INteRNAtIONAl ResUlts

STUDIO ALBUM:

1. rory BLock – avaLon: a triBute to miSSiSSiPPi JoHn Hurt

2. the riDeS – can’t get enough

3. BuDDy guy – rHytHm & BLues

In with a shout: Mannish Boys – Double Dynamite, Mark Robinson – Have Axe Will Travel, Curtis Salgado –Soul Shot, Charles Bradley –Victim of Love, James Cotton – Cotton Mouth, Thorbjorn Risager – Dust & Scratches, Paul Thorn – What The Hell Is Going On, David Egan –David Egan, Sugaray Rayford – Dangerous, Etta James –Queen Of Soul

BAND:

1. monkeyJunk

2. teDeSchi truckS BanD

3. LiL’ eD & tHe BLues imPeriaLs

In with a shout: Mojo Makers, The Rides

RECORD LABEL:

1. aLLigator

2. ruF recorDS

3. = Provogue, DeLta groove, Dixie Frog

In with a shout: Daptone, Document

VOCALIST:

1. curtiS SaLgaDo

2. matt anDerSen

3. roBert cray

In with a shout: Sugaray Rayford, Kim Wilson, JJ Grey, Studebaker John, CD Woodbury

DRUMMER:

1. cHriS Layton

2. tal Bergman

3. coDy DicKinson

In with a shout: Lil Cal Jackson, Kenny Smith

GUITARIST:

1. warren HayneS

2. Derek truckS

3. = Jimmy vaugHan, Kim simmonDs

In with a shout: Joe Bonamassa, Sonny Landreth, Joe McMahan

BASSIST:

BEST NEWCOMER:

1. DeLta SaintS

2. moJo makerS

3. DaviD egan

In with a shout: CD Woodbury, Rachelle Plas

LIFETIME ACHIEVEMENT (SCROLL OF HONOUR):

Kim Wilson, Johnny Winter, Lurrie Bell, Ronnie Earl, Sonny Rhodes

THOSE WE’VE LOST THIS YEAR, TO BE REMEMBERED: Bobby Bland, Richie Havens, Jimmy Dawkins, Etta James, JJ Cale, T-Model Ford, Magic Slim, Dan Toler. Just a few of those we’ve lost.

BEST BLUES RADIO SHOW/STATION: (NO OUTRIGHT WINNER)

Kansas City Online Radio, Bandit Blues Radio, BB King Bluesville

BEST BLUES DVD:

1. Savoy Brown – SongS From tHe roaD (cD/DvD)

LIVE ALBUM:

1. BuDDy guy – Live atLegenDS

2. erJa lyytinen – SongS From the roaD

3. = 24tH street WaiLers –Live in HaLiFax, roomFuL oF BLues – 45 Live

In with a shout: Henrik Freischlader – Live Concerts,

SOLO ARTIST:

1. eric BiBB

2. curtiS SalgaDo

3. isiaH B Brunt

In with a shout: Charles Bradley, Paul Thorn, Layla Zoe, Mark Robinson, Angel Forrest

1. BoB Stroger

2. kevin mccormick

3. ron eoFF

KEYBOARDS:

1. cHuck LeaveLL

2. = DaviD egan, greg allman

3. DaviD maxWeLL

In with a shout: Jon Cleary, Reese Wyans, Barry Goldberg, Chris Kliemann

HARMONICA:

1. cHarLie muSSeLwHite

2. kim wilSon

3. ricK estrin

In with a shout: Stephane Bertolino (AWEK), Randy Chortkoff, Rachelle Plas

WOODEN HORSE This Kind Of TrOuble

Wooden Horse music

Worcester duo of Jamie Knight and Ben Church, the two main protagonists of Wooden Horse have produced, in This Kind Of Trouble, an authentic sounding album of Americana. Encompassing Country Blues, Bluegrass and much more, this album oozes quality in terms of playing, vocals and songwriting and was a great surprise to me. Opening with the self-penned A Big Deal, they set out their store from the off in an enjoyable Bluegrass sounding song.

An up-tempo Country Blues follows in You Ain’t Letting Me Down complete with some great boogie styled piano in the background by Stuart McIlroy who has joined them for this album. This is another selfpenned number and some great slide

The Fabulous Thunderbirds

Budget priced 2CD set that spans a period of change within this great American rocking blues band. The first album proved to be Jimmie Vaughan’s last with the band and new producer Terry Manning gave the band a more mainstream rock sound. Opening track Rock This Joint sets the scene for the first album with a thunderous drum beat, heavy fuzzed guitars and Kim Wilson’s distinctive vocals. The sound is more reminiscent of ZZ Top than classic T-Birds. Emergency is a much more familiar T-Birds sound with Wilson’s wonderful harp and vocals taking a more prominent role. Stomping title track Powerful Stuff zips along nicely with fierce vocals and twangy guitatrs and closing old blues chestnut Rainin’ In my Heart is well done in Slim Harpo’s down home style. Vaughan’s departure created such a huge hole that Wilson recruited two excellent guitar players to replace him in the shape of Duke Robillard and Kid Bangham. This change immediately freshened things up and opener Twist Of The Knife finds the revitalised T-Birds tearing into this crashing blues-rocker. Sam & Dave’s soul classic Ain’t That A Lot Of Love gets a lively cover and Work Together features backing vocals from The Gospel Hummingbirds. Robillard penned the fine and funky Stax like Born To Love You and then we get the laid back groove of Need Somebody To Love with soulful vocals from Wilson and tasty guitar interplay between Robillard and Bangham.

Junior Parker’s Feelin’ Good gets a rockabilly workout and features a great harp solo from Wilson. There is a mighty chunk of Texan soul with When I Get Home and the album closes with the rocking Paralyzed. The latter CD is certainly my clear favourite on this excellent twofer.

Dave Drury

playing drives this stomper along. Johnson’s Kind Hearted Woman draws the whole into a classic Blues with great rolling piano and lovely slide guitar. Another original shows their harmonies to the best in the title track, an enjoyable Country Blues. Next up is Crazy Mamma, a J.J.Cale toe tapper with yet more wonderful boogie-woogie ivory tinkling.

Walking Rain is a somewhat gloomy slow song which I feel is saved by the heart-wrenching slide guitar in the middle section. Vinson and Chatmon’s Sittin’ On Top Of The World is giving an extremely different makeover to the rock version that most people know by Cream. It feels livelier and with a vibrant piano solo, underpinned by chopping guitar chords, the joy after loss is almost tangible. It was during this song that I realized the quality of Jamie Knight’s vocals, strong and well-pitched. Quite surprisingly, the next song Kinda Man, is pure rock n roll, again with strong boogie woogie piano and this is in complete contrast to the final cut Time I’s Leaving, a soulful, mournful ballad that tugs at the heartstrings. This an enjoyable album, produced by extremely competent musicians and songwriters and one which deserves to be heard by a wider audience.

Merv OsbOrne

JEFF

Saxon

blujanOva relevant records

Well, here’s an interesting release, something with a real twist which is very absorbing and experimental. At first listening you’d think it’s not really a blues record, but listening on, this is a very clever, technically sound and very listenable release with varied music styles, to say the least. Jeff has a very eclectic approach to music genres and as the title implies he has tried to fuse together elements of blues, jazz and bossa nova.

This unique musical gumbo really shines, with Jeff’s bluesy, laid back vocals and different arrangements of tune styles, such as a soft and gentle adaptation of Hound Dog, making for a refreshing change to the standard format, although this does not really adapt to James Brown’s I Feel Good. Also he has been brave enough to give his smooth treatment to Riders On The Storm, All songs have his unique approach to fusing styles, the opener Bye Bye Blues, is so enchanting that it puts a smile on your face and takes you to another listening level, with a relaxing vibe , a sure fire stand out track. He also has a great band, on keyboards Michael McGregor and fretless bass player

Lowell Fulson

Keith Jones. Waiting For Lily the instrumental last tune sees the band gelling together for a most enjoyable recording.

COlin CaMpbell

Too Slim And The Taildraggers

blue hearT underworld records

The wonderful Too Slim & The Taildraggers were formed well over a quarter century ago in Washington State, and they have produced over a dozen consistently strong albums. Tim Langford has a gruff and pleading semi-spoken voice, which stands up well against the similar sounding Billy Gibbons of ZZ Top. This album was recorded in Nashville, and benefits not only from that city’s excellent studios and Tom Hambridge’s crisp production, but also the peerless Reese Wynans on keyboards. The sound has been fleshed out when compared to their

This is a three CD budget priced box set which is billed as the definitive survey of the formative years of the influential big-voiced singer, superb guitarist and songwriter who was rivalled only by T-Bone Walker on the West Coast blues scene. Fulson recorded through the 40’s and into the 70’s proving to be more adaptable than many of his contemporaries but his powerful vocals and stinging jazzy guitar were always at the forefront of his material. CD1 finds Fulson in a small group setting backed up by drums, double bass and piano. Standout tracks here are the wry, swinging You’re Gonna Miss Me, the piano boogie I Want To See My Baby and the rollicking 9.30 Shuffle. Also here are the fine slow blues Midnight Showers Of Rain and Three O’Clock Blues, which was later a huge hit for B. B. King. CD2 opens with a laid back Ain’t Nobody’s Business and the immortal Everyday I Have The Blues, featuring the excellent pianist Lloyd Glen and alto sax player Earl Brown. Other notable tracks on CD2 are the swinging two part Lonesome Christmas, the gospel tinged Sinner’s Prayer, which was later covered by Ray Charles and the jumping Let Me Love You Baby featuring honking saxes. The final CD in this collection includes the classic mid-tempo soul-tinged ReconsiderBaby with stinging guitar and swinging horns and the fierce Trouble, Trouble. This is an excellent collection well worth a listen.

Dave Drury

earlier work. Jimmy Hall joins on a couple of tracks, vocals on Good To See You Smile Again, and his harmonica contributes much to the superb title track. Tim Langford is a brilliant guitarist, and it is nigh on impossible to pick a favourite example from this album. Triple threat Langford is also a masterful songwriter, and this again is in evidence here. In the end the best aspect of his work is the incessant riffing and cool grooves of every cut. This is his best work since 1995’s Swamp Opera, and once it gets under your skin it will be a permanent implant.

nOggin

LITTLE G WEEVIL MOving

This is Hungarianborn Weevil’s second album, his first since winning the solo/duo best guitarist at last year’s International Blues Challenge in the States, where he now bases himself. Composed of eleven original tracks and one cover, all but three of the tracks feature solo performances by Little G, for the other three his full band consisting of Maurice Nazzaro on harmonica, Danny V Vinson rhythm /lead guitar, Dustin Sergant, upright bass and finally Adam Goodhue on drums, joins him.

Acoustic slide and foot tapping dominate the opening Shook It And Broke It. The finger picking of On My Way To Memphis follows, before the band join in on Mean And Dirty, a little shuffle with lovely harmonica backing. Little G continues his fine guitar playing throughout the rest of the disc switching easily between slide and picking.

Little G Weevil also has a very distinguished, gruff voice, belying his mere 36 years, bringing to mind his forefathers. This is as fine an example of modern acoustic blues you’ll hear and if it’s your bag, I advise you to check it out.

Clive rawlings

GRAND MARQUIS blues and TrOuble

Grand marquis music

My impression of Grand Marquis after the first listen was of a Dixieland swing band playing in the era of the Charleston in an up market Chicago speakeasy with fine silk drapes, oak clad walls, gangsters in tuxedoes with their molls dripping from their arms and waiters serving cocktails endlessly. They come over as far from the current scene as the North Pole is from the South, yet they have relevance in terms of the music they deliver. Contrary to the majority today, Grand Marquis’ sound is rooted in their instrumentation, namely the brass section of saxophone, trumpet and occasional sousaphone. Upright bass, drums and washboard, and whilst guitar completes the list, it is very much a rhythm instrument and features little, although this doesn’t detract from its part, and Charlie Christian styled runs happen from time to time. Grand Marquis hail from Kansas City in the USA and have found their own unique niche in which to write and perform the music they love. Its overall feel is of nostalgia of a long lost era, where the vocals are prominent, and deliver the song in a full bodied manner. Easy To Be The Devil is a track in point, opening with an earthy slide guitar before the clear vocal of Bryan Redmond delivers the crisp story of how the Devil has an easy ride. He then blows a mean solo on sax before Chad Boyston on trumpet takes up the theme and continues the smoking threat, sashaying from side to side. This is slow Blues with a capital S. Their version of Dave Williams’ Whole Lotta Shakin’ Goin’ On rocks, but in a way I’ve never heard before. Nine of the thirteen tracks are written by the band with three co-written and with only the one cover, the quality of song writing is very good. As for whether I enjoyed the experience, the jury is still out.

Merv OsbOrne

TRAMPLED UNDER FOOT badlands

When I got this CD, I thought that it was by a band called Badlands, but a little research on Google and lo and behold, it is a band from Kansas City. They are a trio, although augmented by other players as required, and most interestingly, they are a family band, consisting of brothers Nick (guitar and vocals) and Kris (drums and vocals) and Sister Danielle Schnebelen on bass duties and vocals. They are apparently well known in the Kansas City area and the album consists of thirteen tracks, all but one of which were written by the band. None of the songs are significantly memorable although they are all well played and performed, I didn’t come away singing or whistling any of them. This a competent no frill working band, sounding on the title track a lot like Robert Cray. All of them take turns on vocals but Danielle takes the majority. There is some nice acoustic slide on Down To The River, and the Hammond playing is just about right, leaving you wanting more. The final track is their cover of It’s A Man’s Man’s World, and I was disappointed that they kept pretty close to the original, I felt that this could have been more of a show closer than it was.

Dave stOne

Lol Goodman Band

Old dOgs ‘n’ licKs independent

On the go for a decade and half, and more in other guises, Lol Goodman’s band are a heavy touring, hard playing blues outfit from the north-west of England; so the album’s title fits the bill perfectly. Flavoured around the styles of Free

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Del Bromham

nine Yards

angel air records

Del Bromham’s original band Stray were one of my favourite rock groups of the 1970’s era, they never quite got the recognition that their music deserved but they were certainly ‘troopers’ and were a great live band, it was with much trepidation that I undertook the review of this solo blues album by Del.

I need not have worried as the album is full of good solid acoustic and rocking blues songs, all self-written and played ‘solo’ with only minor assistance from drummer Karl Randall and backup vocals from Cherry Lee Mewis, Del switches between acoustic and electric guitar effortlessly and while his vocal may have lost some raw power from the past, he has a perfect blues voice for his material. A couple of tracks worthy of mention are; What Goes Around Comes Around, which has a lovely slide introduction while Bills has topical modern lyrics that covers a subject that we all suffer with!

A good album that will certainly help him gain the attention of blues followers without him loing too many Stray fans in the process.

aDrian blaCklee

FREDDIE kING Texas in MY blues

In the blues Game of Thrones there have been many Kings.

B.B., Albert, and this one, the youngest of the Three Kings of the Blues, Freddie.

Known as The Texas Cannonball, he was one of the Blues’ earliest cross-over artists with his best known recording being the 1961 Top 40 hit Hideaway, and his second best known piece Have You Ever Loved a Woman, in 1960. Both are featured here among these 22 stirring tracks over two CDs. A pioneer in race relations, he had one of the first multi-racial Blues bands, Freddie never lived long enough to gather the long-term kudos enjoyed by B.B., or Albert. Like the more blues monarch, B.B., Freddie also worked a brutal schedule of over 300 shows per year, living almost on a diet of Bloody Marys, instead of solid food.

By 1976 he was suffering with stomach ulcers and acute pancreatitis, both of which killed him in December of that year, his 20 year career terminated at the age of 42. Combining the rugged power of Chicago blues with the open string Texas approach gave Freddie King’s guitar style a vocal quality. This made him a pioneer of a new, modern-sounding blues which left his older contemporaries, whose style was still stuck in the 1950s, behind. This fine, 2 CD set, therefore, is an audible primer for anyone out there looking for the secret of great electric blues guitar playing. We miss you, Freddie, but with bracing collections like this, thankfully you’re still with us. rOy baintOn and Led Zeppelin, this is gruff and exciting blues rock. Seachin’ Man Blues and Badman Blues stand out as well-toned blues with the first being austere and the latter assertive. The iconic roots of the Sixties blues and Seventies rock are best exhibited in 6 String Hero and evidence of what their live show must be like. There a couple of tracks that seem to be there to point at variety, Once In A Lifetime and Isn’t She Sweet, plus the semipsychedelic Sailed The Skies, but on the whole it is a rocking blues set that serves as a teaser to go and see them live. gareth hayes

GROOVE-A-MATIcS

KeeP iT clean independent peter siMMOns

Winners of the New Brunswick Battle Of The Blues, the band comprises a very experienced line-up of musicians from Gateshead who have gigged for many years across the UK and overseas.

They are the highly-rated Johnny Whitehill (guitar), Mick Cantwell (vocals, sax and harp), John Morgan (bass) and Barry Race (drums). Johnny, who played for many years with Paul Lamb and the Kingsnakes, was voted blues guitarist of the year four times running.

In 2007, he was also judged the seventh-best British blues guitarist by Guitar and Bass magazine; he’s on top form on this new album.

Mick, known for his deep, rich voice, has performed with several other bands including Saints And Sinners, and blows a mean sax. Barry is also a veteran of the North East music scene and John Morgan, has played bass with more bands than he can remember and has worked with Johnny on various projects over the past four years. Together they make a solid crew of professionals who do the job on this CD.

JO BYWATER chasing Tales

sfD gareth hayes

Whilst it may not be routine to feature EPs on these pages, Jo Bywater’s four track disc serves as a noble entry to highlight her potential as an upcoming folk-blues mistress. The set opens with Chopping Wood, a slow burner, if you’ll excuse the pun, which is moody and effective.

Rhythmic dystopia is at the heart of Sun Shines Under Water, before This Gardens changes the tone to sparkly folk, and the closer Woollen Hearts, a perfect understatement of heady immersion that bears parallels to the late Chris Whitley if not as visceral. Hailing from Yorkshire but now based in Liverpool, Bywater clearly has a talent and with deviations into art (acrylics on canvas) as part of her polymath approach, her expression is there to enjoy now and is certainly one to watch for the future.

Little Devils

abOuT TiMe independent

Little Devils have been building their rep for the last few years and manage the marriage of blues, punk and rock n roll with great life and verve. A damn good listen. Lead vocals come courtesy of Yoka, aka ‘The Dutch Diva’ and she also weighs in with sax and flute while Big Ray handles the guitars and newcomer Sarah Leigh Shaw handles drums. The Blues Band/Jools Holland horn player Mick Paice has been guesting with the band for a while and definitely adds to their sound. One of the immediate pluses of the EP is that there is no one thing that allows you to pigeonhole the band or predict what the music is going to be. They open with The Waiter, thumping drums, fuzzed guitar and Yoka’s slightly ‘Un-English’ pronunciation and saxes definitely putting this into a kind of punk/blues place – think X-Ray Spex crossed with George Thoroughood – and it swings with real punch and a great sense of fun. They follow that up with a moody R&B piece that opens with a flute and a walking cymbal before developing a strong and funky groove. As the set continues you begin to hear the quality in Yoka’s vocals – she really does have a fine voice and when you get over her accent it is extremely pleasant to listen to – especially the little warble or vibrato as she hits the higher notes. The rest of the EP encompasses a very sixties style pop ballad on Hang My Head, jazzy and sassy raunch on No Love Lost and a beautiful slow blues with organ on Another Pack Of Lies. The band are very good on the ear and I imagine that they would be a blast live too. Not your bog-standard Blues and definitely not one for the SRV camp but if you like music that crosses boundaries and is performed with heart and talent then it is well worth a go.

anDy snipper

LURRIE BELL blues in MY sOul

Delmark

As Lurrie moved into his mid-fifties and the recording of a new album for the Delmark label, he seems to have taken time to pause and reflect upon his life and all the various trials, tribulations and tragedies that have been visited upon him over the years. With these various factors and facts in mind he has returned to his literal and spiritual home of Chicago for the music of his new album. Upon the first hearing of this album you are struck by the assured maturity and control of instrument and voice, playing with long time collaborators Willie Hayes; drums and Melvin Smith; bass, the rhythmical underpinning is assured and this leaves Roosevelt Purifoy; piano and

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JOE BONAMASSA live in lOndOn

4 DvDs – Provogue records

Early in 2013 Joe Bonamassa and team decided to play and record four different shows at different venues in London within one week. Happily I was in attendance for the first two of this triumphant project.

The DVDs are double sets, one per show and make a neat collection given the metropolissoaked and quirky (colourcoded) artwork, for which many compliments. The discs include time lapse set building, interviews with key personnel, rehearsal footage, technical chats with the crew, all showing the enormous work involved.

First stop, The Borderline, supported by bassist Michael Rhodes and sticksman Anton Fig. He understands Bonamassa’s pacing and emphases AND when to go very light indeed. So this is a great power trio and punchy as hell. The camera crew remained unobtrusive but captured the heady atmosphere in biting detail with crisp soundtrack to match. To me it sounded ’ like Beck Bogert Appice with a better singer’, as I told Joe. And none more so than their bash through Jeff Beck Group gem Spanish Boots.

Switching between Strat and Les Pauls, Joe had to work hard but dressed casually for this outing he delivered a great show. Watching masterful players wring every dynamic out of a varied bag of tunes was a satisfying experience indeed. Great performances included; I Know Where I Belong, the vintage Story of a Quarryman, a smoking Burning Hell and my favourite Miss You Hate You.

Next night is Shepherds Bush Empire for ‘Blues Night’, fruity horn section et al. Anyhow, there was blues a-plenty – strident and tender, fast and slow and again Bonamassa was singing really well. The best moment for me was when the keyboard player hit a dirty stabbing tone and went off on an excursion. Realising what was happening and to his absolute unselfish credit, Joe cooked the riff along with the other players as the outrageous skybound keys solo edged along, evoking eagles circling around misty valleys. A staggeringly atmospheric moment. Highlights: Watch Yourself, Ballad Of John Henry, Last Kiss, drumbeatheavy opener Slow Train and for the trad-blues dudes So Many Roads the Otis Rush composition plus Asking Around For You.

Hammersmith Apollo was the rock/blues evening and was many peoples favourite night of the four. Embracing Dust Bowl, a crowd favourite, the lively Jockey Full of Bourbon and recent title cut Driving Towards The Daylight, an obvious own favourite of Joe’s in Dislocated Boy, a vinegary Sloe Gin, many a followers song of choice, and When The Fire Hit’s the Sea, plus ZZ Top selection Just Got Paid.

Royal Albert Hall time for the finale with an opening acousticbased set included, it was intended as a Best Of The Week, but Joe slipped in Happier Times and Wolf’s Who’s Been Talking Donal Gallagher attended with the famed Rory Strat, so again a special night. Slow Train revs up the attendees, as does the spinetingling Midnight Blues. Spitting out savage solo’s, Bonamassa’s guitar runs make for exciting listening.

The players are fantastic throughout the shows, especially the drummers and percussionists, but for this writer, it’s Joe’s voice that ices the bluesrock cake on these well-presented souvenir discs.

pete sargeant

DEkE LEONARD The Twang dYnasTY (northdown book)

ALEXIS kORNER’S BLUES INcORPORATED r&b frOM The rOundhOuse, TO The ealing club, TO The Marquee (Jasmine 2cD) 17 cANNON jOhn The cOnquer rOOT (Delmark cD)

ROOMFUL OF BLUES 45live (alligator cD)

ROBERT

RANDOLPH & THE FAMILY BAND licKeTY sPliT (blue note cD)

FABULOUS THUNDERBIRDS

POwerful sTuff & walK ThaT walK, TalK ThaT TalK (floating World 2cD)

VARIOUS MasTers Of MeMPhis blues (JsP 4cD) 18

STEVIE RAY VAUGHAN The Kings head (left field media cD) 19

DR ROSS & HIS JUMP AND JIVE BOYS juKe bOx bOOgie (bear family cD)

TONY JOE WHITE hOOdOO (yep roc cD) organ, room to deliver a cracking combination of sublime sweeping and washing keyboards under an array of distinctive and crisp classic Chicago harmonica phrasing that is delivered by Matthew Skoller. Lurrie himself delivers assured, deft measured and compelling guitar work combined with lingering smoky cracked vocals that seem to possess the wisdom of the ages. A very effective and lively horn section is featured on the swinging, shuffling Hey, Hey Baby and Southside To Riverside, the latter a funky and grooving instrumental. Twenty Four Hours Blues, is Lurries tribute to the late Magic Slim (who sadly died on the day of recording) it is a classic shuffling, loping, strolling blues that has a really warming guitar and piano feel. Otis Spann’s reflective Blues Never Die, allows Lurrie to deliver a thoughtful and emotive performance with Matthew supplying superb accompaniment. The bands renditions of Jimmy Rodgers Going Away Baby and My Little Machine along with Little Walters I Just Keep Loving. He and Big Bill Broonzys I Feel So Good, allow the band to get stuck into the numbers and deliver some very, very satisfying classic Chicago blues; Matthew’s gripping and distinctive harmonica playing simply excels on these numbers. Lurrie and his band have delivered a very fine album to be added to the blues cannon.

brian harMan

WILL WILDE raw blues independent

From the gruff, hard hitting opening chords, Will Wilde’s latest release lives up to its title of Raw Blues, and then some. The harmonica playing far outstrips anything he has done to date, giving this the feel of true Chicago Blues delivered in a British way. His vocals possess a maturity and honesty that matches his playing and ably backed by Stuart Dixon on guitar, everything about this album screams class, it’s been a while since I’ve heard such a good harp led album. Looking at the track listing, you may be forgiven for thinking this is a ‘dark’ album with titles such as Paranoia, Your Days Are Numbered and Citalopram Blues (Citalopram is prescribed for depression apparently) but in fact it is extremely easy to listen to and enjoyable. Opening with the smoking Paranoia, Wilde’s gutsy vocals and rasping Blues harp dictate the feel of lowdown Blues that is to follow. The joyful upbeat of Thirty Eight catches the mood of a young 23 year old with his woman of 38 who dismisses those around him who disapprove of his relationship. This track is ably driven forward almost staccato like by Victoria Smith on Bass and Richie Newman on drums. Numb reverts to the dark side where there is an inability to feel emotions with another reversal to Your Days Are Numbered, a solid up-tempo shuffle. On Midnight Girl he shares the writing credit with his sister and sounds very much like Steve Miller in his seventies guise. Leroy Carr’s Mean Mistreating Mama is classic Chicago and delivered in a very reverent manner. Citalopram Blues is the cry of the addict, ‘with depression in my heart and drugs all in my brain’, but combined with the pleading vocals and emotion dripping harmonica, Dixon’s guitar solo makes this the strongest cut on the album. Combining seven self-penned tracks, this is an authentic Bluesman’s cry of anguish, hurt and joy that places this album way ahead of so much more on offer.

Merv OsbOrne

MAGIc SAM & SHAkEY

ANTUN OPIc nO Offense

Dreiundreizig

JAkE

live aT sYlviO’s floating World records

This is a rerelease of a 1968 live recording although the exact date is lost in the blues ether, could have

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Antun Opic is a completely uncharacterisable musician. He hails from parts east and plays music that has a Balkan edge – sometimes. A lot of the time he has a folk or even a west coast timbre to him but the one thing he isn’t is a traditional Bluesman. I guess you could put him in the singer/ songwriter camp but that would eschew his classical edges and you could say that he is a writer of love songs but there is a deeper philosophy than that. He is an anomaly and after listening to this album maybe a dozen time I am still desperately struggling to work out how to explain him – I only know that this is one of the best albums I have heard this year. The album is loaded with pathos – you only need to hear him singing “keep your clothes on, I’ll pay the night, don’t worry, I just need a hug” in the title track but there is humour too as in the cabaretlike campness of Informer. He is a superb guitarist but an even better vocalist and he has surrounded himself with a powerful set of musicians, mainly playing acoustic but always underplaying the songs which are the stars of this album. There are many tracks to pick up on: the emotive Moses, effortlessly reminiscent of John Martyn, or the delicious Troubled Waltz with the closemiked metal guitar strings a feature or Rootless Trees, his vocals cracking and breaking. No, not Blues but it seems to have all the best features of the emotive side of the Blues while staying in genres that never saw the Delta.

anDy snipper

MARcUS LAzARUS beggars and Thieves universal music Publishing

With a name like Lazarus it would be tempting to indulge in all sorts of anecdotal puns of rising from the dead, but Marcus is by no means suffering from rigor mortis! This is a livewire who produces Rock Blues sounds at a pace that must be break-neck to maintain through a set. I loved the intensity it opened with, the E.P. title Beggars And Thieves sets a standard and the team of Lazarus, Knowles, Field, Butterworth and Jenna Hooson keep it rocking from first beat.

The only criticism I had was the introduction of a harmony in track four A Night Like This that was redolent of some sloppy boy band. These musicians are not wet behind the ears pubescent teenagers, the introduction of these harmonics albeit briefly, takes away from the raw rocking blues that scorches your ears over the six tracks. You can detect the influence of some better known guitarists in Marcus’ playing, but that is to his credit since it shows he’s got as much ability as the publicly acclaimed artists. I’m not so sure about some of the actual lyrics being bluesy enough for me, but the instrumental side of things had me stomping and tapping. Jenna Hooson gave the E.P. a change of mood with her vocal offering on Love Me No More, only for it to return with Knowles and Lazarus superb lead guitar work half way through the track. This extended play costs about the price of a pint of beer in London or if you’re a temperance fiend then a double espresso in the overpriced capital of the universe.

tOM walker

been earlier. If you like your music stripped down, raw, bare and honest and true then this is one for the collection, his edgy soulful voice mixed with a tight guitar playing style is noted on each track. For those people who do not know of Magic Sam this certainly is a good taster. Duetting with his uncle Jake on harmonica and backing vocals, Mark Thompson on bass and Odie Payne on drums this is a highly entertaining live release where the appreciation by the crowd goes along with the undoubted enjoyment of the band playing for them. Christened Sam Maghett, he soon became one of the best west side Chicago guitarists and Sylvio’s club was a particular favourite, unfortunately he died young thirty two years old. Unsure of why he did not focus on his own back catalogue of songs, has played it safe by singing covers by his contemporaries such as Lowell Fulson’s Reconsider Baby and Albert Coliins Backstroke. It was recorded by using a portable tape recorder, so sound quality is not of a perfect quality, but very listenable for all that. There are also three extra tracks not put onto original release, this includes a short interview with Magic Sam from a 1969 European tour.

COlin CaMpbell

VIEUX FARkA TOURE

MOn PaYs six Degrees

The son of Ali Farka Toure, carrying on the family business. I had heard many good things about the father, and had heard a few tracks, so I was half prepared for this CD. Much has been made of how close to western blues, the music was, and I found that all I could think of was Paul Simon! I persevered though and found that it was true, I could hear John Lee Hooker rhythms in the music. The guitar is much more trebly than we are used to, and played with some very complex rhythm patterns. I have to admit that I found it hard going, and certainly wouldn’t see this one in my car CD player, although I had to admire the obvious skill of the players, this one wasn’t for me.

Dave stOne

MARk BIRD STAFFORD

live aT The delTa independent Canadian harmonica player Mark has been an aficionado of the instrument since the age of ten and throughout the years it has been in tandem with his ever growing love of the blues. Over the years Mark has been in various bands and line-ups that have toured places as close to home as America and as distant as Australia and many places in between; He first came to prominence in nineteen eighty-five when he was performing as front man for Hock Walsh’s Downchild Blues Band, thereafter he went on to front a number of other bands.

On this album Mark has assembled a fine group of musicians to play with him and they are; Aaron Griggs and Fabio Parovel; guitars, Tyler Burgess; drums and Dennis Pinhorn; upright bass. The album was recorded at the Monarch Pub, Delta Chelsea in Toronto Canada, on Thursday the nineteenth of July, two thousand and twelve. All eleven numbers have a fat and meaty swinging Chicago tone that seems to solidify as it passes through the speakers. His well-rounded vocals are a compliment to his even rolling, rasping blowing. the choice of material is well suited to his fifties style of playing, Junior parkers’ low key but insistent Pretty Baby, opens the proceedings, Sonny Boy Williamsons Born Blind, grooves along while the Walter Jacobs Jukeish, ramps up the shuffling mood while the ragging, breathless rasping ensnaring harmonica takes center stage. The mood becomes seriously relaxed with a splendid rendition of Walter Jacobs’ Mellow Down Easy, Two outstanding numbers are Slim

Harpos very understated and relaxed Got Love If You Want It, and Jimmy Reeds I Found Joy,’ featuring loping lyrical harmonica and mellow guitar. A wonderfully sombre, plaintive version of Willie Dixons Can’t Hold Out Much Longer, is a delight to the ear.

brian harMan

cAJUN

SPEcIALS

shaMeless cajuns indepedent

As the band name implies the Cajun Specials are a Manchester based traditional Cajun music band, where they perform regularly in the north west of England, this album follows a previous album that was recorded and released way back in 2006, so not an overly prolific band but I get the impression that the band are just enthused with their music and feel it is the right time to share it. The material is a mixture of self-written songs and some carefully selected covers, these include Big Joe Williams’ Baby Please Don’t Go and Woody Guthries’ This Land, which are both covered in a thick Cajun spice. In terms of band performance and production skills these recordings are at the lower end of the quality scale which is not un-reasonably considering this is a self-released album, overall it is an honest enthusiastically delivered Cajun music album, by a band who want to be heard.

aDrian blaCklee

GERRY JABLONSkI AND THE ELEcTRIc BAND

TwisT Of faTe fat Hippy

Another major Scottish band, this, their latest album, shows just how rock’n’roll came out of the blues. No soft start for these guys, the CD opens with Slave to the Rhythm which starts the feet tapping, and they continue with some very tasty, high-energy blues rock, mixed with more slow, emotional numbers that delve down into the depths of the blues, and the CD is dedicated to friends who have recently passed away during the past year; drummer Dave Innes was battling illness during the making of this CD, thus the title. A nicely varied album, rocking guitar hero numbers alternating with soft emotional songs give it depth and variety all too often missing. Every track is permeated with the blues, but there’s no sense of sameness, each one an entirely different creative slant on an age-old musical form. Blues for the 21st Century! peter siMMOns

MARk PONTIN GROUP daYs Of desTinY moochee nOrMan Darwen

This is the debut set for this trio led by singer/guitarist and songwriter Mark Pontin. Mark states he has been carrying some of this all-original set around for 15 years or so; nice to find a musician who feels that he has to pay his dues first. There is a strong retro feel too much of the material, with Mark openly expressing his admiration in the handsome little booklet for the music of Cream and Jimi Hendrix, listing his top five as Hendrix, Clapton, Jeff Healey, Stevie Ray Vaughan and Robben Ford. I am pretty sure most readers will agree that is a formidable and admirable list of influences!

Mark, his bass player Alun Walters and drummer Christopher Baglole have the talent to back up such fine words though (and there is a little input from organist/engineer/ co-producer Tim Hammill and Mark’s wife Ayesha on backing vocals), as this fine set of blues-rock shows. The guys occasionally veer towards psychedelic rock, sometimes with a touch of jazz, or as on Own It, they stay fairly close to Buddy Guy territory (60s style track, contemporary instrumental break).

All the tracks are more than worth a listen, and hopefully we will be hearing more from Mark and his crew soon. They deserve it!

cD WOODBURY BAND MOndaY nighT!

Wide Willie Productions nOggin

Following a chance meeting at the Snohomish Blues Invasion, veteran bluesman CD Woodbury formed his band in 2009, mainly from former members of the Bluescats, who had previously supported Tim Casey. Later the group expanded to include saxophonist, multi-instrumentalist and occasional lead vocalist Mike Marinig. Although they are apparently little known, let alone appreciated, outside the North Western states, they are the recipients of many local awards and honours. They are a tight and accomplished band who cross the boundaries between several musical genres, and this album fully reflects their eclectic mix: so look forward to West Coast Blues, boogie, and even in the title track some unabashed funk. There are echoes of Steely Dan in Pleasure’s All Mine. Blues fans are not short-changed, and there is much to satisfy their appetite here, such as the classic Blues theme of poverty, poignantly explored in Pawn Shop, where the singer is forced to part with a cherished Gibson guitar, and judging by the incendiary solo in the track, that would be a loss indeed. The rockabilly swing of Ring-A-Ding is transported right out of the 1950s, and the dancing grooves of Burn The Bridge and self-explanatory Two Wheels are irresistible. SauBall Blues rounds off a great album in fitting style.

This is a 14 minutes long, six track CD EP release, with Cherry doing her excellent and always delightful good-time pre-war Memphis approach on Sounds Like Heaven

To Me (nice blues harp by Jeff Dakin on this too) However, Good Lovin is rather more sultry, and It’s Over leans towards southern soul, with an excellent vocal and fine backing courtesy of Max Milligan on several instruments and the pedal steel guitar of Rob Bond.

In fact, this time around Max gets to justify the EP title with a short solo outing: the wonderful Reverend Robert Wilkins styled Vestapol has some lovely picking indeed. Meet Me At The Station has Cherry a little breathless in anticipation, and again Max excels, before the brief, ragtime inflected, Wake Up Sun brings this fine little release to an all-too early end.

nOrMan Darwen

Various

fOxY r&b richard sTaMz chicagO blues ace records

This is an album of 25 true delights, and I really, really mean that. I came across Chicago’s ace DJ Richard Stamz when I read his fascinating book, Give ‘Em Soul, Richard (University of Illinois Press, 2010) Stamz was a hard-working, round-the-clock pioneer in R&B. As a promoter, showman and salesman, he dominated the airwaves with his radio show ‘Open the Door, Richard’ on WGES in Chicago, forming close friendships with legends, including Willie Dixon, Sonny Boy Williamson, Little Walter, Howlin’ Wolf, Memphis Slim, and Leonard Chess.

The pioneering Chicago broadcaster and activist known as ‘The Crown Prince of Soul’ died in 2007 at the age of 101, and he was a memorable figure in the Civil

BARRENcE WHITFIELD AND THE SAVAGES

dig

Whitfield puts every ounce of his being into his performances, and then some more! To describe his sound as frenetic but with depth and ability is pretty accurate. The Boston based singer makes PJ Proby (remember him?) sound like a choir boy! The tones can be raucous on occasion but that only adds to the overall Rockabilly effect with Funk, and an R&B spiced CD, which is a genuine firecracker. Barrence Whitfield is surrounded with musical support in the form of real golden nuggets in this pulse pumping album. If your feet and the rest of your body aren’t moved physically by this veritable tornado of rock and roll with soul, then frankly you’re dead, and I don’t mean metaphorically! You’d have to have expired not to get pleasure from this heavier version of Little Richard.

If your fans include Robert Plant, Elvis Costello and Jools Holland then you’d better Adam and Eve it, you’ve got it cracked as a musician. There isn’t a bad track on this diamond album, but for sheer pleasure Oscar Levant wins by a short nose. The album moves on, with Hangman’s Token, the change of beat towards the mid-point brings relief for his vocal chords albeit briefly, before turning up the heat again. Yet again the age of this performer and his supporting Savages is indicative of pure quality and ability based on years of experience that today’s ‘manufactured for television and DVD’ groups will never capture. This is a truly memorable album and worth chasing to get a copy.

tOM walker

Rights struggle. These 25 tracks may not feature artists as familiar to us as the afore-mentioned legends, but they conjure up all the steamy excitement of Chicago when blues, soul and R&B were bubbling like lava to the surface of popular music. The sheer excitement and big band sound behind Mary Johnson singing Goin’ Home and the jaunty, pre-Coasters humour in What’s A Matter With You Sam? by the Ideals are worth the price of this album alone, to say nothing of the sheer ebullience of Detroit Junior’s Christmas Day or the primeval romp of I’m Gonna Put You To Work, by Tony Gideon. Play this album and close your eyes and you’re there by your radio, a pack of Lucky Strikes and a bottle or Bourbon close by, on the South Side, circa mid-1950s, all steaming night-time streets, Cadillac tailfins cruising past. All power to the formidable Ace Records for collections like this, complete with 20 pages of informative, fascinating sleeve notes. What more can I say but buy it. You certainly did give us soul, Richard!

rOy baintOn

David Egan

david egan rhonda sue records

David Egan looks like he could be my Dad. Which isn’t a compliment, especially as he’s only 11 years older than me. Mind you, he lives in Louisiana. A well respected songwriter, he’s had sides recorded by Irma Thomas, Marcia Ball, Solomon Burke, Etta James, Joe Cocker and plenty more beside. So, at the very least, you know there are going to be some good songs on this latest solo album. Aside from his song writing, Mr Egan has played with Jo-El Sonnier and Cajun legends Filé, as well as being a member of Southern supergroup, Lil’ Band O’ Gold, all of which has influenced his style and pointed him the way of a fusion twixt Alan Touissant and Tony Joe White. And if that sounds like a good place to be, then it is. I won’t be the first person to point out the similarity in his delivery to Mose Allison but it’s meant as a compliment, and allied to some fantastic songs like Blues How They Linger, That’s A Big Ol’ Hurt and Sad Sad Satisfaction, it’s a more than alluring sound. The rhythm section of Mike Sipos and Ron Eoff keep things bubblin alongside his piano licks, and with some fantastic guest guitarists on board, this is a swampy pleasure from start to finish. stuart a haMiltOn

MARSHALL LAWRENcE hOuse call marshall lawrence

The self-proclaimed Doctor Of The Blues is back with his fourth album of acoustic blues with the follow up to the 2010 release Blues Intervention. It sees him present eleven original songs alongside two cover version. As well as his band – Dave ‘Hurricane’ Hoerl (harmonica), Russell Jackson (upright bass), David Aide (Hammond B-3 organ) and Dwayne Hrinkiw (drums), he’s also brought in some very special guests in the shape of The Holmes Brothers. However, don’t be fooled by their front cover billing. Musically, the guitars are all acoustic and it’s firmly rooted in the Delta blues, although he can raise a racket when he puts his mind to it. Something that’s obvious from the off, as they career off into Mean Momma Blues. The Holmes Brothers augmented track, Factory Closing Blues is a bit of a highlight as Mr Lawrence launches into a socialist rant. Something that continues elsewhere on the likes of Rich Man Can’t Get the Blues. He gets a bit mucky on I Wanna Love You, and the two cover versions –Canned Heat Blues and a stunning album closer in the shape of Death’s Black Train – are straight out of the top drawer. My personal favourite was the boogified Hey Girl (Tired of Your Lying), but whatever groove you stick your needle in to, you’re guaranteed some good music. stuart a haMiltOn

cYRIL NEVILLE Magic hOneY

Here’s a rule of thumb which never lets your down. If it has the name Neville on it, and it comes from New Orleans, buy it. One of the four Neville Brothers, Cyril Neville is the youngest, born 1948 in New Orleans. He’s probably one of the last great voices of New Orleans music. In 1967 Cyril began singing professionally at the age of 19, and soon united with Brothers Art and Aaron to create a true Louisiana legend, the Neville Brothers. Here’s 12 solid gold nuggets of brand new Nevilledom, studded with crown jewels such as Dr. John playing organ on the steamy Swamp Funk, Alan Toussaint on piano, Walter Trout’s blazing guitar on Running Water, and more stunning fretboard sounds from Mike Zito and David Z on Money and Oil, Working Man and the uplifting Something’s Got A Hold on Me. All the songs are penned by the man himself, and if you’re looking for big, bold modern blues, then if this doesn’t float your boat, coming from a man with his heritage (he was even a member of the legendary Meters, ‘fer chrissakes!), then you need more than a lifebelt. Hot, steamy, this is a musical gumbo with all the flavours of the Bayou and much more. Play it loud and throw yourself around the room. Worth a whole year in a gym. rOy baintOn

ERIc BIBB

jerichO rOad

Dixie frog records

zOE ScHWARz BLUE cOMMOTION

The blues dOn’T scare Me

33 records

The opening track I Believe In You, immediately engages the listener with its powerful vocals, intricate guitar backing and wonderfully crafted Hammond organ solos, all beautifully arranged. Liberated Woman is up tempo blues which showcases the talents of the Schwarz-Koral songwriting team that permeate this album. “He doesn’t care, he puts you down. He makes you look a fool, he plays around. Girl pack your bags, get out of town.”

The title track confirms that Scwarz can sing low down dirty blues with pain, passion and integrity whilst the mellifluous I’ll Be Yours Tonight highlights the other extreme of her amazing vocal range. On We’ll Find A Way, Rob Koral affirms his status as a gifted instrumentalist with a jazz-influenced guitar interlude of technical brilliance.

The dark and powerful Lucifer Is Blue, with torrential drumming from Paul Robinson and a climactic harp solo from Si Genaro demonstrates the band’s versatility. My favourites include Come Home Sweet Baby, with Si’s backing rap, and the memorable riffs of Your Sun Shines Rain

Eric Bibb never fails to deliver with his music and this album is no exception, it starts with a really

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Although excellent, Holiday’s Billie’s Blues does not stand out from the original compositions and this represents a significant milestone for Blue Commotion. Zoe and her band have reached the point where they cannot be ignored and are poised to make the international breakthrough they deserve. The Blues Don’t Scare Me will undoubtedly accelerate this process.

the bishOp

cHRIS FARLOWE

I didn’t take a lot of notice of Chris Farlowe at the time he was starting out, despite his voice having so much more power than just another ‘Long John Baldry sound-alike.’

Farlowe seemed a bit of a be-suited ‘mod’, and not the sort of music I was into at the time, despite having started my musical journey with the blues. I thought, ‘young white boy singin’ the blues’, when I was used to the old black guys being the real deal.

Farlowe cut this collection in 2003, at the (then) age of 63, and his voice had lost none of its original richness, in fact, it’s even stronger and more assured on this reissue than during his 60’s commercial peak.

Covering soul, rock and blues with equal skill, he sings with maturity and confidence. In fact, this is a collection that has enough variety for anyone; slipping from snaky blues to gospel and rock and gracing everything with that amazing patented Farlowe voice.

Norman Beaker’s supporting band lay down a sumptuous backdrop to a singular vocalist; the sax, (played by Lenni) on the duet with Van Morrison Sitting On Top Of The World is sublime, and played soulfully by Damian Hand on other tracks.

The Chanter Sisters on backing vocals are just what was needed to set off Farlowe’s power, and the experience is powerful and surprisingly varied. Ten years and he’s still doing it, with no loss of power or professionalism. A CD well worth owning, with two bonus tracks, one of them a video. peter siMMOns atmospheric dose of blues on Drinkin Gourd, acoustic guitar, harmonica and African wind instruments provide the background to the stark vocal from Eric, which sets the scene for the rest of the album which incorporates authentic blues, folk and a mix of World music thrown in for good measure.

The album benefits from some slick arrangements and production skills from Britain’s Glen Scott, who besides bringing out the really soulful tones in Eric’s vocals, creates some authentic ‘African background sounds’ to several tracks that make the listener feel as if they are in the heart of the Savannah. Eric has been quoted as saying the song themes on the album are all about ‘compassion and doing the right thing’, one standout track Death Row Blues conveys this message well, on the final track Eric hands over duties to African artist Solo Cissokho who perform his song Nanibali

An excellent album that fuses world music into an exciting blues format aDrian blaCklee

FAMILY BUSINESS rOcK and rOll Machine independent

This Wisconsin four piece have been around the blues based rock scene since 2005, which leads me to wonder where they’ve been hiding. Hot on the heels of their 2012 release Nightmares and Wildest Dreams, with its Southern rock type flavour, this latest release takes a different turn. Within the first few bars of the opening, and title track, the horns and female harmonies let you know what’s coming. In one sense, it seems a change of direction from the heavy aforementioned Nightmares..., instead a sense of melody and harmony prevails. The 11 songs, all originals, draw their influences from a whole melange of styles, be it the swing of Sing the country of Chances, or the gospel of Falling. One thing Family Business won’t suffer from is ‘next album syndrome’, if they keep pushing out such varied styles every year, they’ll be worth every penny. Think they might just have a bright future, you read it here first, folks!

Clive rawlings

kIMMIE RHODES

cOvers sunbird records

Texan songbird

Kimmie Rhodes has released a 100% Covers album here, having previously released twelve albums of her own material and seeing some of her songs made famous by the likes of Willie Nelson this seems like a fair compromise, as she can give herself a rest from song writing for a while. For a Countrified artist the song selections are not at all obvious, she covers two Lennon and McCartney songs and most of the American greats, including Bob Dylan, Tom Petty and Neil Young, for me though the stand out track is the Jagger and Richards track; Moonlight Mile, a rare Rolling Stones ballad that Kimmie brings new life to, supported by Colin Linden on slide guitar. The supporting musicians on the album are top notch and deliver faultless performances, setting the scene nicely for Kimmie to showcase her superb soulful vocals, once described by Rodney Crowell as “The soul of a Poet and the voice of an Angel”.

aDrian blaCklee

North Mississippi Allstars

wOrld bOOgie is cOMing songs of the south

There is a particular sound to be heard in the hills of Oxford North Mississippi. Officially it is a form of Blues but the title of this album nails it perfectly –World Boogie indeed. The Dickinson Brothers, Cody and Luther, are the sons of Big Jim Dickinson (one of the greatest Blues producers), apparently his catchphrase was World Boogie Is Coming; a concept that his sons have taken to heart and this album is the result. If you like you’re blues dirty and gritty, if you like a sound that reeks of heart and if you like the sound of musicians playing for and with each other for the sheer joy of the thing then this is the album for you. The brothers have been around for a while and their first album Shake Hands With Shorty introduced this sort of dirty blues that Seasick Steve has made his own. anDy snipper

Of late they have hooked up with England’s own Ian Siegal in the Youngest Sons and Mississippi Mudbloods incarnations, much to the benefit of both parties and you can definitely hear the strains of those bands in this album except that it is even more so. They have dedicated the album to the likes of Jim Dickinson, Otha Turner, RL Burnside, Junior Kimbrough, T Model Ford, Sid Selvidge and Lee Baker, all stalwarts of the North Mississippi sound and the guests here are like a roll call of the area: Alvin Youngblood Hart, Garry Burnside, Duwayne Burnside, Otha Turner, Kenny Brown and Chris Chew plus Robert Plant on Goat Meat.

Musically the music moves from raw and bareboned boogie through pipe and drum with plenty of slide and that hypnotic driving sound you get when a bunch of musicians are in sync and just playing for the hell of it. Tracks like Goat Meat, probably the most structured track on the album, or Turn Up Satan are pure boogie, loaded with menace and fuzz but the best track on the album is World Boogie; just a great piece of rockin’ blues. Their best yet.

Forty4

44 MinuTes rhythm and Groove

Forty4 formed in 2007, create a sound they describe as ‘Rhythm & Groove’. Their debut album, peter siMMOns

44 Minutes caught the attention of Paul Jones who has featured it on his prime-time evening BBC Radio 2 show.

Drawing from a rich heritage of Americana, funk, swing and R&B this CD captures the band’s old-school vibe. The band are Neil Partington (guitar/vocals), Paul Starkey (guitar), Glen Lewis (keyboards), Bill Price (bass), Nick Lauro (drums). Forty4 are an organic band who are constantly evolving and changing, trying not to get pigeonholed into one genre.

Whatever you want to label it, at the end of the day you’re left with all that matters – music. Clapton-esque blues guitar and honky tonk piano and soaring Hammond, together with a tight rhythm section, make for a hugely enjoyable set of tracks that show the band’s professional, polished talents off to perfection; the band mix styles and genres in a way that promises much for the future. One to watch, look out for rhythm ‘n’ groove.

One Jump Ahead

One fOOT in The grOOve

Pelican records

One of my first live experiences of the joyous unfettered mixture of Jump’n’Jive and Swinging Blues was courtesy of Kit Packham and The Sudden Jump Band, when they played (if my memory serves me correctly) ‘The Gun’ public house in Croydon, London in the late eighties; now, some twenty odd years later Kit and his current band are continuing to treat all and sundry to more of this witty, wondrously loose leg shakin’ rumbustious music. The thirteen numbers contain a mixture of subjects ranging from memories of the good old days of local live gigging as in One Foot In The Groove, a very lively saxophone and piano led jumping number that features a very similar saxophone riff

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BABAJAck running Man running rooster records

The one thing for certain with the Running Man is that it is running towards the Babajack sound. Once again a beautiful, musical CD, full of autumanl mellow fruitfulness, whilst inside the lyrics and the phrasing of the vocals and insruments is a harder edge. The album introduces a new venture for the duo that is the heart and soul of Babajack they are joined by Tosh Murase (drums) and Adam Bertenshaw (bass) for half of the tracks, this format works as well in the studio as it does live; they give Becky a freedom to explore the vocals without the ties of providing the percussive sounds. Excitingly on the studio album Julia Palmer-Price (Cello) adds some glorious chords that send a chill up the spine and reach deep into your musical lexicon of sounds, the cello works especially well on Coming Home. The main component of the other tracks is that glorious sound of Becky’s vocals and percussive skills, with Trevor weaving into the mix his effortless guitar and sharp harmonica playing as demonstrated so well on Death Letter; a favourite live and a studio classic. This is a modern sound that retains the integrity of traditional blues, telling a story with strong earthy rhythms, as seen on Every Day the Same, with the line the “money man comes.” This is a track in which Trevor’s harmonica combined with the cello reinforces the despair and frantic feeling of the lyrics. A strong album made possible by the support the fans.

liz aiken