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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!
I just received the newest release, Champagne Velvet, from Jason Elmore & Voodoo Witch and it's outstanding! Opening with fast paced, House Rockin' Boogie #7 and it's a rip snorting rocker featuring Jason Elmore leading the way on guitar and vocal. Joined by Mike Talbot on drums and Brandon Katona on bass this track is smoking! Cool shuffle track, Double My Money, is up next and it's got a great feel. Elmore slings out nicely on guitar with tasty Texas style guitar riffs. Very nice. R&B style Midnight In Memphis has a Rolling Stones (Beast of Burden) feel and should do nicely on radio. Slashing back to the front is Maybe, with it's heavy bottom and scorching guitar riffs. This guy really has a nose for hot riffs and knows how to push it. Excellent! Shine Your Light has an easy sway and a country rock feel. Nice and easy, another track that could easily become a top track. Another jump track, Cross-eyed Woman, has a great bass line by Katona. With nicely blended chords and cool guitar phrasing, this track is really super. Super nice! Opening with fat saturated arpeggiated chords, Lament For Evelyn McHale, pairs guitar leads giving the track a majestic base for Elmore to solo over. Very nice. Another radio style track, Right As Rain, uses it's warm melody, stylized guitar riffs and soft vocals to cut a memorable groove. Acoustic ballad, Wish, shows a more sensitive side of Elmore with arpeggiated chords supporting only Elmore's vocals. Very nice. Land Of Plenty has a real nice groove with solid blues foundations and loose guitar riffs on the top. Instrumental, Champagne Velvet is a super name for this smooth little jazz style track with silky smooth guitar licks laid comfortably on a lightly brushed drum and bass combo. Excellent! A bit more rural on the country blues side, Green To Gone, has real nice acoustic slide work over basic acoustic guitar and vocals. Cool track with nice contrast to the release overall. Closing with a rowdy rocker, Mary Jane, with clever innuendo Elmore tells the tale and then plays with reckless abandon. Excellent closer...a lot of fun!
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just had the opportunity to review the most recent release, Fresh Air, from Johnny Nicholas and it's got breadth. Opening with Moonlight Train, Nicholas keeps it light with his own vocal and harmonica backed by Scrappy Jud Newcomb on guitar and John Chipman on drums. An early blues sound drives this track with purity. Sleepy John Estes' Kid Man Blues is up next with a cool bop. Cindy Cashdollar makes an appearance with some cool slide and Newcomb adds in nice mandolin giving this track a whole new feel. With a Little Feat kind of funk, Blues Time, has a real nice groove. Backaing himself on guitar with Cashdollar on slide and super percussion and drums by John Chipman and Bruce Hughes this track has a real nice feel. Country flavored, Red Light, gets a real nice lap flavor from Cashdollar and with slick piano work, Steve Riley on button accordion and Newcomb's guitar, Nicholas' vocals are perfect. Sweet Katrina has a smoky Latin feel emphasized by precise piano work and nice slide from Cashdollar. Expressive vocals by Nicholas and nicely executed guitar riffs give the track a real cool sound. Play Me Like You Play Your Guitar has an easy, slinky feel highlighted by nice bass work by Hughes and Jack Bruce like falsetto vocals by Nicholas. Painterly organ parts and a nice trade of acoustic and electric guitar riffs add a nice dimension. With a forward jazz ballad feel, How Do You Follow A Broken Heart?, is a strong entry with simple brush drums, rich lap steel soloing and nice chords supporting Nicholas' clean vocals. Very nice. With it's 8 bar format, Bayou Blues, gives Nicholas on harp, Cashdollar on lap steel and Riley on accordion equal footing in the spotlight. Nicely finger picked, Roll Mississippi, is a solitude blues ballad with mostly acoustic guitar and mandolin. Backing vocals by Newcomb, Chipman and Hughes give the track a warm closeness. Willie Dixon's Backdoor Man features Nicholas o national resonator and Newcomb on mandolin for a update on primitive blues styling. Very nice. Wake Up Bobby has a cool, swampy funk feel punched along by Hughes on bass. Nicholas' vocal phrasing and slick slide work by Cashdollar make this one of my favorites on the release. Grinding guitar tone on the opening of Workin In The Garden sets a rock theme with cool western overtones set by Cashdollar. Strong vocal delivery makes this the most radio driven track on the release. Title track, Fresh Air is a real nice track with Nicholas on slide resonator balanced against Newcomb on mandolin and clear lead vocals backed by warm rich backing vocals for a soft touch closer.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just had the opportunity to review the newest release, Three Miles From Avalon by Davy Knowles and it's quite good. I first heard Knowles on television with Back Door Slam and I was impressed. Glad to see his work surfacing again. His new release opens with Ain't Much Of Nothin', a driving blues rocker, Davy Knowles on vocal and guitar sets the stage with solid guitar guitar riffs and backed by Bryan Doherty on bass, Andrew Toombs on Hammond and Michael Caskey on drums. What You're Made Of is a solid rocker with sailing guitar riffs and nicely blended backing vocals by Caskey and Doherty. On blues ballad, Falling Apart, Knowles does it Gary Moore style with soulful vocals, backed by warm Hammond tones. His guitar riffs are clear and flow like hot mercury over nicely composed minor vamp. Very nice! High stepper, Never Gonna Be The Same, has a real percussive feel with hot slide work from Knowles. His vocals are nicely highlighted by Toombs' organ work and his guitar work is tight and expressive. Very cool. Gov't Row is a highway song with soaring guitar riffs and soothing vocals. This is a real nice radio track without being too polished Very nice! The Oh Yeahs' provide warm backing vocals on Oxford, MS, an old spiritual style track. With only basic backing, this track is very strong. I really like Knowles' guitar work on this track in contrast to the simplicity of the overall track. Title track, Three Miles From Avalon, has an interesting style blending the likes of Black Label Society and Kansas. Knowles vocals are strong and Toombs' key work works nicely in support of strong backing vocals of The Oh Yeahs. Wrapping the release is Willie Dixon's What In The World. This is a very strong blues number with incredible guitar phrasing and chords with a definite feel of Peter Green's Fleetwood Mac. Toombs' organ work works really nicely with Knowles's vocals. This is an outstanding track and a excellent closer.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just had the opportunity to review the newest release, Take Me High, from Laurence Jones and it's really hot! Opening with funky rocker, Got No Place To Go, Laurence Jones handles lead vocal and guitar nicely. With fluid guitar riffs and a super bass line by Roger Inniss this track really moves. Bob Fridzema plays a pretty handy keyboard and Phil Wilson's drum riffs are tight and demanding. Excellent! On Something's Changed, Jones blends a funky beat with a Reggae line coming up with a really terrific rocker. His guitar riffs are melodic and really nicely phrased. This is some hot shit! With a big bat swinging like a pendulum, Jones and Wilson set a basic pattern with really hot bass lines under the top by Inniss. With radio styling, this track has it's share of blues fueled guitar soloing but with modern, rock styling and snappy drum riffs. Over a basic Hendrix (All Along The Watchtower) theme, I Will is s solid ballad punched up by the Hammond work of Fridzema and smooth backing vocals by Reuben Richards. Thinking About Tomorrow has a smooth country rock feel with traces of the best of the Marshall Tucker Band (Can't You See). Easy paced lines, bounced against against Jones lead vocals make for a real nice track. Title track, Take Me High, is a complex rocker with interesting cross blending. Jones vocals are consistently clear and cool, and his guitar riffs are twangy yet punky with traces of Jimi's hammer ons. Cool! Down and Blue maintain's a blues rock format but the guitar work gets a bit more adventuresome and loose. Never losing control, this track helps to cement Jones' guitar prowess. With a light funk, The Price I Pay features Paul Jones on harmonica and a solid back beat by Inniss and Wilson. Jones plays snappy guitar riffs topping up the funky overtone and his vocals are nicely phrased. Wrapping the release is Stevie Wonder's super hit, Higher Ground. The original driving beat is maintained with only minute interruptions for guitar iteration. Jones breaks it open for a real nice guitar solo in the middle where Inniss maintains a basic blues bass line. With a bit of a change up the band double times it a few times in rock style and closes on a high spot. Very nicely done.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just received the newest release, Shine On, from Matthew Curry and it's really solid. I reviewed Curry's first release, If I Don't Got You back in 2011 and this is a more polished followup showing a lot of growth as an artist.
Opening with Blink Of An Eye, Curry is back with a strong ballad and his soulful vocals. His expressive guitar riffs are more mature and his backing band is new. Matthew plays guitar and handles lead vocals with Tim Brickner on bass, Mark Masefield on keys, Francis Valentino on drums. A super radio melody and Matthew's vocal work, backed by Valentino and Alexis Saski on vocals, this track is square on. Very nice opener. With it's funky back beat, Caroline, catches you right at the get go. Brickner, Masefield and Valentino set a great stage for Curry's vocal lead and his stinging guitar riffs have great bite. Excellent! Title track, Shine On, is another radio track with huge commercial potential. I can't say enough about Curry's vocal acuity and the overall balance of the band. His guitar is restrained but not contained showing maturity and precision. Very nice. Electric Religion is a solid rocker with a heavy, lumbering bottom. Curry steps up top with some soaring guitar pyrotechnics pleasing even the toughest critics. Very cool. With a light airy, jazz rock feel, Matter of Time, is the "pop" est track on the release. Curry's soulful vocals anchor the track with skillful B3 work from Masefield and warm backing vocals. Wrapping the release is Draw The Line, a blues rocker with clean guitar soloing and cool B3 backing. Curry has put out a real nice release here and is definitely making a name for himself with John Mayer, Jonny Lang and Kenny Wayne Shepherd. Check out this new release. It's quite good.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just received the newest release (September 16, 2016), The Long Journey Home, from Vaneese Thomas and it's soul is dripping. Opening with Sweet Talk Me, a soulful pop track, Vaneese Thomas plants her feet and delivers. With solid radio melody, tight guitar riffs by Al Orlo, Paul Mariconda on piano, Paul Adamy on bass and Joe Bonadio on drums and ultra rich back vocals by Lisa Fisher, Erin Pellnat and Sergio Cocchi I like this opener. Another favorite on the release is the R&B track, Mystified. Adamy sets up a nice bass line and Thomas' vocals are gripping. Bryan Davis on trumpet, and Ed Palermo on sax give the track a rich warmness and Orlo and Wayne Warnecke lay down some tasty guitar riffs. On The More Things Change, Adamy uses a single bass line to control the track, changing up for a nice vocal opening and Thomas' strong vocals saturate the track with stinging guitar riffs by Orlo. Prince of Fools has a really nice groove with tight vocals and a real sweet organ solo by Cocchi. Very nice. Opening with a heavy bottom and grinding guitar riffs, I Got A Man In TN, has a super heavy sway and Thomas is stomping it down hard. With great vocal phrasing, cool slide work by Orlo and Tash Neal and nicely complimentary bass and vocal backing, this track is hot. With warm gospel style organ, Rockin' Away The Blues has great presence. Peter Calo's addition of dobro work adds yet another dimension and Adamy's ever solid presence nicely highlights Thomas' super vocals. Excellent! With a simple blues strut, Revelation, shows yet another side of Thomas with a bit of country stirred in. Piano work by Mariconda, acoustic guitar work by Orlo, dobro by Neal and harp by Rob Paparozzi gives this track it's spring. Definitely my favorite track on the release is Mean World, a simple soulful ballad with Thomas accompanying herself on piano, joined by military like rudiment percussion by Bonadio. Really nice melodic guitar riffs add a nice dimension to Thomas' already rich vocals and solitary guitar soloing by Orlo is nicely executed. Wrapping the release is a cover of Fleetwood Mac's The Chain. Nicely interwoven vocals by Thomas, Pellnat, Cocchi and Fischer. Cleanly articulate acoustic guitar work by Orlo, smooth violin work by Katie Jacoby and supplemental dobro work by Neal makes this a cool conclusion to a pretty nice release.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just received the newest self titled release from The Apocalypse Blues Review and they have style. Opening with Evil Is As Evil Does, Ray "Rafer" Cerbone on lead vocal has a great rock voice backed by Tony "Big Tone" Rombola on guitar, Shannon "Apocalypse" Larkin on drums and Brian "Bassgod" Carpenter on bass. Junkie Hell is a smoking blues rocker with a solid bass lead and scorching guitar riffs. Devil Plays Strat has a great bass undertone which sets up nicely with Rafer's Morrison like vocal phrasing, excellent drum work from Larkin and rowdy guitar work from Rombola. Possibly my favorite track on the release. With a cool driving bass line, Whiskey In My Coffee has a strong sense of I Been Down So Long with nicely peppered guitar riffs. With traces of Trower's ethereal guitar work and a bit of more contemporary rock, The Tower is a cool track with strong rock roots. Crossed Over seems to be based on Robert Johnson's Outside Woman Blues with a modern rock grooves. Rombola really digs on this track fanning the flames. Very cool. Blues Are Fallln' From The Sky opens as a shuffle track but slows to a really nice blues grind featuring some of Rombola's most soulful riffs. Excellent! With a Big Brother like drum riff, Work In Progress, develops into a cool rocker with solid work by the entire group. Really great drum work by Larkin pushes The Devil In Me, giving Rafer and Rombola a hot platform to work their magic. Very nice. Opening with acoustic guitar work by Cerbone, Blue Cross develops into a cool rocker with a firm bottom and crisp guitar work by Rombola. Larkin takes an opportunity to throw out some interesting percussion riffs to close this track. Wrapping the release is The Door's When The Music's Over. Rafer actually sounds quite similar to Morrison and the band's delivery is solid and respectful.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just received the newest release (September 23, 2016), Blues Immigrant, from Matthew Skoller and it's a solid heaping cup of Chicago blues. Opening with Big Box Store Blues, Matthew Skoller takes the lead on vocal and harp backed by Johnny Iguana on keys, Giles Corey on guitars, Eddie Taylor Jr. on guitar, Felton Crews on bass,and Marc Wilson on drums. A smooth shuffle track, Skoller sets a solid line on vocal and has nice tone on harp. With of a rhumba beat, On The Devil Ain't Got No Music, Crews sets a real nice bass line and Skoller gives the harp a nice workout. Title track, Blues Immigrant, has a definite hook for radio play and Iguana's keyboard work along with the standard blues guitar rhythm keeps the instrumentation low key but nicely highlights Skoller's vocals with warm backing by Mike Avery and Stevie Robinson. Another Latin influenced track, Only In The Blues, is really smooth with stylized guitar work and blended vocals ultimately highlighting the slick harp work of Skoller. Very nice. Deep boogie, Tear Collector has a great bass anchor and some really lush guitar soloing. One of my favorite tracks on the release. Story of Greed has a driving bass line coaxing Skoller's vocals and harp work. Nicely crafted and with tasty guitar work, a real cool track. 747 is a slick Chicago track with tasty harp and sharp guitar riffs. Skoller's vocals are solid and sure but his harp work does take off on this one as does the guitar soloing of Carlos Johnson. Excellent! Organ Mouth is a hot instrumental featuring Skoller and Iguana taking hot solos over the solid bass work of Crews. Smokin'! My Get It Done Woman is a driving boogie with a solid bottom and crisp harp riffs. With it's La Grange like drive, this track is a sure thing. Shuffle track, Get Down To The Nitty Gritty, keeps your toe tapping and with clear piano work from Iguana, slick guitar soloing from Taylor and cool harp, this track gets it. Wrapping the release is pure blues instrumental, Blue Lights, with a strong blues base. This track has just the right pace to give Skoller a perfect cushion to do some of his most soulful harp work on the release. Excellent.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just had the opportunity to review the newest release, How Long?, from Little Mike and the Tornadoes and it's hot! Opening with Cotton Mouth, a red hot blues stomper, Little Mike is cooking. (Head's up Stilladog) A screaming hot harp off, this track is a terrific opener featuring Mike on harp, Cam Robb on drums, Dave Sweet on drums, Troy Nahumko on guitar, John Edelman on guitar, Joe Fontenot on bass, Ken Stearns on bass and guitar and Mitch Margold on B3. Title track, J.B. Lenoir's How Long?, is up next with a super groove. With it's stylistic guitar solo, tight piano lines and solid vocals this track is great. Quick paced, Smokin', is right down the Chicago blues lane. Bobby Timmons, Moanin', is a classic with great swing. With call by Nahumko on guitar this track opens strong and Mike takes the reins with really nice harp riffs, punctuated by snappy drum work. Cool shuffle track, When My Baby Left Me, is good solid blues music. Mike, Troy, John and Ken sit in the groove with Cam setting the pace. Mike's vocals are well phrased and his harp is smooth and slick. On Johnny Young's, latin flavored, Slam Hammer, Mike really kicks it on harp. This track cooks. Funky, Whatcha Gonna Do?, steps out in a more rockin' style with a cool back beat. Troy sets out a nice guitar solo and Robb ride the rimshot. Slowing it down a bit, Sam's Blues is up next and Mike really wrings the juice from this one. With grinding guitar riffs contrasting with Mike, this is one of my favorite tracks on the release. Excellent! Another Chicago shuffle, Eddie Taylor's Bad Boy, has a great swagger and Edelmann lays out a really aggressive guitar solo complimenting Mike smart harp styling. Very nice. Not What Mama Planned, is a really unusual track with a great bass line, heavy drums and nice lead guitar riffs. It's loose, almost Mississippi country blues like feel, and Mikes spot on vocals and crying harp makes it one of my favorites. Tryna' Find My Baby is a cool Chicago shuffle with harp and guitar supporting Mikes lead vocal efforts. An extended harp solo by Mike, and Elmore James like guitar riffs smell of Chicago blues giving this track an old style feel. Very cool. Wrapping the release is Sittin' Here Baby, a quiet almost a capella track with Mike on vocal and harp over a basic blues guitar riff... extremely personal and effective.
This is a really cool release and one that you should definitely check out.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just received the newest release, a self titled debut from Ina Forsman and it's terrific! Opening with Hanging Loose, Ina Forsman hits the road running with a solid and powerful, almost indescribable voice. Joined by Laura Chavez and Derek O'Brien on guitars, stellar piano work by Nick Connolly on keys, Russell Jackson on bass Tommy Taylor on drums and Mark Kazanoff on sax, John Mills on bari, Al Gomez on trumpet and Aaron Kazanoff on trumpet this is a solid opener. On Pretty Messed Up you hear solid sounds of the 60's R&B scene and Forsman sings like a star. Showing total confidence and composure, this girl can perform. With a cool piano opening by Connolly, Bubbly Kisses, eases up with a bit of 40' style mystery. Forsman's voice is intoxicating and with subtle nuance and outright power she commands your attention. Backing vocals by Alice Spencer, Tommy Taylor, Nick Connolly and Mark Kazanoff with sassy trumpet work by Al Gomez sets this track up nicely. Reggae track, Farewell, has a super rhythmic feel and really rich vocals. Masterful work by Taylor, Chavez and O'Brien gives Forsman plenty of room to do her stuff and she takes the track by storm. Trumpet accents by Gomez and Aaron and nice harp work by Helge Tallqvist makes this a particularly memorable track. Don't Hurt Me Now is one of my favorite tracks on the release with Forsman covering a latin beat with heavy B3 work by Connolly. Her vocal phrasing and effortless vocals, complimented by a slick solo by Chavez is tight and beautiful. Blues style track, Talk To Me, is given a tint of old school with solid blues style harp work by Tallqvist. Soul ballad, Now You Want Me Back, has a lot of punch with old school, up front vocal, warm backing vocals and nice horns. Very cool. Slinky, Devil May Dance Tonight, rides high on the drum work of Taylor and bass styling of Jackson. Essential piano phrasing by Connolly really works nicely with Forsman's voice and shimmery guitar work by Chavez adds to the dimensional qualities of the track. Very powerful. Fifties styled, Before You Go Home, really has style bringing thoughts of the late Amy Winehouse. Forsman has a powerful tool with a lot of character and she knows how to parlay it. A lower octave guitar solo by Chavez and relentless piano work by Connolly set the bar for this track. R&B track, No Room For Love, has a super beat and tight horns. It's obvious that Forsman has been doing her homework and studying the best in her stylistic influences. Very nice. Wrapping the release is Nina Simone's I Want A Little Sugar In My Bowl and it is over the top hot. Forsman shows just how smoking hot she really is with all of the blues you could possibly pack in one track. Backed only by Connolly, and with a sultry sax solo by Mark, this track is an excellent cherry on top of the whipped cream.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just received the newest release, An Evening With Todd Rundgren, from Todd Rundgren and it captures the master of blue eyed soul in concert at the Ridgefield Playhouse in Ridgefield, CT on December 15, 2015. Todd opens with one of his best know tracks, I Saw The Light, from early in his career and it is a fine opener. Blasting right into Love Of The Common Man with John Ferenzik on keys, Jesse Gress on guitar, Prairie Prince on drums and Kasim Sulton on bass. Early rocker, Open My Eyes really gets the crowd rocking and Todd rips a hot solo to conclude the track. Todd and the crew hit a lot of the top tracks from his 25 release career including titles from at least 15 releases.
Something/Everything
I Saw The Light
Black Maria
Couldn't I Just Tell You
Faithful
Love Of The Common Man
Black and White
Nazz
Open My Eyes
Hello It's Me
A Wizard A True Star
Sometimes I Don't Know What To Feel
Soul Medley: I'm So Proud, Ooh Baby Baby, I Want You
Second Wind
Love Science
One Long Year
Buffalo Grass
Hermit of Mink Hollow
Determination
Can We Still Be Friends
A Cappella
Lost Horizon The Ever Popular Tortured Artist Effect
Bang The Drum
Drive
Global
Soothe
Nazz Nazz
Kiddie Boy
Liars
God Said
POV
Secret Society Oops Wrong Planet (Utopia)
Love In Action
Swing To The Right (Utopia)
One World
He plays guitar throughout much of the release and in some cases sits or dances and of course even plays the drums but no piano on this one.
This is a solid mix overall with Kaz providing solid backing vocals and Rundrgren's own vocals maintaining the expressive qualities that he has shown since his earliest albums. His guitar chops are soulful and lively. I have listened to Todd's music for a good part of his career and I found this a cool release and a solid concert performance for those new to Rundgren as well as long time fans. This release definitely demonstrates that Todd still has a lot to share.
I just received the newest release, Raw Sugar, from JJ Thames and it's rich. Following on the coattails of her spectacular release Tell You What I Know Thames keeps it rolling. Opening with Oh Lord, a simple spiritual blues, the instrumentation is kept to a minimum with Joe Seamons on acoustic guitar and backing vocal and Ben Hunter on mandolin surrounded by a wealth of warm vocals. Hattie Pearl kicks into high gear with Darryl Sanford on rockin piano and with Kimble Funchess on trumpet, Jessie Primer III on sax and Robert Lamkin on trombone. Shuffle track, I'm Leavin' features Eddie Cotton Jr. on guitar and Thames is really moving with Anthony Daniels on bass, John Blackmon on drums and Sanford on keys. Leftovers is a funky, jazz pop track with a strong bass line by Daniels. Thames' vocals are well blended and the melody is radio bound. Bluesy, Woman Scorned, sets a real nice stage with Cotton playing a smoking opener. Thames's delivery is powerful and her vocals inviting. One of my favorite tracks on the release is Only Fool Was Me with particularly soulful vocals from Thames and a really nice solo from Primer. Bad Man rides high on a great blues riff by Cotton and Daniels. Cotton takes a cutting solo swaddled in horns by Funchese, Primer and Lamkin. Very nice. Ballad, Hold Me, is rich in blues and soul. I really like this track with sweetly interwoven vocals. Excellent. Blues track, Don't Stop My Shine has a real funky bottom thanks to Daniels and you can feel Thames strut as she sings. With horns a blazing, and a solid key solo by Sanford, this track is really hot. I Don't feel Nothing has a clever interplay between blues and jazz, featuring Cotton and stinging guitar riffs and snappy drum licks by Blackmon. Plan B (Abortion Blues) has a real nice neo soul feel and Thames really shines. With it's light backing, Thames vocals float on the music. Really nice. Title track, Raw Sugar, sets up with Cotton laying out some hot blues riffs and developing into a down n dirty blues ballad. Thames fuels the fire vocally and Cotton really builds up steam backed by Sanford. Wrapping the release is I Wanna Fall In Love, a brighter R&B style track. Thames warm harmonies, backed by easy horn work sets the pace and Lamkin takes a sassy trombone solo giving the track a boot. Very nice closer to a solid release.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just had the opportunity to review the most recent release (September 9, 2016), Maxwell Street, from Ronnie Earl and the Broadcasters and it's a scorcher! Opening with Mother Angel, a tight jazz influenced number featuring Ronnie Earl and Nicholas Tabarias on guitar, Lorne Entress on drums, Dave Limina on keys and Jim Mouradian on bass. Slow blues, Elegy For A Bluesman is one of many beautifully executed tracks on this release. With subtle bottom and really nice piano and B3 by Limina, Earl takes it front and center with lush melodic guitar lead. Excellent! In Memory of T-Bone is a strong, T-Bone Walker "modeled" blues track with Earl interpreting T-Bone Walker's style and phrasing. With just a wisp of bass and drums and a carrier tune of keys, Earl just flat out plays the melody in fine style. Excellent! Diane Blue joins the mix for original track, Kismet, showing why she is the go to girl on many blues release. Her vocals are clean and powerful and a good balance for Earl's powerful dynamic style. Earl's emotional bends are pointed and precise, and his solo phrases succinct giving the track the sound of fine wine. Otis Rush's Double Trouble is certainly one of my favorite tracks on the release pushing the bar even higher with Blue's emotional vocals and Earl's incredible knack of squeezing every drop of sweat from his guitar. Clocking in at over 11 minutes, this track is stimulating from end to end. Excellent! R&B track made popular by Gladys Knight, Imagination, has a definite funky drive with a tight bass line and excellent vocals from Blue. Earl brings the pace down again on Blues for David Maxwell. Limina takes a long lush stroll on the piano leading up to Earl's incredibly soulful solo giving this track air for more than 8 minutes. Wow! On Eddy Arnold's jazz ballad, You Don't Know Me, Blue takes front and center again with strong support from Limina and Earl. There's plenty of room here for both Earl and Limina to take brief expressive solos of their own but this track is really all about Blue. Very nice! Kicking it up to a strong loping shuffle on Brojoe, Earl is back, front and center, with Limina on B3 pushing him all the way. Entress' tight drum work and walking bass work from Mouradian frame the work nicely with Earl shooting riff after riff. Smooth. Wrapping the release is Don Roby's ultra soulful, As The Years Go Passing By. This track has been given up by a lot of the best including Otis Rush, Albert King and Elvin Bishop and Earl's entry will certainly not go unnoticed. Blue handles the vocal lead with authority and Earl would be a certain candidate for top blues player today. This is an excellent closer for an excellent release!
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just had the opportunity to review the newest release, Way Back Home, from the Backtrack Blues Band and it's solid. Opening with Going to Eleuthera, a snappy shuffle, Sonny Charles leads the way on lead vocals and Kid Royal is hot on his heels on lead guitar. Rounding out the troupe is Little Johnny Walter on rhythm guitar, Joe Bencomo on drums and Stick Davis on bass. Victor Wainwright is featured on piano and does a real nice job and Charles really makes his harp sing. Nice opener. On Tell Your Daddy, the band sets a funky dance groove with a boogaloo bass line. Breaking into a smooth shuffle Royal plays it like a stud and the deal is on. Breaking back, Charles brings his harp to the forefront with great tone. Shoot My Rooster has a real nice blues lope with Charles' harp on call and Royal's guitar on response. One of my favorite tracks on the release, this track features super piano work by Wainwright in the mix with Royal and Charles. Excellent. Sonny Boy Williamson's Your Funeral, My Trial really gets the feel of old Chicago blues with Charles working his harp. Royal's Texas blues guitar styling is tight and forceful giving the track great balance. Nobody But You has a bit of 50's R&B blues styling and Royal's guitar work is clean and distinctive. Charles' harp work is fat and rich with tight underpinnings by Wainwright, Davis and Bencomo. On Heavy Built Woman Royal takes a real nice walk on his six string with Funderburgh like runs and Charles' vocals and super harp are nicely backed by Latonya Oliver and Dana Merriwether. Blues classic, Baby Please Don't Go is up next and with great enthusiasm Charles shouts out the lyrics. This track has great instrumental qualities with solid entries by Charles and Royal. Check it out! Rich Man Blues has a real deep lope and strong Chicago blues styling. Royal and Charles take nice solo passes and Wainwright's contributions are essential. Wrapping the release is Help Me Just This Time, a modified boogie. With it's driving bass riff, Wainwright's extensive piano work and Royal and Charles trading riffs, this is a great track to wrap a fun release.
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I just received the newest release, Age Don't Mean A Thing, from Robert Finley and it's a powerful new soul release. Opening with high stepping Memphis groove, I Just Want To Tell You, Robert Finley wastes no time establishing that his talent far exceeds his professional experience. An extremely soulful vocalist, Finley traveled north to Memphis to work with members of the Bo-Keys. Players include a who’s who of the Memphis soul scene including drummer Howard Grimes (Al Green, Otis Clay, Syl Johnson, OV Wright), Marc Franklin (Bobby “Blue” Bland), Jimbo Mathus (Elvis Costello), Al Gamble (St. Paul & The Broken Bones, the Hold Steady, Alex Chilton), Kirk Smothers (Jim Lauderdale, Buddy Guy), Reba Russell (U2, BB King), Harold Thomas (James Carr) and Daunielle Hill (Solomon Burke). With full soul backing vocals and Al Gamble's B3 rolling this is a great opener. On title track, Age Don't Mean A Thing, Finley really sings with gut wrenching authority. This track is exceptional with almost spiritual organ work by Gamble and essential underpinnings by Mathus. R&B track, Let Me Be Your Everything, is saturated with horn work by Kirk Smothers and trumpet by Marc Franklin and super backing vocals by Russell and Hill. Slowing down to a smoldering simmer, It's Too Late, puts Finley back upfront with nicely blended backing vocals by Russell and Hill. This is a really nice track and one that could easily hit the radio hard. Solid soul track, Snake In My Grass, has a nicely anchored melody with Finley's vocals drawing out the emotions, complimented by Smothers and Franklin. Very nice. James Brown like, Come On, gets a super groove cooking pressing you to get on your feet. With warm vocals and horn punctuating over a wah wah and funky bass work, how can you not love this! 70's pop track, Make It With You, written by David Gates, is given a really soulful overdo with light guitar rhythm, shimmery organ and Finley's powerful vocals. Very nice. You Make Me Want To Dance has a real Al Green kind of feel and you automatically feel that bounce starting in your head. Russell, Thomas and Hill really warm up the background on this track and Smothers and Franklin work is tight. Super. Wrapping the release is excellent soul track, Is It Possible To Love 2 People. With warm sax work by Smothers, nicely placed guitar riffs by Mathus, tom tom work by Grimes, B3 by Gamble and tight punctuation by Franklin, this track leaves you with nothing but wanting more. Excellent release.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just received the newest release (September 16, 2016), Porcupine Meat, from Bobby Rush and it's a mover. Opening with I Don't Want Nobody Hanging Around, Bobby Rush has a high steppin funky opener featuring a cooking horn section, great bass lines and of course some fine harp work. With a smooth R&B feel, title track, Porcupine Meat, is a real cruiser with Vasti Jackson laying down some tight riffs on guitar over a solid bass line. Very cool. Slow blues number, Got Me Accused, really gives Rush the opportunity to show his deep blues roots. With his soulful vocals and crying harp playing, this track is heavy. Again the strong bass lines really anchor the track and salted lightly with guitar, this track is smokin. R&B track, Snake In The Grass, has strong radio play sound with a catchy hook and a solid beat. Funky track, Funk o' de Funk, has really super bass line and the funk is so deep you can smell it. Punched up horns, keyboard and nicely placed harp work. This track hits the groove. Me, Myself and I is a smooth, jazzy number with a rock solid bottom and clean guitar riffs added by Joe Bonamassa. Catfish Stew is a cool pop jam with a rolling bass line. Light hearted feel and cool horn work make this track sail. It's Your Move has a nice BB King like feel that almost glides across the airwaves. Dave Alvin lays in some really nice guitar work over a solid bottom and a strong keyboard cloud. Keb' Mo' slips on the slide hitting Nighttime Gardener running over a blues riff. Rush does his thing lyrically, and with no pause. A sure crowd pleaser. R&B track, I Think Your Dress Is Too Short, has a real nice feel. With it's super cool bass line, snappy drums and horn punctuation, Rush just rides the wave. Very nice! Standing On Shaky Ground is pure soul and the horns sound like they are pure from the 70's. Rush has seen it all and knows the way with billowy keys and clean accents. Cool track. Wrapping the release is I'm Tired, a high water stepper with nice harp work, slide guitar and light percussion. Rush's harp work is instinctual and gives this track a cool modern feel. Nice closer.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just had the opportunity to review the newest release, Mid-Century Modern, from Al Basile and he's spot on. Sporting a who's who of musicians, Basile mixes blues, funk, rock and jazz for a real Mid-Century experience. Opening with Keep Your Love, Where's My Money, a slick new Orleans style track with a cool back beat, Basile and his crew, Rich Lataille, Duke Robillard, Bruce Bears, Doug James, Monster Mike Welch, Mark Teixeira and Brad Hallen set the club scene nicely. Basile sets a real nice table on cornet, complimenting his vocals and super stylized piano by Bears makes this track sing. Funky, Like You or Despise You, has a cool trumpet vamp by Jeff "Doc" Channonhouse and over a nice bass line by Hallen, Basile lays out a really cool cornet riff and Monster Mike's guitar work is slick. On Midnight Blue Persuasion, a straight R&B groove, Basile presents some of the top vocals on the release. This track has a real nice feel, like R&B from the 60's with his own cornet work on showcase. Tickle My Mule is a clever track with innuendo and I really like Monster Mike's guitar work on this track. Excellent! Really getting into the Louis Jordan swing thing , I've Gotta Have Meat, is great track and the band is really cooking. Rich Lataille and Doug James really shine on this track with hot sax work. Funky, Like A Woman, , Like A Man features Duke Robillard screaming hot on guitar with Albert King like riffs. I love King and this track is hot! Blank Dog has a really nice groove with saxes a blazing and snappy drum work by Mark Teixeira. Nice trumpet work by Doc and excellent guitar riffs compliment Basile's soulful cornet work making this another super track. Shuffle track, Carry These Blues has great warmth and sports great vocals and cornet work by Basile, nice trumpet work by Doc, essential piano backing and some real nice guitar riffs by Welch. Swampy, No Truth To The Rumor, rides heavy on the back of Hallen, with Bears laying in some terrific piano lines and Basile's cornet hot spots. On light shuffle, Listen To The Elders, Basile goes down more of a big band path with trumpet and sax work taking a stronger spot. James' work on bari sax is really hot and I always love Bruce Bears work on everything he does. Basile has a real nice hand with his cornet laying in just the right amount of seasoning. Soul track, Night Crossing, has strong radio bones with a funky bottom compliments of Hallen. Big Trees Falling is really nice and funky and Hallen is setting the pace. With Doc hitting the trumpet on rhythm, Basile steps up on cornet taking lead. Welch rips some really fat riffs over Bears clever piano riffs giving the track some really traction. Wrapping the release is Lie Under The House with Me, a quiet jazz track with an almost Miles feel. Basile takes some of his best horn rides on this track and Robillard sets up for a slam of his own on this one with nicely articulated guitar work. Calm and soulful, a nice closer for a different taste of blues.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just received the newest release, Blueberries and Grits, from Sunday Wilde and it's sassy. Opening with New Orleans flavored, Show Me A Man, Wilde's trademark vocal style and piano finesse blends nicely with the trumpet work of Roger Reupert and backed by Sturgis Nikides on dobro, Reno Jack on bass, Rickey "Quicksand" Martin on drums. Latin spiced, Early In The Morning, a Louis Jordan track, is one of my favorite tracks with April Mae on washboard and Dave Fecca on acoustic guitar. Momma's Drinkin's Done has traditional boogie lines featuring strong vocals blanketed in Reupert's trumpet and Wilde's own piano work. Simple rocker, That Man Drives Me Mad, has primitive roots with Mandy Lemons on backing vocals. Billy Earheart's Cottage Pump Organ teamed with Wilde's piano work gives it an interesting sound blended with pop punk phrasing. Radio style track, Too Many Troubles, has a catchy melody and features some nice acoustic guitar work from Johnny Cass. Willie Dixon's John The Conquer Root, has a swampy feel with really bluesy vocals and piano work by Wilde and again featuring Nikides on dobro and Reupert on trumpet. Another Latin number, Daddy Daddy, keeps the accompaniment light with April Mae on washboard and Gary Vincent and Cass on acoustic guitar. Wilde really squeezes it on this one giving it an extra boost. Bessie Smith's Sorrowful Blues is up next and Wilde's piano work with Nikides' slide work highlights Wilde's vocal work nicely. One Of These Days is a cool duet with Reno Jack. This is a quiet little calliope kind of songs with Nikides on dobro and Earheart on Cottage Pump Organ. This track has a simple beauty setting it apart from the rest. Wrapping the release is Come On In, a spiritual track, done with full vocal backing by Watermelon Slim, Lemons, and Gary Vincent. With Earheart on organ and Robert Hughes on an old Stella, this is a super closer for a unique release.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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I just had the opportunity to review the most recent release, Tennissippi, from Little Boys Blue and it's quite good. Opening with title track, Tennissippi, singer/harp player, JD Taylor leads a tall strutting blues rocker joined by Tyler Goodson and Brad Webb on super slide guitar, Alex Taylor on lead and rhythm guitar, Dave Mallard on bass, Mark Brooks on drums and Dave Thomas on keys. Super opener. On Lights On, the band has a cool New Orleans style funk (think I Was In The Right Place), with a cool wah wah rhythm and nice horn backing from Ken Waters on trumpet and Bad Brad Guin on sax. Thomas takes a real nice ride on his B3 giving the track a warmer feel. Very nice! Rocker, Pack It Up Baby, is driven by a Mallards' bass work, complimented by a smoking harp solo by Taylor, Alex and Goodson's guitar solos and a super sax solo by Guin. Shuffle track, If I'd A Known, has a nice groove with some tasty guitar work by Alex and Tyler as well as nice B3 solo and again notable harp work by JD. R&B ballad, 35 Years, is really well crafted with a cool hook, smooth melody and nicely blended instrumentation. Obvious radio track. Kenny Burrell's Chitlins Con Carne is a real slick Latin flavored instrumental with JD's harp work on spotlight. Tyler, Alex and Thomas' soloing make this my favorite track on the release. Funky rocker, Do You No Wrong, has a real nice feel with Tyler, Alex and Thomas stepping up with strong contributions. This release is evenly strong. Bluesy ballad, Smoke Rings, is a really nice spotlight for JD's super vocal contributions, surrounded by piano and B3 and complimented by his own mellow harp work. Very nice. Alex and Tyler again step up with soulful contributions on guitar making this a solid entry to the releases top tracks. Backing way off into a stripped down acoustic like feel, Health Insurance Blues, features JD's vocals and harp complimented primarily by acoustic rhythm. Uptempo and simple, a tight little blues number. Shuffle track, Wanna Be Your Loving Man, has strong bones and light glistening guitar chords under a proud blues harp sound and a crisp electric solo gives this track it fuel. Very nice. Kicking down the doors, Big Pimpin Sugar Daddy Romeo, has attitude to spare with snarling guitar riffs and a ass kicking bottom. Thomas steps up with a nice B3 lead of his own, Alex and Tyler each throw down on guitar, and JD closes it up. Smokin. Wrapping the release is a fire breathing instrumental, Jackson, with super harp paired with flaming guitar riffs. Stilladog... right up your alley. Excellent closer!
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I just received the newest release, Dust & Bones, from Gary Hoey, and it's cool. Opening with blues power rocker, Boxcar Blues you get a strong taste of Hoey with a blend of Zep and Paul Rogers. Hoey leads the charge on electric slide and vocal backed by Matt Scurfield on drums and AJ Pappas. Strong. Next up is Who's Your Daddy, a fleet shuffle with the guitar finesse of Skynyrd's,I Know A Little, and driving boogie riffs on bass and drums. Very nice. Born To Love You has the strong drive that I associate with Foghat or Procol Harem blended with ZZ Top rocker. With a great rock style and fluid guitar runs, this disc smokes. Slowing things down a bit, title track, Dust & Bones, has more of a 90's rock feel with ballad like lines and clean guitar melody. Steamroller is a tribute to Johnny Winter with a driving drum and bass line under Hoey on slide (think Mean Town Blues). Solid blues rocker! Lita Ford shares the mic with Hoey on ballad, Coming Home. A well written radio style track, this one could easily get broad radio play. Ghost Of Yesterday is a nice rocker with traces of early Robin Trower but with a stylized turn of the century twist. A power rocker, this track really gives Hoey the opportunity to show his guitar riffs with vocal harmonies softening the edge. Another solid ballad, This Time Tomorrow, shows Hoey's finesse as a vocalist with shimmery chords under his nicely executed blues rock guitar lead. Shuffle track, Back Up Against The Wall, may be the most deliberate blues track on the release with relaxed vocals and soloing. Blind Faith is a lead footed blues rocker with super slide blues lead. With it's heavy bottom and slippery slide, this is a cool track. Wrapping the release is a super charged instrumental, Soul Surfer, with a blues bottom (think Otis Rush) overlaid with surf formatting with glistening chords and rapid blues riffs. I like both genres so this track is a home run! Excellent closer for a strong release.
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!- ”LIKE”
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