Monster Mike Welch and Mike Ledbetter Right Place, Right Time

Monster Mike Welch and Mike Ledbetter
Right Place, Right Time
Delta Groove Music

Having been part of the Chicago Blues Festival Tribute to Otis Rush, it was natural that Mike Welch and Mike Ledbetter collaborate on a recording and the spirit of the legendary Rush is evident on this new recording by the two, from the title that evokes a legendary Rush album, to the performances by vocalist Ledbetter and guitarist Welch that both show the deep impact of Rush' soul-searing music on both.

They are backed by Welch's associate in Sugar Ray & the Blue Tones, Anthony Geraci on keyboards, Ronnie James Weber on bass and Marty Richards on drums along with appearances from Laura Chavez on guitar; and Sax Gordon and Doug James on saxophones and they play wonderfully starting with a cover of an Elmore James recording "Cry For Me Baby," with Welch echoing Eddie Taylor's original guitar part, and closing with a nice instrumental shuffle feature for Welch's Rush-influenced styling, "Brewster Avenue Bump."

The only overt Rush cover is a fine rendition of "I Can't Stop Baby," Willie Dixon's reworking of "I Can't Quit You Baby," Rush waxed for Chess. But the spirit of Rush is also present in reworking of Jimmy Robins' bluesy Northern Soul groove, "I Can't Please You"; the reworking of Junior Parker's "How Long Can This Go On," into a West Side Chicago shuffle; as well as playing the Tampa Red-Robert Nighthawk's gem "Crying Won't Help You Baby," as if Rush recorded it. This here is also a nice reworking of the Jerry Leiber-Artie Butler funk, "Down Home Girl," along with the Rush inspired originals, Welch's deep slow blues, "I'm Gonna Move To Another Country," and the Ledbetter penned medium tempoed shuffle "Can't Sit Down."

The only possible quibble that might be leveled is that Ledbetter might have slightly tempered a couple of the vocals such as the opening "Cry For Me Baby." That might be in part a result of Ledbetter's 'operatic training' which I was not aware of before reading Dick Shurman's liner notes, but one can find no other fault in his strongly projected singing. This is a minor, and a subjective, criticism of what is an excellent recording.

I received my review copy from Delta Groove. Here Monster Mike Welch and Mike Ledbetter perform Otis Rush's "Right Place, Wrong Time," at the 2016 Chicago Blues Festival.

John Primer & Bob Corritore Ain't Nothing You Can Do!

John Primer & Bob Corritore
Ain't Nothing You Can Do!
Delta Groove Music

Delta Groove just issued a new recording by the Chicago veteran John Primer and harmonica player Bob Corritore, who is one of the co-producers of this as well. Bring some the likes of Henry Gray or the late Barrelhouse Chuck on piano, Big John Atkinson or Chris James on guitar, Troy Sandow or Patrick Rynn on bass and Brian Fahey on drums and one has a terrific band for the traditional Chicago Blues follow-up to the acclaimed 2013 "Knockin' Around These Blues."

The material is a mix of strong originals and choice covers with the music evoking the late Muddy Waters (Primer was guitarist in Waters final band) with a touch of Magic Slim, with whom Primer played with for many years with the driving, insistent groove. The instrumentation here also lends this the sound of a Muddy Waters recording (with Corritore's harp lending the feel of the Waters Band when James Cotton was in it), although I believe Waters only recorded John Lee 'Sonny Boy' Williamson's "Elevate Me Mama," which has terrific piano from the late Barrelhouse Chuck.

Originals like the topical, opening "Poor Man Blues," who is living the best way he can, and the closing slow, closing Muddy Waters-styled "When I Leave Home," bookend terrific renditions of Johnny Temple's "Big Legged Woman," with Muddy Waters' styled slide; Snooky Pryor's Vee-Jay classic, "Hold Me In Your Arms," has Henry Gray on piano; Magic Slim's chugging "Gambling Blues"; and a Corritore feature, "Harmonica Boogaloo." The Chuck Brooks-penned title track was originally recorded by Albert King. It is a slow blues where Primer authoritatively tells his woman know that no matter what she does, nothing will stop John from loving her or drive him away. With solos from Henry Gray, Corritore Jon Atkinson and Primer himself, Primer and band conjures up the Mississippi King Bee (Muddy Waters) himself here (and elsewhere).

A rendition of Don Nix's "For a Love of a Woman" and Howlin' Wolf's "May I Have Talk With You," where Primer plays some Elmore James's style slide on a rollicking shuffle adaptation of Wolf's song round out a terrific recording that is as a good an evocation of classic Chicago blues (particularly the great Muddy Waters band of the late fifties through early seventies) as has been heard in the past few years.

I received a review copy from Delta Groove. Here is an album teaser.

Mitch Kashmar West Coast Toast

Mitch Kashmar
West Coast Toast
Delta Groove

Scott Dirks, in his brief liner notes to the new Mitch Kashmar album "West Coast Toast," observes that if Chicago was home and proving ground for many legends of blues harmonica, the move to the West Coast of pioneer George 'Harmonica' Smith led to his presence influencing a whole generation and new off-shoot of the blues harmonica sound. The result was the 'West Coast Sound,' which he describes as "a hard-swinging, sophisticated and distinctly different offshoot of the amplified harp sounds familiar in Chicago." Kashmar is described as one of the handful of masters of this California sound, bringing his unique voice as a harpist and a soulful singer, on a release tipping his hat to the West Coast blues legacy with select covers mixed in with his originals.

An opening instrumental, "East of 82nd Street," establishes Kashmar's fat tone and imaginative playing in this tradition, along with the solid studio band of Junior Watson on guitar, Fred Kaplan on keyboards, Bill Stuve on the bass and Marty Dodson on drums. Watson gets to showcase his chops as well in a short break and his comping under the leader's dynamic playing. Kashmar's abilities as a vocalist are established by a cover of Willie Dixon's "Too Many Cooks" (some will be familiar from Robert Cray's cover more than Jesse Fortune's original), with Kaplan laying down an intriguing solo. It is followed by a capable rendition of an old Little Willie John recording, "Young Girl," with a backing and harp evocative of Sonny Boy Williamson's "Help Me."

The tempo picks up on the topical original, "The Petroleum Blues," a rocking performance where he sings about "how much money are we gonna lose," and then slows down on "Mood Indica," with his fat, juicy playing set against Kaplan pounding the 88s, who along with Watson get to take choice solos while Stuve and Dodson push the groove forward. The is an appealing shuffle rendition of Billy Boy Arnold's "Don't Stay Out All Night," while Kashmar on "My Lil' Stumptown Shack," shows he able to construct an original that captures the flavor of classic 50's Chicago blues.

Kashmar's interpretation of John Lee 'Sonny Boy' Williamson's "Alcohol Blues," is nicely played and followed by an easy rocking version of lesser known Lowell Fulson song, "Love Grows Cold," with explosive guitar by Watson. The jazz-tinged instrumental "Canoodlin'," has a late night feel to it and closes a set of strong blues performances.

I received my review copy from Delta Groove. Here is a promotional video for this recording.

John Long Stand Your Ground

John Long 
Stand Your Ground
Delta Groove Music

It took John Long decades or so before this old school country blues musician recorded a full album, the 2006 Delta Groove release Lost & Found. I wrote a decade ago that it was "comprised of originals that sound like remakes of classic country blues recordings from the pre-World War 11 era. He sounds as if he has channeled Son House, Robert Johnson, Big Bill Broonzy, Lonnie Johnson and others." It reflected his being mentored by Homesick James Williamson among others along with his love for these older blues artists and recordings.

It is appropriate he opens his new album with a small group rendition of Homesick James' "Please Set a Date," taken at a relaxed tempo with the type of restrained slide attack that contrasts with say Hound Dog Taylor. As good as it may be, it is followed by the stunning "Red Hawk," where he channels Johnny Shines and Robert Johnson in a stunning reworking of "Terraplane/Dynafow Blues" melody with his original lyrics. The following "Things Can't Be Down Always," has him adding harmonica for a solid one-man blues band performance while the title track is a peppy slide number with a message as Bill Stuve on bass and Washington Rucker on drums add adept backing, while he evokes Joe Hill Louis on "Welcome Mat," another one-man band performance. 

There seems to be several selections where Long may be reflecting about his own mortality. "No Flowers For Me," is a topical blues where he sings that he has been shaking, and asks folks to remember him, but don't spend money on flowers, but rather find a cure for that Parkinson's Disease. His slide, on the rendition of "I Know His Blood Can Make Me Whole," conjures up Mississippi Fred McDowell. There is a reflective feel to his fresh interpretation of Blind Willie McTell's "Climbing High Mountains (Trying To Get Home)," and athevery moving "Precious Lord," with bass and drums backing that has an ambience of some of Sonny Boy Williamson's European recordings.

The closing "Suitcase Stomp" is a brisk, brief one-man band number where Long sings about leaving St. Louis and just doing what he wants, doing the suitcase stomp. Ten years ago I said "Long comes off as a real contemporary master of acoustic blues." It has taken ten years for John Long to follow up that recording, and that evaluation still is appropriate. The wait was definitely worthwhile with this terrific recording.

I received my review copy from Delta Groove. Here is a video of John in performance.

Big Jon Atkinson's House Party

House Party At Big Jon's, a new Delta Groove release by Big Jon Atkinson & Bob Corritore is a rollicking traditional blues recording featuring the 26 year old Atkinson, who plays and sings with an authority of someone much older, and veteran harmonica master Bob Corritore, who was producing classic blues recordings before Atkinson entered this world. The two are supported by a variety of players including guitarist Danny Michel, bassist Troy Sandow, and drummers Malachi Johnson, Brian Fahey, and Marty Dodson. Recorded at Big Jon's home studio with vintage equipment, these originals and choice covers capture the sound of vintage recordings from Chess, Excello and Trumpet. Adding spice are guest appearances by Dave Riley, Willie Buck, Alabama Mike and Tomcat Courtney, providing their well seasoned voices.

Thee are many pleasures to listen to here, from the swamp blues meets Sonny Boy Williamson ambience of Atkinson's opening "Goin' Back To Tennessee," and his own evocation of a classic Jay Miller recording on another original "It Wasn't Easy," followed by a rocking swamp blues penned by Miller, "She's My Crazy Little Baby," that almost sounds like an unissued Lonesome Sundown recording. Corrritore's "Here Comes My Baby," sounds like a Sonny Boy Williamson Chess recording although retro-traditional with Little Walter styled harp. Dave Riley's down-home rendition of Charles Johnson's gospel number "At the Meeting," is followed by a rearrangement of Lightnin' Hopkin's "Mojo Hand" with biting guitar from Atkinson and vocal from Alabama Mike. Tomcat Courtney follows with his own Muddy Waters' styled down-home blues "Mojo in My Bread." 

Atkinson's "Mad About It," is a Muddy Waters styled blues, musically reminiscent of "Tiger in My Tank," with hot slide guitar and some strong Corritore harp while the pair channel the Second Sonny Boy Williamson on "Empty Bedroom." Also nice is a cover of Slim Harpo's "I'm Gonna Miss You Like The Devil," followed by Willie Buck channeling Muddy Waters in his vocal on his "You Want Me To Trust You," and then Dave Riley is more in a Memphis meets Chicago mood on "Mississippi Plow." "El Centro," a harmonica feature set against a Tex-Mex groove, is followed by Willie Buck taking the vocal on a cover of Slim Harpo's "I'm a King Bee," with the band capturing that Baton Rouge groove. 

The recording closes with Alabama Mike channeling Muddy Waters singing Casey Bill Weldon's "Somebody Done Changed The Lock On My Door," as Big Jon evokes Muddy's slide style, and Big Jon letting us know "My Feelings Won't Be Hurt," taken a medium tempo and sung and played with the authority characteristic of the entire House Party at Big Jon's. It was indeed quite a party as they evoke the classic blues sounds of the fifties and the sixties with these excellent performances.

I received a review copy from Delta Groove. While written several months ago, this review was just published in the November-December 2016 Jazz & Blues Report (Issue 369), although I have made corrections to the version that appeared there.  Here is a video of them in action.

Andy Santana And The West Coast Playboys Watch Your Step!

Andy Santana is a triple threat as a singer, guitarist and harmonica player (and he is also a songwriter) whose name will be most familiar to those of the West Coast, but some may have seen his name as a sideman to some albums or perhaps have his independently produced recordings. Anyway his profile will rise greatly with the release of "Watch Your Step!" by Andy Santana And The West Coast Playboys on Delta Groove. The West Coast Playboys include Kid Andersen (who co-produced this with Andy), Anthony Paule, Mike Schermer, Bob Welsh, Rusty Zinn (who penned the liner notes), Lorenzo Farrell and June Core.

While there are a few Santana originals sprinkled in, most of this are taken of covers of songs that have not been cooked and burned to death (no "Sweet Home Chicago" type numbers). Santana is a wonderful singer that sings with a natural, relaxed soulfulness akin to such Gulf Coast legends as Tommy McClain, Warren Storm, Freddy Fender and Doug Sahm. And he brings a distinctive attack to the guitar (Rusty Zinn likens him to the love child of Wild Jimmy Spruill and Johnny Guitar Watson) and his harp playing is terrific.

What a range of material too from the opening swamp rocker by Carol Fran "Knock Knock"; a tasty cover of Bobby Parker's title tune that is modeled on Parker's original recording. It showcases Santana's crisp, biting guitar, and is ably sung (although he is not on Parker's level); "Playgirl," one of two Smiley Lewis songs here, on which he takes both guitar and harp solos (his harp playing suggests some of Papa Lightfoot's recordings); the rollicking "You May Not Know: with a smokin' groove and a performance (with backing vocals) suggestive of Clyde McPhatter and the Drifter's "What Ya Gonna Do"; a song co-written with Rick Estrin, "No Double Talk," with Kid Andersen adding greasy fafisa organ and shattering Ike Turner-styled guitar; and a terrific instrumental, "Greaseland" (named after Andersen's studio) which showcases several of the guitarists. The rest of the performances on "Watch Your Step!" are similarly impressive making for an impressive recording.

I received my copy from Delta Groove. Here is Delta Groove's video promoting this recording.

Anthony Geraci and 50 Shades of Blue

“50 Shades of Blues” is a new Delta Groove recording by keyboard wizard Anthony Geraci and The Boston Blues All Stars. Geraci is best known in anchoring the keyboards for Sugar Ray and the Bluetones, and he is joined by his band-mates: Sugar Ray Norcia, guiatrist Monster Mike Welch, bassist Michael ‘Mudcat’ Ward and drummer Neil Gouvin (although Marty Richards handles the drum chair for most of this). Guests include Darrell Nulisch, Michelle ‘Evil Gal’ Wilson, and Toni Lynn Washington, who along with Norcia, handle the vocals. Geraci produced this, in addition to playing piano and organ, and writing all 13 songs.

He gives some really wonderful new blues heard in terrific performances by all involved. Darrell Nulisch sings the opening “Everything I Do Is Wrong,” that sounds a song Otis Rush should have recorded for Duke. It features a tough Welch solo while Geraci pounds the ivories. The title song follows, a jump blues duet shared by Norcia and Wilson, with rollicking piano. Welch plays in a T-Bone meets B.B. vein on this. The next two selections are classic Chicago styled blues. “Sad But True,” is a Tampa Red styled blues with Welch on slide and Norcia on harmonica. It is followed by the stunning Muddy Waters influenced “Heard Thet Tutweiler Whistle Blow,” with Norcia singing about going to Detroit to build a car for Mr. Ford. Geraci channels Little Johnny Jones and Otis Spann on these two songs.

More Otis Spann influence is present on the closing “Blues For David Maxwell,” a superb instrumental tribute to the late pianist with Geraci's at perhaps his finest (and he is exceptional thoughout). This performance builds in intensity as Welch adding fiery guitar before Ward’s bass leads the band into a surprising concluding portion where they evoke Pharoah Sanders “The Creator Has a Master Plan,” with Norcia playing wood flute here. It is a marvelous finale to a stellar recording. Anthony Geraci is a first-rate blues songwriter and a terrific keyboard player. With these superb musicians supporting him, there should be no surprise about the consistently marvelous music on “50 Shades of Blue.”

I received my copy from Delta Groove. Here is a performance from the CD release party.

The Henry Gray/ Bob Corritore Sessions Vol. 1

 

Bob Corritore has been championing the greats of blues, especially Chicago blues, for several decades. Host of a terrific blues radio program in Phoenix where he also operates the Rhythm Room, he also has produced a variety of blues recordings. His latest production celebrates pianist Henry Gray who turned 90 in January 2015. The Henry Gray/ Bob Corritore Sessions comes our way with “Vol. 1 Blues Won’t Let Me Take My Rest” (Delta Groove). Included are 14 selections featuring the pianist perhaps best known for his 14 years with Howlin’ Wolf as well as session work with a variety of artists for Chess and other labels. Its been about 45 years since Gray left Chicago and moved to Louisiana where he has played, playing festivals and clubs.

For “Blues Won’t Let Me Take My Rest”, Corritore has put together 14 selections from 12 sessions over a 19 year period (including one on Henry’s 90th Birthday) with Gray and Corritore joined by a wide range of blues legends and players including Robert Lockwood, Jr.; John Brim; Willie ‘Big’ Eyes Smith; Nappy Brown; Tail Dragger; Chico Chism; Dave Riley; Bob Margolin; Bob Stroger; Chris James; Patrick Rynn; Kirk Fletcher; Kid Ramos; and June Core.

Gray has been overshadowed by Pinetop Perkins amongst his contemporaries in general recognition, and while folks might argue on who is the stronger pianist, Gray, although an untrained singer, is more forceful and displays more personality, as reflected on his impassioned singing on the title track (most associated with Jimmy Rogers). But he certain captures the spirit of shouter Grant Jones’ “Let’s Get High” and Hot Lips Page “They Raided The Joint.” On several tracks he provides strong support behind some legendary figures including Robert Lockwood, Jr. on “Ramblin’ On My Mind,” and Nappy Brown on a superb rendition of “Worried Life Blues” that was a signature song of Gray’s major piano influence, Big Maceo. Dave Riley tackled “Ride With Your Daddy Tonight” while John Brim sings “That Ain’t Right.” Lowell Fulson’s “Trouble Blues” features one of Gray’s top vocals here with Bob Margolin adding slide guitar while Tail Dragger adds some color commentary to the rollicking “Boogie Woogie Ball.”

After a credible Jimmy Reed cover, “Honey Don’t Let Me Go,” this CD concludes with a moody swamp blues flavored rendition of B.B. King’s “She Don’t Move Me No More,” with Corritore (outstanding throughout) heard here in a Walter Horton vein. This is a solid and delightful collection of classic Chicago blues with a touch Louisiana swamp blues mixed in. Given that this is labeled Vol. 1, one looks forward to a further release of Henry Gray’s blues sessions with Bob Corritore.

I received my review copy from Delta Groove and this review originally appeared in the July-August Jazz & Blues Report (Issue 361). Here is Henry in performance.

Terry Hanck Gotta Bring It On Home To You

Saxophonist and vocalist Terry Hanck has a rhythm and blues party on his new Delta Groove release, “Gotta Bring It On Home To You.” The CD is by The Terry Hanck Band and Friends which has Hanck and his band of guitarist Johnny ‘Cat’ Soubrand, bassist Tim Wager and drummer Butch Cousins joined by friends guitarist (and producer) Chris ‘Kid Andersen; guitarist Debbie Davies; keyboardist Jim Pugh; Baritone saxophonist Doug James; pianist Bob Welsh; organist Lorenzo Farrell and background vocalists Lisa Leu Andersen and Dennis Dove.

Bringing his vocals with a touch a grizzle and his mix of King Curtis yackety-yak with Junior Walker honking, Hanck and his friends bring together a lively part of rocking R&B on Elvin Bishop’s Right Now Is The Hour evoked Hank Ballard; the straight blues Peace of Mind with Soubrand sounding like a cross between Magic Sam and Johnny ‘Guitar’ Watson; the swamp pop flavored My Last Teardrop, although the performance shifts midway into a West Coast R&B rocker; the King Curtis influenced organ sax groove of T’s Groove; and the  straight cover of Tommy Ridgely’s classic instrumental Jam Up.

There are plenty of production touches such as the cheesy fafisa organ used on Pins and Needles that lends it a Tex-Mex flavor. Hanck’s band is excellent and the guests all acquit themselves quite well. Also, production and recording is excellent, as expected with Delta Groove. Gotta Bring It On Home To You is another fine CD from Hanck.

I received my review copy from Delta Groove. Here is a video of the Terry Hanck Band with some booting sax to kick things off.

Smokin' Joe Kubek and Bnois King Live a Road Dog's Life

After taking a slight detour towards an unplugged recording on their Delta Groove debut, Smokin' Joe Kubek and Bnois King have a new release for Delta Groove, Road Dog's Life. Returning to their fiery electric blues, they are supported by Willie J. Campbell on bass and Jimi Bott on drums with appearances by Kid Andersen on guitar and Randy Chortkoff and Kim Wilson on harmonica (and vocals). The mix of Kubek's husky guitar with King's jazzier playing and soulful singing (evocative of Otis Rush) continues to have considerable appeal. Kubek can rock the blues with the best of them, yet he always remains anchored in the blues with his well structured solos. King's singing can bring out a laugh as well as get down to the heartbreak one will experience.

On this, they mix in originals such as the opening Big Money Sonny, K9 Blues, the title track and Nobody But You (with Wilson and Chortkoff adding vocals on this title), with a couple of surprising covers. Big Money Sonny is an amusing tale about a gambler who (loves the dice and cards) has a nice marriage by convenience and handles everything in cash with some outstanding guitar. In contrast Come On In, Bnois welcomes back a lover that he tells her he won't be upset when she leaves because that is her style. The two have some nice unison playing during the short guitar breaks. With Wilson and Chortkoff adding harp and trading vocals with King, King leads them singing how much they want their lady in Nobody But You. Its a terrific shuffle with Campbell and Bott being terrific.

The title track, penned by Kubek's wife Phyllis, is a nice blues-rocker about the ins and outs of being a road dog that is a blues performer's life. Things start poor for King on K-9 Blues, as King's fiancé complains about his eyes wandering, calls him a dog, and sets him free since he doesn't deserve a good woman like her. Wilson adds harmonica on this with more strong blues guitar. That Look On Your Face is enlivened by a Tex-Mex accent (again Campbell and Bott are stellar). A change of pace is provided by covers of George Harrison's Don't Bother Me, and The Stones Play With Fire, as King providing his own take on these renditions along with Kubek's crisp playing featured. Chortkoff adds harmonica to the latter number.

Throw in the rock and roll of I Ain't Greasin' (with Kim Wilson) and the Muddy Waters' inspired Talkin' 'Bout Bad Luck (on which Kubek plays lap steel) and one has another first-rate addition to Kubek and King's recordings.

I received a review copy from Delta Groove. Here is a clip of Smokin' Joe Kubek and Bnois King in performance.

Sugaray Rayford Is Dangerous

I was familiar with Caron 'Sugaray' Rayford prior to his joining The Manish Boys. About his self-produced debut album Blind Alley, I observed, "Not many singers can take us from the delta to the modern chitlin’ circuit as easily as he does. A big man with a big voice and plenty of personality that makes Blind Alley a recording to savor." He can be heard on "Double Dynamite," the most recent recording by The Manish Boys where he shared vocal duties with Finis Tasby. With Tasby's recent health problems, Sugaray Rayford has become the primary vocalist for the rotating talent that play in that group. 

Delta Groove has just released the label's first release by Sugaray Rayford, Dangerous. Producer Randy Chortkoff has brought together an impressive group of supporting players including harmonica players Sugar Ray Norcia, Kim Wilson, Big Pete and Chortkoff himself; guitarists Kid Andersen, Franck Goldwasser; Gino Matteo and Monster Mike Welch; keyboardists Anthony Geraci and Fred Kaplan; bassists Willie C. Campbell and Bill Stuve; and drummer Jimi Bott. Several tracks have the horns of saxophonist Ron Dziubla and trumpeter Mark Pender. This is a first-rate studio band to back Sugaray's vocals.

There is a nice mix of material from the Chicago blues shuffle that Sugar Ray Norcia penned, Country Boy, a song reminiscent of Dave Bartholomew's similarly titled track.which sports Norcia's harp as well. The Sugaray and Norcia trade vocals on Norcia's amusing Two Times Sugar with Monster Mike superb here. Sugaray's "Stuck For a Buck" is an amusing uptown number as his woman has maxed out his credit cards with punchy horns. Chortkoff contributed I'm Dangerous, a fine lyric that evokes Muddy Waters (especially Muddy's recording Evil) as Rayford shouts that he is a natural born lover. Going Back To Texas is another fine Muddy Waters styled number with a melody that goes at least back to Otis Spann's Hungry Country Girl, that the great pianist recorded with Fleetwood Mac. 

Goldwasser channels T-Bone Walker on the excellent rendition of Pee Wee Crayton's When it Rains It Pours as Sugaray gives a wonderfully nuanced vocal while he shouts out Gatemouth Brown's Depression Blues, with some terrifically slashing guitar in the  manner of fifties Johnny 'Guitar' Watson from Kid Andersen. Andersen and Chortkoff also shine backing Sugaray on the cover of Junior Parker's In The Dark. 

Closing out Dangerous is a rendition of Son House's Preaching Blues with some nice slide guitar from Goldwasser. It is an interesting and enjoyable performance, if not completely successful to these ears. It does not diminish the overall excellence of the blues heard here. Sugaray Rayford is such an impressive singer and with excellent material and the superb backing band, Dangerous is another terrific album from a gentleman who is quickly solidifying a place in the upper ranks of blues singers today.

I received my review copy from Delta Groove.  This will be issued on September 17. This review has also appeared in the September-October issue of Jazz & Blues Report (Issue 350) which may be downloaded as a pdf file at www.jazz-blues.com.  Here is a video of Sugaray with The Manish Boys.

John Primer and Bob Corritore are Knockin’ Around These Blues

The fact that John Primer and Bob Corritore share the billing on a new Delta Groove release, Knockin’ Around These Blues, is certain to be welcome to fans of real deal blues. Primer, a member of Muddy Waters last band and a long time member of Magic Slim’s Band, has deservedly acquired a reputation as among the finest living ‘old school’ Chicago blues artists still with us. The fact that Bob Corritore (who produced this) has teamed up with Primer for this new release is doubly welcome as his recent collaborations have been generally outstanding. The album was recorded in two sessions. One session in Phoenix with Chris James on guitar, Patrick Rynn on bass and Brian Fahey on drums. The other session was in Chicago with Billy Flynn on guitar, Bob Stroger on bass and Kenny ‘Beedy Eyes’ Smith on drums. Pianist Barrelhouse Chuck is on both sessions. 

The personnel listing should give a sense of what to expect, and indeed this is a recording that fans of classic Chicago blues will savor. While most of the album are covers, the songs covered such as the opening rollicking rendition of Jimmy Reed’s The Clock, will be fresh and even the most familiar songs, Little Walter’s Blue and Lonesome (with some real nice slide guitar), and Robert Lockwood Jr.’s Little Boy Blue (sounding as if Muddy Waters had recorded), are reworked so they sound new. Primer sings and plays strong, Corritore wails and Barrelhouse Chuck pounds the 88s. 

The originals are Primer’s When I Get Lonely, which has the feeling of some of Eddie Taylor’s fifties recordings and Corritore’s Harmonica Joyride, a rollicking feature for him. Other highlight’s include Primer’s take on Artie White’s Leanin’ Tree, taking that soulful blues to Pepper’s Lounge, Lil Son Jackson’s Cairo Blues, transformed into a Chicago blues shuffle and a rendition of Lightnin’ Hopkins’ Going Back Home sounding as Muddy Waters might have done it back in the sixties. 

Bob Corritore has to be thanked for his efforts to bring deserving blues performers into the spotlight. John Primer should have been a household name amongst blues lovers for several years, and if there is any justice, the stellar Knockin’ Around These Blues will elevate him to this status. He is among today's finest blues performers.

I received my review copy from Delta Groove. John Primer will be performing at the Chicago Blues Festival, the Mississippi Valley Blues Festival, Safeway Waterfront Blues Festival, the Pennsylvania Blues Festival, the Riverfront Blues Festival and other blues events this summer. Here is John performing They Call Me John Primer from a few years back.

Incidentally here is a link to my blog entry where I reviewed several of John's earlier albums.

Andy T - Nick Nixon Band Drink Drank Drunk

Andy “T” Talamantez is a Southern California native who spent eleven years touring with Smokey Wilson and Guitar Shorty, although in recent years he has been based in Nashville where he has been hosting the Nashville Blues Society’s regular Sunday night jam. It was at the jam that he heard Nick Nixon. “The first time Nick sang next to me on stage I got goose bumps. Nick sings like I’d like to able to sing.” A guitarist himself, Nixon, developed a relationship with Andy T. ““Andy plays great in every style of blues, so I like to just play rhythm and let him handle the hot stuff. But even when he’s playing the hot stuff, Andy knows that the blues is about soul and feeling, not about playing a lot of notes.”

The partnership formed at the Sunday Jams has developed into a most formidable band. The Andy T - Nick Nixon Band has a debut recording on Delta Groove, Drink Drank Drunk. The CD is produced by Texas guitarist and band leader, Anson Funderburgh, who first met Andy T while Andy T was touring with Guitar Shorty. Anson with his association with various singers fronting The Rockets, most notably with the late Sam Myers, brings his experience in making a number of solid recordings. A variety of individuals add backing here including pianist Christian Dozzier, bassist John Garza, and drummer Danny Cochran.

There is a mix of interpretations of some post-war blues classics and originals with the tone set by the rendition of Gatemouth Brown’s Midnight Hour, with Nixon’s singing complemented by Andy T’s guitar playing which evokes Johnny ‘Guitar’ Watson, and this track is followed by a cover of Watson’s Don’t Touch Me. The fifties West Coast flavor is continued in the title track, an original from Tom Hambridge and Gary Nicholson, with Ron Jones adding some raspy sax behind Nixon’s vocal celebrating a 24 hour happy-hour with a lazy groove suggestive of Watson’s Motorhead Baby, with Andy T adding some stinging guitar. Nixon’s voice can soar, but also he is able to sing in a relaxed baritone as on Paul Gayten’s No Use Knockin’ with Jones’ sax featured.

Dozzier’s accordion lends a Tex-Mex flavor on Andy T’s original Have You Seen My Monkey, with a slashing guitar solo. This is followed by the crisply played guitar feature for Andy T and Anson Funderburgh, Dos Danos, with Jones wailing on a sax break as well. Nixon’s No End To The Blues has Nixon really tearing into the vocal joined by Markey’s backup singing here with more blistering guitar. On My Way To Texas is a wonderfully paced original that celebrates the blues history and the wide open spaces of Texas as Nixon sings give me some Lightning, T-Bone, Frankie Lee and Albert is so cool. Nixon’s You Look So Good, is a relaxed Jimmy Reed styled shuffle with Brian ‘Hash Brown’ Calway adding harmonica. Dozzier is on accordion for the closing track, a cover of Ray Charles’ I Got a Woman, where Nixon displays his gospel roots in his fervent singing. 

This is a wonderfully produced recording with a terrific studio band to support Andy T and Nick Nixon in marvelous, wonderfully paced and performed performances. Andy T impresses with his fluidity, tone and taste while Nixon brings pretty of heart and soul to his nuanced vocals. Not simply an impressive debut, Drink Drank Drunk will have listeners wanting another dose of music from The Andy T - Nick Nixon Band. 

I received a review copy from Delta Groove. Here the two are performing Have You Seen My Monkey.

The acoustic side of Smokin’ Joe Kubek and B’Nois King

For their latest recording (and Delta Groove debut) Close To The Bone, Smokin’ Joe Kubek and B’Nois King unplug themselves for an album of acoustic performances. The two are supported on this recording by a variety of individuals over the course of the 14 that include Randy Chortkoff, Bob Corritore, Pieter 'Big Pete' van der Plijim, and Lynwood Slim on harmonica; Kirk Fletcher, Shawn Pittman and Paul Size on guitar; Fred Kaplan on piano; Willie J. Campbell on bass; and Jimi Bott on drums. Most of 14 selections are originals with a couple of the songs adaptations of recordings from the Texas blues tradition.

This does present a different side of the two. While they both play quite vigorously on this album, their contrasting guitar attacks much more effectively play each other when amplified. While they play acoustically, neither is adept at early blues guitar style, so their rendition of a Ramblin’ Thomas or Texas Alexander song has a distinctly different flavor than the original country blues recording. This is not to complain about the music contained here, but to make you aware of what one will not hear.

The music is quite well played. B’Nois King is such an appealing singer and they have some quite appealing songs. A lively rendition of Ramblin’ Thomas’ Poor Boy Blues opens this album with some nice guitar interplay as King sings about rambling from Louisiana to Texas. My Best Friend has a wistful lyric about not having listened to this lady who told him slow down and not grow up too fast. Shawn Pittman contributes a slide guitar solo that adds to the feel here. Keep Her Around is a lively shuffle with a with a strong King vocal and a harmonica trio (Chortkoff, Corritore and Big Pete) that is part of the driving small group. She Got Rid Of Me, is a tale about a high school lover who King supported through college. When she finished her schooling she schooled him, getting on her feet and kicking him out to the street, making big dough and telling B’Nois he had to go.

While songs like Yankin’ My Chain, and She Got Rid Of Me, explore typical blues themes of the relations between the sexes, there are a couple of very strong topical blues, Drowning in Red Ink, and Ordinary Man. “Drowning” is a small group performance with a melody that suggests Charles Brown’s I Want To Go Home with Fred Kaplan adding piano while King sings about holding on to his job, his confidence being shot and just holding on till the next pay day as they are cutting back on everyone’s pay while the boss gives himself a raise. Ordinary Man (another small group performance with Kirk Fletcher added on guitar although Kubek and King solo) lambastes politicians who put on a suit and wave old glory while playing games with folks lives. Lynwood Slim adds some very nice harmonica to the duo’s rearrangement of Texas Alexander’s Bad Luck Child, an effective performance that tames the field holler qualities of Alexander’s original.

Close To The Bone is a welcome addition to the Kubek-King discography. While I would recommend other of their recordings prior to this one, their fans will likely, as I did, enjoy this change of pace.

I received my review copy from Delta Groove.

The Blues Broads Heard And Seen Live!!!

The Blues Broads is a musical revue that brings together four strong voices together with a tight backing band that began as a collaboration between Tracy Nelson who would join Angela Strehli on West Coast gigs. Later they added various vocalists for an annual BBQ event, "The Blues Broads" before Dorothy Morrison (best known for "Oh Happy Day" as part of the Edwin Hawkins Singers) and Annie Sampson (of a Bay area band Stoneground) became part of what was now a regular group that took the name of the BBQ Event.
               
Delta Groove has just issued a eponymously titled CD/DVD package of The Blues Broads, recorded and filmed live at the 142 Throckmorton Theatre in Mill Valley California. They are backed by a band that includes Steve Ehrmann on bass, Paul Revelli on drums, Gary Vogensen on drums and Mike Emerson on keyboards. Deanna Bogart is a special guest on keyboards, saxophone and vocals. The CD has ten songs which are all on the DVD along with Annie Sampson singing Bob Dylan's It's All Over Now/ Baby Blue. The sequencing of the songs differs on the DVD from the CD.

There are some singing marvelous singing to be heard and seen here. Several songs allow the ladies to share verses such as the Tracy Nelson and Gary Nicholson penned Livin' The Blues,' which opens both the performances up. The material mixes blues, classic R&B, and some contemporary blues-rooted roots. Tracy Nelson's vocal on Oliver Sain's Walk Away, is simply a great performance full of both with subtlety and power. Annie Sampson certainly has people take notice of her on Bring Me Your Love, but even more so on her fervent re-imagination of Dylan's It's All Over Now/ Baby Blue.

Strehli's Two Bit Texas Town, is a tough performance that has remember how she used to listen to Jimmy Reed, Muddy Waters and more growing up in her two-bit Texas town. Deanna Bogart gets showcased on It Won't Be Long, which is a centerpiece of her live shows. Its brave of Dorothy Morrison to cover Tina Turner on River Deep, Mountain High, and its an enjoyable performance but doesn't really grab the listener or viewer as does the closing gospel numbers Jesus, I'll Never Forget, and Oh Happy Day, with her taking everyone to the Church on this closing performance.

This must have been quite an event for those who attended the performance where this was recorded/filmed. The filming is pretty straight-forward with little if any of distracting gimmicks some others might have inserted. While there perhaps only are a few exceptional performances, the level of the performances still is quite high and certainly this will rightfully appeal to a wide range of listeners who simply enjoy good music.

I received a review copy from the record label.  One can see a clip of The Blues Broads in performance at http://thebluesbroads.com.

RJ Mischo Makes It Good

Veteran harmonica player and singer RJ Mischo has a new recording Make It Good on Delta Groove. On this recording he is mainly backed by guitarist Johnny Moeller (recently of Fabulous Thunderbirds fame), guitarist Nick Curran; bassist Ronnie James Weber; keyboardist Nick Connolly and drummer Wes Starr with two tracks having guitarist Jeremy Johnson from the Twin Cities area in Minnesota.

The 13 selections are all Mischo originals and with the exception of the rock and roll of the opening Trouble Belt, are Chicago and Memphis styled blues. While Mischo’s hoarse vocal might be a little over-the-top on Trouble Belt, Connolly conjures up Johnny Johnson while both Curran and Moeller take hot guitar breaks. The Frozen Pickle is a spirited shuffle instrumental that allows Mischo’s to showcase his wet and full harp tone, while Connolly on organ helps lay the foundation before taking a solid solo followed by some choice guitar. The title track with Mischo shouting the vocal has skeletal backing from Johnson’s reverb heavy guitar and Richard Medek’s drums.

Another instrumental, Papa’s S.T. Special has a driving groove and harmonica with some Sonny Terry styled whoops interjected while Mischo channel’s Rice Miller on a lazy shuffle, Minnesota Woman, that the rhythm section nails the groove on. Miller and the King Biscuit Boys are also conjured on the slow blues Not Your Good Man, with Moeller taking a pretty tight solo. The Biscuit Is Back is another song in a similar vein with a lyrical allusion to the King Biscuit Time theme with Moeller evoking Willie Johnson and Joe Willie Wilkins.

The two-part Arumbula is a harp feature with a latin tinge and Connolly also prominent, while another instrumental with Johnson on guitar, Up to The Brim is a lovely instrumental rendition of the late John Brim’s recording, Rattlesnake, with Mischo working in the Little Walter vein while Johnson added the right touch with his guitar and bass drum.

RJ Mischo’s Make It Good is a spirited album of rocking harmonica blues performances. Mischo’s energetic and rousing playing and the strong backing band results in a recording that should appeal to a a wide range of listeners.

Delta Groove provided me the review copy. Here RJ performs Up to The Brim from March 2012.

Nathan James Makes Plenty Out Of It

Nathan James mixes home-made guitars such as his tritar (a three string instrument made out of a washboard and axe handle) and other similar instruments (such as the baritone Washtar, a baritone guitar built over a washboard) with a deep knowledge of early blues styles as well as gospel and 50s to 60s blues and R&B. While he has recorded in a duo format with Ben Hernandez, on his new Delta Groove CD, What You Make Of It, he has his touring band, The Rhythm Scratchers with Troy Sandow on bass and harmonica and Marty Dodson on drums and percussion. James Harman (with whom James toured for three and a half years) plays harmonica on one track while saxophonists Johnny Viau and Archie Thompson are present on two.

It would be easy to look at James and his homemade instruments as a novelty, but he and the Rhythm Scratchers certain get beyond that to present a distinctive style with James’ natural sounding and assured vocals and thoughtful, propulsive playing up front with the rhythm section providing a solid foundation. This is evident on the solid cover of Jimmy McCracklin’s Later On, with the crisp rhythm underlying the vocal. On the next track, the propulsive groove of Get To The Country, on which Sandow wails on harp while James mix hard chords and agile picking, while Dodson adds some rhythmic accents here..

One treat is his reworking of Blind Boy Fuller’s Black Snake Jivin’ with his adept mix of finger picking and rapping the groove on the washboard with kazoo provides a skiffle feel at times. By the way, listening to this number (I am not familiar with Fuller’s original), it was clear that Fuller reworked Eddie Miller’s I’d Rather Drink Muddy Water which has become a blues standard. Miller recorded his song in 1936 and Fuller in 1938. There is a philosophical bent to Make It On Your Own, a soulful ballad nicely sung with more nice harp from Sandow.

James Harman wrote Rhino Horn and he guests on vocal and harmonica is built on a emphatic beat from Dodson while James’ lays down a slide-based backing on the tritar. What’s nice is the space in the performance which is characteristic of the entire recording. James and crew avoid trying the fill every aural space and allows the silences to speak as much as what is played. The rag-tinged Pretty Baby Don’t Be Late, has James on resonator guitar and kazoo with nice finger picking and a solid backbeat from Dodson and followed by Blues Headache, a lazy harmonica feature for Sandow with the bass-toned tritar slide providing a nice contrast. Pain Inside Waltz, found inspiration in cajun fiddle tunes with a poignant vocal. The horns add to the funk groove in James’ interpretation of Bobby Patterson’s “I’m a Slave to You,” on which James has a rollicking solo. The horns are also present for James’ First and the Most, a ballad that has a swamp pop feel to it.


After the insistent Hill Country Blues groove of You Led Me On, this disc concludes with what James calls a Homesick James’ inspired closing instrumental, Tri-Tar Shuffle Twist, with some nice slide that is suggestive of the late Chicago blues legend’s style that provides a fresh take on this style. I was not familiar with Nathan James’ music prior to What You Make Of It, but I was impressed to already acquire one of his prior recordings. There is some seriously good, original blues by Nathan James and The Rhythm Scratchers here.

Delta Groove Records provided me with the review copy. Here is Nathan James Trio at the 2011 Portland Waterfront Blues Festival.

The Mannish Boys Blast Off With Double Dynamite

Delta Groove has issued a new release by The Mannish Boys, Double Dynamite, which is two discs of music. One CD evokes the classic Chicago blues sound of Muddy Waters, Little Walter and the like while the other CD is more rhythm and blues rooted with songs from Albert King, Jimmy McCracklin, James Brown and others. Scott Dirks in his notes suggests that The Mannish Boys are a virtual blues festival in a single band.

Sugaray Rayford has joined Finis Tasby to become the band’s prime vocalists and brings a contrasting approach with a bit more urbane, gospel-rooted approach to Tasby’s grainy, laconic style rooted in the blues of the southwest. Back on guitars are Frankie Goldwasser and Kirk Fletcher, and Delta Groove chief Randy Chortkoff on harmonica with Willie J. Campbell on bass and Jimi Bott on drums. then there is a fair amount of guests including appearances by James Harman, Mud Morganfield, Jackie Payne and Mike Finnigan on vocals; Elvin Bishop, Nathan James, Kid Ramos, and Junior Watson on guitar; James Harman, Bob Corritore, Rod Piazza, and Jason Ricci on harmonica; and Ron Rio, Mike Finnigan, Rick Wenzel and Fred Kaplan on keyboards.

The music on the two discs are traditionally rooted in some classic blues themes and grooves but the covers here never are simply copies. For one thing, instrumentation varies from the original recordings and if for example Finis Tasby’s rendition of Mean Old World is derived from Little Walter’s recording, employment of Elvin Bishop’s slide guitar gives it its own flavor. Sugaray shouts out Son House’s Death Letter on the first disc entitled Atomic Blues with Jimi Bott powering the groove as Goldwasser plays some Muddy Waters on steroids styled slide. His vocal delivery is much more relaxed on Bricks on My Pillow with Goldwasser swinging a bit on guitar her while Rob Rio boogies the ivories. Jackie Payne does a nice job singing a Muddy Waters medley of She’s 19 Years Old/ Streamline Woman, with more fine piano, Rod Piazza wailing on harp and Goldwasser sounding strong. Mud Morganfield conjures up his father on Elevate My Mama and Mannish Boy, with the latter modeled closely on Muddy’s version with Johnny Winter. Bob Corritore adds choice harp here. Chortkoff contributes an idiomatic Chicago blues-styled shuffle that Sugaray delivers vocally and Kirk Fletcher rips off a fiery solo. Goldwasser is featured on slide and vocals on Johnny Littlejohn’s Bloody Tears.

The second disc, Rhythm & Blues Explosion continues the fun and solid idiomatic performances. Born Under a Bad Sign sports a strong tasby vocal and searing Elvin Bishop guitar while Sugaray and and Cynthia Marley share the vocals on James Brown’s You’ve Got the Power, which has a crackling solo from Nathan James and solid horns in the backing. Another Albert King cover Drowning on Dry Land finds Fletcher having a bit of King in his tone behind Sugaray’s vocal. King also recorded James Brown’s Cold Sweat for Stax, and it is some of the inspiration for this Kirk Fletcher feature with Mike Finnigan on organ and Goldwasser adding some churning rhythm guitar while Bott gets the funky groove down. Finnigan on piano and vocals does a fine job on Ray Charles’ Mr. Charles Blues, with Fletcher in a jazzier mode here. Songs like Jimmy McCracklin’s Later On are particularly fine vehicles for Finis Tasby with Nathan James taking a torrid solo.

The remainder of the 26 songs are similarly potently performed and while there are mostly covers, few would be considered heavily recorded. To Scott Dirks suggestion that the Mannish Boys are a virtual blues festival, I suggest Double Dynamite is a virtual All Night All Star Blues Party.

I received my review copy from Delta Groove. Here is a video featuring finis Tasby singing. There are videos on their website, http://www.themannishboys.com/.

Tail Dragger And Bob Corritore Are Long Time Friends

Chicago blues performer, Tail Dragger has a new release in collaboration with Bob Corritore on Delta Groove, Longtime Friends In The Blues. Tail Dragger has built a career on his Howlin’ Wolf inspired style while Corritore is not only a fine harmonica player, but also a terrific producer of classic Chicago styled blues recordings. Corritore and Tail Dragger met the day after Wolf passed in 1976 at a tribute to Wolf and became friends, hence the album title. Corritore has assembled a terrific band here that includes former Howlin’ Wolf pianist Henry Gray; guitarists Kirk Fletcher and Chris James with patrick Rynn on bass and Brian Fahey to help evoke the spirit of the great Wolf.

Tail Dragger certainly does a credible job in suggesting the music of the legendary Wolf and the solid band provides performances firmly in Wolf’s style. The guitarists Fletcher and James certainly along with pianist Gray, Corritore’s harp embellishments and the rock solid rhythm provide of pastiche of Wolf’s recordings . The sound of Wolf is evoked from the opening moments of I’m Worried and Sugar Mama (the latter includes Gray sharing the vocal); through the relentless Through With You; the driving shuffle of Done Got Old; the rollicking Boogie Woogie Ball that spotlight’s Gray two-fisted piano; and the closing Please Mr. Jailer, where Tail Dragger pleads to the judge let his woman go free when she is accused of murder but she wouldn’t hurt a flea.

Tail Dragger is not quite as powerful a singer as Wolf was, and his diction is a bit slurred, but like his prior recordings on Delmark, has provided us with solid and idiomatic recordings backed by a thoroughly idiomatic and sympathetic backing band. There are mostly originals in a Wolf vein that are nicely performed. This certainly will appeal to fans of Tail Dragger as well as lovers of traditionally oriented Chicago blues.

I received a review copy from Delta Groove Productions. Here is a video of Tail Dragger and Bob Corritore.

Candye Kane's Strong Recording - Sister Vagabond

While it has been out for several months, I have been pleased to turn my attention to Candye Kane’s most recent release on Delta Groove, Sister Vagabond. Courageous as she is a brassy and vibrant blues and roots performer, this latest entry in her discography will certainly be welcomed by many. It is the first extended opportunity for this listener to hear her guitarist Laura Chavez who also collaborates on the originals here. A variety of first rank players such as drummer Paul Fasulo, saxophonist Johnny Viau and pianist Sue Palmer guest on selected tracks adding to the sound here.

Chavez sets the tone on the remake of Johnny ‘Guitar’ Watson’s I Love To Love You, that opens this recording with her slash and burn playing that is modeled on Watson’s originals. Elsewhere her superior guitar playing shows a familiarity with Ike Turner and other significant blues guitar legends in developing a strong personal style. There is plenty of humor and wit as displayed in the original Love Insurance with Viau’s riffing horns set the mood for Kane’s lyric of needing coverage for heartaches but her heart has been broken too many times. She sings with fervor and there are strong guitar and sax breaks.

There is plenty of grit in an interpretation of Sweet Nothin’s, a hit for Brenda Lee that is is performed with plenty of grit and grease by Kane with Chavez adding plenty of atmosphere with her trebly tone and a slashing solo. The ability of Kane and Chavez to match lyrics with music is shown on Walkin’, Talkin’ Haunted House, where Chavez’s guitar recalls Ike Turner and his use of the whammy bar behind Kane’s anguished vocal as she recalls past loves and she can’t lend go of these memories. Stephen Hodges adding some percussive effects in addition to playing drums on this powerful performance.

You Never Cross My Mind is a country flavored shuffle about an ex-lover with spirited piano from Sue Palmer. Everybody’s Gonna Love Somebody Tonight from Jack Tempchin and Glenn Frey is a straight-ahead rocker with James harmonica adding harmonica here and Chavez further displaying her strong blues guitar playing that is free of any blues-rock cliches. You Can’t Take It Back From Here, was originally an angry song that was turned into a song about restoring our planet with Chavez again channelling Ike Turner on her trebly playing behind the passionate Kane vocal

The other pleasures here include You Can’t Hurt Me Anymore, a declaration against a former lover with another terrific guitar solo; Hard Knock Gal, about the ladies of today that can steal one’s heart away with a smile and not take crap from anyone; the zydeco flavored Have a Nice Day; and the spirited “I Deserve Love, with a skiffle-blues flavor including nice harmonica from Billy Watson.

Sister Vagabond is another strong addition to Candye Kane’s rather substantial discography.

I receive a review copy from Delta Groove.  Here is a video of Candye and Laura at the Blues Blast Awards.