|
 Crystal
Shawanda was born and raised in Wiikwemkoong
First Nation on Manitoulin Island in Canada. A
member of the Ojibwe Potawatomi tribe, the
singer first made her mark in the country music
field before shifting to the blues about 12
years ago, releasing several highly acclaimed
albums and winning multiple Maple Blues Awards.
Her latest
release, Homesick Indian Blues (New Sun
Records), is her most personal, and most
powerful, album to date.
Shawanda is
backed on these ten tracks by Dewayne Strobel
(guitar/bass/producer), Nioshi Jackson (drums),
Peter Keys (piano/organ), Stephen Hanner
(harmonica), Chris West (horns), with Eddie
Perez (guitar), Stan Miczek (bass) and Al “Baby”
Webster (drums) each playing on one track.
Opening with the
haunting title track, Shawanda's commanding
vocals are on full display as she reflects on
the necessity of being away from her family and
home for her career. “Cut Through The Wind” is a
nice touch of soul, punctuated by the horns and
organ.
The first cover
tune is a funky read of Albert King's “I'll Play
The Blues For You,” as Shawanda pauses midway
through the song to discuss the impact this song
has had on her career. “Come Unto Me” is
terrific cover of The Mavericks tune where
Shawanda pays tribute to Raul Malo, the lead
singer/guitarist of the band who passed away in
December of 2025.
“Breaking Us in
Pieces” is a tender ballad that looks at the end
of a relationship, and Shawanda's version of
Mark Knopfler's “I Think I Love You Too Much”
(originally performed by fellow Canadian Jeff
Healey) is supremely soulful.
Shawanda revisits
her country music beginnings with a strong
reading of the Hank Williams (via Patsy Cline)
classic “You Win Again.” “I'm On Your Way Home”
is a cool, upbeat blues second cousin of “Whole
Lotta Shakin' Goin' On,” highlighted by
Strobel's slide guitar and Hanner's harmonica.
The soulful blues
ballad “Never Ever” is followed by “The Whole
World's Got The Blues,” where Shawanda ponders
the current state of affairs.
Homesick
Indian Blues is another winning release from
Crystal Shawanda, who continues to proves she's
one of the most powerful voices currently
singing the blues. This is a well-crafted,
well-performed album that should earn this fine
singer the attention she deserves.
--- Graham Clarke
 I
continue to be amazed and enthralled with The
Boneshakers. From their early days with
Sweet Pea Atkinson on vocals to recordings with
sax player Mindi Abair to the current lineup
with Jenny Langer, this ensemble led by
guitarist Randy Jacobs continue to find new ways
to invent the wheel (in a musical sense, of
course).
Pull Up The Roots: The Berlin & Hotel Sessions
(Gulf Coast Records) provides six unplugged
cuts, recorded as the title suggests in a studio
in Berlin along with random pieces captured in
various hotel rooms.
The
Boneshakers have consistently been a band never
limited by boundaries around their music, always
reaching out to incorporate other styles of
music into the mix. Pull Up The Roots may
be short in length, but extremely long in
quality.
In
addition to Jacobs and Langer, backing musicians
include Holly Montgomery (bass), Arthur Thompson
(percussion), and guests Joe Sublett (sax), Mark
Pender (harmonica), Jon Gilutin (keyboards), and
Oliver Leiber (additional acoustic guitar
parts).
Getting the show underway is the up-tempo “Your
Luck Won’t Last,” with a strong New Orleans R&B
vibe reinforced by the frequent line, “… Get you
some of that gris gris …” This groover takes
Jacobs back to his days as the guitarist for the
eclectic Detroit rock/soul band Was (Not Was).
Sublett, Gilutin, and Jacobs all play
significant roles on this cut, and it’s got me
digging back into the history of Was (Not Was)
to catch up on what those dudes were putting
down way back when.
The
version of the slow B.B. King blues classic,
“Help the Poor,” is already heading to the top
of my list of best songs of the year. It’s
fantastic, with Ms. Langer’s vocals soaring with
unrestrained emotion and then made even better
with Jacobs’ Spanish-style guitar parts. Did I
say that it’s a fantastic cut? Let’s also add
the descriptor “incredible.”
Just
when you think you’ve heard it all, along comes
a version of the Talking Heads’ “Pull Up the
Roots,” made bluesy, soulful, and funky by
Langer’s impassioned vocals and Pender’s
harmonica solo. Interesting song choice and they
make it fit. It’s just what I said earlier about
The Boneshakers never staying within their
boundaries and not hesitating to color outside
the lines.
“Eat
a Peach” is the first original number, an
old-style blues that’s heaps of fun, as Langer
encourages that man to come on over and shake
her tree, singing, “…Peach so sweet make a grown
man howl at the moon …” Yes, it’s quite the
double entendre song, with lots of sounds coming
from the background.
This
madcap trip takes us to New Orleans with a
stimulating version of The Meters’ “Fire on the
Bayou,” as Langer makes its her own song with
sassy and aggressive vocals. Funky percussion
and slide guitar provide most of the backing
sounds, but, really, this is Langer’s show from
start to finish. If you dig scatting vocals, one
of the backing musicians comes in at times to
give it a real Crescent City feel.
Wrapping up this gem of an album is another
original tune, “Fly on the Wall.” It’s blues
with a touch of soul, a mid-tempo number with a
loping tempo. We again hear plenty of slide from
Jacobs’ acoustic guitar, but like every cut here
it’s Langer’s show all the way as she points out
various hypocrites for which she’d like to be a
fly on the wall so that she can catch them.
Do
not hesitate to order Pull Up The Roots: The
Berlin & Hotel Sessions pronto. You will be
listening to the six songs repeatedly. I
guarantee it!
--- Bill Mitchell
 Memphis singer
Vanesse Thomas continues to dazzle blues and
soul fans with each release. The daughter of
Memphis soul legend Rufus Thomas and sister to
the Queen of Memphis Soul Carla Thomas and
keyboardist Marvell Thomas has another winner on
her hands with her latest release on Overton
Records, Window To My Soul. It features
eight songs, five written or co-written by Ms.
Thomas, who also co-produced the album with
Wayne Warnecke.
Backing Ms.
Thomas, who plays keyboards, are Dave Keys
(organ/piano), Paul Adamy (bass), Al Orlo
(guitar), Ross Pederson (drums), Tim Ouimette
(trumpet), Cliff Lyons (tenor sax), John Isley
(baritone sax), Andy Drelles (clarinet), and Rob
Papparazi (harmonica), with background vocalists
Kati Mac, Angela Clemmons, Jason L. Terry, and
Emily Bendiger.
“I Still Got The
Blues” opens the disc with Thomas proclaiming
she's still got 'em despite gaining success and
prosperity. The blues just won't let her go.
“Every Moment Is A Lifetime” is a soulful ballad
that offers encouragement and promise, and “I'm
A Diamond” is a bare bones number that reminds
us that intense pressure often brings out the
best in us all.
“Ain't Gonna Be
No One's Fool” are consecutive tracks that both
find a feisty Thomas letting her man know she's
about done with his mess. The first track has
more of a soul burner feel while the second one
digs deep into the blues with Papparazi adding
harmonica.
Thomas penned
“That's A Woman,” a ballad that celebrates the
things a woman does on a daily basis.,seen and
unseen, appreciated and unappreciated. She also
wrote “Save Me,” a gospel-flavored ballad
highlighted by Keyes' church-like organ and
background vocals that capture the feeling of a
choir.
The closing
track, “Livin' With A Lie,” is a heartbreaking
ballad that has a retro, jazzy R&B feel with
horns, clarinet, and piano.
Throughout
Window To My Soul, Vanesse Thomas delivers a
marvelous vocal performance that's always a
perfect fit to the songs she writes. Her band is
top notch, and she remains one of the most
talented blues and soul vocalists in the
business.
--- Graham Clarke
 I have to admit
that I wasn't sure what to expect with Morgan
Freeman's Symphonic Blues Experience (Decca
Records). At first, the combination of the blues
and a symphony orchestra seemed a little strange
to me. But then I saw some of the artists who
were appearing on it, including several
Mississippi blues artists (Super Chikan, Keith
Johnson, Anthony "Big A" Sherrod, and Alvin
Youngblood Hart). I heard a couple of sound
clips, so I decided to give it a try.
As I listened, it
occurred to me that several of B.B. King's most
popular songs, including "The Thrill Is Gone"
(covered here by Hart) also incorporated an
orchestra of sorts. In fact, there were many
songs in the past of the blues that used
orchestras, or at least strings, and they worked
rather well, as do these songs. On some of the
older songs, like Son House's "Death Letter
Blues" (sung by Taj Mahal), the orchestra really
enhances the mood of the song quite well.
There are a
number of blues classics presented, such as
"Crossroads Blues" (vocal by Super Chikan),
"Dust My Broom" (sung by Lady Adrena, another
Mississippi artist), "Cadillac Assembly Line"
(sung by Keb' Mo'), "Traveling Riverside Blues"
(from Shemekia Copeland), and "I'll Take You
There" (by Tierinii Jackson with the Stax Music
Assembly Choir).
There are also a
few original tunes by Big A Sherrod, and Johnson
closes the set with "I Lied To You" from the
movie Sinners. Both of these artists
deserve more attention and, hopefully, this
release will give their careers a boost.
The orchestra
performances are not that intrusive to the
songs. Really, not at all, and they are
augmented by the Ground Zero Blues Club Band,
which includes guitarists Hart, Luther
Dickinson, and Lina Beach, harmonica from
Johnson, keyboards from Mark Yacovine and Zeke
Listenbee, bassists Jimmy Kinard and Adrian “Rev
Slim” Forrest, and drummers Steve Potts and Lee
Williams.
Freeman makes an
appearance on the opening track, delivering a
narration over "Dark Was The Night, Cold Was The
Ground," supported by Johnson on backing vocals.
In the end, none
of the songs delivered on Morgan Freeman's
Symphonic Blues Experience will replace the
originals in any blues fan's heart, but they are
very well crafted and performed and are well
worth checking out for longtime fans. Hopefully,
this set will also serve as an introduction to
the blues for many curious new fans.
--- Graham Clarke
 I
was unquestionably one of the biggest fans of
The Holmes Brothers back when they were an
active group and still listen regularly to
their many albums (I think I’ve got them all!).
Wendell Holmes and Popsy Dixon are no longer
with us, but I’m pleased that Sherman Holmes
is still active and recording new music at the
age of 87. His vocal performance on his latest
release, One Step Ahead Of the Blues
(Nola Blue Records), defies his age. It’s a gem
from start to finish.
Produced by Andreas Werner, who doubles on
guitar, the 11 cuts on One Step Ahead Of The
Blues feature a core backing band of Paul
Ossola (bass), Lynn Williams (drums), and Harvey
Thompson Jr. (keyboards). Joining in at times
are The Muscle Shoals Horns (Charles Rose –
trombone, Steve Herman – trumpet, Tom McGinley –
baritone sax, Jim Hoke – tenor sax). Background
vocals are provided by The Honorary Holmes
Sisters (Catherine Russell, Joan Osborne, Ada
Dyer, Amy Helm (backing vocals) and The Blind
Boys Of Alabama (Jimmy Carter, Ricky McKinnie,
Joey Williams, Rev. Julius Love, Jackie Banks).
That’s quite the stellar lineup of premier
musicians.
The
horns provide the soulful intro to the opening
number, “One Step Ahead Of The Blues,” a
mid-tempo shuffle with a tasteful guitar solo
from Werner. Holmes provides a valuable lesson
that he learned from his mother, emphasized by
our first Blind Boys of Alabama appearance, on
the bluesy “Your Livin’ Does Your Preachin’,
followed by an up-tempo Holmes original “Voices
In The Hall.” The latter is driven along by a
steady drum beat with very nice, sincere vocals
from Holmes. He shows us that he’s still got the
pipes, with vocals that provide as much of a
lesson than just being another song.
“The
Blues Done Got My Soul” is a slow, snaky blues
sung with passion by Holmes, and then we get the
women singers joining on the very slow “Oh,
America (Still Standing),” an emotional Holmes
original on which he proclaims that this country
survives despite the ongoing problems. The women
stick around for the up-tempo “One More Go
‘Round,” with Holmes telling that he’s got time
left to get his message across and get his work
done. Nice piano from Thompson Jr. on this one.
“Prophet In Another Land” is a slow, pleasant
song, with the horns back in the mix, as Holmes
sings about that beggar in his hometown who’s a
prophet in another land. He pumps more power
into his vocals on his own composition, the
slow, emotional 12-bar blues, “Fair To Midland.”
Holmes is singing to his wife about how he’s
doing since she’s been gone and that the kids
have been asking about her, questioning why mom
and dad can’t get along. Nice acoustic guitar
from Werner here.
Holmes reprises “I’m So Lonely,” one written by
brother Sherman Holmes and done previously on
their Simple Truths album from 2004. This
version opens with gospel piano, and like the
original has limited instrumentation. At first
it’s only the piano behind Holmes’ powerful
voice before the subtle sounds of bass and drums
come in, while the 2004 version had Sherman
singing in a quieter voice and accompanying
himself on acoustic guitar.
Closing the album, The Blind Boys Of Alabama are
back on the slow, inspirational “Change My
Heart,” with the instruments well in the back of
the mix while Holmes sings his plea to the Lord
to change his heart. Having The Blind Boys part
of this song really takes it to the next level,
a nice way to end this wonderful collection of
songs.
Sherman Holmes is truly an icon who should be
treasured. We can hope that he’s able to
continue recording, because I certainly want to
hear more from the man. I’m guessing that
Wendell and Popsy are looking down from their
final resting place and feeling blessed that
their brother is continuing their shared legacy.
--- Bill Mitchell
 Tas Cru
returns with his eighth release in 12 years,
Might Give Out.....But I Won't Give In (Subcat
Records), and it's a typically fine set of
original songs that combine blues and roots
music. Cru plays multiple guitars on these ten
tracks, and he's joined by Mia Casale on vocals,
Scot Ebner on keyboards, Colin Beatty on bass,
Jeremy Walz on guitar, Dick Earl Erickson on
harmonica, Andy Hearn on drums, and Ron Keck on
percussion.
The title track
opens the album, and it's a terrific blend of
the blues and roots rock, with gentle guitar
work reminiscent of Mark Knopfler. Cru's firm
vocal is a great fit as he declares he will
continue to plug away on his journey as long as
he has breath. The shuffle “Lucky At Love” is a
more traditional blues track, with harmonica
from Erickson and additional vocal support from
Casale. “Known All Along” is a soul burner with
Memphis-styled organ from Eisner and crisp
guitar work from Cru.
“Favorite Song”
is a haunting tune about dealing with an
unrequited love that just can't be shaken, “Pass
Them Biscuits” is a driving blues in the North
Mississippi hill country style, and “Nasty Turn”
is a gritty, all-out blues rocker.
“Tulsa Tornado”
is a splendid roots rocker about a woman who's
not to be forgotten, and “Two Big Feet” is a
Crescent City-flavored boogie that finds Cru
describing his musical mix of blues (“the big
one”) and rock 'n' roll (“his little brother”).
On the soulful
“Come To Be,” Casale joins Cru on vocals while
Walz provides supple slide guitar runs
throughout as the duo looks sadly at the end of
their relationship. The closer, the deeply
personal “Smell Like Whiskey,” is a Cru solo
with his resonator guitar.
Tas Cru never
disappoints with his music, which always offers
first-rate songs and performances. Might Give
Out...But I Won't Give In is another
excellent addition to his impressive catalog.
--- Graham Clarke
 Mulebone
is the duo of Hugh Pool (acoustic/electric/cigar
box/National Steel guitars, harmonica, boot
board, vocals) and John Ragusa (flutes, fife,
tin whistle, pocket trumpet, Jew's harp, vocals)
and they've been making their enchanting brand
of traditional blues and roots music since 1996.
Their sound takes the traditional sounds of
blues into exciting, contemporary directions.
Pool has frequently collaborated with Reverend
Freakchild, but both artists collaborated on the
Reverend's 2015 release Hillbilly Zen-Punk
Blues.
Cure for the
Miseries is their latest release which
includes 11 original tracks, ten by Pool and one
instrumental effort written by the duo.
The disc opens
with the lively “Bad News Blues Blues,”
highlighted by Pool's nimble fretwork and
Ragusa's sprightly flute. “Long Winding Road” is
another upbeat tune, with Pool on acoustic
guitar and harmonica and Ragusa again on flute.
The rocking title
track finds Pool on electric guitar and Ragusa
on pocket trumpet, and “Always Got Something On
My Mind” is really difficult to listen to while
sitting still.
On the reflective
“My Kind of Blues,” the electric guitar returns,
adding a bit of distortion, and “Blind Lemon,”
composed by Pool and Ragusa, is a spirited
instrumental with a rootsy feel.
The moody
“Tomorrow's Blues” had a haunting beauty with
Ragusa's ghostly woodwinds backing Pool's
sensitive guitar work, and “Lay Your Burden
Down” is an energetic number combining acoustic
guitar, flute, and Jew's harp.
“Taking My Time”
is a funky little tune that will induce
toe-tapping (mine certainly is as I type this),
and the optimistic “Your Future's Still Out
There” offers encouragement for better times.
“Johnson's Lament,” a pensive instrumental,
closes this interesting album.
Mulebone's
Cure for the Miseries is a most entertaining
album. Only one song goes beyond the three and a
half minute mark, and it's only 3:34, so it goes
by really quickly. However, most listeners will
definitely want to hear more from this duo. This
has the feel of an old-fashioned show on
somebody's front porch in times past, which is
about a good of a description as you can get for
a blues album.
--- Graham Clarke
 Deep Blues
finds guitarist/singer Murali Coryell
going way back into the history of the genre,
covering ten songs from the public domain that
are considered blues classics. Producer David
Chesky proposed the project to Coryell, and they
enlisted a most impressive supporting cast in
legendary drummer Bernard “Pretty” Purdie,
bassist Tony Garnier (Bob Dylan), and guitarist
Junior Mack (Allman Brother Band). The session
was recorded at East Side Studio in NYC in one
day, with no overdubs and no extras, just like
the original versions of these tunes.
A wistful version
of “St. James Infirmary” opens the disc, with
Coryell providing a soulful vocal and guitar
work. Charley Patton's “Pony Blues” gets an
upbeat, funky treatment, with Coryell and Mack
both taking solos, while Blind Willie Johnson's
“It's Nobody's Fault But Mine” is transformed
into a snappy shuffle. The Mississippi Sheiks
classic, “Sitting On Top Of The World,” gets a
reverential interpretation with more crisp
fretwork from both guitarists.
The band's read
of Tampa Red's “Sugar Mama Blues” has a breezy,
gentle swing that works well, and “In The
Pines,” probably the oldest song on the album,
finds Coryell effectively conveying the
weariness of the betrayed lover vocally with
sympathetic support from Mack on guitar.
Big Joe Williams'
“Baby Please Don't Go” gets a rousing treatment,
and Roosevelt Sykes' “Forty Four Blues” is a
smoldering slow burner.
“Poor Boy Blues,”
cited as one of the oldest blues songs dating
back to around 1900 (also known as “Poor Boy,
Long Way From Home”), really swings with more
great fretwork from Coryell and Mack.
The closer,
Scrapper Blackwell's “Kokomo Blues” (the
predecessor to “Sweet Home Chicago”), gets a
Windy City urban blues interpretation that wraps
things up quite well.
Murali Coryell
really delivers the goods on Deep Blues,
and with this powerhouse band backing him ---
Purdie and Garnier are absolutely peerless ---
it's hard to go wrong.
Coryell does a
fine job on vocals, and he and Mack have real
chemistry on guitar. Hopefully they will team up
again soon. Actually, it would be great if the
whole band got together again soon.
--- Graham Clarke
 Anthony
Geraci has a well-earned reputation as one
of the better piano players on the blues scene
today, with his stellar career dating back to
his early years as an original member of both
Sugar Ray & the Bluetones and Ronnie Earl & the
Broadcasters. He’s since had a fine recording
legacy in his own name, and if my count is
correct, his 10th album is Where Were You,
his first for Chicago-based Delmark Records. As
expected, the piano playing is first-rate, and
he’s backed by an impressive group of singers
and instrumentalists. Geraci also wrote each of
the dozen tunes.
Where Were You is a mix of instrumentals
mixed in with vocal performances by Sheryl
Youngblood, Barrence Whitfield, and Geraci.
Guitar players include Dave Specter, Barrett
Anderson, and Jon McDonald, while Rodrigo
Montovani and Tom Terry handle bass duties.
Drummers are Nick Toscano, John Medeiro Jr., and
Buddy Guy’s man Pooky Styx. Mario Perrett plays
sax and Anne Harris shows up with her violin on
one cut.
Let’s start with the songs featuring Ms.
Youngblood on both vocals and drums, because I
can’t get enough of this Chicago woman ever
since I saw her live a couple of years ago and
took a selfie with her. She appears on the
opener, the slow, late night blues “Where Were
You,” with her vocals coming out very
powerfully. Ms. Youngblood is also featured on
the New Orleans-ish “Say La Ti Da,” and later on
the soulful and jazzy “Even A Fool’s Right Once
In Awhile.”
Barrence Whitfield, a name that I hadn’t heard
for quite some time, handles vocals on the
mid-tempo blues, “Stop Sneaking Around.” If you
remember Whitfield from his past recordings,
then you will certainly recognize his in your
face vocals.
Geraci sings on the heavy driving blues, “All’s
I Got Is You,” with just a touch of echo in his
voice, and we hear a nice guitar solo from
McDonald. His voice has even more added echo on
the up-tempo walking blues, “OobieDoobie Man.”
While Geraci’s piano playing is superb
throughout, I especially like his work on the
ivories even more on "OobieDoobie Man,' and we
also get a fine sax solo from Perrett.
As
for the instrumentals, “Brooklyn Bridge” is a
rollicking boogie-woogie, and “Caterpillar
Dance” swings away with Geraci playing both
piano and organ. Perrett is back on sax on the
jumping “Rockin’ Til Dawn,” and Harris makes her
lone appearance on the pleasant “Flowers For
Marianne,” with the piano and violin blending
well together.
Specter, Styx and Perrett all show up on the
mid-tempo jazzy instrumental, “Breaking Bread,”
and the album closes with the late night, Latin-ish
tune “Suite Blues” that changes tempo
throughout, going quickly from very slow to
rapid- paced. Specter handles the very tasteful
guitar playing herre.
Where Were You is a fine representation of
Geraci’s piano playing and songwriting, with the
hits for me being the Youngblood vocal numbers.
Yes, I dig it.
--- Bill Mitchell
 All Night
Boogie Band (Jessica Leone – vocals, Brendan
Casey – guitar/vocals, Van Garrison –
keyboards/vocals, Evan Barker – bass/vocals,
Zach Santos – drums) was formed in Vermont in
2021. They've won several awards, including
“Best Blues Group” in the 2025 Seven Daysies
Awards and “Vermont Rising Stars” in the 2023
New England Music Awards. Thley also won
Vermont's 2023 Blues Challenge, advancing to the
semi-finals at the IBC that year.
Shut Your Eyes
and See is the third release, a powerful
statement to the talents of this band. Casey and
Leone penned six of the seven tracks.There are
several guests artists involved, including Sam
Atallah (trumpet/horn arrangements), Jon McBride
(tenor sax), Avery Cooper (baritone sax), Ezra
Oklan (tamborine/co-producer with Casey), Ali
McGuirk (vocals),, and Connor Young (trumpet).
The album opener,
“Keep on Rolling,” begins with a gentle a
capella vocal, before launching into a
horn-fueled blues romp with their gorgeous
harmony vocals remaining for each chorus.
“Always on My Mind” is a tasty mix of Memphis
and Muscle Shoals, with a dash of Motown for
good measure. Tthe
slow burner “I
Think They Called It Peace” offers the first
true sampling of the vocal gifts of Jessica
Leone. Her performance will induce chill bumps
on this track. “If You're Blue and Lonesome” has
a bit of New Orleans second line in its rhythm
via Garrison's piano, with stellar work by the
horn section as well.
The pensive
“Stuck in the City (You're Not Alone)” was
inspired by the mental health, homelessness, and
substance abuse crisis in their city, featuring
another stunning vocal from Leone and a
marvelous guitar solo from Casey. The gentle,
acoustic “Spirits High” teams Leone with McGuirk
on vocals.
The album closes
with an energetic live version of Slim Harpo's
“Shake Your Hips,” recorded at Nectar's in
Burlington, Vermont in May, 2025, capturings the
band in its element in front of an enthusiastic
audience.
Shut Your Eyes
and See is a dynamite release by All Night
Boogie Band. This is an excellent band with an
outstanding vocalist in Jessica Leone that
deserves to be heard by a wider audience. Anyone
who digs blues, soul, or rock will find a lot to
love with this release.
--- Graham Clarke
 Stevie
J,
the hardest-working man in the soul-blues
business, recently released a seven-song EP,
JukeJoint Muzik (PKMG), which offers any
southern soul and blues fan everything they
could ever want. This collection of tunes has
been assembled over a period of times and ended
up meshing perfectly for this concept. Each song
on this electrifying set could easily be a
single.
The groove locks
in with Track 1, the irresistible “The JukeJoint,”
and never lets you go. The funky “Going In
Tonight” was originally released on SJB's
Quarantined album in 2020 during his early
days engineering and editing, so he decided to
revisit and update the tune and the new version
has a much fuller, deeper sound that improves
upon the original. “Party Tonight” is an upbeat
dance tune that will make you move.
“I Luv U” is a
gentle soul ballad, but the tasty “She Wantta
Dance” will get the crowd moving again quickly.
“So Close” is a funky remix of a previous SJB
tune, but substitutes Dallas vocalist Phoenix
for his original vocal partner Dubb Ruffin, and
she adds sensuality to the track.
The closer, “Lie
To Me,” is a cover of a Michael Burks ballad.
Burks was one of SJB's biggest musical
influences and he really nails this version.
If you want to
know what soul-blues fans in the southern U.S.
are listening to, JukeJoint Muzik is a
great place to get a taste, but you will
definitely want to here more. Stevie J Blues
says that this will be his last release as
Stevie J Blues, so stay tuned because there's
definitely more great music to be heard.
--- Graham Clarke
 Like most modern
blues and rock guitarists, Rick Berthod
was influenced by many of the greats such as
Eric Clapton, Duane Allman, B.B. King, Jimi
Hendrix, Jeff Beck, Rory Gallagher, Albert
Collins, and Peter Green, who was the subject of
Berthod's previous well-received album. It made
my Top 10 list for 2022 releases.
Get Back Home
is Berthod's 10th and latest release, which he
produced with Stoney Curtis.
Backing Berthod
on these ten tracks, with nine originals, are
Jeff Mullen (bass), Greg Culotti or Jim Lovegren
(drums), Keith Brennaman (sax), Jason Walker
(guitar/background vocals), and Curtis
(guitars).
The album's lone
cover opens the set, Albert Collins' “Travelin'
South,” where Berthod captures the Iceman's
unique guitar tone perfectly. Collins served as
a mentor to Berthod, assisting him in assembling
a band when the young guitarist moved to Los
Angeles in the late '80s.
“So Fine” is a
soulful rocker with electric and acoustic
guitars and harmony vocals, plus saxophone from
Brennaman, while Berthod breaks out the slide
for “Texas Rain,” and really lets it rip on this
gritty rocking blues.
“Welcome Back” is
another soul burner about welcoming back a lost
love. Brennaman's sax figures prominently and
Berthod's vulnerable, but determined vocal and
stinging lead guitar work nicely as well.
The title track
is a stripped-down blues about being weary and
longing for familiar surroundings, highlighted
by excellent slide and acoustic guitar
accompaniment. “Whips & Chains” is a mid-tempo
blues rocker about a different romantic
experience, and the catchy “Runnin' From Love”
has a memorable retro rock feel.
“Take Me Back” is
a strong slow blues that gives ample space for
some superb fret work for Berthod and company,
while “Southern Sky” deftly blends blues subject
matter with a rock-edged guitar.
The closer is
“Evil Eyes,” with the band locking into a nasty
groove as Berthod warns listeners about a woman
who's not to be messed with.
Get Back Home
is a fine set of blues and blues rock originals.
Rick Berthod is a first-rate composer, guitarist
and vocalist, and he receives outstanding
support from his band. He's managed to build on
the music of his influences and carve his own
distinctive path onto the blues scene.
--- Graham Clarke
 The Arizona-based
blues rock band Teskey (Brandon Teskey –
guitar/vocals, Matt Baldwin (bass), and Brandon
Gaddy – drums) recently issued Live at The
Rhythm Room, recorded at the legendary
Phoenix blues venue in December of 2025. The
11-song set, a mix of tunes from their 2025
debut White Wolf and their upcoming
studio album, Blue Dreams, plus one
cover, captures the band at their energetic
best, showcasing their fine original songs and
powerful performances.
The title track
from Teskey's upcoming album kicks off the set.
It's a gritty blues rocker about dealing with
the difficulties in life. “Lemon Tree” was an
acoustic blues on the band's debut release, but
here the band plugs in and gives the song a
complete reconstruction highlighted by Teskey's
fiery fretwork. Tthe powerful “Under The Sun,”
also from the band's first release, is a
standout.
“Find Me When
It's Over” is an intense, introspective new
track from the upcoming album, and “Give My Love
Back To Me (The Answer)” is a moving ballad,.
It's also on the new album, about finding the
meaning of love once again. It serves as a
sequel of sorts to the next song, “Don't Take My
Angel,” from White Wolf, which dealt with Teskey
learning that his wife had been diagnosed with
cancer. The singer/guitarist turns in emotional
performances vocally and instrumentally on both
of these songs.
“In The Garden
Again” has a real retro-folk/psychedelic feel
with vivid imagery and a desire for inner peace.
The retro vibe continues with the band's
terrific cover of Blind Faith's “Can't Find My
Way Back Home,” featuring a guest lead vocal
from Tony Noys.
From the band's
debut, the traditional slow blues, “Upside Down
World,” gives Teskey and the band ample space to
strut their instrumental stuff.
The moody rocker
“White Wolf” is an atmospheric number that would
have been a snug fit on '80s FM. On the
closer, “Cast Aside Child,” Teskey pulls out all
the stops with sizzling guitar and superb work
from the rhythm section.
Teskey proves to
be an impressive band capable of playing it
rough and tough while showing a vulnerable side
on Live at The Rhythm Room. Teskey is an
outstanding front man in the blues rock
tradition, while Gaddy and Baldwin provide
rock-solid backing throughout this muscular set.
--- Graham Clarke
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