Blues

Rick Estrin & The Nightcats THE HITS KEEP COMING

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Rick Estrin & The Nightcats
The Hits Keep Coming
Alligator Records

Potent R&B That Needs To Be Heard After a Long And Demanding Day.

I’m pretty sure I’ve not reviewed any of Rick Estrin’s previous five albums nor seen them ever play live; but I wish I had judging by the contents of this one.
Rick and the Nightcats are probably very nice gentleman; but the album cover makes them look like shady characters … and that’s what I expect from a band that play this kinda R&B and yes, you can judge this album by its cover.
The opening track Somewhere Else starts with some honking harmonica before Estrin swans in like a lothario in a velvet suit, regaling us with a tale of lust and a warning to his lover that the grass may not be greener elsewhere … all played out to a tight and claustrophobic back beat.
That song instantly won me over and like me, you can comfortably kick back and let the good times roll therein.
The moody and metaphoric The Hits Keep Coming follows, and I think you can guess that this isn’t Estrin ‘blowing smoke’ about his career; but an a-political song about living on planet earth these days, where there’s no respite as the The Hits Keep Keeping for most of us on a daily basis.
Once that’s out of the way the mood moves up a point or two; although with ever more social commentary aligned to some majestic bluesy melodies – with The Circus Is Still In Town (The Monkey Song) and Learn To Lose with its swirling organ and searing guitar interplay being primo examples of a songwriter that knows what he’s writing about and how to arrange the music around the words.
I didn’t recognise either in the arrangements Estrin has created but there are two exceptional cover versions here; Leonard Cohen’s Everybody Knows with its wonderful harmonies and haunting harmonica and a rare Muddy Waters song (that I have on a VA album) called Diamonds At Your Feet which swings like a pendulum do!
While a couple of songs and the arrangements will make you smile at times; generally there’s an intensity across this album that makes it stand out in a very crowded field, with Estrin occasionally challenging the listener to stick with him on I Finally Hit Rock Bottom and probably 911 too, and trust that the end result is worth their time and money … trust me, it is!
This is very much the type of R&B that needs to be heard after a long demanding day and you need some ‘me time’ and music that reflects your mood, and for me the funky ass instrumental Sack o’ Kools hits that spot every time.
My only gripe is that the closing song Whatever Happened To Dobie Strange, which sounds like it could have come from an episode of the Adam West Batman TV show could or should have been the opening track; although perhaps the psychedelic phrasing might frighten away any casual listeners.
So, it’s Favourite Song time, and as usual that’s not been as easy as it could be; with quite a few contenders already mentioned, but the smokin’ harmonica laden and acutely observed I Ain’t Worried About Nothin’ could be a soundtrack to my life these days; but the slow and swoonsome Learn To Loose which has organist Lorenzo Farrell channeling his inner Jimmy Smith and Georgie Fame and ‘Kid’ Anderson’s guitar solos will send a shiver down your back, so it takes the tale of the tape by nose.
If I ever get to see Rick Estrin and the Night Cats play live, even a sweaty club like The Cluny, their music demands that you dress up to appreciate it … no jeans and sneakers … this music deserves your best going out clothes, even on a Tuesday night.

Released 10th May 2024
https://rickestrin.com/

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Anthony Geraci TEARS IN MY EYES

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Anthony Geraci
Tears in My Eyes
Blue Heart Records

Gloriously Understated Blues Piano and a Dusky Voice that Fits Like a Well Worn Velvet Glove.

There are times when I research musicians that I think (realise) that I know nothing about music at all. Obviously when you see a picture of Anthony Geraci you realise he’s not in the first flush of youth; but nothing prepared me for the amount of albums that he’s previously released under his own name and various guises too, but alongside legends like Sugaray Rayford, Otis Grand and Ronnie Earl as well as guesting on far too many albums to list here!
So; why the fuss?
It’s evident right from the opening track, the repetitive and hypnotic Broken Mirror Broken Mirror that he is a Master of understated Blues piano; and also has a deep and dusky voice that suits his music like a torn and worn velvet glove.
This is followed by a jumping instrumental called Little Owl that allows his top-top band the freedom to show their innovative talents too.
You don’t get to be this good unless you’ve served a lengthy apprenticeship at the coal face; and after taking and devouring piano lessons from the age of four, Geraci went on to be an integral part of Muddy Waters, B.B. King, Otis Rush, Chuck Berry, Big Mama Thornton, Big Joe Turner, Jimmy Rodgers’s bands at one time or another. 
It’s apparent that his piano playing is front and centre of everything here; but that said … no two tracks are the same; with Tears in My Eyes being an intensely Jazz infused Blues Rocker, Witchy Ways a late night opus that craves your full attention and features some stunning slide guitar too; then there’s the slick jumpin’ jive of Ooee that had me tapping my feet then ultimately shaking my tailfeather as I waited for the kettle to boil!
There are also numerous instrumentals here; and again, no two come close to being the same as Geraci channels his inner Oscar Peterson on Memphis Mist, but the violin accompaniment takes it off into a whole new dimension that I can barely describe.
Blues For Willie J on the other hand feels like there’s a storm brewing, such is the claustrophobic intensity on offer, but Geraci and crew somehow manage to keep it tight and this gorgeous tune never actually boils over.
Normally I’d skip over the instrumentals in my quest to choose a Favourite Track, as they can often be ‘filler’ but here every single track is an integral part of the complete album; which is why I’m torn between the funkalicious Oh No, which somehow showcases Geraci’s intimate piano playing skills while still remaining an understated piece that features a scintillating sax solo midway through; and that makes it a tie with the BB King inspired (?) song Judge Oh Judge with it’s brushed drumming, soft sax and gentle sax alongside some crystal clear piano playing and Geraci’s desperately emotional vocals.
I’ve said since day one, that the purpose of this website is to unearth music and musicians that you may otherwise not hear about; but can I still say that about someone with such a long award winning and exemplary career as Anthony Geraci has had over the last 60+ years?
I’ll tell you how good and diverse Anthony Geraci is …. you saw the list of names I listed earlier; well the heartfelt liner notes on the album are written by none other than the legendary Blues Rocker Walter Trout!
“This album is his latest musical exploration. I feel like Anthony grows with each new release. Along with his stellar band, he continues to put out vital and beautiful art. His playing continues to be about honesty, tradition, invention, expression, and even humor.
I am honored to call him my friend.”

What more do you need to know?

Released April 19th 2024
https://www.anthonygeraciblue.com/home

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Various Artists GARY DAVIS STYLE

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Various Artists
The Legacy Of Revered Gary Davis
Riverlark Music

An Amazing Homage To One of the Blues’ Forefathers

What we have here is a wonderful bunch of Blues and Gospel songs from Gary Davis’ students, grand-students and more; from acolytes that are black, white, American and Canadian, containing some old tunes, and some previously unreleased.
By all accounts, Rev. Gary Davis (1896-1972) was a remarkable musician, and among other things a teacher of music.
Blind from infancy, Davis played piano rags and orchestral pieces on guitar, and ‘shouted’ gospel numbers on the street for forty years, plus he taught more than a thousand people one-to-one, over seventy years!
Even if this style of Blues is not normally on your plate, its something you should consider because there’s much to savour. 

Many of those he taught went on to enjoy professional careers in music notes curator Adam Cohen, whose father, John Cohen (New Lost City Ramblers, producer, historian) actually made an album with Davis in 1953.
Davis’ music came in via three fronts; Blues, Gospel and versatile guitar work; and on occasions all three get to combine!

As for crucial material compiled for this collection, it all starts with South Carolina Rag from Rolly Brown (vocals, stylish finger-picked guitar), Willie Walker penned the blues record that contains the hook,
‘I’ll tell you, that’s no way to do’.
Brown’s smokey tones set the tone for what is to follow. 
Ironically, Davis had just been ordained when in 1935 a record label, ARC gave him the opportunity to record twelve gospel songs. In return he had to record one 78rpm single that was Blues.
South Carolina-born Davis not only created a unique style as a guitar picker, but wrote a stellar set of durable songs too. None more so than Twelve Gates To The City; performed by John Cephus and Phil Wiggins – a bread and butter Blues-Gospel piece, and a signature song of Davis, which here is warmed in guitar and harmonica as the duo carve a deep niche.

Davis made a tidy sum through royalties accumulated from folk act Peter, Paul and Mary recording his song, If I Had My Way (listed here as Samson & Delilah #1) in their trademarked folk fashion. Samson & Delilah #11 by Mitch Greenhill & Mayne Smith follows that version in the running order, Mitch Greenhill being the son of Davis’ manager, Manny Greenhill is on acoustic guitar, lead vocals and Mayne Smith acoustic guitar and backing vocals, featuring some dazzling picking as they return the song to Davis’ original style.    

Ken Whitely and friends deliver a warm version of Davis’ gospel favourite Let Us All Get Together, which has a wonderful, free ’n easy feel run through its entirety. With jug band arrangements it flows ever so sweetly.
Davis’ I Am The Light Of This World is performed, stellar fashion by gritty voiced, Maria Muldaur (supported by Ernie Hawkins on acoustic guitar), and like her former husband, Geoff Muldaur she enjoys a terrific understanding of the Blues, and here you couldn’t wish for a finer recording.
Ari Eisinger on vocals and acoustic guitar rumbles along like a train on, I’m Throwin’ Up My Hand, a relentless, typical Blues story about losing his woman.
It’s a winner.
It and Cross And Evil Woman Blues (performed by the versatile and gifted, Jack Dialesandro) were the blues songs that constituted the 78rpm record that came from Davis’ original record deal.
North-East Ohio’s Eric Noden picks a mighty guitar on delivering the robust, Pure Religion.

I Heard The Angels Singing from Bill Ellis (vocals, guitar) brings the music forward in line with later day Folk -Blues.
Ernie Hawkins comes through with an intriguing, guitar instrumental Will There Be Stars In My Crown (Eliza E. Hewitt) to illustrate the wealth of songs Davis played, but never actually recorded.
There’s another Instrumental Devil’s Dream where Pat Conte show off his banjo skills.
United States March from Ellen Britten (guitar) rolls along ever so sweetly, with playful guitar licks decorating the tune in a crisp, vibrant fashion. 

National finger-picking champion, Mary Flower learned Sit Down On The Banks / Buck Dance when she was living in Denver, Colorado in the 1960s. Her easy as an old fitting shoe vocals and dexterity on guitar are a delight.
Little known musician Ian Buchanin with the Otis Brothers (Pat Conte & Bob Guida) provide a mighty version of popular composition, Hesitation Blues.

Perry Lederman just about clinches the mantle as supreme player, with his contribution, Gary Davis Style which is an amazing showcase for his guitar skills. He Knows How Much We Can Bear (Roberta Martin) may not be a Gary Davis original, but one he found, learned, played and has been picked up by many others. One such act appears here, Penny Lang (w/ friends), who learnt it on hearing Davis perform in at Montreal’s Yellow Door where he stopped the traffic.

Among those Davis associated with on the New York folk scene was Dave Van Ronk, another musical legend. His version of Davis’ Soon My Work Will All Be Done isn’t only a highlight of this album, but the his own long and industrious career. Supported by Eric Frandsen on acoustic guitar plus friends on harmony vocals it is quite exquisite.

Columnist for Fingerstyle Guitar magazine, music teacher and more (backup singer to a then young singer, Joni Mitchell and guitarist with Olivia Newton John) Rick Ruskin rounds off the collection with soulful rendition of a heartfelt piece, I Will Do My Last Singing In This Land.
The copious notes that come with the collection; like the music are, both a joy, and hugely informative.

 Review by Maurice Hope
Released April 20th April 2024
http://www.riverlark.com/blues/revivalists.html

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Eric Bibb LIVE AT LA SCALA THEATRE, STOCKHOLM

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Eric Bibb
Live At The Scala Theatre, Stockholm
Repute / Stony Pain Records

A Masterclass in Acoustic Blues and Storytelling.

Three time Grammy Nominee Blues man Eric Bibb opens with old favourite Goin’ Down The Road Feelin’ Bad (trad) and never looks back.
Recorded in 2022 in Stockholm (his longtime adopted home) it finds New York raised, Eric Bibb at the peak of his powers and was, without doubt, the most ambitious gig and recording project of his career.

Over the last 40 – 50 years Bibb has established a world wide following through his unique blend of Blues, Folk and Gospel music. During this period he’s recorded a good many records, going back to his debut on Swedish label, Opus 3 in 1977. Beforehand Bibb had made sporadic recordings, but his career had been a stop start affair.
My first recollection of seeing him play was at the Ropery, Sunderland and Newcastle’s famed Jumpin’ Hot Club.
I was instantly hooked on his amazing ability to build a rhythm, with a pure sound from his guitar and equally warm vocals, and back then he had Goran Wennerbrandt alongside him, providing some amazing, sensitivity to his songs.

Here, the enduring folk song, 500 Miles (trad) enjoys a remake as Bibb places his own stamp on the much covered song. The accompaniment on occasions features an all-star lineup of musicians including Eric’s longtime collaborator, Glen Scott on bass, keys, drums and backing vocals; Olle Linder on drums and acoustic bass; Johan Lindström on pedal steel and electric guitar; Christer Lyssarides on electric guitar and mandola; Esbjörn Hazelius on fiddle and cittern; Greger Andersson on harp; Lamine Cissokho on kora and vocals; special guest vocalists Sarah Dawn Finer, Rennie Mirro and Ulrika Bibb, as well as string arrangements performed by Hanna Helgegren and Sarah Cross on violins, Christopher Öhman on viola and Josef Ahlin on cello; yet it’s never over powering or over produced.
Bibb’s relaxed, warm persona is always at the forefront, and his gentle demeanour never gets better than when it’s a case of less is more.
Piano, fiddle, harmonica, harmony vocals warm Mole In The Ground a song I first heard sung by Doc Watson. Bibb’s version is a beautiful cultured rendition, multi-textured and he even has the audience giving a little help..
’you sound so good, one more time’, asks Bibb.
Walter Vinson’s Things Is ‘Bout Comin’ My Way is your typical, lazy paced Blues shuffle, with some foreboding work on fiddle, plus some sharp as a tack moody harmonica too.

Rosewood and Whole World’s Got The Blues are co-writes with Glenvin Anthony Scott – the former a murderous affair that goes back to the family home as it speaks of an event back in time that saw people lose their lives.
In a bloody ballad he sings.
‘the night they burned old Rosewood to the ground.
Buried in the ashes of history.
Had to put on heavy clothes,
fast as we could.
There was shooting everywhere.
Had to get out in the woods’.
Adding,
‘the numbers in the paper were nowhere near the truth,
could’a a been ten,
could’a been a hundred’
he sings in the horrific tale (from the 1920s in Florida).
As for the latter, Whole World’s Got The Blues it speaks of troubles from modern times. Restless and evocative, it chugs (alongside an electric guitar solo) along as Bibb rattles through some of today’s open sores.

One of, it not my favourite has to be the lilting Bring Me A Little Water, Sylvie (a Lead Belly song) that springs to life, with old-time fiddle, slide guitar, and a chugging killer rhythm accompany Bibb’s faultless tones. It’s an addictive sound. Timeless even, and when in the hands of Bibb something you just can’t get enough of.
His arrangement is nothing less than special, the sound made by the audience as they give their hearty approval thinking likewise.
His song, River Blues enjoys a gentle sway as Bibb sings of the soothing qualities of watching a river flow. Good company when one needs to get away from it all, let nature take its course. 

Bibb’s talking blues Silver Spoon is aided by acoustic, electric, pedal steel guitar, creating a chunky rhythm and rippling guitar sings of playing the Blues, putting food on the table and having to pawn his guitar to make ends meet.
‘Some people say I was born with a silver spoon in my mouth’
sings Bibb as he recalls his struggle to gain acceptance, and respect, due to having to follow his father Leon Bibb who was a 1960s folk singer.
But, Eric on relocating to Europe stood up to show the world he could cut it on his own. What a moving piece of writing this song is.

Along The Way is another of his songs with a more calming feel.
Sophisticated and mellow he sings of
‘talking your time, take your time to look at what you’ve learned along the way. Give yourself a pat on the back for making this far’. A wonderful reflective piece. 

This is Eric Bibb’s 5th ‘live album’ and quite possibly his finest, as the musicians surrounding him support him like timbers in the eaves of a building; they are there and the songs wouldn’t be the same without them, but you barely notice them, such is the mastery that Eric Bibb and his acoustic guitar achieves on every track.

Review courtesy Maurice Hope   
https://www.ericbibb.com/ 

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Sue Foley ONE GUITAR WOMAN

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Sue Foley
One Guitar Woman
Stony Plain Records

A Gorgeous Gateway to the The Women That Were at The Forefront Of The Blues

The download of this album arrived late last week while I was busy editing photographs; but as I already own a couple of Sue Foley albums didn’t feel the need to check out the accompanying e-mail; but remember being a bit narked at it arriving so close to release day.
Anyway, I was busy again yesterday and casually pressed ‘play’ and went back to work. It was about 5 songs in when I realised that these songs were the polar opposite of what I was expecting!
I double checked; and in fairness to Ms Foley … there’s a clue on the album cover; she has put down her trademarked pink Telecaster and replaced it with a gorgeously tuned acoustic!
So, coffee in hand I had to start again and concentrate.
When I first discovered Sue Foley via the Queen Bee compilation, alongside Bonie Raitt she was the only female I knew of that played the electric guitar… and what a way she played!!
This album finds Sue Foley paying homage to the Godmothers’ of Blues Music, with songs dating back as far as before WWI and from a fabulous cross section of Blues pioneers too.
My original problem was not recognising Sue’s unique voice on the opening track Oh Babe It Ain’t No Lie, the Elizabeth Cotten song (covered by both the Grateful Dead AND Gillian Welch!) … but now I’ve played it several times, it’s actually quite exquisite …. with Sue sounding a bit 1960’s Bob Dylanish in her phrasing and her guitar picking is seamlessly wonderful.
This is followed by the slower and darker, In My Girlish Ways (Memphis Minnie) one of four songs I have on a compilation album dating back to the turn of the century. It’s fair to say and true of a lot of songs here; Sue delves deep in her singing and playing, but also manages to make the song a lot easier on the ear than the original version not least her rendition of another Memphis Minnie song, Nothing in Rambling.
What I like best here is that Sue’s versions of these songs, while obviously paying homage to her mentors, never sounds like a dry history lesson like others have done over the years; here she captures the frisson of excitement that Freight Train, Lonesome Homesick Blues and Motherless Child Blues must have generated ‘back in the day’, but make them easily accessible for a 21st Century audience who think they’ve ‘heard it all before.’
I can’t find any reference to the stunning instrumentals Romance in A Minor or La Malaguena but they are both absolutely beautiful with hints of Howe Gelb’s Flamenco/Spanish album Alegrias from many years ago.
It’s not always a ‘given’ that an accomplished electric guitar player can transfer those skills to the acoustic; but Sue Foley manages that like a Mastercraftsman (Master Craftswoman does’t scan).
That’s what makes this very special, the combination of her guitar playing, and the way she fills the words and stories with a deep seated love that comes across in every groove.
There appears to be only one new song here; and Maybelle’s Guitar fits in like a delicate hand in a velvet glove and only narrowly misses out on being in the running for RMHQ Favourite Song.
That title is a coin toss between Sue’s heart crushing version of Sister Rosetta’s Tharpe’s My Journey To The Sky which simply breathtaking; and a song by someone I’ve never heard of, Geeshie Wiley and Last Kind Word Blues, a desperately emotional tale of a man going off to war and fearing he may not come back ….
“If I get killed, if I get killed, please don’t bury my soul
I prefer just leave me out, let the buzzards eat me whole
When you see me comin’, look ‘cross the rich man’s field
If I don’t bring you flower, I’ll bring you bolted meal”
Wow!
There’s a lot of reasons to buy this album; but first and foremost it’s a gateway to the Blues, especially the women that were at the forefront but have sadly not been remembered as well as their male counterparts have done.

Released March 28th 2024
https://suefoley.com/

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Misty Blues Band SILVER LINING

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Misty Blues Band
Silver Lining
Guitar One Records

After 25 Years There’s Still Enough Blues, Soul and Funk in The Tank For Another 25.

We only discovered Misty Blues Band; and their enigmatic singer Gina Coleman three years ago; but they’ve been going a lot longer as this magnificent 25th Anniversary celebration proves.
Most acts would cobble together some form of Greatest Hits package; but not the prolific Ms Coleman …. we get another 11 new songs for our delectation, and as usual it’s ‘all killer – no filler!’
The album opens with Gina crooning Seduction By The Blues over a haunting harmonica, making it sound like a Gospel Song of sorts, and maybe it is; then halfway through the band kick in with a vengeance …. the drumming is like a missile strike, the guitar – a machine gun and the saxophone is a musical instrument of mass destruction all of its own!
Thankfully things slow down again for track #2, the soulicious title track, Silver Lining where Gina makes her voice bounce around the octaves in a way I don’t think I’ve ever heard before, and at one stage guitarist Early Times channels his inner Prince on a scary solo.
Obviously there’s a clue in the bands name, Misty Blues Band that tells you that these cats (and kitten) are a Blues Band; but after all these years they know when and how to add Soul, Funk and even Boogie to the package while never diverting to far from yer actual Blues, 21st century stylee.
For such a prolific songwriter Gina Coleman can still take a universal theme and turn it into something dynamic and even fascinating, which is where I will direct you to Enough Loving For Two, The Upper Hand and the mellifluous Nothing’s In Vain (Steve Beastie’s Song) which nicely dips gently into Aretha territory.
A few months ago Gina sent me a copy of her son and resident drummer, Diego Mongue’s latest album under his own name and I liked it a lot; so was nicely surprised to see a collaboration between the Mother and Son here on the co-write Blues Never End a neat blend of olde American Blues and charming African rhythms while Gina virtually chants the chorus like a Queen.
As regular fans will be pleased to hear; there’s still plenty of classic Rhythm and Blues here to satisfy even the most pedantic of her followers; with Shake These Blues and the swinging How Will I? Taking us on very satisfying journeys at opposite ends of the contemporary spectrum.
To some degree I could stick a pin into the track listing and pick a song that I could argue was ‘my Favourite,’ sizzling Sofrito My Blues is a prime example; but there are also another two very special songs here; or at least I think so.
Chasing Gold, featuring Matt Cusson adding some extra special keyboards to the already heady mix, is the type of song when played live could easily stretch for ten minutes or more and they would go by in the blink of an eye.
The other, That’s My Cross that felt like a punch to the heart the first time I heard it as it could easily have ben written about an experience I had in my life several years ago; and I guess will resonate with many other listeners too; which more or less tips the balance for it to become my Favourite Song on a really special album.
A ‘special album’ it indeed is; it would be all too easy for a band like this to go through the motions and use some kind of template for an album 25 years after forming; but that certainly doesn’t apply at all as this is as exciting and interesting as if it was their collective debut album.

Released May 1st 2024
https://www.mistybluesband.com/ (pre-order now)

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Cedric Burnside HILL COUNTRY LOVE

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Cedric Burnside
Hill Country Love
Provogue

A Really Special Journey Full of Imaginative Landscapes That Craves Your Full Attention From Start to Finish.

Mississippi Hill Country Blues is a unique, hard driven sound, past purveyors / founders of the idiom include Cedric’s grandfather, music pioneer RL. Burnside.
It was with him playing drums alongside RL (he’s a master of both it, and guitar) that a then 13 year-old, Cedric Burnside enjoyed his initial start in music.
Others from the stable include, Junior Kimbrough, Jessie Mae Hemphill and Otha Turner. Now you have a new generation cross pollinating the music.
Listed among which you now have the North Mississippi All-Stars and RMHQ Favourite Michael Connely Farr. Another long term exponent of Hill Country Blues, Luther Dickinson was called in by Cedric Burnside to produce this, his third solo record, Hill Country Love and fourteen songs were recorded in just two days.

Raised in Holly Springs, Mississippi Burnside started playing when he was eight or nine years old, and is now a powerhouse entertainer as anyone who has ever seen him play life will testify.
Burnside’s version of Hill Country Blues is awash and loaded in muscular, hard driven rhythms; enough to split railroad ties as the music rumbles like an old steam train.   

‘Every time I write an album, it’s always different. I am always looking to express myself a little bit different than I did the last one, and talk about more things happening on my life. On this album, I’m a little more upfront and direct, because I went through some crazy feeling with family and friends’ says Burnside. Recipient of a National Heritage Fellowship, the country’s highest honour in the folk and traditional arts, Burnside is an astonishing act. 

There’s also his association with the North Mississippi All-Stars (Luther, Cody Dickinson being founder members) having both played with them live, and in the studio.
In 2022 he won a Grammy for Best Traditional Blues Album with I Be Trying.
‘Winning the Grammy was awesome, but people tend to treat you a little different when things like that happen’, says Burnside.

Closer has him striving for spiritual redemption; reflecting on daily life, and the struggle to equate to what’s happening to him. On the track you have some of the sharpest, best sounding guitar of its kind, as he blends in his religious leanings, singing ‘of trying to get closer to his maker‘.

I Know and Hill Country Love open the record in a relative calm fashion before Burnside pushes on with, Shake Em On Down and chunky, groove carved Juke Joint; all irresistible, thrill a minute fare.
Smile is as far as Burnside’s standard goes a modest number; steeped in solid lead guitar, rhythms and pleading harmonica to go with his rugged lead vocals steam that roll on.

Coming Real At Ya..
‘it’s hard to explain, ..I’m coming real to ya‘ he sings, festering music, with some neat slide included, and lyrical content to match, he speaks of trouble on the home front.
Thank You sees Burnside keep up the pressure as more harmonica is utilised alongside a classic, Hill Country Blues’ punchy rhythm. You couldn’t ask for a sharper sound, with gorgeously rounded guitar work.
Love You Music with its incessant drum contribution strikes forth as Burnside speaks (in between solos) of ‘what he’s got going on in his life’.

Toll On They Life reflects / observes life; with a more hard driven funky rhythm running through it, he sings of people doing things out of spite, on daylight, it can really take a toll on their (sic) life, people will do it all their (sic) life.
You Got To Move enjoys a greater subtle approach, as Burnside looks to connect with his maker, spilling out homespun philosophy Burnside speaks of ‘when the lord gets ready you gotta move’.
All awash in chugging guitar and harmonica … it’s Gospel time.
On Strong you have slide guitar that warms a song so very different from most other tracks, in that there isn’t a huge reliance on a groove, it’s like he’s sat there sharing his muse (with everyone) about making the world a better place in a playful, carefree fashion.

Funky! is pretty much self-descriptive as Burnside gets … Funky! with a choppy rhythm and not too much else. It’s all a bit of a jam!
Po Black Maddie sees that the record plays out in style. Complete with a restless chugging rhythm Burnside works up storm as he presses forth in true ‘Burnside family’ hypnotic fashion.  
Hill Country Blues is very much a left of centre Blues genre in its own right; and manages to go off down many different backroads of its own designs, with each exponent creating a whole  avenue all of their own, and here Cedric Burnside takes us a really special journey full of imaginative landscapes and sabre sharp stories that craves your full attention from start to finish.

Courtesy Our Man From Havana, Maurice Hope

https://www.cedricburnside.net
Released 5th April 2024

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Bex Marshall FORTUNA

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Bex Marshall
Fortuna
Dixiefrog Records

A New Contender For Queen of British Blues

I think I need to tell you how reviewing this album came about. As I’ve said a few times RMHQ is currently being inundated with new music on a daily basis, when this album arrived I went through the motions of registering it, but ‘presumed’ from the cover that it too would be louder and ‘heavier’ than what I was in the mood for.
Jump forward a couple of weeks and while perusing the latest copy of BLUES MATTERS magazine there was an interview with a fascinating young woman called Bex Marshall, who was about to release her third album.
“Oooh!” I thought, “I will have to hunt that down.” An hour and three e-mails later, I discovered (was told!) that I already had it! DOH!
So here we are … two weeks later.
The slow and slinky Preaching To The Choir opens the album in the finest of manners, with Ms. Marshall’s desperately emotional voice coming out on top in a battle with some super smooth guitar playing and a bass/drum combo that are as tight as a 20 year old pair of 501’s.
Strangely, Bex takes us to a late night New Orleans dive bar, the way Dirty Water is constructed; and boy does she get her message about the environmental disaster that awaits us all across in a manner that will make you stop and think.
There’s a complete change of pace and even emotion on Jungle, as it has an incredibly bouncy and, dare I say it, ‘fun’ beat, and it’s easy to imagine Bex prowling the stage like a she-cat as she sings it.
While it’s all too easy to name-drop any ‘female Blues singer’ of the last 50 years as an ‘influence’ or a ‘bit of a soundalike’ but apart from saying, Bex Marshall is a welcome member of the British Blues hierarchy, she’s doing it on her own merits without ever directly or indirectly ‘borrowing’ from her female contempories; if anything the likes of Lay Down n’ Die, Scrapyard Dog and I Can’t Look You In The Eye probably too, owe more to listening to bands like Humble Pie, SAHB and Chicken Shack rather than Janis, Bonnie or Beth.
I love the rasp in Bex’s vocals, especially as even if you don’t know her back story, it’s an emotional voice that carries the experiences of a life well lived; and that sentiment also comes across in her solid and articulate songwriting too; which brings me to my choice of Favourite Song.
As well as being a great singer; and she actually favours ‘singing’ over ‘shouting’ Bex is an accomplished guitarist too, most notably for her slide guitar skills; but on the sizzling instrumental title track Fortuna her electric playing, sizzles, shines and shimmers too.
Yesterday I’d narrowed it down to two songs; and listening today I’m choosing the gut wrenching ballad 5AM over the intriguing Table For One which follows a different take on lost love that piqued my interest the first time I played it and still does today.
It’s fascinating that barely two songs here follow the same musical template; yet the album works perfectly well as the sum total adds up to a 10 in anyone’s books.

Released 1st March 2024

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https://www.bexmarshall.com/
https://rocknhall.bandcamp.com/album/bex-marshall-fortuna
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Emanuel Casablanca STRUNG OUT ON THRILLS

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Emanuel Casablanca
Strung Out On Thrills
Vinyl Recording Group

Exploring and Pushing the Boundaries of Contemporary Blues

First of all, the name ‘Emanuel Casablanca’ simply oozes the exotic, don’t ya think? Well, it certainly did to me and that’s what drew me to this, his third release; and second we’ve reviewed at RMHQ, a couple of weeks ago.
I was right, as his take on Contemporary Blues is nothing other than ‘exotic.’
The album starts with a dog barking on Dogshit; a break up song using that term instead of Bullshit, on a searing and swooping tale of a man being cheated on by his lover.
The arrangement and musicianship is mind bending at times and really bodes well for what is to follow.
Over the last week I’ve gone from thinking “this is good” to “this is amazing” … as Casablanca oozes class in not just his guitar playing, singing style but his songwriting too.
In recent years songwriting in The Blues or especially Blues Rock has regularly been left on the back burner, with acts getting carried away with their guitar playing – Emanuel Casablanca rights that wrong many times here; not least on the sexy and shuffling Conniver …
“If you don’t love me.
Then why you say it?
I…think it was lust all along. 
Girl you’re a liar.
A cruel conniver.
I can’t deny her.
I, I, I, I, I was your fool.  
You say one thing.
You do another.
Baby… is this come kind of test. 
The pain you bring.
It makes me suffer.
I… ain’t no one’s second best.” 
It’s a similar take on Pearl, King Mix and My Life’s Fire too, with Casablanca taking ordinary themes and twisting them into something extraordinary with his lyrics and especially the instrumentation and melodies/riffs behind his vocals.
This is most definitely Contemporary Blues in every which way, but with one foot in Classic but edgy Urban Soul field too the way Casablanca creates his imagery to go with the exemplary music he creates.
Just over half way through our man drops in a musical timebomb with Pistolero which starts with a stunning Classical Spanish guitar intro followed by an intense groove and a sizzling metaphor laden song that will take your breath away time and again.
I have no problem whatsoever with anyone re-treading musical tracks from decades gone by, often wearing their influences like a badge of honour; but here I’m damned if I can single out anyone in particular that Casablanca has used as a mentor.
The Farm is a harrowing story and probably the nearest you’re going to find to ‘Traditional Blues’ but the way Casablanca handles the arrangement, it fits in perfectly well with everything else here.
The exciting thing here is Casablanca’s ‘take’ is undoubtedly new and fresh, while continuously using the Blues as a golden thread throughout; which brings me to my choice of Favourite Song, the slow, moody and sexy Morning Wood caught my attention right from Day #1 and still makes me smile like a hormonal teenager now a week later.
Then we have the polar opposite with Lass a real funky ass tale of unrequited love that simmers and simmers, always threatening to boil over but Casablanca pulls it and himself back from the brink several times on a total belter of a song.
But the winner takes us back to the beginning and track #2, the title track Strung Out on Thrills has a killer riff aligned to a groove and swagger that feels like it should be coming out of the cassette player on a 70’s Coup De Ville rolling down Main Street on a Saturday night with the driver dressed to thrill and his gal, dressed to kill.
“I gotta get high on something.
What’ll it be.
It could be the drugs.
It could be the checks.
I’m staying high on something.
Hope I don’t O.D.
It could be the love.
It could be the sex.” 
It appears that Emanuel Casablanca is something of a modern Renaissance Man; a renowned artist, an actor and Blues Star Deluxe.

Released February 2nd 2024
https://www.emanuelcasablanca.com/

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https://www.emanuelcasablanca.com/music






Diego Mongue Band WHILE YOU WERE GONE

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Diego Mongue Band
While You Were Gone
Self Release

Exhilarating Contemporary Boundary Pushing Jazz-Rock Infused Electric Blues.

Oddly enough we seem to be receiving an inordinate amount of Blues albums at the moment, which is probably a good thing but can get a bit confusing at times, as quite a few seem cross-pollinated and are either Folk singers masquerading as Blues Singers or at the other end of the Spectrum bands adding ‘Blues’ as a prefix to their Rock music.
Then; along comes the Diego Mongue Band.
WOW!
Sensory overload!
These cats are really pushing the boundaries while still remaining a Blues Band at heart … which is no real surprise when you read Mongue’s bio – he plays in his Mom’s band (Gina Coleman and Misty Blues) as well as founding his own jazz fusion group GrossMongue while as being a drummer for hire across the spectrum and during daylight hours, remaining a 3rd year music major at Williams College in Williamstown, MA .
Using a traditional Blues Rock template, the band come out of the traps firing on all cylinders with the three minute opus Intro which while tight as a barrel somehow allows each musician apart from singer Chantell McFarland to express and introduce themselves.
Chantell makes her appearance on Track #2; the slinky While You Were Gone where her sultry vocals interplay with the spectacular guitar playing of Cameron Bencivenga, who channels his inner John McLaughlin, Duane Allman and George Benson all at once.
The first few times I played the album the overall ‘sound’ the band creates totally immersed me and it really is a sensory overload; but also with plenty of ‘light and shade’ which allows the songwriting to eventually rise to the top via Chantell’s wonderful singing range, and when you hear on on Sleepless Night Blues I promise you will be seriously impressed.
My download doesn’t list songwriters; so I only recognise a couple of songs; the first being the sassy Jazzed up rendition of Rollin’ and Tumblin’ which makes Cream’s version sound quite pedestrian in comparison.
The arrangements across the board are exceptional; especially for a band at the beginning of their journey; not least Find My Way Again and its’ uber-cool bass, keyboard and guitar fusion which is mind-blowing through good headphones.
Every time you think that the Jazz influences are going to take over; the band pull things right back to Chicago with offerings like the slow and salacious Give Me Strength and finale Blues All Day which are both worth the entrance fee alone.
The other song I recognised; and only barely so is the Heavy-Heavy monster sounds of 44 Blues, which I know from Howlin Wolf’s version; which is nothing at all like this powerhouse Jazz infused Blues hybrid that really highlights Chantel’s powerful vocals and revolves around some amazing keyboards and drumming while the searing guitar and industrial strength bass playing sound like Blind Faith featuring Aretha Franklin on a scorching July evening in a sweaty juke-joint! On an album full of exciting songs; this has quickly become my Favourite Song and one I keep coming back to.
I’ve said it before; while I love receiving albums from established and famous acts; our modus operandi at RMHQ is really unearthing bands and albums like this … as they are the lifeblood of our industry and need an Internationale platform to spring from.

Released 1st January 2024
https://www.diegomongueband.com/

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https://misty-blues.square.site/product/diego-mongue-band-cd-while-you-were-gone-pre-sale-/69?cs=true&cst=custom