Mike Zito Resurrection

Mike Zito
Resurrection
Gulf Coast Records

About his new album "Resurrection," Mike Zito states that it "is an album of feelings, emotions, and is very personal. The title track is how I once almost lost my love, but it came back stronger than ever. I have had this song in me for years, but it only makes sense now to share it with the world. After the year we have had on planet Earth, I believe we all need a rebirth. This rebirth has given me an opportunity to be who I want to be musically and artistically." Joining Zito on this album are some musicians who've played with him for the last several years, including Matthew Johnson – drums; Doug Byrkit - bass guitar; Lewis Stephens – piano, organ; Zach Zito - acoustic guitar; and Lisa Andersen - backing vocals. Eric Demmer is on saxophone, and Fernando Castillo on trumpet where heard.

While often described as a blues-rocker, there is more rock than blues on this album to these ears. This comment is simply descriptive. Zito sings with vitality and can shred with the best of him. More importantly, he does write good songs and performs with heart and heat. There is a Tom Petty flavor on the opening cover of J.J. Cale's "I'll Make Love To You." In addition to his saw-toned slide guitar, Demmer rips off an intense bit of hot honking tenor sax. There is much more rock energy elsewhere on this recording, such as "Don't Bring Me Down."

Other tracks include a hard rock cover of Blind Faith's "Presence of the Lord." Zito may not be Stevie Winwood, but he acquits himself well with his vocal while adding searing guitar. "When It Rains" is a bluesy number with a relentless rhythm and atmospheric horns. I am not fond of the head rock arrangement of Howlin' Wolf's "Evil." Zito's vocal strikes this listener as overwrought here, although Stephens' organ is noteworthy. Not everything is hard rock or blues-rock. "In My Blood" has a low-key, restrained backing to complement Zito's understated singing.

About the title track, Zito says, "The title track is how I once almost lost my love, but it came back stronger than ever." It is a powerful track with solid lyrics and passionate singing. It closes an album that will have considerable appeal to those who like their music rocking.

I received my review copy from a publicist. Here is the title track.

Casey James - If You Don't Know By Now

Casey James - If You Don't Know By Now - Self-produced

Singer-guitarist Casey James may be best known as a finalist on the "American Idol" TV show. While blues was the heart of his musical soul, after "American Idol," he was signed to a major-label country deal. However, the limitations of commercial country overlapped only with his passions. More recently, with drummer-producer Tom Hambridge at the helm, he has turned to his love of the blues while also allowing him to display his instrumental skills. His latest album is a set of fiery blues-rock and soulful blues with a healthy dose of soul. A tough studio band supports James' guitar and vocals. The band includes Hambridge on drums, Tommy McDonald on bass, Mike Rojas on keyboards, Rob McNelley on rhythm guitar, Emmanuel Echem on trumpet, Bryan Meggison on saxophone, and Desmond Ng on trombone. Hambridge and Wendy Moten provide backing vocals.

Fans of Delbert McLinton or John Nemeth's bluesier side will likely find Casey James to their taste. His passionate singing and searing blues-rock guitar certainly capture the listener's attention. A couple of songs may be a bit too rock-flavored for the likes of some, the high-stepping groove of "Girl's Got Something" certainly should appeal to most listeners. Then there is a superb ballad, "Here To Please," and the equally soulful, finger-snapping title track with a marvelously crafted guitar solo. Another outstanding performance is the soul-blues of "Wish Me Luck," which again illustrates how convincing a singer James can be as the Rojas' organ and the horns riff in support. Also, there is another well-crafted guitar solo on this song. 

James gets a party groove going on the exhilarating of the funky "Come On Saturday Night." If you aren't at least tapping your feet, have someone check your pulse. There is also some rowdy kazoo playing on this track. Also of note is "Nothing But Time," which sounds like a classic 50's Gulf-Coast swamp pop number. The album closes with the atmospheric, swampy, slide guitar blues-rock two-part "Faith," with James singing and playing his heart out. With the broad mix performances on "If You Don't Know By Now," listeners will be quite aware of whom Casey Jones is. He indeed handles a soulful ballad with as much authority as a stomping blues rocker. 

I believed I received my review copy from Casey James. Here is a recent Casey Jones performance.

Trevor B. Power- What is Real

Trevor B. Power- What is Real - Farm 189 Records

New Jersey rocker Trevor B. Power has recorded an album of original rock and blues numbers played with a definite flair. Besides singing, he plays guitars and harmonica. Co-producer Anthony Krizan also plays guitars, drums, bass, tambourine and adds backing vocals. Will Wilde adds harmonica to one selection, John Ginty plays the B3, and Rob Clores plays piano and also the B3. Except for Wilde's harmonica on "Get Well Johnny," the specific personnel on specific selections is not identified. (Wilde's contribution is specified in the publicity, not on the CD).

Opening with a hard rock topical "World Gone Madd," Power sings robustly with slight gravel in his voice against an emphatic backing with whining slide guitar. It's followed by a funky blues, "Get Well Johnny," devoted to his older brother with some wailing harmonica from Wilde. The publicity makes a comparison of Power to John Mellencamp. One can hear similarities in Power's topical song, "Pandemic (2020)." This song relates to people's spirit in striving to overcome these difficult times.

"Easier Way" is a driving blues with plenty of Hound Dog Taylor meets George Thorogood broom-dusting slide guitar and a gravelly, almost spoken vocal. "Life Is Good" is a solid old-fashioned rock and roll with rollicking piano from Clores. There is more hard rock with "Sexy Bitch," a duet with Danielle Illario. Power's hoarse shouting vocal here may be his weakest, but Illario sings with a definite appeal. Up after this is a country-styled lament "I'm a Fool," and a bluesy shuffle "Woman," with some evocative slide guitar and restrained backing. 

A Dylan-esque number, "This Old Road," has a moody, pensive vocal while Power plays an acoustic twelve-string guitar. It closes an album that crosses genres with a number of appealing performances.

I received my review copy from a publicist. Here is "Pandemic (2020)."

Dave Thomas - One More Mile

Dave Thomas - One More Mile - Blonde on Blonde Direct

With a music career going back to 1969, Welsh-born singer-songwriter- guitarist-harmonicist Dave Thomas brings over a half-century to this new release centered around the blues. There are three different sessions represented, including one in Cleveland with Travis Haddix's horn section. Another session from Ireland where that session's producer, Declan Sinnott, plays all the instruments except the harmonica. The final session was in Bristol with Ken Pustelnick's Groundhogs. 

With Tom Arnold on the organ and Terry Popple on drums, the album opens with a marvelous cover of B.B. King's "It's My Own Fault." Thomas comes across as a top-notch, soulful singer with an unforced vocal delivery with strong horn-driven urban blues backing. His own "I Like My Chicken Fried" showcases some solid interplay between Thomas and Arnold, while Thomas' down-home harmonica is showcased behind somewhat laid-back singing on James Cotton's "One More Mile." There is a three-song acoustic set with Declan Sinnott providing the backing for Thomas' warm, sober singing. "I Want the Blues," where Thomas sings about finding comfort in the blues from everyday troubles. In contrast, He shows a reflective side in the folk-ballad "You Danced in My Kitchen."

The final trio of songs has him backed by the Groundhogs in a blues-rock vein. The last three songs are by Tony McPhee, who led this pioneering British blues band in the 1960s, where they backed touring acts, including John Lee Hooker. There is a late 60s' psychedelic feel with whining slim guitar against a trebly bass riff on the environmental anthem "Garden." Then there is the hard rock-inspired "Eccentric Man" that comes off as heavy-handed. Thomas only adds his vocals here, but these were the least appealing to this listener. 

It would be easy to recommend a full album of Dave Thomas in the urban blues vein of the first four selections, or one with a few acoustic selections mixed in. He is a very talented singer but does get a bit overwhelmed (for my taste) by the rave-ups of the final three songs. Despite my reservations, I enjoyed this album.

I received my review copy from a publicist. Here is the title track.

Skylar Rogers - Firebreather

Skylar Rogers - Firebreather -Self-produced

Chicago-born singer and songwriter Skylar Rogers certainly lives up to her album's title, "Firebreather." Backed by her band, The Blue Diamonds, she self-describes her sound as “Soul Rockin’ Blues.“ Her band is comprised of guitarists, Stephen J Hill and Marty Gibson, keyboardist Pete Zimmer, bassist Jerry Ewing, and drummer “Disco Fuzz” Bradley Arl. 

Musically, this is more in the vein of stomping, funky blues-rock than traditional blues, but there is no denying Rogers is a singer who grabs the listener's attention with her vocal dynamics and phrasing. Furthermore, the Blue Diamonds provide hard-hitting backing such as the hard-driving "Back to Memphis." She can shout yet never get shrill, yet sing a soulful ballad with nuance The ballad "Failure" is one of this reviewer's favorite tracks with the Blue Diamonds displaying restraint in their backing. 

The title track is a funky rocker with a lyric of a cheating woman who will burn one's world to the ground. Twin guitars set the groove with an attention-grabbing riff for "Work," as she forcefully sings how she will work for love. Zimmer's soul-drenched organ is spotlighted here. There is a bit of country-soul flavor for "Movin' On," with a gospel-inspired backing vocal chorus on a lyric of hope and mercy. Then there is terrific blues performance, "Drowning" built upon Zimmer's piano motif. The accompaniment builds with intensity with some striking guitar along with a compelling vocal.

The varied material and a top-flight band impressively showcase Skylar Rogers commanding vocals on an outstanding album.

I received my review copy from a publicist. Here is a video of "Firebreather."

Kurt Allen Whiskey, Women & Trouble

Kurt Allen
Whiskey, Women & Trouble
Self-produced

Listening to singer and guitarist Kurt Allen, this writer is reminded, in part, of the late Johnny Copeland, particularly with his urgent, raspy singing. His guitar playing is more in a blues-rock vein, but with a very capable band of Lester Estelle Jr. on drums, Craig Kew on bass, and Beaux Lux on keyboards on keyboards and saxophone, the overall effect is pretty blues-oriented. Pete Carroll adds trumpet while Trevor Turla plays trombone on half of the ten songs. Beaux Lux wrote all of the horn arrangements, while Allen wrote all of the songs.

While the opening "Graveyard Blues" comes across as a bit heavy-handed blues-rock, things get more to a straight blues groove on "Watch Yo Step," with a strong vocal, as he tells his women he is wise to her ways with the horns riffing in support. His guitar tone on these opening numbers comes across to these ears as a bit too distorted. He certainly puts plenty of fervor in the slow blues "How Long," for instance. The title track is a fine rocking shuffle with a leaner guitar tone. This track is followed by an aptly titled "Funkalicious" with Allen adding a spoken rap about soul food. Other songs include a heartfelt soul ballad "Count On Me," and the strutting "Roadrunner," which is neither the Bo Diddley nor Junior Walker tune. Lux adds raspy sax on this selection. The album closes with the crisp rock and roll of "Sweet T," with Lux playing some rollicking piano and Allen adding some searing guitar.

My only reservation about this recording is the tone of Allen's guitar. My comparison to Johnny Copeland is based only on, what I find to be, a similarity in their respective voices, not that Allen is trying to sound like Copeland. Allen is an excellent singer who receives top-notch backing resulting in a most engaging album.

I received my review copy from a publicist. Here from 2020, the Kurt Allen Band performs "Better Think Twice."

The Smoke Wagon Blues Band The Ballad of Albert Johnson

The Smoke Wagon Blues Band
The Ballad of Albert Johnson
Self-Produced

Hailing from Hamilton, Ontario, The Smoke Wagon Blues Band has been laying down its blues and rhythm grooves for over twenty years. The band consists of Corey Lueck/ Vocals, Harp; Mike Stubbs/ Guitar; Brandon Bruce/ Piano, Organ; Gordon Aeichele/ Sax; Jason Colavecchia/ Bass; and Tibor Lukacs/ Drums. Steve Sherman, who recorded, engineered, and produced this album, also adds guitar, percussion, and backing vocals. Lueck, who is the founding member of the band, was involved in writing the 12 originals on this recording album. There is one cover performance.

There are some blues-rock trappings on a few of the performances, such as the ZZ Top grunge feel on the title track. It is a medium tempo number about a notorious Canadian outlaw who wounded and killed members of the RCMP, with the ensuing manhunt That captured the Canadian public's attention. It introduces us to Lueck's gravel and grit vocals and the band's tight backing. Following is Lueck's expressive singing on a salute to "Memphis Soul," a performance with booting sax and greasy organ.

To this listener, the next three tracks stand out. There is the original, "Ain't Gonna Be Your Fool," that is evocative of the Charles Brown classic "Get Yourself Another Fool." Lueck's moody vocal is superbly supported here. Then comes a cover of Fats Domino's first record, "The Fat Man." Bruce makes a capable effort at imitating Domino's boogie-woogie piano. Lueck even imitates Domino's trumpet-like scatting before his brief harp solo, which is followed by Aeichele's sax solo. The group stays in a New Orleans groove with the original "Lay Say Lay," with Bruce emulating Professor Longhair, while the rhythm section gets a solid mambo groove.

Other tracks include the rock-flavored "Sacrifice," the strutting stutter-step shuffle groove of "Poor Man Blues," the reflective "A Ballad For Cheryl," and the spirited closing "Steaming Comrades Harp Boogie" that is set to a Bo Diddley groove. Lueck is a very good, sometimes exceptional singer and a capable harmonica player showcased with the band's strong accompaniment. One misstep is a flawed attempt at honky-tonk country, "On the Road Again." Otherwise, this is a well-played, most entertaining set of blues and blues-infused tunes.

I received my review copy from a publicist. Here is "Sacrifice" from the album.

 

Hurricane Ruth Good Life

Hurricane Ruth
Good Life
American Showplace Music

Reviewing Hurricane Ruth LaMaster’s “Ain’t Ready For The Grave,” I wrote, “Ruth LeMaster earned her name because of her huge voice in a small package  … .” I found that album to be a “solidly performed collection of blues and rock that displays Hurricane Ruth as a powerful and expressive vocalist.” Much the same can be said about this new recording whose ten tracks include eight written or co-written by her. Backing her on this recording are Scott Holt on guitar, Bruce Katz on keyboards, Calvin Johnson on bass, and Tony Braunagel on drums.

The songs are a mix of bluesy rock and roll to soulful ballads that demonstrate her vocal and emotional range. She certainly comes off with cyclonic force on the rollicking rock of “Like Wildfire.” She might be shouting the blues here, but never gets histrionic or shrill. Katz is terrific here while Holt has a hot short guitar break.  “Dirty Blues” has another powerful vocal, although Holt’s nasty tone lends this a blues-rock flavor.  It is followed by one of the strongest songs here, “What You Never Had.” Written with Tom Hambridge, this is a relaxed shuffle with Katz smoking on the organ. The lyrics derive from a comment her late mother made about not worrying about one never had as life is about living. The vocal is as stunning as the song.  Even better is the title track, which was based on a conversation with her mother a year before she passed. Again, the lyrics stand out as does the atmospheric vocal and backing. Holt’s solo is striking set against Katz’s organ. One might easily recommend this album based on just these two tracks.

 Other tracks of note include the rendition of Gary Nicholson’s “Torn in Two,” with searing blues-rock guitar behind her vigorous singing. “Black Sheep” is a fun bluesy rock performance where Ruth celebrates being a bit of a badass. “Who I Am” is about leaving behind her previous life of partying and addiction and no longer who she was. There is a conviction in her singing that comes from her living what she is singing about.  It is another terrific track on an outstanding blues and rock recording.

I received my review copy from a publicist. Here is Hurricane Ruth in performance.

Scott Ellison
Ice Storm  
Earwig

The Tulsa Oklahoma native Scott Ellison grew up when that city was a rock and blues hotbed. later touring with Conway Twitty's daughter and then Gatemouth Brown, Ellison eventually relocated to Los Angeles playing and touring with the likes of The Box Tops, The Shirelles, The Drifters, The Coasters and others before forming his own blues band in the 1990s. 

 

A prolific songwriter as well as a singer-guitarist, he recorded several albums that Dennis Walker produced. His new album, “Ice Storm,"  is a set of original 'rocking blues.' At times, his vocals reminded me of the late Sean Costello, and he sings forcefully with a raspy grit although a limited range. The songs are standard fare about relationships and partying to the blues. His guitar playing rocks out at times and fans of guitar pyrotechnics will find much here to enjoy. 

 

The opening “Steamin’” is a rocker with Ellison singing about how his woman’s moves and kisses are getting him steaming and ready to explode. The opening of “Big Blue Car” evokes “The Thrill is Gone,” before he talks about riding around the funky town looking for his woman with horns effectively added to the backing, before launching into the hard rock “Pride,” with slide guitar in the backing. 

 

A heavy backbeat and driving slide guitar launches “4th of July,” with Ellison barking out a gravelly vocal. It is followed by “King of the Blues,” thankfully taken at a lower level as he sings about partying with his guitar but hung up about his lady which is making him the “King of the Blues.” “I’m in Trouble,” is a down in the alley tune about being “lost in these blues again,” where he pulls out all the stops on guitar. The title song is a nifty instrumental with a strong tenor sax solo in addition to Ellison's jazzier playing here. 

 

While Ellison is clever with a phrase here and elsewhere, the songs generally don’t stand out, although some with a taste for rocking blues guitar and blues-rock may find these performances more satisfying than this reviewer does. 

 

I received this recording from Earwig or a publicist. This review originally appeared in the November 2008 Jazz & Blues Report (Issue 310). Here is a performance by him of "Steamin'" from a few years after this recording.

 

The Nighthawks Tryin' To Get To You

The Nighthawks
Tryin' To Get To You
EllerSoul Records

With their 50th Anniversary coming towards the end of 2021, The Nighthawks have a new line-up but still show that they are a seminal American roots music band with this latest release. Joining original Hawk, Mark Wenner (vocals and harmonica) and drummer Mark Stutso (who has been with the band 10 years are guitarist Dan Hovey and bassist Paul Pisciotta. Traveling the blues roots highway, There are two originals from Hovey and two from Stutso and his longtime collaborator Norman Nardini, and nine covers of songs that have not been overdone to death.

Pisciotta replaces Castle seamlessly as a rhythm duo, while Hovey certain displays his own flair as a guitarist. Mark Wenner remains a robust vocalist and his horn-like harmonica playing is still at the top of his game. They open up with a lesser-known Jimmy Reed number with Wenner taking the vocal lead on "Come Love," as the band hits a lazy shuffle groove. Wenner also handles the vocal on the title track that Elvis originally recovered. The Nighthawks version has a definite country feel. Wenner transforms The Manhattan's "Searchin' For My Baby," into a chugging blues performance.

I believe it is Hovey taking the vocal on a relaxed cover of T-Bone Walker's "I Know Your Wig Is Gone," with his jazzy jump guitar joined by Wenner's horn-like solo. Hovey sings strongly on the brooding rendition of Hank Ballard's "Rain Down Tears," and a fine interpretation of Los Lobos' "Don't Worry Baby." Then there is the unplugged groove of Hovey's "The Cheap Stuff," with Wenner channeling the second Sonny Boy Williamson.

With Hovey channeling Jimmy Nolen, Stutso potently handles James Brown's "Tell Me What I Did Wrong." There is an urgent quality in Stutso's of his original, "I Hate a Nickel," with its memorable tagline, "cause it ain't a dime." It is not his only impressive vocal. He sings a superb rendition of the "Chairman of the Board" (originally recorded by the group of the same name). Set against the "Mannish Boy" groove, Stutso tears into the lyric with the band solidly backing him.

The Nighthawks keep rocking and roiling down the blues highway. "Tryin' To Get To You" is another splendid addition toothier discography.

I received my review copy from a publicist. Here is a set of the Nighthawks performing in Takoma Park, Maryland, in 2019.

Avey Grouws Band The Devil May Care

Avey Grouws Band
The Devil May Care
Self-produced

Based in the Quad Cities of Iowa and Illinois along the Mississippi River, the Avey Grouws Band has developed quite a following since vocalist Jeni Grouws, and guitarist and vocalist Chris Avey met at a Blue Jam. The band has competed in 2018 and 2020 at the International Blues Challenge in Memphis, and both times made it to the semi-finals round. Grouws and Avey are joined by Bryan West on drums, Randy Leasman on bass, and Nick Vasquez on keyboards.

"The Devil May Care" is the band's first album, and Avey and Grouws wrote all ten songs which include some straight blues as well as bluesy rock with some roots touches. Several things stand out about this band and recording. First of all, Jeni Grouws catches one's attention with her unforced, grainy, expressive singing. Avey is a firsthand-rate guitarist who displays restraint as well as imagination. The rhythm section also stands out with crisp, tight backing. Finally, there is a nice variety of originals from deep blues to some light-hearted party blues that showcase their talents.

There is the boogaloo funk of the opening "Come and Get This Love" and the title track with Grouws singing about how her lover's touch makes her sanctified. "Rise Up" is a call to action to make things right set against a groove this writer finds evocative of the Neville Brothers. "Long Road" has a southern rock feel while "Let Me Sing My Blues," is a nice blues-rocker where she tells someone to let her take care of her own problems. it is played and sung at a relaxed, walking tempo with a nice piano solo. "Dirty Little Secret" has a melodic line that evokes "Who's Been Talkin'," and "Black Magic Woman." Grouws pours everything into her vocal while Avey's solo displays his effective use of tone as well as his skill in building a solo. It is followed by a solid slab of rock and roll, "Dig What You Do," Grouws shares vocal with Avey, who takes a concise, crisply played solo.

Horns are added to the jazzy "Two Days Off (and a Little Bit of Liquor)," with a sly lead vocal and nimble, jazz-tinged guitar as Grouws sings about having a couple of days off from work with a little bit of liquor to help pass the time. It is the closing selection on a most entertaining blues and blues-rock CD.

I received my review copy from a publicist. This review originally appeared in the March-April 2020 Jazz & Blues Report (Issue 389). Here the Avey Grouws Band perform "The Devil May Care."

Matty T Wall Transpacific Blues Vol. 1

Matty T Wall
Transpacific Blues Vol. 1
Hipsterdumpster Records

Australian blues-rocker Matty T. Wall is a new name to this listener. He is heard here on eight familiar numbers. His guitar and vocals are supported by Stephen Walker on bass guitar and Ric Whittle on bass. There are guest appearances on five of the songs by Dave Hole, Eric Gales, Kid Ramos, Walter Trout, and Kirk Fletcher. Except for Hole, the guest performers are from the USA. This is likely the reason for 'Transpacific' in the album title.

Wall impresses as a guitarist and a singer. He sings with clarity and nuance, and his sizzling guitar is pretty strong by itself as heard on his rendition of "Stormy Monday," with Walker and Whittle providing a firm rhythmic base. The covers here generally don't stray too far from the source material as on the boogie blues of the opening cover of "Boom Boom." Dave Hole is present here, although his frenetic guitar is a bit too dense for taste. Eric Gale provides fireworks on the cover of Tommy Tucker's "High Heel Sneaker." Kid Ramos guests on "Quicksand," an old Guitar Slim recording that Albert Collins covered. Ramos' guitar is terrific behind Wall's personal, pleading singing. This song is followed by "She's Into Something," with Walter Trout adding some guitar sizzle. I like the feel Wall provides on his cover of Albert King's hit "Born Under a Bad Sign," on a track also featuring Kirk Fletcher as a guitarist. Wall slows down the tempo of Freddie King's "I'm Tore Down" with some high energy playing to complement a strong vocal.

The closing rendition of "Crossroads" is too rocked out for these ears. Otherwise, Matty T Wall engaged this listener with his singing and his bluesy guitar. The guests on this CD are a bonus, which adds to this recording's appeal.

I received my review copy from a publicist. Here is a video of Matty T Wall talking about this recording.

Bill Blue The King of Crazy Town

Bill Blue
The King of Crazy Town
Conch Town Music

Long a resident of Key West, Florida, Bill Blue (real name) began his blues journey on the road playing with Arthur 'Big Boy' Crudup. After Crudup passed on, he signed with Adelphi and toured for about a decade. Tired of the road, he settled in on a houseboat in the Keys and didn't record again until a chance meeting with British producer Ian Shaw led to "Mojolation" in 2013. Shaw returned to produce this new recording featuring Blue's singing and guitar. There is a pretty big cast of backing musicians, the most notable being Mack Backer on guitar, harmonica and a vocal on one selection, Eric Erickson on keyboards, and a full horn section.

The strength of this recording is Blue's honest, gravelly singing and the sound production on a program of blues and blues-based rock. A good number of the songs here deal with irony and hypocrisy, starting with the opening "Do What I Say Don't Do What I Do," with the backing featuring a swampy tremolo guitar and a stunning slide guitar solo. It is followed by a tribute to his home state, "Carolina Time," with its insistent groove and searing guitar. The one song that Blue had no hand in writing is the driving interpretation of Eddie Hinton's "I Want It All," with a frenzied vocal and riffing horns. "Hunker Down" is inspired by the attitude of the Key West folks and is apparently a favorite during hurricane season. Then there is "Everybody's Leaving Town" with its droning slide guitar backing about people leaving town. The title track is an exuberant celebration of a night out in Key West.

"You Ain't Fun Anymore," is a vocal duet with Matt Backer and the rollicking performance certainly disproves that Blue ain't fun anymore. This writer's favorite track might be the low-key, atmospheric "Closing Time," about playing the band's set, while the staff of a club are sweeping the floor and placing chairs on tables. The album closes with the instrumental " Mojolation," with is a feature for Blue's slide guitar. Bill Blue has plenty of personality that is displayed throughout this splendid blues-rock album.

I received my review copy from a publicist. This review appeared in the March-April 2020 Jazz & Blues Report (Issue 389) although a few minor changes have been made. Here is a video of Bill Blue in performance.

Coco Montoya Coming in Hot

Coco Montoya
Coming in Hot
Alligator Records

"Coming In Hot" is the latest Alligator release from blues-rocker and powerhouse guitarist Coco Montoya. Like his prior recording, "Hard Truth," this is produced by drummer Tony Braunagel and recorded by Johnny Lee Schell, who plays rhythm guitar on wight of the 11 tracks. Others on this recording include Mike Finnigan on keyboards, Billy Watts on rhythm guitar on three songs, and Bob Glaub or Mile Menell on bass. Jon Cleary plays piano on one selection.

Montoya's searing guitar and forceful vocals continue to impress those who like a solid blues-rock mix. He certainly puts so much into his singing as on "Good Man Gone." The title track has a catchy, rhythmic groove as he tells his woman to get her fire burning as he is coming in hot tonight with a stunning guitar solo. He channels Albert Collins on Collins' classic slow blues, "Lights Are On But Nobody's Home," with terrific guitar and one of his most compelling vocals here. Warren Haynes' ballad, "What Am I?" is a nice change of pace with his relaxed vocal and the somewhat restrained backing, although he takes a fiery solo. There is a cover of a less-known Bobby Bland recording, "Ain't it a Good Thing." Shaun Murphy shares the vocal on this splendid performance with some terrific blues guitar from Montoya.

A rocking shuffle "Water to Wine" closes this album with Montoya celebrating this woman who can do almost anything such as change 'water to wine.'" It closes another CD of varied, nicely paced, and played performances. Coco Montoya continues to deliver the goods for those who like their blues with a rock-edge.

I received my review copy from Alligator. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386), although I made minor stylistic changes. Here is a relatively recent performance by Coco Montoya.

Scott Sharrard Saving Grace

Scott Sharrard
Saving Grace
We Save Music

Sharrard, for those like this writer who are not aware, was the late Gregg Allman’s Musical Director. On this release he takes center stage backed by the Hi Rhythm of Memphis (Howard Grimes on drums, Leroy Hodges on bass and Charles Hodges on organ), and the Swampers Of Muscle Shoals (Charles Gamble on drums, David Hood on bass and Spooner Oldham on a few selections), with Eric Finland on keyboards, Mark Franklin on trumpet (among horn players). Taj Mahal guests on the Greg Allman's last original (a collaboration with Sharrard), "Everything a Good Man Needs," on which Bernard "Pretty" Purdie is on drums. Except for Terry Reid's "Faith To Arise," Sharrard penned ten of the eleven songs (two being collaborations).

Sharrard's mix of blues, southern rock, swamp pop, and Memphis soul makes for quite an enjoyable release. He is a darn good singer with a soulful delivery, not as raspy as Allman, and a solid guitarist. The Southern rock heritage is perhaps most evident on Reid' s "Faith to Arise," with some tart slide guitar in the vein of the Allman Brothers set against Sharrard's moving singing. The title track, with Gamble, Hood, and Finland in the backing is a soulful, bluesy ballad soulfully sung. On "Everything a Good Man Needs," Taj Mahal handles the vocal, singing about how his baby's love keeps him humming and is all he needs. His strong vocal is backed Sharrard's crying slide guitar, tight riffing horns and a funky R&B groove.

"Angeline," with the Hi Rhythm Section is a Memphis funk take on swamp pop, while "Words Can't Lie," is simply a terrifically sung Memphis soul ballad. "She Can't Wait" is another southern soul-flavored original with the Swampers adding their own brand of funk as Sharrard sings about his part-time love leaving him full of despair. "Sweet Compromise," is a brassy uptempo blues with slashing guitar followed by another blues, "Tell The Truth," again with more high energy blues-rock guitar. Sharrard impresses by his focused, thoughtful playing as opposed to merely shredding.

There are some really good songs, fervent and moving vocals, excellent guitar as well and first-rate backing and production. This blues traditionalist was quite impressed by this recording. Dedicated to Rich Hall, Butch Trucks, and Greg Allman, Scott Sharrard does their memory proud on "Saving Grace."

A publicist provided my review copy. I have made stylistic changes to this review, which first appeared in the November-December 2018 Jazz & Blues Report (Issue 381). Here Scott Sharrard performs "Angeline."

Tommy Castro and the Painkillers Killin' It Live

Tommy Castro and the Painkillers
Killin' It Live
Alligator

This is a crackling good live recording by one of the most popular blues and roots bands out there. Castro has been out there over three decades and Alligator has given us nearly an hour of 10 performances recorded at five venues across the USA. Castro is supported by his superb band of Randy McDonald on bass, Bowen Brown on drums and Mike Emerson on keyboards.

Castro and the Painkiller get this CD party going with the rollicking "Make It Back To Memphis," a song that might inspire comparisons to Delbert McClinton with Emerson honky-tonk piano underpinning Castro's searing guitar. After his song of perseverance, "Can't Keep A Good Man Down," Castro delivers a blues-rock rendition of Sleepy Johnny Estes' "Leaving Trunk," inspired by Taj Mahal's fifty-year recording with some greasy organ.

To this listener, the next two tracks are the high points. During the slow, low-down blues (composed by Castro and Joe Louis Walker) "Lose Lose," I was struck how much his singing and guitar evokes late sixties' Buddy Guy which I suspect is among the music he grew up with. Then there is the driving shuffle performance, "Calling San Francisco." "Anytime Soon" is a soulful, reflective topical blues followed by the funky and amusing "She Wanted To Give It To Me," where Castro sings about resisting a hot lady as he made a promise to his own lady to be true and kept it. Then there is the rocking, soulful shuffle "Two Hearts."

The album closes with a lengthy, ably performed, rendition of Buddy Miles' "Them Changes," with bassist McDonald channeling "Tighten Up" during his solo. This crowd-pleaser closes out an excellent recording that shows why Castro continues to have such a large following.

I received my review copy from Alligator.  I received my review copy from Alligator Records. This review appeared in the November-December 2018 Jazz & Blues Report (Issue 381), although I may have made minor changes. Here Tommy Castro and the Painkillers are seen performing "Two Hearts."

In Layman Terms Strong Roots

In Layman Term
Strong Roots
Endless Blues Records

This is a follow-up to In Layman Term's debut recording of "Tangled," I wrote about the siblings Logan and Cole Layman, " They are still young, and they are maturing and will continue to develop their musical identity, but they should be congratulated for their accomplishment here." This new recording displays their further maturation as performers on a set of seven original songs and a cover of the Little Willie John classic, "Fever." Drummer Nick Davidson and brass from Hamed Barbarji back the bass and vocals of Logan and Cole's guitar. Djembe Hendrix adds djembe to one selection.

Starting with the opening title track, one hears how Logan Layman has grown even more as a vocalist, while her bass provides a firm foundation for the music here. Cole is an excellent guitarist and contributes an interesting guitar figure in his backing. Barbarji impresses with his open horn playing here and even more on "I'm Somebody" where his adept use of a mute lends his playing a harmonica-like flavor. Cole's whining blues-rock slide guitar, the herky-jerky groove, and the simple lyric make this less appealing despite Logan's singing, which includes a bit of scatting.

Djembe Hendrix adds djembe to the slow drag groove of "Make Me Yours" with Barbarji and Logan standing out again. It is followed by a Logan putting her heart into the slow blues "Ain't Gonna Fake It No More," with Barbarji's growling trumpet solo standing out before engaging in a musical conversation with Cole's heated fuzz-toned guitar. "Fever" opens with Logan's bass and vocals with Davidson's light drumming. Cole adds nice echoey guitar in his backing while Barbarji's muted trumpet adds to the atmosphere of a sultry and marvelous interpretation of this classic. It is perhaps this recording's high point.

I continue to be impressed by the quality of the performances from In Layman Term, which stands out. They perhaps still have to work on the craft of writing songs, but Logan is becoming quite an authoritative singer, Cole a forceful guitarist, and with the terrific trumpeter Hamed Barbarji, employ unusual instrumentation that has resulted in robust and intriguing music.

I received my review copy from a publicist. This review appeared in the January-February 2018 Jazz & Blues Report (Issue 382), although I have made a few corrections and minor changes to the review as published. Here is a video of them performing "Ain't Gonna Fake It No More."

Markey Blue - Ric Latina Project Raised in Muddy Water

Markey Blue - Ric Latina Project
Raised in Muddy Water
Ellersoul Records

It has been several years that singer Jeannette Markey (Markey Blue) and guitarist Latina impressed on her recording "Hey Hey." About that recording I concluded "There is so much to enjoy about this release from the strong backing, good original songs and Ms. Markey’s heartfelt, persuasive vocals. Markey Blue certain makes fans of blues and soul take note with this." Certainly much can be said about this recording of blues-tinged rock, swampy soul and blues. Listening to the impressive opening title track and "Corinne Shine," I think more of southern rock and Little Feat than Jimmy Reed and Jody Williams, but that is simply categorizing these finely performed songs. Markey is a really good singer with plenty of heart and Latino is a noteworthy guitarist as he shows behind her very fervent singing on "A Little More I Die (An Ode to John Payne)."

Credit must be given to her backing band of John Marcus on bass, Marcus Finnie on drums, Shannon Winnie on keyboards, Jim Williamson on trumpet and Doug Moffet on saxophone. But the songs are excellent as the afore-mentioned "A Little More I Die," or the driving shuffle "Red Room," on which Ronnie Owens is overdubbed on harmonica, "Mississippi Soul," with Latino's atmospheric Duane Allman styled slide or the rocking boogaloo rocker with Eddie Clearwater and horns added, "I Like It Like This." There there is a terrific, moody blues "Walking Over This Line," where Markey sings about a love gone wrong and taking too long to leave.

There is the swampy blues rock of the Delbert McClinton tribute "Come and Go," and the closing bonus track that was recorded live, a lively blue shuffle, "Drowning in His Ocean," as she joyously celebrates a lover. Markey Blue continues to deliver as a singer and songwriter with some strong guitar and excellent backing making for another notable recording.

I received from my review copy from Ellersoul. This review appears in the September-October 2018 Jazz & Blues Report (Issue 380). Here is a live 2017 performance clip of the Markey Blue - Ric Latina Project

Tinsley Ellis Winning Hand

Tinsley Ellis
Winning Hand
Alligator Records

Near thirty years since he first recorded for Alligator Records (and twenty since his last Alligator album, Tinsley Ellis returns with an album of house rocking blues and rock, showcasing his brawny, volcanic guitar and husky singing. He is joined by Kevin McKendree on keyboards (who co-produced this with Ellis), Steve Mackey on bass and Lynn Williams on drums that was engineered and mixed by McKendree at The Rock House.

Nine of the ten songs are Ellis originals and display the range of his music starting with the searing, hold no prisoners opening blues-rock of "Sound of a Broken Man." In contrast, the easy rocking shuffle blues, "Nothing But Fine," illustrates the clarity and precision, along with fire of his playing along with a more relaxed vocal, while "Gamblin' Man," is a nice original blues performance (the melody slightly evocative of Box Scaggs recording of "Someone Loan Me a Dime"), with a well-shaped, fiery guitar solo and a heartfelt, expressive vocal. Another fine blues performance is "Don't Turn Off The Light." There is also high energy blues-rock of "Kiss This World" with its swelling groove and the rock and roll of "Satisfied," with McKendree's rollicking road house piano in addition to Ellis' guitar. The one cover, Leon Russell's "Dixie Lullaby," sports more rollicking piano (and organ grease) along with some fiery Freddie King inspired guitar.

This is another impressive collection of music from Ellis whose playing shows him still to be a tone master and a fiery guitar slinger. His high energy playing is firmly backed by the terrific studio band. Ellis is also a most congenial, expressive singer and contributed some solid original blues on this memorable blues-rock release.

I received my review copy from Alligator Records. For those in the Washington DC area, he will be at Blues Alley on Wednesday January 17 and playing the Creative Alliance in Baltimore on Thursday January 18. Here is Tinsley from an October, 2017 performance. A fuller listing of upcoming shows is at http://www.tinsleyellis.com/toughloveshows.html.

Nick Schnebelen Live in Kansas City

Nick Schnebelen
Live in Kansas City
VizzTone

This is a follow-up to "Live at Knuckleheads," and features one of the members of the family band, Trampled Under Foot, leading a trio with Cliff Moore on bass, and Adam Hagerman on drums (I am taking this information of Nick's website as no other her personnel is given on the CD cover), although some tracks like the closing "Conformity Blues," sounds like additional musicians are present. Moore was on that earlier album which also featured Heather Newman. From the credits, most of the songs may have originally been by Trampled Under Foot with a few interesting covers.

Musically, this recording comes across as blues-rock. He is a limited singer who certainly invests his vocals with heart, although with a small range. He is quite a guitarist, combining technique, tone and imagination in the power blues-rock trio format heard here. Taken in small doses, tracks like the opening "Fool," with its field holler opening transitioning to a driving blues-rock, the cover of "Herbert Harper's Free Press News" (from the infamous "Electric Mud" album), and the sparkling slide guitar he plays "Bad Woman Blues" set to the Bo Diddley groove, certainly stand-out. There is more slide on a hyper-kinetic cover of Johnny Winter's "Mean Town Blues," and then the Z.Z. Top sounding boogie "Johnny Cheat." However, "Bad Disposition" comes off musically as a bit over the top. The closing "Conformity Blues," is musically the most interesting track with superb guitar and a feel in the manner of the Allman Brothers

Those coming to hear Nick Schnebelen's impressive blues-rock guitar playing will not be disappointed, although some, like this listener, will enjoy the music here is a few songs at a time.

I received my review copy from VizzTone. Here is Nick performing "Bad Woman Blues" and "Mean Town Blues."