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I started a quest to find terrific blues music and incredible musicianship when I was just a little kid. I also have a tremendous appreciation of fine musical instruments and equipment. One of my greatest joys all of my life was sharing my finds with my friends. I'm now publishing my journey. I hope that you come along!


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Monday, July 18, 2016

Blue Moon Marquee - Gypsy Blues - New Release Review

I just had the opportunity to review Gypsy Blues, by Blue Moon Marquee and I really like it. This band takes a fairly fresh look at fusing old style jazz, rock, blues and ragtime coming up with it's own formula. Opening with Trickster Coyote, a blue rocker, this stripped down band of two features A.W. Cardinal on lead guitar with gypsy style lead riffs over a blues beat with an almost Fogerty sound backed by Jasmine Colette on upright bass. Very nice. On rag style track, Hoodoo Lady, a really cool swing and quick little riffs and believe it or not Black Francis sound on vocals. Really nice. Saddle Sore is a simple rocker typical of the 50's. It has it's own sound, not only because of Cardinal's vocals but with with Robert Gordon attack, cool jazz backing and fluid jazz guitar soloing this track is super. Runaway Lane has a theatrical sound with a touch of a French cafe. With it's solid bass line and driving guitar work, this band is rockin'. Punk meets rag time on Pour Me One, which has some really flashy hot guitar riffs. Cardinals vocals are dark and raspy juxtaposed to a bright airy track. Very cool. Double Barrel Blues with backing vocals by Colette and straight forward attack almost puts me in mind of John Doe with jazzy guitar work. Very inventive. One of my favorite tracks on the release, Ain't No Stranger, has a more definitive blues basis and lead vocals by Colette and cool trem bends by Cardinal. With vocals almost approaching Tom Waits, Cardinal opens Spy Hill. An unusual rhythm sets this track apart and I really like. Jim Morrison like phrasing gives the track a bluesy flavor, enforced by early spiritual/blues backing vocals. Boogie track, Tossin' N' Turnin' has that Green Onions feel. I really like the groove on this track. Cardinal keeps his guitar playing simple with tight riffs and rhythm. Shading Tree is a cool bluesy rock ballad with hints of Eric Burdon/Nina Simone but with a lot of grit balanced by light jazz riffs. Very nice work. Driftin' has a real gypsy jazz feel with simple guitar and bass rhythms. Bright and springy with vocal harmonies, nicely done. Wrapping the release is title track, Gypsy Blues, with it's New Orleans flavor. This is a really well done release and one I'm looking forward to getting into my car for a closer listen.

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Friday, July 15, 2016

Stony Plain artist: Kenny 'Blues Boss' Wayne - Jumpin' & Boppin' - New Release Review

I just received the newest release, Jumpin' & Boppin' from Kenny 'Blues Boss" Wayne and it's a swinging party. Opening with, Blues Boss Shuffle, and with hot solos from Dave Babcock on sax and duke Robillard on guitar, Boss really has this place hopping on piano. Bankrupted Blues features Boss on lead vocal with a really nice swinging guitar solo from Robillard and backing from Russell Jackson on bass, Charlie Jacobson on guitar, Joey DiMarco on drums and Babcock on sax. Very nice. Jumpin' & Boppin' For Joy is really hot with a boogie bottom. This track smokes with great speed and smoking hot solos from Robillard and Boss. Excellent! Blues Stew is low slung and easy. Sexy sax and nicely stated piano work compliments smooth vocals. Classic, You Don't Know Me, features Wayne on upfront vocals highlighted by his own piano and organ work and lightly peppered with guitar and rhythm. Babcock blows another sweet sax solo to cap off the tune. Blackmail Blues has a bit of Jimmy Reeds style. Jacobson and Wayne both take nice solos keeping to the structured blues style. On big band style rumble, Look Out! There's A Train Coming, Wayne and Babcock really get the place hopping. Robillard takes a nice solo and Babcock really gets deep on bari. Super track. On piano boogie, I Need Your Lovin', Jackson's bass work is particularly strong giving Wayne the freedon to solo boogie on piano. Excellent! Ciao, Ciao Baby has a super swing and Wayne and Babcock lead the way. Robillard dresses the track nicely with clean clear riffs and Wayne lays out some of the best vocals on the release. A cool solo on guitar sits simmers nicely in this clever track. Slow blues style, Back To Square One, has great dynamics with nicely blended piano, vocal and rhythm under smooth vocals and really nicely stylized guitar soloing. Very nice! On I'm Comin' Home, Sherman Doucette adds yet another dimension to this boogie woogie with harp. riffs. With change ups and soulful riffs by Doucette this track is soulful. Rock, Rock Little Girl is a hot "Little Richard" style rockin boogie with solid sax backing and of course rolling piano. A super hot rocker with smoking guitar riffs, this track is killer. Wrapping the release is Boogie To Gloryland. This is an excellent piano boogie instrumental and an nexcellent track to wrap a very nice release. Check it out!

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Thursday, July 14, 2016

Spencer Mackenzie - Infected With The Blues - New Release Review

I just had the opportunity to review the newest release, Infected With The Blues by Spencer Mackenzie. Mackenzie is a 16 year old gun slinger with an aim to make a mark on the blues scene and this is a good start. Opening with title track, Infected With The Blues, a contemporary shuffle track featuring Mackenzie onlead vocal and guitar. David "Groove Doctor" McMorrow provides solid piano solos and support with Alan Duffy on bass and Sean O'Grady on drums. A cool track with some clean guitar work by Mackenzie. Chicago style, Mess Around, has great horn support by Bill Holinaty on sax, Ryan Baker on trumpet, and Mike Polci on trombone. A high energy track gives Holinaty a great opening for a super sax solo and Mackenzie shows his cards as well. Very nice. Opening in old delta style, Devil Under Her Skin, fills out in modern style with warm bass lines and additional vocals by Sharon Riley, Rochelle Harrison, Camille Harrison and Dean Malton. Nicely blended lead vocals and with Max Hiller on harp and lead guitar work by Brant Parker gives this track a special feel. Memphis Minnie's, Kissing In The Dark has an Eric Clapton style arrangement but Mackenzies vocals have a different dimension. The maturity in the backing vocals give the track a richer feel and some of Mackenzie's nicer guitar riffs show on this track. Goodbye Lucille is one of my favorite tracks on the release with it's slow tempo and soulful guitar phrasing. Hot jump track, Jumpin' from Six to Six has a lot of energy and backed by the full horn section, this track rocks. Particularly snappy drumming by O'Grady and super piano work by Groove Doctor set off by a hot sax solo by Holinaty and a short smoker by Mackenzie gives this track real legs. Lowell Fulsom's, Sinner's Prayer, is another track with a lot of Clapton feel but Mackenzie's vocals are right at the edge of maturity. His phrasing is good but a little more thickness in his chords will benefit him on future releases. His guitar does do much of his talking for him and the maturity is really coming along nicely. Wrapping the release is Dylan's All Along The Watchtower, a la Hendrix. Again I really like what O'Grady brings to the table on drums. Mackenzie's riffs are solid and his vocals spot on. Soloing efforts on this track are real nice and backup vocals add nicely. A very cool first effort.
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Wednesday, July 13, 2016

Delta Groove Music artist: John Long - Stand Your Ground - New Release Review

I just received the newest release, Stand Your Ground, by John Long and it has a great authentic feel. Opening with Homesick James' Baby Please Set A Date, Long is stroking the slide, Elmore James style, backed by Fred Kaplan on piano, Bill Stuve on acoustic bass and Washington Rucker on drums. This track could easily have been recorded in the 40's or 50's by Muddy with a rich early feel. In addition to Long's slide work, Kaplan's exceptional piano work is sweet! Great opener. Son House style creeps into Red Hawk and long shows his powerful vocal style as well as his command of House's excellent slide style. Excellent! On country style blues, Things Can't Be Down Always, Long continues to demonstrate his versatility in style and delivery. His vocals are pure and his playing clean. On title track, Stand Your Ground, Long introduces a bit of New Orleans feel with Stuve and Rucker. A cool rhythmic track with a more contemporary feel. Welcome Mat is an excellent Delta blues track with early Muddy /JL Hooker delivery. Because of Long's vocals and guitar phrasing, this may be my favorite track on the release. On No Flowers For Me, Long pulls out his harmonica to assist in his delivery and with his guitar, delivers some of the best vocals on the track. It's really quite hard to imagine that these tracks are contemporary and not 75 years old. Very nice! One Earth, Many Colors has a gospel swing, punctuated by Stuve, Kaplan and Rucker. Kaplan's solo is jangly and stylish and Stuve's bass right in the groove. Healing Touch has a real soulful style and again essential vocals by Long. His harp work is nicely complimentary to his unadorned guitar work. Very nice. Willie Johnson's I Know His Blood Can Make Me Whole is a cool track with slide / vocal melody. A cool entry among mostly all original tracks. Mike Cronic's Mop, Bucket and Broom is a cool, 30's style swing track with Long showing yet another style and doing it nicely with fine picking, chords and a light dusting by Rucker. Blind Wilie McTell's Climbing High Mountains has a spiritual swing but updated with a swing rhythm. Morphing his vocals to a more pure smooth singing style, Long shows he can sing it all. Very nice! Rev. Thomas Dorsey's Precious Lord, Take My Hand maintains much of the original gospel feel but with just a light touch of blues. This is an excellent interpretation of this classic gospel number, given it isn't being sung by the likes of Aretha or Mike Farris and more in the style of Ray Charles. Wrapping the release is Suitcase Stomp, a great boogie woogie track with Long chasing himself on guitar and harp. This is an excellent release with a lot of heart and reality. Check it out!


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Tuesday, July 12, 2016

40 Years of Stony Plain - New release review

I just had the chance to review the new 3 CD set, 40 Years of Stony Plain and it's a super bag of super recordings and unreleased music.

CD One called Singers, Songwriters and much more features tracks by Colin Linden; Spirit of the West; Corb Lund; Doug Sham; Harry Manx & Kevin Breit; Emmylou Harris; James Burton, Albert Lee, Amos Garrett, David Wilcox; New Guitar Summit; Rodney Crowell; Valdy & Gary Fjellgaard; Jr. Gone Wild; Tom Hus; Ian Tyson; Jennifer Warnes; Steve Earle; & Eric Bibb featuring Taj Mahal, The Blind Boys of Alabama and Ruthie Foster. This CD has a real rural feel with folk, country and grassy feel. Louis Riel by Doug Sham is a super track with a Tex Mex country sound. Rockabilly, That's Alright by James Burton and crew is another standout. New Guitar Summit's Flying Home throws a bit of swing jazz in with super nice flavor. Tim Hus's Wild Rose Waltz has real traditional country feel and is pure as snow. Eric Bibb and crew deliver a really rural rural Needed Time featuring Taj Mahal on vocals and breaking into a very sophisticated gospel style track . This is an excellent closer for Dics 1.

CD Two called Blues, R&B, Gospel, Swing Jazz and even more is full of huge names. Kenny "Bues Boss" Wayne, Joe Louis Walker, Rosco Gordon, Ronnie Earl and the Broadcasters, Mauria Muldair featuring Taj Mahal, Long John Baldry, Paul Reddick, Monkeyjunk, Jay McShann, Jeff Healey, Billy Boy Arnold, Rory Block, Big Dave McLean, Ruthie Foster, Sonny Rhodes, Jim Byrnes, Amos Garrett, Ellen McIlwaine,and king Biscuit Boy. Opening with Blues Boss on Bankrupted Blues and followed by Joe Louis Walker on Eyes Like a Cat this CD is smoking right off the top. Ronnie Earl gets a classic blues going on It Takes Time and a more contemporary blues rocker Monkeyjunk rips on Mother's Crying. Jay McShann has a really nice blues/jazz run on Goin' To Chicago and Big Dave McLean's Atlanta Moan is masterful. Ruthie Foster is one of the new artists that is in a class on her own, delivering on Keep Your Big Mouth Closed and Sonny Rhodes shuffle track, Meet Me At The 10th Street Inn in a slick blues romp. Wrapping disc 2 is King Biscuit Boy's Blue Light Boogie... always a favorite.

 CD Three is Rarities and Previously Unreleased Material opening with hot potato Ain't Gonna Do It by Duke Robillard. In My Girlish Days shows Maria Muldaur really grinding in her classic seductive style followed by her classic I Belong To The Band. David Wilcox really does a great job on acoustic instrumental, Uptown Bump, followed by 2 super tracks, I Hate That train and All Night Long by the terrific Sam Chatmon and his Barbeque Boys. Wrapping this disc and the entire package is Walter "Shakey" Horton with Hot Cottage playing a deep fried Shakey's Edmonton Blues. This is an excellent closer for a really super set. Congratulations to Stony Plain for assembling a great package.


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Monday, July 11, 2016

7-14 Productions artist: Eddie Turner & Trouble Twins - Naked ... In Your Face - New release review

I just received the newest release (July 14, 2016), Naked...In Your Face, from Eddie Turner & Trouble Twins and it's electrifying. Opening with R&B track, Jody, this tight 3 piece unit featuring Eddie Turner on vocal and guitar, Anna Lisa Hughes on vocal and bass and Kelly Kruse on vocal and drums get the joint hopping. Recorded live at the Blues Can, Calgary, Alberta, Canada, the mix is real nice. Mistreated drops nicely into the slow blues slot with Turner laying down really nice blues solos and Hughes taking the lead on vocal. One of the things that I particularly like about Turner's playing is his freedom of expression and style without losing the boundaries of the basic blues format. Funky, So Many Roads is a cool track with a solid bass line, reinforced by Turner's rhythm guitar playing and slashing percussion by Kruse. His vocals are well suited for a track like this and I really like Hughes' plucky bass lines. Very cool. Rise is a 11 plus minute jam with ringing harmonics and featuring super bass work. On Nick Gravenites', Buried Alive In The Blues, Hughes bass is really aggressive and I really like it. She also takes over on lead vocals and her voice is strong and seductive. With a really nice arrangement of this classic blues number, it may be one of my favorite covers that I've heard and possibly the best track on the release. Soulful guitar lead by Turner and clean rhythm by Kruse makes this track sail. Blues Fall Down Like Rain has a swampy, New Orleans kind of funk. Turner lets the dog off the leash on this one with voracious snarling guitar riffs. Excellent!  On Don't Let Me Be Misunderstood, another classic, written for Nina Simone and made popular by Eric Burdon and the Animals, Turner's band gives this track a fresh feel with Hughes again on lead vocals and solid bass work. Burning guitar lead sets this track on fire and Hughes and Kruse fan the flames. Very nice. Boogie track, Dangerous, clocks in at over 12 minutes with the simplest of rhythm patterns. This is an excellent jam with gnashing of teeth and fire and dynamite. Possibly worth the cost of admission on it's own! Wrapping the release is Secret, a floating rock track with a bit of Jimi flavor. Adventurous, head bobbing and loosely tight, this is a really cool track to close up a serious new release.
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Friday, July 8, 2016

NEWS: Bobby Rush signs to Rounder; new album 'Porcupine Meat' due out Sept. 16.










BOBBY RUSH SIGNS TO ROUNDER RECORDS;
FIRST NEW ALBUM, PORCUPINE MEAT,
SLATED FOR SEPTEMBER 16 RELEASE

With special guests Dave Alvin, Joe Bonamassa, Keb’ Mo’, and Vasti Jackson, and backing from the New Orleans “A” team,
album cements Bobby Rush’s legacy
 as blues’ most vital artist of his generation.



JACKSON, Miss. — Naming one’s album after a song titled “Porcupine Meat” may seem a little unusual — unless, of course, you’re Bobby Rush, who earned his first gold record in 1971 with a hit entitled “Chicken Heads.” He elaborates on his recent composition:  “If a lady won’t treat me right, but she doesn’t want anyone else to have me, that is hard to digest.” Hence the lyric, “too fat to eat, too lean to throw away.”

Porcupine Meat
is Rush’s debut release for Rounder Records, and one of the best recordings of his astonishing 60-plus year career. The album is due out September 16, 2016.

Rush estimates that he has cut over 300 songs since he first began making music. He has been honored with three Grammy nominations, as well as ten Blues Music Awards and 41 nominations. He was inducted into the Blues Hall of Fame in 2006.

Make no mistake: Rush is not your typical octogenarian. At age 82, he exudes the energy of a 20-year-old, on the road for more than 200 dates a year. His hectic tour schedule has earned him the affectionate title King of the Chitlin’ Circuit. Rush has traveled the globe including Japan and Beirut. In 2007, he earned the distinction of being the first blues artist to play at the Great Wall of China. His renowned stage act features his famed shake dancers, who personify his funky blues and the ribald humor that he has cultivated during the course of his storied career.

Born Emmet Ellis, Jr. in Homer, Louisiana, he adopted the stage name Bobby Rush out of respect for his father, a pastor. According to Rush, his parents never talked about the blues being the devil’s music. “My daddy never told me to sing the blues, but he also didn’t tell me to not sing the blues. I took that as a green light.”

Rush built his first guitar when he was a youngster. “I didn’t know where to buy one, even if I had the money. I was a country boy,” he says. After seeing a picture of a guitar in a magazine, he decided to make one by attaching the top wire of a broom to a wall and fretting it with a bottle. He also got some harmonica lessons from his father He eventually acquired a real guitar, and started playing in juke joints as a teenager, when his family briefly relocated to Little Rock, Arkansas. The fake moustache Rush wore made club owners believe he was old enough to gain entry into their establishments. While he was living in Little Rock, Rush’s band, which featured Elmore James, had a residency at a nightspot called Jackrabbit.

During the mid-1950s, Rush relocated to Chicago to pursue his musical career and make a better life for himself. It was there that he started to work with Earl Hooker, Luther Allison, and Freddie King, and sat in with many of his musical heroes, such as Howlin’ Wolf, Muddy Waters, Jimmy Reed, Willie Dixon, and Little Walter. Rush eventually began leading his own band in the 1960s. He also started to craft his own distinct style of funky blues, and recorded a succession of singles for a various small labels. It wasn’t until the early 1970s that Rush finally scored a hit with “Chicken Heads.” More recordings followed, including an album for Kenny Gamble and Leon Huff’s Philadelphia International Label.

Rush relocated one final time, to Jackson, Miss. in the early 1980s. He was tired of the cold up north, and he realized that setting up his base of operations directly in the center of the South would make it easier to perform in nearby cities on weekends. More indie label recordings followed. Songs like “Sue, A Man Can Give (But He Sure Can’t Take It),” “What’s Good For The Goose Is Good For The Gander Too,” and” I Ain’t Studdin’ You” became regional jukebox favorites in juke joints throughout the region, and many of those songs are still fan favorites that are an integral part of his live repertoire.

Since 2003, Rush has self-released the majority of his work (including the critically acclaimed Folk Funk album) on his Deep Rush label, but recently, he came to the realization that having a bigger record company behind him would be beneficial. “I outgrew myself,” he says. “I need someone to help in doing the things I can’t do. When you are wearing all the hats, you can’t be everywhere at once.”

Enter esteemed producer and two-time Grammy winner Scott Billington, Rounder Records’ longtime VP of A&R. Billington first met Rush at a Recording Academy meeting 25 years ago, and they became fast friends. He has wanted to work with Rush ever since.  “He is the most vital bluesman of his generation,” says Billington. He continues, “There are many people who still don’t know Bobby Rush, even though he is a hero in the parallel universe of the Chitlin’ Circuit — fans stop him on the street in Memphis and Helena and Little Rock.”

Porcupine Meat
will not only please Rush’s older fans, but is likely to win over many new ones. Billington reflects, “We wanted to come up with something fresh, while staying 100% true to Bobby.”

The album was recorded in New Orleans, and Rush was pleased and proud to be given the opportunity to make an album in his home state for the very first time. His impassioned vocals and in-the-pocket harmonica playing are among the best performances of his career. Unlike most of his recent releases, these sessions only feature real instruments and no synthesizers. All of the rhythm tracks were cut live in the studio, often edited down from jams that on several occasions ran close to ten minutes.

For the project, Billington assembled some of the best Louisiana musicians, including Shane Theriot, David Torkanowsky, Jeffrey “Jellybean” Alexander, Kirk Joseph, Cornell Williams, and others. Rush brought along his old friend and longtime collaborator, guitarist Vasti Jackson, who worked with Bobby and Scott on getting the songs ready for the studio. Guitar greats Dave Alvin, Keb’ Mo’, and Joe Bonamassa all make guest appearances on the album.

Rush has always been a prolific and clever songwriter. The songs he penned for Porcupine Meat such as “Dress Too Short,” “I Don’t Want Nobody Hanging Around,” “Me, Myself And I,” “Nighttime Gardener,” “It’s Your Move,” and the title selection, all equal or rival his best material. “Funk O’ De Funk” delivers exactly what the title suggests and what Rush has always done the best, which is putting the funk into the blues. While “Got Me Accused” is inspired by events from Rush’s own life, the lyrics tell an all-too-familiar tale about the rampant racial injustice that afflicts our society. Producer Billington and his wife Johnette Downing (the well known New Orleans songwriter and children’s musician) co-wrote a couple of fine selections, “Catfish Stew” and “Snake In The Grass.”

Bobby Rush is the greatest bluesman currently performing. Porcupine Meat is a testament to his brilliance, which presents him at his very best, and doesn’t try to be anything that he is not. “I just try to record good music and stories,” he humbly states.  With this recording, he has more than accomplished his goal, and has produced one of the finest contemporary blues albums in recent times.

Forty Below Records Releases Today a Special 2-LP Gatefold Vinyl Version of "John Mayall's Bluesbreakers Live in 1967 - Volume Two"




Forty Below Records Releases Today a Special 2-LP Gatefold Vinyl Version of John Mayall’s Bluesbreakers Live in 1967 – Volume Two


Second Edition of Previously Unreleased Live Recordings Feature John Mayall, Peter Green, John McVie and Mick Fleetwood

LOS ANGELES, CA – Forty Below Records today (July 8) released  a special 2-LP gatefold vinyl version of the second set of previously unavailable live recordings from newly-elected Blues Hall of Fame inductee John Mayall and his classic 1967 Bluesbreakers band, titled John Mayall’s Bluesbreakers– Live in 1967- Volume Two. The new two-LP set, which follows the May 6 release of the set on CD,  continues the archival blues path blazed in Volume One that captures heralded performances of one of the best of the Bluesbreakers band lineups, featuring iconic musicians John Mayall (vocals, keyboards, harmonica), Peter Green (lead guitar), John McVie (bass) and Mick Fleetwood (drums). (“A welcome second helping” – Rolling Stone; “Essential listening” – Blues Music Magazine; “Raw, uncontested power blues.” – Elmore).

Distributed by Sony/RED, John Mayall’s Bluesbreakers – Live in 1967 – Volume Two showcases a legendary group of players who while only together a short three months, created a lasting legacy, made an immense impact on music and led to the formation of one of the most acclaimed groups of all-time when Green, McVie and Fleetwood left to form Fleetwood Mac. Produced by John Mayall (who also did the cover package photography, artwork and design) and Forty Below’s Eric Corne from one channel reel-to-reel original tapes recorded by Tom Huissen, John Mayall’s Bluesbreakers– Live in 1967- Volume Two contains performances recorded in the Spring of 1967 at such well-known London venues as Bromley, The Marquee Club, The Ram Jam Club and Klook’s Kleek. 

“I am so happy that the remaining usable tracks from these London club dates have been released as a follow-up to the well-received Volume One,” says John Mayall about the new album. “Peter Green as before is on fire throughout and this set includes a great instrumental based on his composition, ‘Greeny.’ There are a couple of Otis Rush tracks that were included on the first volume, but they are from different venues and totally different.  I couldn’t possibly let these slide.  Also, there is another version of T-Bone Walker’s 'Stormy Monday’ that is sung by Ronnie Jones, who would frequently sit in at our gigs. John McVie gets in a great bass solo on ‘Chicago Line’ and Mick Fleetwood drives the whole set with his unique and powerful drumming. With these new tracks added to the collection, it pretty much features all the material we had in our repertoire at that time and I’m very glad that you can now enjoy this great piece of rock/blues history.”

Volume Two showcases three John Mayall originals including the opening track, all-time blues classic “Tears in My Eyes;” “Chicago Line;” and “Please Don’t Tell,” a great example of the power blues sound The Bluesbreakers were revered for around the world. These historical performances were captured for all time and largely unheard for almost fifty years until John Mayall recently obtained the tapes and began restoring them with the technical assistance of Eric Corne. Speaking about the tapes, Corne says, “While the source recording was very rough and the final result is certainly not hi-fidelity, it does succeed in allowing us to hear how spectacular these performances are.”

The Bluesbreakers live sets at the time of these performances included songs that had originally appeared on the first two band studio recordings with Eric Clapton and Peter Green, respectively, holding down the guitar chair in the group, as well as some that would soon be recorded for the third LP, Crusade, by which time Green, McVie and Fleetwood had left to start Fleetwood Mac and the new guitar player was a young, then-unknown Mick Taylor, who would later go on to further fame and glory as a member of The Rolling Stones.

Of the new album’s 13 tracks, three are songs that first appeared on Volume One, although these new tracks included here were recorded on different nights and ably demonstrate how improvisational the band could be infusing a different feel and tone from night-to-night. Of particular interest is the inclusion of the version of “Stormy Monday,” which features special guest vocalist Ronnie Jones, a former American serviceman and original member of  the first incarnation of Blues Incorporated, a contemporary band to the Bluesbreakers, which included Alexis Korner, Cyril Davies, Jack Bruce and Ginger Baker during its lifetime. Another highlight is the Peter Green instrumental, “Greeny,” which perfectly states the case for why he is still revered as one of the best-ever guitarists. 

John Mayall’s Bluesbreakers– Live in 1967- Volume Two – Track Listing

Side A
1     TEARS IN MY EYES                                                    7:31
                Mayall/Warner/Chappell Music Ltd (PRS)
2     YOUR FUNERAL AND MY TRIAL                          5:32
                Williamson/Arc Music (BMI)
3     SO MANY ROADS                                                     8:18
           Marshall/Arc Music (BMI)

Side B
4     BYE BYE BIRD                                                                              5:02
                Dixon-Williamson/Arc Music-Hoochie Coochie Music (BMI)
5     PLEASE DON’T TELL                                  4:08
                Mayall/Carlin Music (PRS)
6     SWEET LITTLE ANGEL                                              6:10
                King-Taub/Universal Music (BMI)
7     TALK TO YOUR DAUGHTER                   3:00
                Lenoir-Atkins/BMG Platinum Songs obo Arc Music (BMI)

Side C
8     BAD BOY                                                                      5:08
                Taylor/Conrad Music (BMI)
9     STORMY MONDAY                                                  8:21
                Walker/Gregmark Music-Lord & Walker (BMI)
10   GREENY                                                                        6:36
                Green/Unichappell Music (BMI)

Side D
11    RIDIN’ ON THE L&N                                                                2:22
                Hampton-Burley/Trio Music (BMI)
12    CHICAGO LINE                                                          4:34
                Mayall/ Carlin Music (PRS)
13   DOUBLE TROUBLE                                                    6:35
            Rush/Conrad Music (BMI)

For more information, visit www.johnmayall.com and www.fortybelowrecords.com