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My first exposure to the Canadian soul/blues singer Miss Emily came in 2020 when I received a copy of her live album, Live At The Isabel. I gave it a nice review, stating, "There's a very fine studio album from Miss Emily waiting to happen. I'll be eagerly waiting for it to show up in my mailbox in the future."

I seldom get new music delivered to my mailbox in our current digital era, with most of the new music coming to my email inbox with a download link.

That brings us to the latest album by the award-winning Miss Emily, The Medicine (Gypsy Soul Records), produced by Grammy winner Colin Linden. In addition to Linden's guitar work, the rest of the band (George Recile - drums, David Santos - bass, Michael Hicks - B3) are solid.

As I went through each of the nine cuts, it was the third song in the queue, the title cut, that grabbed me and didn't let go. I listened to it over and over.

"The Medicine" tells the story of an acquaintance who eventually died from an overdose. It's a slow moving number, with gripping lines like, "... you took the medicine 'til the medicine took you ...," adding that it was part of a game that nobody won. Incredible. Absolutely incredible, and hopefully wins some songwriting awards for Emily.

But that's not all. There are eight other songs, most original compositions, with nary a weak number to be heard.

Miss Emily starts the mid-tempo blues, "My Freedom," singing a capella before the rest of the band checks in. This is truly a song of her freedom as she believes in where she's going because she can see where she's come from. She's breaking out and she's happy.

Cut number two is the single from the album, "Stand Together, Band Together," an invigorating soul number making a call for all to band together to fight the problems of the world, sung over a funky polyrhythmic drum bed. Emily has the same power on the mid-tempo, anthemic, "Maybe," her voice soaring with plenty of power.

The tempo slows on the blues "You Make Believe," about a relationship that never was what they both thought it was during their time together. Nice organ accompaniment here, wrapping around and emphasizing the vocal lines. We get a good slide guitar solo from Linden on the mid-tempo funky tune, "Running Again," as she sings about the ongoing movement in a relationship.

Emily sends a message to her daughter on the slow, island-sounding "Solid Ground." A pleasant song of love towards the child. "Smiths Bay Drowning" is the only song on The Medicine for which Emily didn't have a hand in composing, but rather it's a true story poem turned into a song about something that happened years ago in Prince Edward County, where she grew up.

Closing the album is a slow blues, "Remember This Song," opening with eerie guitar work from Linden before Emily's powerful vocals demand that the other person in the relationship remembers these words, repeating the title of the song over and over. Linden lays down a strong slide guitar solo.

This is an album full of songs that will remain in your memory for quite some time. Topical songs done well by a rising star on the blues scene. Miss Emily's The Medicine is worth tracking down.

--- Bill Mitchell

We've reviewed several singles from GA-20 over the past few months, which whetted our appetites for their upcoming release. Now it's finally time to check out the new album, Orphans, featuring the band's unique approach to traditional blues and roots music.

Bandleader Matthew Stubbs (guitar), Cody Nilsen (guitar/vocals), and Josh Kiggans (drums) present eight rough and ready tracks previously heard via live shows, digital singles, or just simply band favorites that tthey've always wanted to record.

Opening with Billy Boy Arnold's “Cryin' & Pleadin',” from 1957, Nilsen's forceful vocals relay the desperation of lost love, with Stubbs' guitar ringing like a bell. The trio heads down to the swamp for a tasty cover of Lazy Lester's “I Love You, I Need You,” the song's production capturing the sweat and grit of the 1959 Excello original, and Nilsen's soulful vocal on James Brown's “I Don't Mind,” from 1961 is first rate.

The band's rocking take of Elmore James' “Stranger Blues” includes crisp guitar work, driving rhythm work from Kiggans, and another spirited vocal from Nilsen. Sam & Dave's “Hold On, I'm Coming,” written by Isaac Hayes and David Porter, is another soul track, this time a cool instrumental with lap steel guitar driving the song, making it one of the more memorable tracks on the disc.

Little Walter's “My Baby's Sweeter” is the band's latest single, a smooth but slinky blues shuffle that's right in the pocket, and Ike Turner's “Just One More Time” is an energetic rock n' roller with a mid-point, rock-solid guitar break.

The album closer is a spot-on cover of Lonnie Mack's “Chicken Pickin',” bringing this disc to a satisfying conclusion.

Orphans is another excellent release from GA-20, one of the best new blues bands currently practicing. It's one of those releases that you will enjoy listening to on its own, but it will also lead listeners to the original versions. Tthe best type of tribute album.

--- Graham Clarke

Earl Thomas has been singing and writing songs since the early '80s. His debut release, Blue... Not Blues in 1991, was received very favorably and is still a favorite of mine.

Sadly, I lost track of Thomas over the years, until the recent release of his album, Live In London (Earl Thomas Music), which captures a sold-out live show recorded at Ronnie Scott's Jazz Club in London.

Thomas currently serves as lead vocalist for the Gospel Ambassadors, featuring the trio Sister Leola. This was the group backing him on this set, featuring ten traditional gospel classics that also touch on blues and soul.

The set opens with Sister Leola singing a stirring version of “Strange Things Happening,” before Thomas takes the mic for a rousing read of “Woman At The Well,” which rolls right into a downright funky interpretation of “Elijah Rock.”

Sister Leola provides outstanding backing vocals for Thomas on upbeat numbers, “It's Gonna Rain” and “How I Got Over,” that surely had the audience on their feet, thanks to the nimble musicianship of the Gospel Ambassadors.

Thomas and Sister Leola (continuing their wonderful backing vocals) voice determination to persevere on “I'm Pressing On,” which adds lyrics from the gospel standard “Amazing Grace” to the song for marvelous effect. “Twelve Gates To The City” is another standout, as Thomas and Sister Leola alternate lead vocals.

The upbeat “Glory Glory” picks up the pace and the energy, which continues with “When We All Get To Heaven,” shifting to an even higher gear.

“No Hiding Place Down Here” is another roof-raiser, and the closing track, “Old Landmark,” definitely had feet stomping and hands raised. Thomas, Sister Leola, and the Ambassadors really pull out all the stops on this high energy set that might make you sweat just listening.

Earl Thomas has crafted an incredible live set that seamlessly combines gospel with blues and soul. He and Sister Leola are just incredible throughout and the Gospel Ambassadors' playing is equally outstanding. Much like the appreciative audience obviously, gospel, soul, and blues fans will find much to enjoy with Live In London.

--- Graham Clarke

Arriving just in time for the holidays is a Christmas album from guitarist Johnny Vernazza, aka Johnny V. Home For Christmas (Brainstem Music) doesn't pave any new ground material-wise, with a dozen songs that we've heard countless times. But they are presented in what Vernazza calls his 'inimitable rocksoulblues style', along with quite a roster of special guests. There's a good cause benefiting from the sale of this album, as proceeds go the American Cancer Society.

Vernazza handles most of the guitar and vocals, especially on the opener, a funky version of "Merry Christmas Baby." Guitarist Laura Chavez is featured on "I'll Be Your Santa Baby," with vocals and guitar from Anthony Cullins.

Vernazza shares vocals with Mercedes Moore on a very bluesy version of "Winter Wonderland," quite unlike any version with which you might already be familiar, and Ms. Moore returns to handle lead vocals on the mid-tempo, bluesy "Blue Christmas."

"Silent Night" sounds quite different from most versions, a more up-tempo number with Francoise Simms on vocals and Vernazza killing it on slide guitar. "Santa Claus Wants Some Lovin'" is turned into a mid-tempo blues shuffle, thanks in part of Vernazza's guitar breaks. Chris Fast guest stars on both vocals and harmonica on the old Delta blues number, "Sonny Boy's Christmas Blues."

That brings us to the show-stopper on Home For Christmas --- an utterly fantastic version of the gospel standard, "O Come, All Ye Faithful." I really should have led the review with this paragraph, because this is the tune that will convince you to order this album before the day's over. It's stirring gospel at the beginning, with Sara Niemitz's voice being backed just by piano before turning into a funky soul/blues tune with a faster tempo and more instrumental backing. Vernazza whips out his slide, leading into a rollicking gospel that shakes the rafters, especially with Ms Niemitz absolutely taking it to church.

Okay, give me a minute to regain my composure after listening to "O Come, All Ye Faithful" a few more times.

And now, back to the review. I'm ready to continue.

"Christmas In Jail" is a mid-tempo funky blues with Randy McDonald on vocals. For my tastes, his voice sounds too country for this number, but he sounds better on the up-tempo stomper, "Rockin' Around The Christmas Tree," bringing Laura Chavez back in on guitar. We get plenty of horn sound from Walter Gentry and Johnny Viau on the mid-tempo "Home For Christmas," driven along by a steady blues backbeat.

We get perhaps the most recognizable guest on the funky version of "Back Door Santa," with longtime blues star Tommy Castro joining on lead vocals and guitars, with backing vocals from Leeann Atherton. It's still another song that should get played every December. Or for those that like to celebrate all year long, it will be a fun listen even during the hot days of July.

Home For Christmas is a really, really good holiday album. I love it, and so will you. Support a good cause and buy a copy to put under everyone's Christmas tree. I guarantee it will bring plenty of holiday joy and good tidings. Available through brainstemmusic.org.

--- Bill Mitchell

Blues man James Barnes, known to audiences as JB, was born in Cleveland, Ohio and raised in New Jersey, but his father was Mississippi-born --- Port Gibson to be exact. A bass player, JB has led the band BBD Rhythm & Blues since 2012 and was recognized by the New Jersey Blues Hall of Fame as a “Great Blues Artist,” based on his long devotion to the music.

He and his band have toured through New Jersey, New York, Pennsylvania, and Delaware for over a decade. He recently issued the album My Mississippi Roots, which pays tribute to the music of his ancestor's native state.

JB plays bass on all 13 tracks, and co-wrote the seven originals, singing lead on one track. The other vocals are split between vocalists Steven Braxton and Anthony Krizan, who also plays lead guitar, drums, and co-wrote songs with JB. Other contributors include JB's son Jerred “ARKTKT” Barnes and Chip Degaard on keyboards, Carmine Diorio, Tony “Earthquake” Doud, and Dave Moore on drums, Joey Stan on horns, Moe Dene on guitars, young harp ace Will Wilde, and backing vocalists Oria Aspen, Michael Monteiro, Kevin Goings, and Shawn Rawkus.

The opening track, “Get Up And Go Blues,” launches the disc in funky blues fashion, with Braxton's vocal backed by JB's rumbling bassline and Krizan's rock-edged fretwork. The slow burner “Gotta Make A Change” features JB on lead vocals and he does a fine job as “ARKTKT” and Krizan back him on piano and guitar, respectively. The catchy “Brown Eyed Blues Man” is an energetic, mid-tempo blues with Krizan providing vocals and rocking guitar and Wilde adding harp, and “When Did Crime Become Legal” picks up the pace as Krizan bemoans the evil of politics and society.

“Southern Girl” is a warm, soulful ballad with a southern rock feel about searching for the right girl, and the moving title track describes JB's father's upbringing and subsequent move, as sung by Krizan.

“The JB Shuffle” is an instrument that really swings, with each instrumentalist taking a moment in the spotlight. Braxton returns on vocals for a simmering cover of Daryl Hall and John Oates “Sara Smile” that works quite nicely. Carey Bell's “Lonesome Stranger” is a nice showcase for Wilde's harp and Degaard's piano, while Krizan does a fine job on vocals and guitar.

The Rolling Stones' “Wild Horses” features Braxton on vocals as the band gives the classic tune a faithful interpretation. The moody “Blues Falling Down Like Rain” was written by Bill Chinnock, sung by Braxton, and includes contributions from Moe Dene on guitar and drums from Doud (members of the BBD Rhythm & Blues Band).

The slow blues instrumental “Brush With The Blues” is a powerful tribute to the late Jeff Beck (who wrote the tune with keyboardist Tony Hymas) performed by Krizan on guitar, JB on bass, and Diorio on drums.

The final track is the inspirational “Stand Up and Give Peace & Love a Chance,” dedicated to Sly Stone and bringing in a full horn section, along with vocals from Goings and Karen Braxton backed by Krizan and JB.

My Mississippi Roots is a fine release that pays tribute to blues past and present. JB, Krizan, and company have produced an excellent set of contemporary blues mixed with soul and rock that should satisfy blues fans all over.

--- Graham Clarke

Nothing really puts a hop in my step like a good zydeco album, and a good live zydeco album is guaranteed to be an exciting listen. Corey Ledet recently toured pretty much all over the world, with stops in Russia, Canada, throughout Europe, and Hawaii, but never got the opportunity to do the live album that he's been wanting to do.

Finally, the time was right at this year's Anchorage Folk Festival in Alaska, so zydeco fans have another outstanding live release, compliments of Corey Ledet Zydeco & Black Magic (the name for Ledet's new accordion).

Live In Alaska featutes Ledet backed by Cecil Green (keyboards, bass, harmony vocals), James Adams (washboard, vocals), Jean-Paul Jolivette (drums), Julian Primeaux (guitar, vocals), Lucien Hayes (guitar), and Gregg Potier (washboard, percussion). 11 songs are featured, nine English or Creole tunes originally recorded on Ledet's previous releases and a couple of new tracks, including one compiled on the spot by Ledet and the band. If you're familiar with Ledet's catalog, he adds a bit of soul, funk, blues, and jazz to his musical gumbo, and that's on full display.

After a brief introduction, the band launches into “This Is All I Want,” a rollicking number originally on 2021's Corey Ledet Zydeco, where Ledet declares that all he needs in life is his music and his family. “Boudin Man,” from 2013's Destiny, is another fast-paced number that gives Ledet and the band ample space to stretch out, and the audience was surely moving during this song as well.

“I Just Wanna Be Your Loving Man,” from 2018's Accordion Dragon, is a mid-tempo number on the soul side that still packs a lot of energy, thanks to the band. “Alaska Funk” is the aforementioned tune built from scratch on the stage one instrument at a time, bringing to mind some of the classic soul instrumental hits of the '60s.

“Arèt To Trin,” from Corey Ledet Zydeco, is a brisk Creole number that really cooks, and “Creole Cruising” is a nine-minute-plus track that's part zydeco, part R&B, part jazz, and part funk, with superb contributions from each musician, and a spoken-word intermission from Ledet calling for love and unity.

“Push Me Away,” from 2017's Standing On Faith, shifts back to full-speed zydeco with a taste of soul in the vocals, and “KofèT'fé Ca” is a mid-tempo Creole blues number from Ledet's last album, Médikamen, with a scorching guitar solo from Primeaux.

Also from Médikamen is the robust blues rocker “M'apé Gònn a Dauphine,” leading into the raucous “J'ai Parti Dans Campagne” from Accordion Dragon, before the band wraps up things with a six-minute “Outro,” on which the members are introduced.

I'm not sure what the temperature was in Anchorage this past February during the Folk Festival, but wherever Corey Ledet Zydeco & Black Magic laid down these stellar tracks during their visit, the snow and ice was surely melting.

If you're a fan of zydeco music, and of course you are, you need an album like Live In Alaska in your collection.

--- Graham Clarke

Louisiana blues singer / guitarist Robert Finley has been on his own comeback tour since releasing his debut album, Age Don't Mean a Thing, in 2016. He really takes it back to his roots on his latest, the very raw backwoods gospel album Hallelujah! Don't Let The Devil Fool You (Easy Eye Sound), produced by Black Keys guitarist and vocalist Dan Auerbach.

This is not your normal gospel recording on the eight cuts here, with a lot of diverse instrumentation behind Finley's vocals. He basically just steps up to the microphone and in his powerfully raw and raspy voice he shouts out improvised songs, with daughter Christy Johnson echoing her response to each vocal line. Throughout the album, the backing musicians take these old songs and revitalize them with more modern accompaniment. It's what makes this album so unique. These informal recordings were made basically in just one day, kind of a memory dump from Finley's past.

Opening the album is the gritty and funky "I Wanna Thank You," with strong guitar work from Barrie Cadogan, followed by the chugging, hypnotic mid-tempo number, "Praise Him." We hear nice piano work from Raynier Jacildo,  and instrumentally there's a whole lot of different sounds going on, including horns from Jake Botts (sax) and Andrew Golden (trumpet).

The very hypnotic sounds of "Holy Ghost Party" is taken to another dimension, powered by the polyrhythmic drumming of Malcom Catto. "His Love" opens with wandering guitar chords followed by the shared vocals of Finley and Johnson, with its eerie slow tempo going on for more than seven minutes. Perhaps too long for some tastes.

Jacildo opens the more up-tempo "Helping Hand" with subtle jazzy electric piano before continuing with Ms. Johnson putting a little more energy into her backing vocals. In fact, I'd love to hear her really turn it loose on this album, but that's not in the cards for now.

"Can't Take My Joy" opens with Catto's steady drumming before Cadogan comes in on guitar followed by Jacildo's organ accompaniment. We later get the horns back in the mix with everyone merging into a cacaphony of various sounds behind the vocals. It's an up-tempo romp and I like it. Best song on the album.

We again get a wild mix of sounds on the funky number, "On The Battlefield," with the addition of harmonica by Tim Quine and staccato, rapid-fire guitar picking from Cadogan. It's the guitar work that really makes this one work.

Closing the album is the more gentle, funky number "I Am A Witness," with Finley's introspection telling us what we need to know about him.

Hallelujah! Don't Let The Devil Fool You may not be for everyone, perhaps a tougher listen to go from start to finish, but lovers of Finley's raw Louisiana blues style should check it out for a deeper dive into this man's soul. It's not just gospel, but rather every facet of Finley's life is encompassed within these eight songs.

--- Bill Mitchell

Guitarist / singer Erin Harpe first learned the music of Mississippi John Hurt as a youth, listening to her dad play his music around the house. Her career has been influenced by Hurt's music, now taking that love to her tribute album, Let The Mermaids Flirt With Me (Vizz Tone), featuring her renditions of ten of Mr. Hurt's vast catalog of traditional blues songs. Harpe is joined by her regular musical partner, bassist Jim Countryman, on this delightful album that will thrill fans of early blues styles.

Kicking off the album is a wonderful version of "Candy Man," a song we've often heard many times. This is a subtly beautiful number, with pleasant vocals from Harpe. That's followed by a well-known train song, "Casey Jones," a mid-tempo country blues that opens and ends with the sound of a train whistle. Harpe packs plenty of power and range to her vocals here.

The title cut features nice fingerpicking guitar from Harpe, hearing more of the same on "Got The Blues (Can't Be Satisfied)." Her guitar work on "Richland Woman" can best be described as pleasant, and on this one the spirit of Mr. Hurt definitely comes out.

Another well-worn classic is "Make Me A Pallet On Your Floor," with Harpe acquitting herself quite well, followed by another old folk blues, "Frankie." She takes her guitar picking to another level on the mid-tempo blues classic "Nobody's Dirty Business," and then really kills it on her rendition of "Stagolee."

The finale goes in a slightly different direction, with a nice version of the gospel number, "You Are My Sunshine."

There's not a whole lot more I can say about the songs on this album. If you've listened to enough Mississippi John Hurt, then you know all of the songs. Harpe and Countryman lovingly handle them quite well.

--- Bill Mitchell

One Morning Soon is the latest release from Robert “Top” Thomas, founding member and co-leader of the legendary band Smokehouse. The Florida-based singer and guitarist has released three solo albums since 2012, The Town Crier and 2023's A Thin Dime being his previous, well-received efforts.

Thomas is backed on these 13 tracks by Dan Walters (piano and bass), Stephen Kampa (harmonica), producer Billy Dean (drums, percussion, and vocals), and Gavin Jorgenson (clarinet, soprano sax).

The track list is mostly covers. Gene Vincent's “Hey Mattie” opens the disc played as a swamp blues, with Kampa's harmonica featuring prominently. Little Walter's “Take Me Back” gets a countrified Piedmont re-imagining, and the classic “Bye Bye Blackbird” gets a cool front-porch reworking.

There are three tunes associated with Texas songster Mance Lipscomb, the upbeat “Shake Shake Mama,” the gentle “Sugarbabe,” and “Texas Blues,” which closes the disc.

Two gospel numbers written by Rev. Gary Davis are the stirring “Children of Zion” and “I Heard The Angels Singing,” featuring a heartfelt vocal from Thomas. Blind Willie McTell's joyful “Georgia Rag” is another highlight, with Thomas going to town on guitar and vocals.

Thomas penned four of the tracks. Three of the originals are instrumentals, the lively “Gator Jig,” featuring Thomas' nimble fingerpicking, “Long Long Gone,” a jaunty showcase for Kampa's harp and Thomas' guitar, and “Stop, Smell The Blossoms,” which has a New Orleans feel, compliments of the lilting sax and clarinet. Thomas co-wrote the swampy “Haints In My House” with fellow Smokehouse member Anthony Thompson for that band's 1998 release, Edge of the Swamp.

I've enjoyed all three of Robert “Top” Thomas' albums.. He has a real talent for taking classic tunes and putting a modern spin on them while retaining the traditional qualities that made the originals so special. His guitar and vocals are always a pleasure, and the band's support is first-rate throughout.

One Morning Soon is another great addition to his solo catalog.

--- Graham Clarke

Pops Fletcher has been around the music scene for nearly 60 years in one form of band or another. In 2013, he started The Hucksters because he was tired of backing others and wanted to play his music and lead his own band.

The band members (Fletcher – vocals/guitar, Todd Phipps – keys, Nic Fugate (drums/percussion), Tim Walter – bass, JD “Mitch” Mitchell – guitars) have remained constant for over 10 years, and it really shows in their music. Almost Live is the band's debut release, featuring 11 tracks written by Fletcher.

Most of the tracks were recorded live in the studio with a few parts added here and there, hence the Almost Live title, giving the album a strong, energetic quality that really captures the “live on stage” feel.

The opening track, “Trickle Down,” is an upbeat, funky blues rocker, and “Johnny Gets Around” is a gritty blues shuffle with Glenn Davis contributing slide guitar. “Red Canoe” is a catchy rocker with a bit of a pop feel, and “Try” is a terrific ballad that also leans in the direction of rock, with a fine vocal from Fletcher.

The mid-tempo “You Don't Write” features more of Davis' slide guitar work and Phipp's keyboards, and “Rear View Mirror” finds Fletcher bidding a funky farewell to a bad relationship.

The energetic “Anybody Could Love You” has a lead vocal from Todd Michael Goodwin, Fletcher's oldest son, and “The Pleaser” is a slow blues describing the perfect man for a woman in search of one. The fiery “Toxic” tells of a woman who's not what she appears to be.

The upbeat “All About Love” is about what's most important in life, and the closer, “Trouble Comin',” rocks pretty hard as the band gets a chance to stretch out.

Also contributing to the album are drummers Wally Ingram and Dave Allen, who play on one track apiece. Fletcher's songs are very distinctive and well-crafted, and the band is like a well-oiled machine on these tracks.I know that's a cliché that makes people groan, but trust me, it applies here.

It's a shame that Pops Fletcher & The Hucksters had to wait so long for the opportunity to record, but the results were certainly worth waiting for. Almost Live is a fine effort that combines the blues with rock most effectively.

--- Graham Clarke

Dave Keller is best known for his high-quality albums combining blues and soul, often bringing in special guests to jam with him. La Brea (Tastee-Tone Records) has Keller going in a completely different direction, as he admits that he likes playing these original songs that he stored in what he calls his "blues orphanage" but was never able to work them into previous albums. He admits that they don't really fall into his usual soul/blues bucket, but more fitting into the singer/songwriter, Americana, or folk categories.

The 11 cuts on La Brea are more stripped-down recordings than usual, as Keller leads on vocals, backed by Kevin Barry (guitar), Jesse Williams (bass), Marco Giovino (drums), and Tom West (organ and piano).

The fact that this isn't a blues album doesn't mean it won't appeal to this market, especially after hearing the opening cut, "I Could Fall." Keller is backed only by Barry's gentle acoustic guitar, giving his vocals a chance to pack plenty of emotion as he quietly searches inside himself. The full band joins on the mid-tempo "Different Than I Planned," as Keller finds he needs to change plans and hitch a ride home. Barry lays down some very nice slide guitar licks.

Keller doesn't completely abandon his alter ego, packing a whole mess of soul into his vocals on the love song, "Your Touch," as he sings about how much she's meant to him. He also does a little blues on "Singin' In The Shower," about that special someone.

A few other highlights are Barry's lap steel guitar on the folkie "When You Land," with Keller taking a turn on the vibraphone. Barry's slide guitar work stands out on "Shiny Things," with Keller singing about the fact that shiny things don't matter much anymore.

"Onions" is a folk number with a hint of blues as Keller sings not about the vegetable but rather the symbolism of representing a relationship. An onion can be sweet as apple pie or can make you cry. Inventive songwriting.

La Brea is a nice pleasant album coming deep from Keller's heart. It's a departure from what we're used to hearing from him, but it's nice to hear the other side of his musical skills.

--- Bill Mitchell