ALBUMS

She wrings every last drop of emotion out of the song, leaving me, a die-hard Zeppelin fan, almost lost for words. The Crunge and Dancing Days, not always the first choice on your Zeppelin playlist, have new life breathed into them, with When The Levee Breaks as part of a melody with Dancing Days. Now depending on what mood I’m in, depends on what I think is my favouruite Zeppelin track. When The Levee Breaks has been a big part of my life. Originally written by Memphis Minnie in 1929, with Kansas Joe McCoy providing vocals, it tells the tale of complete devastation in the deep south due to horrendous flooding creating such misery. Beth Hart takes this and elevates it to a place that even Zeppelin did not reach. This version left me wondering if this was meant to be sung by Beth Hart and not Zeppelin. Stunning version. The whole album is a masterpiece of epic proportions. Every musician connected with this album has helped to make it one of the greatest things that Beth Hart has ever done. Don’t believe me? Just wait until you hear Black Dog. Masterful.

STEPHEN HARRISON

Dan Patlansky Shelter Of Bones

Virgin Music Label and Artist Services

Award-winning South-African blues rock guitarist Dan Patlansky has returned with his new record Shelter of Bones. The album was recorded over a three-year period from 2019 – 2021 with the global pandemic giving him not only time with his family but also time to think about the songs and how he wanted them to come across.

Enlisting the help of Tom Gatza from Hamburg, Germany on arrangements and production on three tracks they set to work in South African recording studios. Opener Soul Parasite is a commentary on the people who control the world and somehow are destroying it for their own interests.

It has tinges of Led Zeppelin with drummer Andy Maritz blending well with Dan Patlansky’s vocals, guitar and bass. Snake Oil City is a particular favourite of mine with its gritty lyrics about a fictional place but inspired by the current South African government. Then we hear a tender side on I’ll Keep Trying which is a ballad produced by Gatza that showcases not only the high production values but the quality of the songwriting. Devil’s Dopamine tells the listener of the perils of social media completely with groovy bass that puts me in the mind of Was Not Was at times. The airy arrangement for Sweet Memories provides space for the earworm chorus shine.

The title track closes the collection with Patlansky giving advice to his children as he is concerned with what they can expect when he is grown up. That is something I am sure that parents will understand and connect with. Overall, Shelter Of Bones is an exciting album that does not do the obvious as Dan Patlansky has worked hard at giving the material the time and breathing space and I feel that it has really paid off. An emotive and entertaining offering.

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Eric Gales The Crown

Provogue/Mascot

Label

Playing for over thirty years; here

Eric Gales brings his soul to the impassioned lyrics and driving guitar tones. This is a cathartic release; he shares his struggles with substance misuse that could have ruined him and brings a new creativity to these sixteen stunning tracks mixing blues, soul and rhythm and blues notations. Produced by Joe Bonamassa and Josh Smith this reinforces the fact Eric is one true brilliant blues musician. Death Of Me starts with signature guitar playing with a rhythm section that glues this song, and the harmonies break into him rapping a self-reflective tune. The Storm touches on themes of racism and hope for a better world, slow melodic blues vibes throughout and peppered with horn section. Had To Dip is a shuffle but really a precursor to I Want My Crown, where he trades guitar licks with Joe Bonamassa on a song of hope and achievement, funky tones this just exudes total guitar mastering. Stand Up slackens the pace on a soulful delivery, just beautiful. Survivor deals with race issues and has an infectious chorus, anthemic. You Don’t Know The Blues has a call and response to a New Orleans vibe.

Ben Levin Still Here Vizztone

Cincinnati based Ben has just released his fourth album Sill Here and it is a cracker of pure piano led blues. This young man has absorbed the techniques of the masters however this is very much his own body of work. This might sound a tad patronising, and I really don’t mean it, however at only twenty- one years old you have to wonder just how much better he can get? Normally an artist matures over a long period of time. However Ben here plays with astonishing skill and, most importantly, feel that were it not for his youngish vocals you would be thinking you were listening to a very much older player. Within these twelve cuts you can sit back and enjoy boogie woogie, stride, jazz, ragtime and of course our beloved blues. Having just listed those variables this is very much a Blues album. Supported by a very fine trio of Oscar Bernal drums, Chris Douglas bass and papa Aron Levin on guitar I could just imagine sitting in a bar Royal Street New Orleans and being absolutely enthralled by this combo. There are so many pure gems here that it seems inappropriate to select a few for particular mention but I really enjoyed That’s The Meal, Kissing At Midnight, the title track Still Here and Crown Jewel. Heck there is even a holiday season tune Christmas Rain that suits perfectly the day here in Fife as I write this. I certainly feel disposed to seeking out Ben’s back catalogue. Highly recommended for lovers of straight ahead no frills music played with real passion and skill.

GRAEME SCOTT

Chickenbone Slim Serve It To Me Hot

VIZZTONE RECORDS

Too Close To The Fire is the most honest song the lyrics immensely powerful. It adds to the different shades and tones of a magnificent release. Take Me Just As I Am features LaDonna Gales bringing more soul and soaring vocals. Last song, I Gotta Go bookends that live feel to his songs.

I like Chickenbone Slim. This is a chap you would invite to play at your Hogmanay party. Because he knows how to have a good time. Mind you, you must develop a sense of fun pretty sharpish if your folks have called you Chickenbone. The last time I encountered Mr. Chickenbone I said, “Some old-fashioned blues courtesy of Chickenbone Slim (aka Larry Teves), a chap who remembers that the blues can sometimes be fun.” This, happily for me, means I can simply regurgitate that review as this is very much more of the same. But that would be cheating because he does the blues, he does rockabilly, and he does a wee bit of swing, all can simply regurgitate of which works really well with the red-hot band he’s got backing him up. That would be bassist Andrew Crane who’s been around for a few years now, well respected guitarist Laura Chavez (Candye Kane) and drummer Marty Dodson (Kim Wilson, Charlie Musselwhite). There are also some keyboards from producer Kid Andersen and Aki Kumar pops in to blow his harp on Top Of The Clouds. It has the rough and ready feel of a classic rockabilly record with some fantastic solos from Ms. Chavez. It swings like a pendulum do (one for the old folks there) and when he gets his groove on then it’s nigh on irresistible. Check out Wild Eyed Woman for documentary evidence of that statement. Gentlemen (and ladies, hey it’s 2021) who won’t leave the house without slapping on the pomade will find Squares Everywhere their song of choice. Those vibes continue on Hey Shakalo and let’s not forget a special mention to the cowbell on the closing Hook Me Up. This is a delight from start to finish and will guarantee your socially distanced / Zoom party gets everyone dancing.

STUART A HAMILTON

Colin James Open Road

STONY PLAIN RECORDS

This is the 20th album from the Canadian blues guitar artist, Colin James. It features 13 tracks, which were written over the last two years, spent both on the road and in lockdown. As Colin admitted, it was a tough choice to select just 13 tracks from the material he had put together. The album was recorded in Vancouver and mixed at Abbey Road Studios. Colin’s career has spanned 30 years, during which time he has toured extensively and amassed various honours, including being inducted into the Canadian Music Hall Of Fame in 2014. He has worked with many blues greats, amongst which he can list Bonnie Raitt, Albert Collins and Keith Richards. He was also privileged to have once shared the stage with Stevie Ray Vaughan, who encouraged him with his advice and words of wisdom. The album does not disappoint and opens with the Tony Joe White song As The Crow Flies, which combines clear vocals, strong guitar work and a full-bodied backing treatment with organ for added depth. Albert Kings Can’t You See What You’re Doing To Me is next up and gets some very nice backing from a horn section. The Magic Sam song That’s Why I’m Crying is distinctly reminiscent of a Gary Moore slow blues, which is no bad thing. The title track Open Road has a very dusty, southern road feel, with slide steel guitar and a steady beat, which leads into a nicely constructed guitar break. Change it, written by Doyle Bramhall, a school buddy of Stevie Ray, allows Colin to pay homage to his guitar hero. Raging River again features the sweet tones of Colin’s vocals accompanied by his acoustic slide. The album is a great mixture of self-penned numbers and solid versions of songs by some blues greats. There’s a lovely version of Otis Rush’s It Takes Time, with some slick harmonica from Steve Mariner. Bob Dylan’s, It Takes A Lot To Laugh gets a rocky update with laid back electric slide and some soulful sax. The album is neatly wrapped up with a slow blues number, Booker T’s I Love You More Than Words Can Say, which rounds off very nicely this 20th album from this very versatile and no-nonsense blues artist.

Never Found A Way To Tame The Blues

Flying Records

The first thing I see as I pick up this album is the quality cover of a snake wrapped around the four strings of a bass guitar, which for some reason makes me know I’m gonna love it (snakes fascinate me). Two guys, Jon on guitar, vocals and FJ, bass, keyboard, and vocals along with five guests, one of whom I know quite well Anne Harris who plays fiddle, as well as Dave Mattacks(drums), Doug Hammer(piano). Bob Beach (Harmonica) and Rissi Palmer(vocals). As the resonator guitar strikes up along with the harmonica, I’m on board this train and going for the whole journey. Lord Have Mercy leads straight into Overnight From Memphis where the guitar and vocals change but the energy of the album doesn’t and Bob’s harp on this just enhances a truly fantastic song, this literally had me rocking in my chair and gave me goosebumps. Just recently there’s been a lot of discussion on shuffling songs of an album but me, I love it as it comes, mostly because if there’s a story to be told, like a book, you don’t start in the middle, do you?The title track fits in perfectly as the third song on here snuggling up next to Woodsmoke, a rather calming little number on which I can hear Anne’s silky-smooth fiddle playing flowing over my ears like a warm summer breeze. Follow these up with Rissi’s vocals on Keep Your Head Above Water and my head is in agreement with my ears, this is the type of album you could play on a winters night, fire burning, bourbon over rocks, looking out the window drifting away to where your memories take you, one minute smooth like on Endless Sea then you hit the rapids of Sinking Ship then, just when you think it can’t get any better, FJ starts slapping his upright bass on Outraged, a rather splendid foot tapping addition to an already quality twelve track album.

BARRY BLUES BARN HOPWOOD

Dave Hunt Behind The Moon

Mad Ears Production

Dave’s new release is a set of fourteen original tracks all punctuated with storming harmonica driven rock and blues tones throughout. Another album written during lockdown, this flows very well from the opening bars of first tune Take Me

To The Sun with a dirty bass groove provided by Stuart Goodacre and fine slide playing from Dave, who also adds harmonica and vocals throughout the release. Andy Littlewood provides keyboards to the raunchy Kiss This which is all about the groove and rhythm, a love story with a twist. Pete Nelson joins in on drums to the catchy Doctor, melodic tones here. Preacher Man is a highlight, mellow slide playing belies the strong vocal delivery then harmonica peppers the tune, then some acapella vocals take this tune to another level. Dave said, “all his songs come from jamming on a loop pedal then reworked later”. This adds to the whole live feel of the release. The title track Behind The Moon opens with great keyboards, a rocky take, anthemic chorus included on this Gospel infused tune. Funky Stew changes the style and tempo highlighting a swampy beat and snarling vocals. Dave’s storytelling on Freeman, captures the essence of a great tune, just exhilarating. Prices Down has a steady groove, again, great storytelling with a catchy chorus. Blonde Woman is another rocky blues tune sung with sassy tongue in cheek. Last track, Don’t Leave This Way is dark and evocative. Highly recommended.