Artist: Super Chikan
Title: Sum’Mo’ Chikan
Label: Chikan Howse Records CH001

For more information go to:
http://www.paulmark.com
or http://www.myspace.com/paulmarkandthevandorens

James ‘Super Chikan’ Johnson was born on the sixteenth of February, nineteen fifty-one in Darling Mississippi. As a young boy he had two compelling fascinations; chickens and blues music, the interest in chickens began as a young child when he was too young to work in the cotton fields with the rest of his family. He would spend his days attempting to understand the language of the chickens, he even spent time trying to communicate with the small collection of chickens that his family owned, after spending a good deal of time with these birds his friends and family eventually gave him the moniker ‘Chikan Boy;’ his family also encouraged his interest in music particularly so, his uncle ‘Big’ Jack Johnson.

Due to the extreme poverty in the Delta area that his and other families suffered he was forced by the reality of life in those times to pick cotton at the tender age of eight years old with the rest of his family.

The only instrument available to him at the time was a ‘Diddly Bo’ a creation which consisted of a  length of timber two nails and a length of baling wire, he would eventually go on to create his now famous custom made guitars from five gallon petrol cans. He eventually bought his first guitar aged thirteen from a Salvation Army shop in Clarksdale; it only had two strings but that was of no importance to James, for he finally had the means to create his own unique sound which he could use to not only play the blues but imitate and communicate to his beloved chickens.

In his youth he gained vital musical experience by working with such artists as; Frank Frost, Sam Carr, Wesley Jefferson and Jackie Brenston. It was Whilst working as a tractor driver and then later as lorry driver for twenty plus years that he found the time to incorporate his influences which consisted of Muddy Waters, John Lee Hooker, Chuck Berry, Jimmy Reed, Elmore James, Lightnin’ Hopkins and Slim Harpo to create the ideas in his head some of the numbers that now can be found on some of his intriguing previous albums.

Joining James, who takes lead vocals and guitar, is Daddy Rich; bass, Jameisa “Pinky” Turner; drums and Laura “Lala” Craig, on keyboards for this, his fifth album, a superb collection of twelve numbers which display the dexterity and complexity of James’s rich, mellow compelling and intricate guitarwork. He casually switches from the swinging Texas Blues of Freddy king on “Freddy’s Thang,” to the foot-stomping enticing John Lee Hooker inspired “Hookin’ up,” later, on the album we are treated to sweetly rich slide on the stunning Elmore James influenced “Peter Truck,” sometimes the lyrics are at times suggestive, saucy and even somewhat bawdy, but, you have to listen closely.

Throughout the album James’s voice is sweetly satisfyingly mellow. His chicken picking guitar when the mood takes him is fresh and inviting, it has to be said though that the simplicity of this picking belies the depth of skill that this man possesses. his tight, faultless backing band the Fighting Cocks never miss a beat and I feel that a special mention should be given to the excellent keyboard skills of  Laura “ Lara” Craig.

Recommended!

----- Brian Harman

Artist: Paul Mark & The Van Dorens
Title: Blood & Treasure
Label: Radiation Records RDTN 5901

For more information go to: www.paulmark.com
or www.myspace.com/paulmarkandthevandorens

As with Paul’s’ last album “Trick Fiction” this new album has been recorded and produced at the world famous Ardent studios in Memphis. Joining Mark again in the producers chair is the highly experienced Jeff Powell; together they continue to infuse the numbers with the goodtime spirit that inhabits these famous studios.

The twelve original numbers are a raucous and vibrant cross-section of styles and genres including Stax influenced soul, vintage rock ‘n’ roll and rockabilly, combined with a healthy dose of energised roots music and Americana. All the numbers robustly burst out of the speakers with a fresh confident brashness; whether they are powerful guitar and Hammond B3 organ delivered stormers or plaintive slowburners, all are delivered with the very highest level of professionalism and bags of enthusiasm and fun.

Paul’s stark confident and strident vocals towers above the music driving the numbers forward like a man on a mission. Paul also plays guitar, harmonica and piano, joining him are; James Strain; bass, Harry Peel; drums and congas, Rick Steff; hammondb3 with Susan Marshall and Jackie Johnson providing essential and stalwart backing vocals.

 To some listener’s ears Paul and the band may veer somewhat to closely to the rocky side, but, if in so doing, he may well bring a fresher younger audience to the blues.

A splendid album!


----- Brian Harman

Artist: Fontaine Brown
Title: Tales From The Fence Line
Label: Manatee Records

For more information go to: www.myspace.com/fontainebrown

Once and awhile  an artist seems to apparently appear from nowhere with an album  that adheres to no specified genre, type or classification it simply is just  out there all on its own, in fact the music on the album  crosses so many boundaries that it should have its’ own passport!

Fontaine Brown has eloquently recorded such an album, Douglas Fontaine Brown was born in Ann Arbor, Michigan in nineteen forty-two, but did not stop there long; two weeks in fact; then his father ‘got the wanderlust’  bought a trailer and the family set of for a trip around America stopping of at places that took his fathers’ fancy, they stayed in each place until the novelty wore off.

By the age of nineteen Fontaine was back in Ann Arbor and firmly committed to make and perform music in the same vein as his Rock’n’Roll idols; Little Richard, Elvis Presley and ‘Fats’ Domino. Whilst playing in a band with friends it came to Fontaines’ notice that local D.J Ollie McLaughlin (who at the time was also managing Dell Shannon) was looking for new talent, after meeting him and being impressed with his writing talents. Fontaine was invited to record his number “Blue Night” as single for the Checker Label an offshoot of the famous Chess Label in nineteen sixty-two. Thus the career of Fontaine Brown was started.

He went on to learn the art of song writing under the auspices of Motowns Mickey Stevenson, practising and honing his skills to a fine commercial edge. He also has been part of bands such as; Doug Brown & the Omens and Southwind. Shortly after, he and his band went on their own wanderlust journey for a period of five years. After the novelty of that episode had finally worn off, he settled down to a song writing career which has over the years seen such artists as; Dave Edmunds, Emmylou Harris, John Mayall Dave Alvin Percy Sledge and Joe Louis Walker to name but a few achieve a measure of success after recording a number of his two hundred plus compositions.

Now the wanderlust has returned in the form of perfuming and recording, the album that Fontaine has created with Don Dixon (of R.E.M. fame) sharing the playing and production duties; has fashioned a piece of music that evokes fond memories of hoppin’ n boppin’ and Saturday night jives; mystical apparitions appear from the swampy rock world of John Forgerty; A plethora of sumptuous numbers have been culled from such styles as Rumba, R& B, Esoteric Indian, blues and soul. They all rhythmically compete for your fingers and foot attention. Haunting echoes of Little Walters harp playing pleasantly linger long in the mind. Overall, the album possesses an eerie yet satisfying otherworldly quality that entices you in and charms you to stay within its warm grooving lair as each number smoothly changes to the next.

Stunningly original and moresome!

----- Brian Harman

Artist: Blues4u
Title: In the Mood
Label: Cee PeeVee Records CPVCD 1401

For more information go to www.ceepeeveerecords.com
or www.blues4u.se

When you take into consideration the fact that Blues4u are from and reside in Sweden their recordings become all the more impressive and their music more rewarding when you hear the quality of their performance. For, all the artists that record for the CeePeeVee label share an affinity and obvious love for the classic period of the fifties and sixties.

The deep, warmly enveloping chocolaty sound that pours from the speakers like treacle seems to be of a rich and exquisitely inventive mixture of Chicago and Louisiana blues which is all wrapped up in a gorgeous languid production technique that is greatly reminiscent of the wonderful music that was created by the late great Jay Miller.

The members of the band are Mathias Andersen; vocals and harmonica, Thomas Hammarlund; Vocals and guitars, Stefan Lindell; upright bass, and Michael Johansson; drums, with special guests, Fedrick Von Werder; piano, CLaes Parmland; guitar.

Of the fourteen succulent and juicy numbers on the album eight are originals, not that you would notice because the high quality of writing and musicianship seamlessly merges the old with the new.

Mathias and Thomas each have suitably alluring vocals that appear to have been ravaged and scarred over the years by copious imbibing of whiskey and cigarettes.

The insistently twisting and turning hypnotic harmonica which contains definite echoes of Lazy Lester and Slim Harpo throughout the album; is impeccably matched with the urging and enticing but, seemingly reluctant Jazz tinged spine-tingling guitar twangin’ that pervades throughout the proceedings; this is all held together by a wonderfully understated piano, upright bass and drum combination. Whether the numbers are slowburners, shuffles or irresistible footappers, the quality of the music, enthusiasm and effort are guaranteed for your enjoyment.

Simply essential!

----- Brian Harman

Artist: Freeworld
Title: From the Bluff
Label: Swirldisc SD 78453 630

For more information, go to: www.FreeWorldJams.com

Just From hearing the opening number, an insistent, pulsating horn and guitar driven sixties styled soul stomper; you feel like you have been completely blown away like some dust encrusted cobweb.

The other ten compositions are band written, highly original and totally mesmerising; each consecutive number merely increases the intensity of mood and emotion felt by the band.

FreeWorld began life in nineteen eighty-seven in Memphis; Created by the veteran and now seventy-eight year old tenor saxophonist Dr. Herman Green with the aim of creating an all inclusive sound which was to reflect the influences of places such as; Memphis, New Orleans and other areas that also have the same freewheeling ethos; places such as that multi-cultural musical hot-bed San Francisco.

This horn driven band sometimes becomes more of an ensemble due in part to the large and varied number of guest musicians who have appeared at one time or another in the past either live onstage or on a recording.

As it is the case on this, their fifth album. the core band members which are; Richard Cushing; lead vocals, bass, sitar and shaker, Dr. Herman Green; tenor saxophone, David Skypeck; drums, E.J.Dyce; trumpet and maracas, Captain Phil McGee; alto, and tenor saxophone. The guest contributions on the album are by; Luther Dickinson; slide guitar, Cody Dickinson; electric washboard, East Memphis Slim; keyboards, Art Edmaiston; tenor and baritone saxophone, William ‘Nokie’ Taylor; trumpet, Richard Thompson; cello, Rick Steff; Hammond b3, Steve Dolan; trumpet Hope Clayburn; alto and baritone saxophone. Harold ‘Sundance’ Thomas and James Govan also provide guest lead vocals.

The music which bursts out from the speakers blasting its way forward like a supercharged screaming steamroller, encompasses the hard strutting funk of the seventies combined with sweat stained, searing urban Jazz infused compact guitarwork that is very reminiscent of Curtis Mayfield.

The horn section which is led by the marvellous seventy-eight year old Herman is just simply relentless the range of styles move smoothly from urban sweetly soft soul into Tower of Power and Weather Report without missing a beat.

At various points on the album you are reminded of those wonderful intense and roaring film scores that were composed for the Blaxpliotation films of the Seventies.

A stunning and mind blowing album!

----- Brian Harman

BLUES BASEMENT
Seven
Arctic ARCD56789

www.ubl.com/artists/bluesbasement

Norwegian four piece Blues Basement (not to be confused with the UK outfit of the same name) have been playing the blues since 1985, and though this is a self-produced release, in the past they have enlisted the help of such luminaries as Alligator’s Bruce Iglauer and Blue Horizon’s Mike Vernon.
Having listened to this CD, it is not difficult to hear what interested these illustrious producers. Blues Basement have a unique sound that is midway between the Blues and Blues-rock, with some subtle rhythms and some screaming guitar work on a programme of 12 originals that often reflect life within the Arctic circle (!) or, on ‘Hellenic Blue’, ancient Greek myths (!!!) There are influences from the likes of John Mayall, Fleetwood Mac, Chicken Shack, Savoy Brown and other late sixties English blues-rockers, but the tracks don’t really sound like anyone else and in the blues world bands like this don’t come along too often – so do try to check them out.

----- Norman Darwen

ELVIN BISHOP
The Blues Rolls On
Delta Groove DGPCD126

CEDRIC BURNSIDE & LIGHTNIN' MALCOLM
2 Man Wreckin' Crew
Delta Groove DGPCD127

MITCH KASHMAR
Live At Labatt
Delta Groove DGPCD128

www.deltagroovemusic.com

The Delta Groove label has established a strong reputation for high quality modern blues recordings over the last few years and this trio of releases will only add to that reputation.

Elvin Bishop is of course the veteran in this company. Since making his name with The Butterfield Blues Band in the sixties, he has enjoyed a successful solo career, and over the last decade or so he has once again been embraced by the blues audience and released some excellent albums. That this is another is obvious just from looking a the list of guests on the sleeve: BB King, James Cotton, Derek Trucks, George Thorogood, Warren Haynes, Kim Wilson, Tommy Castro, Ronnie Baker Brooks, Angela Strehli, John Nemeth, Homemade Jamz Blues Band and zydecoists R.C. Carrier and Andre Thierry. That lot couldn't fail, but it needs a strong leader to keep the music coherent, and Elvin is indeed a strong leader. This album is a reflection over his lengthy career and a nod to the future of the blues – take a listen to his history on the raucous solo track ‘Oklahoma’. He ranges across his early Ray Charles inspirations with 'Night Time Is The Right Time' (John Nemeth as Ray, Angela Strehli as The Raelettes! It works beautifully), recreations of material he played with Butterfield ('Yonders Wall' and the Howling Wolf-ish 'Who's The Fool',), material he picked up in Chicago, jams with The Allman Brothers in the seventies and the zydeco he recorded with Clifton Chenier (the raw, bluesy ’Black Gal’ could almost be Cliff reincarnated). This CD couldn't fail - and it doesn't. This is a set to return to again and again.

Singer/ drummer Cedric Burnside, the grandson of, and former drummer for, RL, of course, and singer/ guitarist Lightnin’ Malcolm (though both men can and do swap instruments) represent part of the younger up-and-coming blues generation. This is their second CD – their first, ‘Juke Joint Duo’ was an independent release – and it is a perfect showcase for these two young men (Cedric born in 1978, Malcolm in 1974) who both grew up with the North Mississippi blues tradition, though coming to it from opposite directions, and both also brought their own different influences and approaches to it. On three numbers harmonica player Jason Ricci guests – and he fits right in, as you would expect from a former member of Junior Kimbrough’s band. You will hear elements of Jimi Hendrix, a little contemporary rap, some soul (take a listen to ‘Stay Here In Your Arms’) and funk, but mostly you’ll hear a groove, perfect for dancing in a Mississippi juke-joint – try ‘My Sweetheart’ for a good example. Listen to the traditional sounding melody of ‘Nobody Else, set to a backing track that incorporates plenty of those aforementioned outside influences, and then ‘Don’t Just Sing About The Blues’ hits a John Lee Hooker styled groove and just stays there – beautifully! ‘That’s My Girl’ has elements of rap in the vocal, but again a Mississippi styled guitar powering it along. And so this album continues: down-home and traditionally-rooted (hear Cedric’s fife and drum band styled playing on ‘World Full Of Trouble’) but undeniably contemporary, this is a real delight and a concrete answer to those who say the Blues is dead.

Falling between these two generations is harpman and singer Mitch Kashmar, who works with funk group War (filling Lee Oskar’s shoes!) when not pursuing his own career. ‘Live At Labatt’ was recorded in Western Canada and has this dynamic musician stretching out on a variety of blues material, drawn mainly from his previous two releases for the label. He is accompanied by a hot little band comprising former William Clarke’s old guitarist John Marx, pianist Jimmy Calire, bassist Steve Nelson and drummer Tom Lackner, and the results are as hot and swinging as any other California harpmeister you care to name - and hotter and swinginger than many others you can probably think of; the opening two numbers, a swing-blues and a Jimmy Reed styled number should convince you. The playing by all concerned is stupendous throughout, and some of the excitement of the show definitely communicates itself across the laser light. The only thing that is missing are the visuals, as on ‘Dirty Deal’ the crowd can be heard applauding and good though Mitch’s playing is here, I don’t think it is just for that.  However, it’s the music that matters, and yet again, Delta Groove have chalked up another winner.

----- Norman Darwen

BEX MARSHALL
Kitchen Table
House Of Mercy HOM001

www.houseofmercy.net

This is a fine, rootsy and generally very bluesy set from young singer and guitarist (usually a resonator guitar) Bex Marshall – and it isn’t every album that comes complete with a recipe to counteract the munchies! The accompaniments on the ten all-original numbers on this album range from solo items to out-and-out rock band, and the material is similarly varied in approach, from a gentle singer-songwriter styled ‘Here Is My Heart’ (with the lines “I feel like an actress in a real life TV show” – which is in fact autobiographical, and indeed the album title and that recipe mentioned earlier reflect her culinary skills, so I’m told) to a powerful, driving rocker like ‘Hot Headed Man’. ‘Red Light’ is a straightforward blues and the slightly soul-inflected ‘Little Bird’ would be one for radio play if the radio played decent music any more. Occasionally there is also a hint of Ry Cooder and definitely ‘Americana’, particularly when special guests Don Wayne Reno and/ or Dale Reno from The Hayseed Dixies are involved.

Bex has a strong, gritty voice somewhat akin to Tina Turner, Janis Joplin or maybe Bonnie Tyler or Joan Armatrading, and her songs are equally intelligent and interesting. She plays all the guitars on this set – from the deep, Delta drone of ‘Too Much Rock & Roll’ to the occasional hint of heavy psychedelia. Definitely a name to watch for – but while you’re waiting, do take a listen to this CD.

----- Norman Darwen

DAN TREANOR, RICHARD RAY FARRELL
AND THE AFROSIPPI BLUES BAND
Keepin' Good Folks Joyful
Plan-It PPCD 0019

www.richardrayfarrell.com www.myspace.com/afrosippiblues

Dan Treanor is one of the more interesting characters around on today's blues scene. He makes contemporary blues by going back to the roots - both African roots and Mississippi, as here he plays the West African khalam, the 'primitive' cane flute and diddley bow, and a mean blues harmonica. The opening track, 'Tumblin' Blues', also manages to make musical reference to Africa, twenties Mississippi, fifties Muddy Waters, and blues-rockers The North Mississippi All-Stars. Of course, it helps that he has Richard Ray Farrell along, the versatile singer and guitarist himself no stranger to this type of blues - the first time I saw him he was opening for and backing RL Burnside back in the early nineties (check out the track here entitled 'Mr. Burnside'). The results are indeed intriguing - try Little Walter's 'Just Keep Lovin' Her', which makes plain Walter's roots in Sonny Boy Williamson I, or the Howling Wolf into psychedelia approach of the mighty 'Rock Me'. Jimmy Rogers' 'You're The One' is given a lovely straightahead Chicago treatment with plenty of wailing harp, and T-Bone Walker's 'Blue Mood' is very aptly named! And those who know me know you can't fail to please me with a Hound Dog Taylor cover, as long as it is at least half-decent - and this cover of 'She's Gone' is much more than that. If you want contemporary, I guess that the rap on 'Mississippi Fred's Dream' covers that - especially when it is set over a Bo Diddley beat and sports a cane flute introduction! Throughout, the Afrosippi Blues Band - Jodie Woodward on bass and Kyle Roberts drums and percussion - contribute tight, driving grooves. This is an intriguing CD, as I said - and thoroughly enjoyable listening.

----- Norman Darwen

GUY KING
Livin’ It
IBF Records IBFR 1003

www.guyking.net

Young singer and guitarist Guy is probably best known for his stint with the late and much missed Chicago blues stalwart Willie Kent. His own music is a little smoother than Willie’s, but the mentor obviously taught his student well as Guy is thoroughly steeped in the blues. There is a strong influence from BB King to be heard in Guy’s clean, precise and concise guitar work and excellent vocals (try the original ‘My Pretty Baby’). For the most part this is small combo blues centred around the rhythm section of Patrick William on bass and drummer Isaiah Spencer, with Ben Paterson adding distinctive textures on electric piano and organ. There are some excellent horns in places and a subtly effective use of backing singers too. The majority of the material consists of notable original compositions (do take a listen to ‘The Story’) but there are also excellent covers such as T-Bone Walker’s ‘I’m Still In Love With You’ which has a rather fine soul-ballad influence, Percy Mayfield’s Ray Charles-ish ‘Stranger In My Own Hometown’ and Little Johnny Taylor’s brassy rhythm & blues number, ‘If You Love Me Like You Say’ (with some Albert Collins styled guitar) – plus Willie Kent’s ‘Countdown’ coupled with Jimmy McCracklin’s ‘Think’. And I think Willie would be proud of the firmly blues-rooted but individual music of his protégé.

----- Norman Darwen

LESTER BUTLER
Lester’s Legendary Last Gig
Moulin Blues Ospel

www.moulinblues.nl

There is a warning at the beginning of this DVD that this material was never intended for release and an apology for the poor visual and sound quality. It is not really necessary, as there are many releases around these days that offer far less quality without any advance notice – and these are historic recordings anyway.

Lester Butler was the singer and harmonica player with the Red Devils, forerunners perhaps of the current wave of young blues punks. There are three titles from The Red Devils’ 1993 appearance at the Moulin Blues Ospel in Holland, though the main part of this DVD is Lester’s appearance with the band 13 (Alex Schultz on guitar, Mike Hightower on bass and drummer Eddie Clark) along with some fascinating studio footage. Lester was a non-stop, high-energy player and some of his (and the band’s) raw sound is akin to that of the early, earthy days of the British blues boom – think The Rolling Stones, The Yardbirds and the like. But then again, Lester could – and here he did - attract guests of the calibre of Joe Louis Walker, James Harman, and Billy Branch to back up his blues credentials. Towards the end a couple of tracks take on the nature of an inspired jam session.

Lester died on 9^th May 1998 at the age of 38 – seven days after this show. This release marks the tenth anniversary of the death of a widely respected musician, whose influence is perhaps greater now than it was during his lifetime. As the modern blues evolves, Lester’s role in its development is becoming more and more pronounced.

----- Norman Darwen

LLUÍS COLOMA
Boogie Portraits
Swing Alley sa 012

www.lluiscoloma.com

This Spanish pianist – who is also one of the prime movers behind the Barcelona Blues Festival – has an excellent release here. He opens with a fine example of his own piano playing, and the remaining eleven titles then find him working alongside equally impressive boogie-woogie and blues players from across Europe and America, with the styles ranging from out-and-out boogie such as the Albert Ammons styled ‘Swanee River Boogie’ with Bob Seeley to low-down blues (try ‘School Days On My Mind’ with Barrelhouse Chuck, who also turns in an excellent vocal). Along the way are such items as ‘CC Rider’ in duet with Carl Sonny Leyland, the New Orleans-ish ‘Red Beans’ with Mitch Woods, and the cool and hip early sixties styled ‘Stick With It’ with Philippe LeJeune. Better to listen to the whole CD though - every track is a gem!

----- Norman Darwen

THE WHYS AND WHEREFORES
Alright
Dusty Records 002

www.emilydruce.co.uk

Singer/ guitarist/ various other string instruments-alist Emily Druce has created a stir on the UK blues scene, alongside her musical partner Steve Jones on guitar/ vocals and harmonica. The Whys And Wherefores is a new band the two of them have formed, bringing in a drummer, Marc Layton-Bennett, lap steel and regular guitarist John Barker, and sousaphonist Martin Wydell reflecting the northern brass band roots of the founders. Emily has a fine, swinging voice, whilst Steve sings the blues smoothly but with grit – and the blues is certainly one of the ingredients on offer on this excellent recording. Present too are rockabilly, honky-tonk country, southern soul (don’t be surprised if a big name picks up on ‘Rough Diamond’), Cab Calloway styled jazz, blues-rock on ‘I Thought I Loved Someone Else’, and even reggae with a version of Bob Marley’s ‘Lively Up Yourself’ where the sousaphone really comes into its own! A lovely set – not for the purists maybe but everyone else will enjoy this.

----- Norman Darwen

SCISSORMEN
Luck In A Hurry
Vizztone BK 003

www.scissormen.com

Based around singer/ wild electric slide guitarist Ted Drozdowski and a drummer - usually Rob Hulsman or Larry Dersch on this CD - and augmented with guests such as the late pianist Teo Leyasmeyer (a familiar name to followers of modern blues), singer Dickie Barrett of The Mighty Mighty Bosstones and Devil Gods, former employees of Ted's, Scissormen purvey a powerful, punky and challenging form of blues-rock. That they can play the music (kind of) straight is demonstrated on 'Mattie Sweet Mattie' (with Leyasmeyer and fiddler Dan Kellar) and a cover of Son House's 'Preachin' The Blues' (again with Teo). Elsewhere there are shades of experimental rock and the droning North Mississippi hill country blues. This is music for the kids who have grown up with the likes of Jon Spencer's Blues Explosion, RL Burnside's Fat Possum recordings, the North Mississippi All-Stars, The White Stripes and The Black Keys - but some older readers do enjoy them as well, you know.

----- Norman Darwen

The Mick Fleetwood Blues Band
Fairfield Halls, Croydon. 2^nd November 2008.

The last time Mick Fleetwood appeared at the Fairfield Halls was on 27th May 1973 with the then new Fleetwood Mac line-up; now in 2008 Mick has dusted himself off from his wine cellars and felt the urge to re-visit his first love, the blues. His new band features Rick Vito on Vocals and guitar with Mark Johnstone; keyboards and Lenny Castellanos; bass.

The evening began rather ominously with all ticket holders having to change their tickets from the smaller Ashcroft Theatre for tickets to the main concert hall; one can only assume that this was due to an unexpected demand for tickets. Nevertheless once inside the hushed surroundings of the main hall we were introduced to Todd Wolf a one time member of Sheryl Crowe’s band. Prior to this evening his band would have been with him onstage with him, but, for one reason or another they had returned to America sometime earlier during the tour; this situation actually became a bonus for all concerned because it gave Todd a great opportunity to display his dexterity and ingenuity on the acoustic guitar and also his blistering slide skills on the electric guitar. His solo performance was as completely engrossing as it was enjoyable.

It must be said that as the material being played by Mick and his band was a mixture of Peter green and Rick Vito numbers comparisons between the guitarists would be inevitable so Rick stated at start of the proceedings that he would playing interpretations of the originals and would not try to copy the singular talents of the now almost legendary Peter Green. The set kicked-off with a rousing version of Red Hot Girl, which set the mood and pace for the evening. Numbers such as; “Oh Well!” “Rattlesnake Shake” “Black Magic Woman,” were mixed with “Fleetwood Boogie,” and “I Got A Hole In My Shoe.” and Elmore James’ “Shake Your Moneymaker.” The level of musicianship throughout the set was of the highest order, the bands’ sound was crisp, sharp and crunching and oh, so tight.

Ricks’ guitar playing and especially his slide work, was as sharp and deadly as an ice pick. All his crowd pleasing showmanship came to the fore but it was evident to all that it was the music that was most important here.

Mick’s obvious enthusiasm for the music that he was once again playing, translated into an animated drum performance that can only be described as that of “Animal, (from the Muppet Show) on speed” with his ever rolling eyes manically bulging out staring into space, while his head bobbed every which way and the sticks in his hands remorselessly pummelling the drum kit with the accuracy of a well drilled sniper hitting his target every time.

After a performance of nearly two hours of solid blues a surprisingly satisfyingly rendition of “Albatross” was played as part of the encore which sent everyone home happy!

----- Brian Harman

Artist: Liz Mandeville
Title: Red Top
Label: Earwig CD 4954

For more information go to www.earwigmusic.com
or www.lizmandeville.com 

During the eighties and early nineties Liz toured across America and Canada, performing her very upfront and very contemporary style of blues at various blues venues and events. A chance meeting with Aron Burton in nineteen ninety-four ultimately led to an appearance with him at the Chicago Blues Festival later that year.

A subsequent guest appearance on Arons’ nineteen ninety-six Earwig release led to Liz being signed to the Earwig label.

Whilst studying for her music degree in Jazz Improvisation and Musicianship at Columbia University Liz obtained a residency at Blue Chicago Club which was to last for over five years. In two thousand and six as the artist in residence she hosted The Blue Monday show from the Kingston Mines Nightclub in Chicago; the City that she has made her home for the last twenty years.

On this the fourth album from Liz on the Earwig Label, there have been very fine contributions from over fifteen stalwart musicians, sadly, far too many to mention here although there is room to praise the stonkin’ honkin’; from Tenor Sax wizard Eddie Shaw. The fifteen original compositions from Liz are varied to say the least, ranging from sweet soulful late night crooning to downright risqué, raunchy and bawdy belters placed alongside pulsating floor filling shufflers and table rattling stompers.

The overall sound of the album is of a combination of ‘Honky Tonk’ piano lurking in the background while an insistent ever-present twangin guitar is pleasantly riffing away. Liz belts out the lyrics in a fine blues shouting tradition. The rhythm and horn section together meanwhile, create a loose but nevertheless, all-embracing Jazz inspired smoke-filled late night club feel to the whole enterprise.

Liz’s vocal delivery follows in the long line of strong-willed and highly emotive women singers who you fully believe mean every word that they utter; a good number of female singers are available as comparisons, but I would suggest a combination of the talents of; Maggie Bell and Bette Midler are a fair and reasonable description of Liz’s vocal talents.

A very interesting album!


----- Brian Harman

Artist: Travis “Moonchild “Haddix
Title: Daylight at Midnight
Label: Earwig CD4955

For more information go to www.earwigmusic.com or
www.travishaddix.net

Travis was born on the twenty-sixth of November, nineteen-thirty-eight, in the little known Hatchie Bottom in Mississippi. His Parents were sharecroppers as most people in the area, his life would have been one of unremitting drudgery and poverty if were not for three events which would changed his whole future. Firstly, his family moved to nearby the nearby town of Walnut; this move placed the family closer to the city and the nearest city was Memphis. Secondly Travis’s father Chalmus “Rooster” Haddix was also an accomplished musician proficient on a number of instruments who with his brother would play at Saturday night fish fries. His third life changing event was the meeting of B.B, King at the Memphis radio station W.D.I.A. After this meeting Travis promptly changed from learning to play the piano to learning to play the guitar.

After leaving high school in nineteen sixty-one Travis was drafted in to the army and was given a simple choice, play his guitar for the troops or enjoy the benefits of guard duty, as you can imagine the choice was not difficult.

Not wishing to abandon his day job (he worked for General Motors for twenty-two years and for the Postal Service another twenty-two years) he decided to play at weekends and in the evenings only, so forcing him to refuse an invitation to tour with Johnny Taylor after being seen opening for Johnny at the Plush Entertainment Centre, one of Cleveland’s more high profile music clubs.

Travis eventually gained a contract with Ichiban Records after supporting Clarence Carter also at the Plush Entertainment Centre. He released his first album in nineteen eighty-eight and followed it with four more albums. With the demise of the Ichiban label in the nineties Travis simply created his own label Wann-Sonn records. It was upon hearing Daylight at Midnight that the Earwig label owner Michael Frank signed Travis for future recordings.

It is at some point during the first few numbers that you realise that the talents of Travis are something special; for although we are hearing the blues, the vocal delivery from Travis smoothly changes as the number demands from a commanding gruff no-nonsense blues shouter to a sublime crooning soulman. His band consists of; Travis; vocals & solo guitar, Greg Nicholson and Ray DeForest; bass, Mike Calhoun; lead guitar, Bob Frank; lead guitar & harmonica, Gil Zachary; keyboards, Jeremy Sullivan; drums and Robert ‘Red Top’ Young; Hammond B3.

   Throughout the ten original numbers Travis and the band weave a magical aural thread that deftly encompasses genres such as; stax, deep soul, funk and rockin’ blues. Underpinning Travis’s sound is a rock solid horn section supplied by Jeff Hager; trumpet,  David Ruffin; tenor sax, Gus Hawkins; alto sax, and T. J. Fortunato; baritone sax. This gives the whole proceedings a feeling of timelessness.

Well worth a listen!

----- Brian Harman

HILARY JAMES
Bluesy
Acoustics CDACS041

www.acousticsrecords.co.uk

Hilary James plays bass and sings in a pure, folky voice, and here she is backed by a small, acoustic based combo. She is best known as a folk singer in Britain, but on  this set originally released in 1999, she presents various shades of blues, from the opening Western swing styled cover of Jimmie Rodgers ‘Travellin’ Blues’ to Hoagy Carmichael’s ‘Hong Kong Blues’, a couple of Memphis Minnie’s (‘Me And My Chauffeur’ and ‘One Black Rat’) and Blind Blake’s ‘Fightin The Jug’ to Louis Jordan’s ‘Ain’t Nobody Here But Us Chickens’. Some excellent fiddle from multi-instrumentalist Simon Mayor enlivens an attractive and generally mellow set that is certainly different from the norm, but very, very enjoyable and eminently listenable.

----- Norman Darwen

SIMON McBRIDE
Rich Man Falling
Nugene NUG804

www.nugenerecords.com

Simon McBride is a young Irish blues-rock guitarist working within the power trio format, so the comparisons with Rory Gallagher are inevitable. However, Simon’s music is even further to the rock side than Rory’s, and Jimi Hendrix is an obvious influence – and not just on the excellent cover of Jimi’s ‘Power Of Soul’ that concludes this CD. Only ‘Standing Still’ is out and out rock though and as there is also a cover version of UK blues-rock outfit Free’s ‘Be My Friend’, it seems not unreasonable to assume a healthy dose of late sixties/ early seventies blues-rock stylings too – try Led Zeppelin as well, maybe. So yes, Simon is a more than accomplished guitarist – he won Guitarist Magazine’s ‘Young Guitarist Of The Year’ 13 years ago, and has only improved since then – but he is also a strong vocalist, with a voice that suits his material. If you like the UK Blues-rock scene and go for music that is muscular, hot, loud and rocky, this CD is definitely for you.

----- Norman Darwen

JOHNNY HODGES
Passion Flower 1940 - 46
SPV/ Blue 305822 CD

www.spv.de

Alto and soprano saxophonist Johnny Hodges (1907 – 1970) was indisputably one of jazz’s greats, with a distinctive and easily recognisable tone and approach. He was long associated with Duke Ellington, and indeed the final 13 tracks (out of 22) are recordings he made as a member of that illustrious jazz orchestra. So what is he doing here? Well, the clue lies in the recording dates, as the theory that rhythm & blues came about when the big bands slimmed down for economic reasons is fairly well-established – but it is not the whole story. Take a listen to the closing ‘Rockabye River (Hop, Skip, Jump)’ which certainly does do the latter – and although there is little blues content as such, it does permeate much of the band’s work here. Ivy Anderson has a fine vocal on ‘I Got It Bad (And That Ain’t Good)’, a song not unlikely to crop up in the repertoire of female jazz and blues singers even nowadays. It might also be worth pointing out the presence in Ellington’s band of pioneer rhythm & blues man Cootie Williams, and meaty tenor saxist Al Sears (who later recorded the mighty R&B number ‘Castle Rock’ with Hodges). Even if this does not convince of Johnny’s justified inclusion on this website, then the first nine titles will. Recorded with a smaller unit under his own name (and including Ellington on piano), many of these titles could slip unnoticed onto an R&B release, based as they are on blues structures and using blues techniques. Try such numbers as ‘Good Queen Bess’ (here in two different takes), ‘That’s The Blues, Old Man’, ‘Junior Hop’, ‘Squatty Roo’, ‘Goin’ Out The Back Way’ and especially ‘Things Ain’t What They Used To Be’, and see if you don’t agree. Of far more than mere historical interest, this is an excellent, entertaining and educative release.

----- Norman Darwen

JON LORD With The Hoochie Coochie Men
Live At The Basement
Edel 0186222ERE

www.edel.com

This triple CD is an Australian recorded blues set from the keyboards man with heavy rockers Deep Purple – but those who are expecting some kind of heavy metal blues will be disappointed, as the music is fine and surprisingly straightforward blues for the most part. The Hoochie Coochie Men are an accomplished Australian outfit and guest vocalist Jimmy Barnes is a rock legend down under, but the tracks (plenty of standards with a sprinkling of originals) have a strong UK blues feel to them – Jon started his musical career in the British R&B boom, so maybe that’s only to be expected. Many of these numbers have been issued before – though they may not always have been easily available in Europe – and the DVD containing most of the songs here was reviewed in Blues Art Journal of January/ February 2008, but this release also contains previously unissued television, rehearsal and interview material. It is also a limited edition of 5000, so if you want a copy, it would be best to pick one up as quickly as possible.

----- Norman Darwen

Artist: Jimmy Copley & Friends
Title: Slap My Hand
Label: Self produced

For more information go to www.jimmycopley.com

Although Jimmy started his drumming career in a band named ‘Spread Eagle’ who had supported bands such as Genesis and Lindisfarne he did not really make his mark in the music world until he teamed up with Andy Clarke and Stephen Amazing to form UPP. It has now gone into legend that whilst the band were rehearsing for their debut album Jeff Beck wandered into the studio and was so impressed with that which he was hearing that he promptly took them under his wing and not only produced their debut album but he also played on it as well. Their second and last album also featured Jeff Beck, it was released in nineteen seventy-six, also during that time UPP toured England and Europe with Beck Bogart & Appice.

Shortly afterwards the band members went their separate ways and throughout the following two decades Jimmy focused his attention mainly on session work and touring. During that time he has played with such diverse artists as Tina Turner and Tears for Fears. Over the last ten or so years Jimmy has been a vital member of many bands and musical partnerships, but now devotes his time between the Manfred Mann Earthband and his solo career.

Throughout Jimmy’s career he has had the good fortune to work with a number of extremely talented guitarists, from Jeff Beck through to his current collaborator the Japanese guitarist Char.

Usually any album with the phrase ‘and friends’ in the title should invariably be avoided as they are normally an excuse for a glorified karaoke session which in turn becomes a contract filler. Happily I can without a shadow of a doubt state that this album is light years away from my initial fears.

The fifteen numbers found on this album are all bursting with a surging vitality which translates into lightning strikes of sound that explode out of the speakers with spine tightening crispness, coupled with a clarity of freshness and originality that shakes the senses and focuses the mind.

The guitarists featured on the album are, in no particular order; Jeff Beck, Char, Micky Moody, Bernie Marsden and Steve Evans together they raise the tone of the album to a higher level.

Peter Cox’s soft, relaxed voice is certainly attuned to the almost whimsical goodtime approach to the numbers.

Obviously, with the lead instrument being the drums one could be expecting an ear-bashing, but no, Jimmy has infused his playing with a jaunty, roaming spirit, whether it be a happy go lucky second line strut or a loose played blues standard.

The whole emphasis is on fun, fizzing guitars and delectable drumming.

Not only is this album funtime but it also absorbing and richly rewarding, especially the cutting-torch guitar solo accompaniments which jostle for elbow room in an overflowing musical feast.

Well! I think it’s essential!

>>>>> Brian Harman

Artist: Scott Ellison
Title: Ice Storm
Label: EARWIG CD4956

For more information go to: http://www.earwigmusic.com or
http://www.myspace.comscottellisonband

Scott was born in Tulsa, Oklahoma in nineteen, fifty-four; a city that was not only made famous in song, but was, in the seventies the musical base of Freddy Kings’ and Eric Clapton’s bands, Leon Russell’s Shelter Records was also based there. In his youth Scott absorbed any and all possible musical influences he could find to improve his knowledge and skills in his desire to become a blues guitarist. After starting his first band in his youth he performed assiduously for a number of years as a regular feature on the local club circuit.

In nineteen seventy-seven he was invited to tour with Jessica James (the daughter of Conway Twitty) in nineteen eighty-one he came to the attention of Clarence “Gatemouth” Brown, Brown promptly invited him to play rhythm in his band. He later re-located to Los Angeles and backed artists and bands such as; The Coasters, The Shirelles and the Box Tops; by the nineteen nineties he was supporting major artists such as; Roy Orbison, Buddy Guy, Joe Cocker, Leon Russell and The Fabulous Thunderbirds to name but a few.

Over the years Scott has been a prolific performer and recording artist with a good number of  solid albums to his name and with this his latest, we are treated to a suitably enticing piece of music with an urgent loping shuffling backbeat layered with prowling keyboard work, led by a relentless axe; as if charging towards a mythical beast. Scott’s slow wailing chainsaw/grinding guitar work is very much accentuated by a sweetly lyrically loping slide which encompasses the albums whole sound like a trawling net. His vocals are suitably hoarse and throaty definitely in need of a soothing lozenge!

The urgency of all the numbers never lessens; Scott and his band have somewhere fast to go and nothing is going to stop them; even on the extremely pleasant slowburners the illusion of never-ending forward motion is always lurking around.

There are lovely hints and tinges of Albert Collins and Freddy King throughout the twelve numbers on the album which are wholly Scott originals, some of the numbers incorporate the utilisation on of a highly talented and flexible horn section which is used to great effect, but especially so on the instrumental number “Ice Storm,” these deft touches merely accentuates Scott’s expanding musical talents and maturity.

A very nice album indeed!

>>>>> Brian Harman

BIG PETE PEARSON
I’m Here Baby
Blue Witch BWR 102

VARIOUS ARTISTS
House Rockin’ And Blues Shoutin’!
Blue Witch BWR 103

DAVE RILEY & BOB CORRITORE
Travelin’ The Dirt Road
Blue Witch BWR 104

TOMCAT COURTNEY
Downsville Blues
Blue Witch BWR 105

www.bluewitchrecords.com

During ‘Family Meeting’ (Ruf), the excellent movie focussing on Finland’s Wentus Blues Band, Kim Wilson is talking to Louisiana Red and mentions an album Red made in Phoenix, Arizona with “Bob” – “it’s a killer, man”, opines Kim. Well, Bob is Bob Corritore, harmonica ace, record producer, tireless champion of the Blues and boss of the Rhythm Room in Phoenix. He is also responsible for these four albums, all very different from each other but all real blues.

Singer Big Pete Pearson has a fine, big blues voice; he is of a generation old enough not to be influenced by ‘soul-blues’ and those kind of singers are hard to find nowadays. His major influence seems to be BB King and his very sympathetic backing band is the Rhythm Room All-Stars (Bob on harmonica, Chris James and Johnny Rapp guitars Patrick Rynn on bass, and Brian Fahey on drums), augmented by such high calibre guest as guitarists W.C. Clark (who also duets on vocals on two numbers), Ike Turner and Kid Ramos, harpman Johnny Dyer, pianist Leon Blue and drummers Chico Chism and Richard Innes (that is not to denigrate those I have overlooked, just that these names are more likely to be known to many readers). This is a straightforward, classy album of gritty, impassioned blues singing.

The Various Artists set next. I could just list the artists, but that would be the easy way out.
This set has the subtitle ‘Celebrating 15 Years Of The Rhythm Room’ and some party it is. The Fabulous Thunderbirds open with a lovely down-home stomper (the first of three offerings they have here) and we’re off - through offerings from the likes of local artists such as Chief Schabuttie Gilliame (with harpman Johnny Dyer and pianist Henry Gray) through well-known and highly respected blues acts such as Louisiana Red, Long John Hunter (solo and revealing his Lightnin’ Hopkins roots), Sonny Rhodes and his wailing lap steel turning in a soulful Elmore James cover, a solo Robert Lockwood Jr., the romping jump-blues of Floyd Dixon, and Chicago’s Billy Boy Arnold as impressive as always, and on to the wonderful mixture of blues originals and revivalists as The Mannish Boys with Finis Tasby (and I haven’t mentioned Big Pete Pearson or Paul Oscher yet, whilst Henry Gray also has a fine boogie-woogie, in which Kid Ramos takes a memorable guitar solo). Again, the collective backing includes such talented musicians as the renowned Bay Area bassist Henry Oden, pianist Leon Blue and the Rhythm Room All-Stars again. This CD should be sold by the Phoenix, Arizona tourist board – it’s enough to make me want to buy a plane ticket there right now!

Bob’s set with Dave Riley has won all kinds of acclaim and it is all deserved. Dave is on guitar and vocals with Bob on harp, plus Johnny Rapp on guitar on eight titles, Matt Bishop piano on three and bass duties shared between Dave Riley Jr. and Paul Thomas. Tom Coulson drums on the eight tracks on which Rapp appears. The guys work through a programme of numbers that reflect Dave’s Hattiesburg, Mississippi background, and are all Riley-penned originals apart from ‘I’m Not Your Junkman’ and ‘Doggone Blues’,  which Dave learned his blues from his friend and mentor, the late John ‘So Blue’ Weston; other influences on Dave include Sam Carr and Frank Frost. It goes without saying of course that he has a no nonsense approach to his music, reflected in the down-home concerns and musical approach of much of the material. Bob himself grew up in Chicago and studied the likes of Walter Horton, Louis Myers, Little Willie Anderson and others; he certainly learned well if his rich, varied and always appropriate playing on this set is any indicator (and it is!). If you don’t enjoy this set, chances are you don’t like the blues.

Finally to Tomcat Courtney’s album then – I remember reading about him in Living Blues many, many years back and actually heard him on Advent’s ‘San Diego Blues Jam’ LP from 1974, but he is hardly a household name. Maybe this set will help to change that, at least bringing him recognition on the wider blues scene – he deserves it. Tomcat was born in Texas in 1929 and grew up in the town of Downsville, where his father ran a juke-joint. Later he worked on a minstrel show, where he began singing the blues, and later was inspired to take up the guitar after hearing John Lee Hooker’s ‘Boogie Chillen’. In 1951 he married the niece of bluesman Smoky Hogg, and picked up his stage name in Albuquerque some time in the same decade.After some time in Los Angeles, he settled in San Diego and became a mention to up-and-coming guitarist Chris James (yes, he of the house band at The Rhythm Room) – which is how this CD came about. With support from Bob Corritore, Chris James, Patrick Rynn and drum duties split between Brian Fahey and former Muddy Waters employee Willie ‘Big Eyes’ Smith’, this is a very fine album with Tomcat’s vocals and guitar offering strong hints of those early post-war Texas country blues, perhaps leaning a little more towards the Chicago sound when Bob blows. Some of the songs are topical but all are undeniably traditional in execution – and not just such venerable items as ‘Meet Me In The Bottom’ and ‘Bottle Up And Go’. Please Bob, let’s have more from the Tomcat soon – very soon.

Yes, Kim Wilson is right – Bob Corritore does make killer albums!

----- Norman Darwen

BRAD VICKERS & HIS VESTAPOLITANS
Le Blues Hot
ManHatTone 1050

Contact: Vestapolitans@aol.com

Brad Vickers may be known to some from his recordings with Pinetop Perkins, Hubert Sumlin or Little Mike & The Tornadoes; or maybe you’ve been lucky enough to catch his shows. He tunes his guitar in ‘Vestapol’, hence the band name – and what a band.
Sax and clarinet master Jim Davis (Hubert Sumlin, Paul Oscher) adds an old-fashioned jazzy feel, drummer Barry Harrison is best known for his work with Johnnie and Shemekia Copeland – which speaks for itself – and bassist and sometime fiddler and singer Margey Peters is a familiar name to New York blues watchers (both she and Barry play with Big Frank & The Healers). Special guest the up-and-coming Dave Gross supplies guitar and upright bass too, but this is Brad’s album, as he turns in excellent slide guitar numbers (occasionally tending towards the Hawaiian, or on ‘I’m Homesick’, guess who?), skiffle, hokum and/ or ragtime styled tunes, or fine down-home blues.
A very distinctive and appealing sound.

----- Norman Darwen

ERIC FRAZIER
In Your Own Time
(Own label)

www.ericfraziermusic.com

This New York singer/ conga player/ bandleader is certainly an interesting character. It would be difficult to pigeonhole this CD. There is plenty of jazz, much of it with a bebop flavour, though a couple have a strong blue tinge; there’s a little blues, R’n’B and soul music, influenced by the jazz-blues great Lou Rawls; there’s some Latin jazz and salsa too. Most of the tracks – the ones that have vocals anyway - are in English, though there is some Spanish too.  It is a highly energetic release, with a good feeling and sense of enthusiasm that is infectious. His band is with him all the way. Don’t let the brevity of this review deter you – if what you have read interests you, then do check this out, chances are you’ll enjoy it a lot.

----- Norman Darwen

GUITAR RAY & THE GAMBLERS
Poorman Blues
JR911125

www.bluesgamblers.com

It is all too easy these days to forget that there was a time when the Blues was more than someone who owned a Stratocaster and never plays it below the twelfth fret. Back in the sixties it was a prerequisite that a bluesman kept his tracks to three and a half minutes – maximum – on record at least, which meant the instrumental break had to be concise, to the point, and meaningful. Alternatively, you could go the instrumental route – as Freddy King did, and how long is it since you heard a really good blues guitar instrumental, as opposed to a jam. Well, on this evidence, Italian Guitar Ray (Scona) remembers, as on this set he demonstrates a strong feel for the music, as do his band.
Take ‘The Conspiracy Boogie’ for example – yes, it is indeed a piano feature – ‘nuff said, in one sense, Ray doesn’t hog the limelight. But do listen to the dynamics – as on several numbers, this is an old fashion sense of dynamics, keeping something in reserve, a facet too often overlooked these days. Or try maybe ‘A Poor Man (Like Me)’, largely a slab of Mexican flavoured pop-rock, recalling the days when a bluesman was not averse to incorporating seemingly different elements. And I mentioned instrumentals, didn’t I? If you nodded your head to my earlier question, lend an ear to the Ike & Tina inspired ‘Everything Is Gonna Be Alright/ Cry For Jerusalem. Yes, there are very few around these days with the taste, class and ability to pull off such a satisfying set as this. International blues ace Otis Grand could do it maybe. Oh, did I mention that Otis produced, arranged (and do listen to some of those arrangements) and provided a lot of the material? No? – well, you might have guessed it anyway, and Ray certainly deserves our thanks for bringing it to fruition.

----- Norman Darwen

THE JEFF HEALEY BAND
See The Light
SPV/ Blue 305742 CD

Hell To Pay
SPV/ Blue 305732 CD

Feel This
SPV/ Blue 305722 CD

www.spv.de

(Please note that the above are in chronological, not numerical order)

Released in October 1988, Jeff Healey’s ‘See The Light’ was one of the earliest successes of the current Blues revival. Back at that time, Robert Cray was still young and still having to convince everyone of his worth, and Stevie Ray Vaughn was heading for blues-rock stardom. Jeff Healey burst onto a scene ready to accept him, a young blind guitarist with a different way of playing (flat on his lap) and rock sensibilities. ‘See The Light’ quickly became a hit album; even its cover became something approaching iconic in the blues-rock scene, and Healey went on to enjoy popularity with heard-rock audiences too. It is often stated that the band peaked too soon, this debut album being a peak from which they could only go downhill, and there is some justification to this viewpoint. There are many highlights to the set: ‘Don’t Let Your Chance Go By’ is a boogying outing with screaming guitar work and Jeff’s harmonica playing, Freddy King’s instrumental ‘Hideaway’ was nominated for a Grammy award, whilst another instrumental, ‘Nice Problem To Have’, approaches a down-home sound, and Jeff’s cover of ZZ Top’s slow ‘Blue Jean Blues’ and the more up tempo, searing title track are the very definition of blues-rock. The John Hiatt-penned Eagles-ish ballad ‘Angel Eyes’ reached the Top 5 of the American charts when released as a single, and ‘River Of No Return’ is akin to Creedence Clearwater Revival. With hindsight the influence of this album on the present blues-rock scene is quite easy to hear.

‘Hell To Pay’ was not quite as popular as its predecessor – though some enthusiasts rate it as Jeff’s best. It depends on your taste; there is little blues per se on this sophomore set, even if Healey’s playing is shot through with the blues. Much of it sounds like American rock of the time, though interestingly a couple of numbers sound like The Yardbirds circa 1966, and the cover of The Beatles ‘While My Guitar Gently Weeps’ (which has George Harrison as guest) has ensured that it is fondly remembered. 1992’s ‘Feel This’ is certainly bluesier, right from the boogie based opener, and many of the tracks fit quite comfortably into a (loud) blues-rock bag – except for the cover of Tom Petty’s ‘Lost In Your Eyes’. However, that may be quickly forgotten as it is immediately followed by the bulldozing ‘House That Love Built’, the heavy blues ‘Evil And Here To Stay’, the rocking ‘My Kinda Lover’ and the excellent blues-flavoured ‘It Could All get Blown Away’. This bluesy groove then stops unfortunately with the ballad ‘You’re Coming Home’ and the strange rap-metal of ‘If You Can’t Feel Anything Else’. The two final numbers opt more for a traditional rock approach. For this set, the basically trio sound of the previous two albums is augmented by keyboards, which does provide a slightly different sound overall.

Jeff Healey died tragically young on 21^st March 2008, just before his first blues-rock album for eight years was due to be released. These albums, and particularly ‘See The Light’ indicate what a loss this was; Jeff could certainly turn in excellent blues-rock when he wanted.

----- Norman Darwen

LOU DeADDER
Mister Eclectic
Start It Up TLDC08

www.loudeadder.com

This is the fourth CD from Ontario, Canada based singer and guitarist Lou, and as with its predecessors, it definitely gets the thumbs up. Lou is a blues guitarist, but equally, he is unafraid to ‘mix it up'. The opener is a fine example; is it blues or is it jazz? It is accomplished enough to please fans of both genres, I guess. Next up is a tough piece of funk-blues, then some more or less straight blues, with Lou’s cool singing throughout. ‘Drivin’ Down The Line’ is a blues, though with a curious riff that owes a lot to jazz and rock. As the CD title indicates, the set continues in this eclectic vein with blues, soul ballads, funk and even some country-rock. As the backing musicians include two horns, the famed blues harpman Carlos Del Junco and Bob Taillefer on pedal steel guitar, Lou always has the band to pull it off. How come no big label has signed this guy up yet? Buy this and be one step ahead.

----- Norman Darwen

PAUL MARK & THE VAN DORENS
Blood & Treasure
Radiation Records RDTN 5901

www.paulmark.com

Recorded at Ardent Studios in Memphis, Tennessee in 2008 for Radiation Records, the label Paul founded in 1995, this is multi-instrumentalist Paul Mark’s seventh CD. Checking out his website, it appears that Paul specializes in American roots music – of numerous kinds – though the predominant vibes on this set are, unsurprisingly given the recording location maybe, the Stax sound and vintage rock ‘n’ roll. It is not purely unadulterated either, as the opener is a modern sounding rocker, but then try ‘Raise The Roof’ (Rick Steff’s Hammond organ is a real stand-out here). ‘Lotta Things To Say’ is a bopping slab of ‘neo-rockabilly meets Bob Dylan’ (Dylan influences crop up elsewhere too) and ‘Let Them Talk’ a relatively conventional cover of Little Willie John’s proto-soul hit, but many of the songs switch naturally and imperceptibly from rock to blues to soul – and do take a listen to the storming, supercharged instrumental ‘Ruff House’. There’s rather a fine sense of humour to be found in places too, both lyrically and musically. The result is a very interesting release indeed.

Nice to see too that “Paul Mark endorses no products of any kind” – that’s pretty refreshing!

----- Norman Darwen

JAMES GOODWIN
Blue-Eyed Devil
Blonde On Blonde JGCD-01

www.jamesgoodwin.co.uk

The Shakedown Blues gigs in the east of England regularly present obscure blues acts such Shorty Billups and Joe Jonas, and enjoy a formidable reputation among lovers of the hardcore blues sound. James Goodwin is the pianist of choice for the band backing these visitors and this solo blues piano set demonstrates just why.
All the tracks are originals, though occasionally influences surface – though you may have to listen carefully to pick them out, just a riff here or the inflection of a bass line there. James is aware of the blues tradition from its earliest days (both ragtime and vaudeville) and here there are plenty of slower, thoughtful blues, plus the odd boogie-woogie or two, of course, and even on to the New Orleans R&B tradition.
Some are pure improvisations whilst others are the result of years of playing. There are few releases of solo blues instrumental piano albums these days, but even if there was a lot of competition, this would still be worthy of your attention.

----- Norman Darwen

SAMMY SIX GILKEY
To The Rescue
Chueffa CD60010-2

www.ChueffaRecords.com www.sammysix.com

This is the kind of CD that comes along too infrequently these days - grass-roots blues by a guy who certainly knows and enjoys what he is doing.
Singer Sammy Six was born in Mississippi, raised in Saint Louis, Missouri and spent his teens in Detroit. He has a light, confident singing voice, sounding a little like Little Milton in places, and here he is backed by the excellent little band of label boss Frank Ace, including some excellent sax work from Orlando Zuniga and guitar work again akin to Little Milton's clean playing, or the more subtle side of Albert King.
The numbers range from straight blues - though Jimmy Reed's 'Big Boss Man' is given an unusually imaginative arrangement - to some old school R&B numbers and some soul inflected material - there is a fine version of the deep soul of 'Members Only'. I enjoyed this unpretentious CD a lot.....

----- Norman Darwen

Artist: Chris James and Patrick Ryan
Title: Stop and Think about It
Label: Earwig CD 4957

For more information go to: www.earwigmusic.com
and www.thebluefour.com

In one way or another Chris and Patrick have been involved with the blues before their early teens; growing up in San Diego Chris was first introduced to the blues by his stepfather. The music of Chuck Berry was an early influence and he was playing the blues on piano at the age of eleven Patrick meanwhile in his home of Toledo was receiving a classical music education on the bass.

They met each other in Chicago in the early nineties when Chris went to the Guitar Centre where Patrick