mathus producing
and playing keyboards, Lee Williams on drums,
and Heather Crosse on bass.
Mathus picked
Clarksdale Reels because he liked the interior
--- brick coated with plaster, which “cradled”
the sound. Setting up two mics from the ceiling,
one for the singer and one for the rest of the
band, the overall sound reminds me a lot of
those classic recordings that Jim O'Neal did for
Rooster Blues Records. A “live in the studio”
effect.
Sherrod's musical
approach mixes blues with the soul and R&B he
grew up listening to. That really shines forth
on the opening track, “Baby That Hurt,” a ballad
about a broken relationship on which Sherrod
expresses pain through his vocals and his
guitar.
“Don't Make Me Pay”
is a mid-tempo, old school blues number that
sounds great, and the pace picks up considerably
with the funky good time blues of “Good Woman,”
where Mathus' keyboards play a bigger role,
reminiscent of Frank Frost's farfisa on the
Jelly Roll Kings album, while the rhythm section
really kicks in as well.
On the
autobiographical “My Life,” Sherrod recounts his
story from a five-year-old participating in
Billington's program through his current status
as the torchbearer for the music in his
hometown.
The energetic
closing track of the EP is “Everybody Ain't Your
Friend,” where Sherrod warns that others aren't
necessarily the way they present themselves.
Sherrod learned his
lessons from his mentors --- he's a dynamic
singer and guitarist, plus he wrote all five
tunes, displaying a unique approach to
songwriting that presents familiar blues topics
in a remarkably fresh manner.
If you like
traditional or contemporary blues of the
Mississippi variety, Anthony “Big A” Sherrod's
Torchbearer of the Clarksdale Sound will
prove to be an excellent stop on your musical
journey, and should hold you over until Big A
gives us a full album's worth, hopefully in the
near future.
--- Graham Clarke
 Devon
Allman shows off his bluesier side on his
latest, The Blues Summit (Ruf Records).
To help get that appropriate blues sound, he
recruited big-time blues players, such as
Christone "Kingfish" Ingram, Larry McCray,
Robert Randolph, and most notably Jimmy Hall,
best known as singer and harmonica player of the
southern rock band Wet Willie.
But what really made
it for me was the introduction of New Orleans
soul/blues singer Sierra Green, who sings
backing on The Blues Summit and also
takes the lead on one of the numbers. I had
never heard of Ms. Green before this album
popped into my hard drive, and hearing her
wonderful voice prompted me to search out her
own album from a year ago with her band The
Giants.
But enough of the
credits, let's get to the music on The Blues
Summiit. We get 10 cuts, a mix of blues and
other forms of music that have been part of
Allman's life.
Opening the album is
a nice mid-tempo blues/soul, "Runners In The
Night," on which Devon's vocals remind me of his
late father, Gregg, while Ingram provides smokin'
blues guitar. Hall shows up on the funky blues
rocker, "Blues Is A Feelin'," providing both
lead vocals and harmonica. Just two cuts into
the album, and the former Wet Willie dude is
already putting his stamp on the music here.
Hall is back on
vocals and Randolph joins in with great pedal
steel guitar on the happy blues number, "Peace
To The World." Ms. Green steps into the
spotlight on the extended soul ballad "Real
Love," lasting more than six minutes but still
not long enough. She's fabulous; star quality
with the right breaks in this crazy music
industry. Be sure to find her fantastic 2024
album, Here We Are. You will thank me
later. Allman wrote this number and also plays
quite exquisite guitar.
Allman is back on
vocals on the rocker "After You," which has kind
of an orchestral sound. That's followed by the
funky soul number, "Gettin' Greasy With It," a
McCray composition with the Memphis Horns
providing a big backing sound. It's mostly an
instrumental, with just the song title shouted
out at times. I could easily envision James
Brown doing this number back in the day.
The rollicking cover
of "Wang Dang Doodle" brings Hall back to the
vocal mic, with Allman laying down a strong
blues guitar solo. We stay in a blues mood with
McCray handling vocals on the mid-tempo blues,
"Hands And Knees,." one of the better cuts here,
confirming that McCray's star is rising.
Allman flexes his
guitar muscles on an extended version of
Hendrix's "Little Wing" while also providing
heavy vocals. The album closes with a five and a
half minute instrumental, "Midnight Lake Erie."
It's slow and moody, and perhaps a little too
plodding at times for my tastes, but it gives
Allman another chance to show his diverse skills
on guitar.
The Blues Summit
is a solid contribution from Devon Allman, with
his well-chosen guests adding to the blues sound
on the album. Well done, Devon!
--- Bill Mitchell
 I
just loved the 2023 debut album, Buchanan
Lane, from young guitarist Yates
McKendree, son of notable session keyboard
cat Kevin McKendree. I couldn't wait for more
music from the Nashville native, and now my
patience has been rewarded.
Oh, man, Need To
Know (Qualified Records) was worth the wait.
What stands out from the previous effort is that
the time span between albums has given McKendree
a bit more maturity in his voice, as well as I'm
now noticing that he's more than a guitar
player. Not surprising, since he's been hanging
around with his dad on multiple sessions with
other artists for most of his life.
McKendree especially
shows the pain in his voice on the opener, "Burnin'
Tears," with his guitar work more subtle but
equally effective. A good start to the album.
That leads into the mid-tempo 12-bar blues "Need
To Know You Better," which he co-wrote with Gary
Nicholson. In fact, that songwriting pair teamed
up on many of the cuts on Need To Know.
The tempo picks up
on the 12-bar blues, "Run It In The Ground,"
with McKendree's driving blues guitar shining
while he repeats the line "... tired of saving
money, gonna spend it all over town ..." We get
our first cover, James Brown's "I Don't Care,"
made a slow soulful blues driven along by Kevin
McKendree's pulsating piano notes. The horn work
of Jim Hoke, Steve Herrman, and John Hinchey
give the song an appropriate blast of soul.
Earl King's New
Orleans classic, "Trick Bag," is getting a lot
of attention this summer, with this version
following the one on Buddy Guy's latest album.
Yates does a good job of getting down in the
back alley with his vocals, driving along the
more up-tempo version. Of course, this song MUST
have good piano and drums accompaniment for that
true Crescent City feel, with Kevin McK
providing the piano and guest drummer Kenneth
Blevins pounding out the beat on the skins.
Yates keeps it in
New Orleans for a very slow version of Chris
Kenner's hit, "Something You Got," with the
slower pace giving his voice more room to soar
while he also puts down very cool T-Bone Walker
guitar parts. It's hard to pick a best song from
Need To Know, but "Something You Got" is
certainly in the running.
McKendree then shows
off some really wonderfully intricate guitar
picking on his instrumental rendition of "See
See Rider." His work on this song may boost him
into the next echelon of guitar players, and the
way his hands fly across the fret board bring
back memories of Danny Gatton, certainly the
best guitar player I've ever seen.
Willie Dixon's "I
Can't Stop" is up next, a slow blues, with
vocals from McKendree sounding right out of the
south side of Chicago. His guitar solo is
especially tantalizing. Keeping it in the Windy
City is a version of Magic Sam's soulful blues,
"Give Me Time," with McKendree's vocals
summoning the spirit of the original singer on
this great tune. He shows his versatility by
also playing organ, bass, and drums on this
number.
"Good As Gone" is an
extremely rapid blues original, featuring just
the father and son duo. Yates plays lead guitar,
drums, and bass, while Kevin handles organ and
guitar.
We now arrive at one
of more interesting covers --- Bobbie Gentry's
"Ode To Billly Joe." You're probably raising an
eyebrow as you read these words, but give it a
listen. Ms. Gentry wasn't that far removed from
the blues, being labeled as an early blue-eyed
soul singer around the time of the original hit
in 1967. Yates gives it a heavier blues vibe
while also delivering the sadness of the tale
with his vocals. Robert Frahm jumped in to
handle the guitar duties while Yates
concentrated on vocals, bass guitar, Hammond
organ, and a sharing of the drum parts with
Griffin Photoglou.
Getting close to the
end, Yates and Sean "Mack" McDonald do harmony
vocals on Charles Brown's slow blues, "I Wanna
Go Home," with Kevin McK laying down absolutely
inspirational gospel piano. At just under three
minutes, this song ends way too quickly.
Concluding the album
is an instrumental, "Tides," simulating a
laundromat sound, with the credits actually
specifying Yates playing the washer & dryer, as
well as guitars, bass, and Hammond organ. Very
creative.
Yates McKendree is a
blues star in the making, with Need To Know
the next step in his journey. This is a talented
and creative artist who is still just getting
started. I can't wait for what's next.
--- Bill Mitchell
 Debbie Bond
has played a powerful role in promoting and
preserving the state of Alabama's blues heritage
since she moved to the state in the early '80s
to team up with legendary blues man Johnny
Shines. She also worked with Willie King for a
number of years, as well as Eddie Kirkland, Shar
Baby, Little Jimmy Reed, and Little Whit and Big
Bo. She also founded the non-profit Alabama
Blues Project, and is a member of the Alabama
Music Hall of Fame and the national Blues Hall
of Fame.
Bond recently issued
Live at the Song Theatre (Blues Root
Productions), a 12-song set recorded at the
intimate Song Theatre in Columbiana, Alabama
that finds the singer/songwriter/guitarist
supported by husband “Radiator” Rick Asherson on
keyboards and harp, Marcus “Junkman” Lee on
drums, and “Magic” Sam Williams on sax.
The set opens with
“That Thing Called Love,” a soulful track where
Bond sings of the wonders of love, backed by
Williams' sax and Asherson's keyboards. “Road
Song” is a gritty song about life on the
road....Asherson's echoing vocals behind Bond's
are reminiscent of Willie Lee Halbert's
supporting vocals, a vital part of the late
Willie King's musical approach. “Watch Out For
Your Heart” is a blues ballad with a touch of
jazz, complements of Williams' sax.
“Let Me Be” deftly
mixes blues and R&B, as Bond strives to move on
to a place of freedom,. The cover of the '70s
Top 40 hit, “Some Kind of Wonderful,” (from
Grand Funk Railroad via the Soul Brothers Six)
is given a nice soul/R&B treatment.
“Winds of Change”
finds Bond taking a somber look at the world and
life itself, while Delbert McClinton's
philosophical “Been Around A Long Time” is fun
and well done. The cover of the Ann Peebles'
favorite, “I'm Gonna Tear Your Playhouse Down,”
is sweet soul music.
For the New
Orleans-flavored “Going Back,” Asherson takes
the mic, with the band settling into a cool
Crescent City groove. Bond looks at the
hypocrisies and contradictions that pepper
everyday life on the thoughtful “Nothing But The
Blues.”
“Wishbone” is a
clever blues on which Bond laments that she
thinks she has a wishbone where her backbone
should be. Asheron adds tasty harmonica to
Bond's amusing lyrics.
The closer is the
title track from Bond's 2021 album, Blues
Without Borders, a heartfelt track that
pleads for peace and common ground among the
countries of the world.
Live at the Song
Theatre is an ideal summation of Debbie
Bond's musical vision and a fine display of her
songwriting and performing skills. It's an ideal
place for new listeners to get on board or a
great sample of her live show for longtime fans.
--- Graham Clarke
 Kyle
Culkin has worked for the past two decades
as a multi-instrumentalist, including serving as
guitarist for The Jeff Jensen Band. He had the
honor of opening for B.B. King on the legend's
80th birthday, with the King praising his guitar
skills. Culkin has also released four studio
albums that capture the musical style that has
led him to be dubbed as “The Americana Shotgun.”
His latest effort,
Shades of Trouble (Tonebucker Records),
features 12 songs, nine written or co-written by
Culkin, with three covers. He's backed on these
tracks by the mysterious Buford T. Shagnasty
(bass), Jamieson Trotter (keys), Karl Hunter
(sax), Adam Gust (drums), and Jade MacRae and
Bek Jensen (background vocals), with guests
Shawn Nourse (drums), Carl Venheyen (guitar),
and Will Phillips (percussion).
The title track
opens the disc, a jaunty roots rocker with
horns, backing vocals, and a lot of soul.
Speaking of soul, there's plenty to be found on
Culkin's cover of “You've Been In Love Too
Long,” recorded by Martha and the Vandellas in
the mid '60s
The mid-tempo
“Stockton Romance” has a nice country/roots
feel, while the standout “She's Evil” was
co-written by Culkin and Jeff Jensen, and is a
funky blues rocker.
The pleasant “Don't
Get Burned” leans toward the country side of the
aisle, prominently featuring Culkin on slide
guitar. “Wishing Well” is a swinging blues, and
“Yes I Do” has a southern rock flavor that will
make listeners feel good.
The instrumental
“Alora Rose” is a wonderful showcase for
Culkin's fretwork and Trotter's keyboards, and
“Love You My Way” is a gentle country ballad.
Robbie Robertson and The Band's “Ophelia” is an
ideal vehicle for this album, and Culkin does a
fine job with his interpretation.
The album wraps with
the acoustic ballad, “One More Good Time,” and a
terrific, gospel-flavored cover of John Hiatt's
classic, “Have a Little Faith in Me.”
Fans of blues and
roots music will be most impressed with
Shades of Trouble. Kyle Culkin proves
himself to be a talented singer, guitarist, and
songwriter who deserves a wider audience.
--- Graham Clarke
 Monster
Mike Welch is back with what could contend
as the best album of his long career. Keep
Living Til I Die (self-released) comes
several years after Welch's battle with long
COVID and was recorded around the time of the
death of his mother, thus there is plenty of
emotion from his life factoring into the
songwriting and playing. This results in the
best vocal work I've heard from Welch over the
13 cuts.
Recorded at Kid
Andersen's Greaseland facility, it goes without
saying that it's getting first class production
and backing.
Welch opens with the
most emotional song, the title cut, that he was
writing during his mother's decline. It's an
autobiographical mid-tempo blues rocker with
strong guitar work, as he sings that he'll keep
walking until he drops. "Love Me Baby" is a
Welch original that had me repeatedly looking at
the liner notes to make sure it wasn't a Magic
Sam composition. This slow blues is a nice
showcase for Welch's guitar playing.
"Your Problem To
Solve" is an up-tempo, soulful blues, with
Welch's defiant vocals telling the woman that
he's not her problem and it's up to her to
resolve any issues between them. The tempo slows
considerably for a blues instrumental version of
"Good To Me As I Am To You," from the Aretha
Franklin songbook. Tasteful guitar playing
throughout along with gospel-ish piano from
Brooks Milgate.
Welch unleashes the
devil in his soul on Robert Johnson's "Hell
House On My Trail," with plenty of ominous
sounds and a touch of echo to his voice, while
Milgate contributes nice piano work to add
nicely to the overall package. Rick Estrin's
12-bar blues, "I Finally Hit The Bottom," suits
the rough experiences that Welch has been
having, with the emotion coming out of his voice
but with hope that his life is improving.
The original
composition, "Do What You Want With My Grave,"
is a mid-tempo blues shuffle with a very eerie
vibe, with Welch getting a rich tone on guitar
leading into an extended solo with some heavy
effects.. This one makes me think that some
early 20th century bluesman has been inhabiting
his body.
He switches over to
an older Gibson 330 guitar for the up-tempo
12-bar blues "She Makes Time," giving the song
more of a country blues feel but plugged into
the electrical outlet. Milgate contributes a
very nice piano solo.
The Bob Dylan-penned
"Dear Landlord" is done as a slow, snaky blues
instrumental, followed by the minor blues
ballad, "I Just Don't Understand," that very
curiously was recorded by Ann-Margret and later
by the Beatles. Welch plays a heavier guitar
sound, and is backed by the mysterious vocal
sounds of Lisa Leuschner Andersen and John Blues
Boyd. It's a little strange, but I like it.
Welch goes back
about 60 years for the rockin' "Some Other Guy,"
a Jerry Lieber / Mike Stoller / Richie Barrett
number that allows the singer to show his more
paranoid side. Milgate turns in a strong solo on
his Wurlitzer. "The Whole Idea Of You" packs a
big wallop of soul, thanks to the backing vocals
of Marcel Smith and Dennis Dove, while Welch's
snaky guitar fits just right.
Keep Living Til I
Die closes with the very eerie and funereal
"Burial Season," written by Mudcat Ward. Welch's
vocals go a bit higher as he sings the line
"...so many graves to fill ..." This one is a
deep, deep blues, slowly dying out at the end. A
very interesting choice, but also appropriate
for what went on before it.
This album was
obviously very personal to Welch, full of his
own feelings and emotions. What's next? We'll
have to wait and see, but for now don't hesitate
to repeatedly listen to Keep Living Til I Die.
--- Bill Mitchell
 V&BT (Vigdis
& Blå Tråd) is a Norwegian quartet (Vigdis
Haugen – lead vocals, Tom Pettersen –
guitar/organ/background vocals, Bjørn Løkling –
bass, Christer Persson -drums/background vocals)
with experience in a variety of musical styles
who joined forces in 2016. Their musical
approach incorporates energetic blues,
blues-rock, and pop influences.
Their debut release
is a live effort, Diamonds at the Rainbow's
End - Live In Norway (Roller Records) with
11 tracks, ten written by Pettersen.
The opening track,
“Stormy Weather,” is bluesy pop. Haugen's
strong, confident vocals are expertly backed by
guitarist Pettersen and the rock-solid rhythm
section. “Here Comes That Man Again” has more of
a southern rock edge, with searing fretwork, and
the gritty “Confession” follows suit.
“Caves of My Mind”
is a sturdy blues ballad, and “Voodoo Doll” and
“Break That Chain” are tough blues rockers and
crowd pleasers.
“Schizophrenic Soul”
is a mid-tempo blues with pop flavor, while “Me
and Louise” dips deeply into funk and blues. The
title track maintains the funky edge of blues
from the previous track, and “Heart of Stone” is
a rugged roadhouse rocker.
The set closes with
the lone cover, a somber cover of the
traditional tune, “House of the Rising Sun,”
with a terrific vocal from Haugen and superb
guitar work from Pettersen really carrying the
day.
Diamonds at the
Rainbow's End - Live In Norway is a
top-notch live set from one of Norway's finest
all around bands. V&BT's sound, deftly combining
blues, rock, pop, and soul, will appeal to music
fans across the board.
--- Graham Clarke
 Five years have
passed since we last heard from Virginia-based
guitarist Forrest McDonald. His latest
release is a mostly acoustic effort, Songs
From My Soul (World Talent Records), a
15-song set of blues and blues-rock that mixes
in a bit of Americana and folk. 13 of the songs
feature McDonald solo, while two tracks include
his full band in support. He composed 13 of the
tracks, which reflect on his own views of life
as we know it.
McDonald opens with
“On Your Life's Road,” a strong acoustic tune
that encourages listeners to not sit still and
make a stand for what you believe. “Blue Mood,”
written by Jessie Mae Robinson and covered by
T-Bone Walker, among others, follows, with
McDonald giving the tune a country blues feel
with his fretwork.
“I Can't Stop The
Love” is a love song that swings nicely, and
“Take My Hand” is a jaunty country-flavored
blues that leans toward southern rock, while the
gentle “Spirit In The Night” finds him
reflecting on a lost friend who visits in his
dreams.
“I Need You” is
another love song with vivid imagery of his
feeling for his lover, and “A Girl Like You” has
a real retro rock n' roll quality with the
gentle acoustic rhythm and lyrics. McDonald
prepares to give a past life advisor the
heave-ho on the Latin-styled “The Next Time.
The lovely ballad,
“That's How I Want Our Love,” is a solid blues
track, while the sober “Make Love Not War”
addresses current events. “Blue Morning Sun” is
a tribute song written for a friend who passed
away, and “I Had a Dream” is a song where
McDonald envisions the fate of the world.
The first of the two band tracks is the spirited
“Misery and Blues” with fiery guitar work from
McDonald, backed by John McKnight on drums, Lee
Gammon on bass, Pix Ensign on harmonica, Matthew
Wauchope on piano, Jimmy King on saxes, and
Norman Franks on trumpets.
“Wish I May” has a
soulful feel, as McDonald returns to acoustic
guitar, with Jim Scarlett on B3, Terrell Sass on
drums, and Ron Benner on bass. The album closes
with a nice cover of the blues standard,
“Trouble In Mind,” with McDonald again soloing
on acoustic guitar.
Songs From My
Soul can really be considered a
“singer/songwriter” album if you think about it,
but as with Forrest McDonald's other releases
it's also a fine mix of rock, soul, folk, and
Americana with deep roots in the blues. It's
great to have a new release from this talented
guitarist, singer, and songwriter.
--- Graham Clarke
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