Full Moon Lightnin’ reviewed by Mark Thompson

Full Moon Lightnin’
Film by John C. Gardiner
Willow Tree Pictures
www.fullmoonlightnin.com/
93 minutes
Soundtrack CD - 11 tracks/45:23

Now available on DVD, this documentary film takes the viewer deep into the lives of bluesman Floyd Lee and his musical partner, guitarist Joel Poluck. Starting out in New York City, we see the two musicians playing on the street and drawing a large crowd, some of whom can’t help but dance to the insistent rhythm.

As we learn more about Lee, it’s revealed that he left Mississippi sixty years earlier after dealing with a number of hardships, including being abandoned by his mother. Now 73 years old, Lee wants to take a trip back to the delta to see if he can locate any of his remaining siblings or other relatives. He is filled with a longing to have some semblance of a family’s love that has been missing for decades in his life. The difficulty in the search is that Lee has only his memories of people and places from his childhood to guide him.

Poluck and bass player, Brad Vickers, are ready to take the trip with Lee and help him reconnect with family. The band - including drummer Steve Pozzelanti - have been working on new material in the recording studio after a two year break. But Poluck gets blindsided before the trip can get started when the love of his life, Nella, is diagnosed with cancer. From this point the film tracks two divergent paths as Lee seeks a future that includes his past - and Poluck struggles to hold on to his world that is suddenly spinning out of control.

The musicians make the trip and are able to find the spot where Lee grew up, near Lamar, Mississippi. Lee remembers the various buildings and details of the landscape but is a bit shocked to discover his mother’s house no longer exists. On a second trip six months later, the group meets with legendary drummer Sam Carr, hoping this long time resident of the area can assist in locating Lee’s relatives. Carr and Lee share some biting remarks on the economy fueled by cotton. Eventually Lee locates a log-lost cousin and their joyous reunion ends up with the two men singing a gospel tune out on the street. Another moving moment occurs when Lee meets two of his brothers at the cemetery where their mother is buried. Lee’s excitement is tempered a bit when they are unable to locate the exact spot of their mother’s grave. Later he is introduced to his brothers families and finds himself surrounded for the first time with the love he has been yearning for so long. As Lee’s dream comes true, Poluck suffers the loss of his beloved Nella.

The two men are a study in contrasts - Lee the aging black bluesman whose emotions are always bubbling just under the surface, suddenly bursting forth as the sadness or joy overcomes him. His protégé, Poluck, is the soft-spoken, stoic Canadian who tries to help Lee while caring for Nella, the whole time keeping his emotions bottled up. One poignant scene was filmed during the second day of recording in a Brooklyn studio. While working on Lee’s vocal part for Poluck’s original tune “Can’t You See’, Lee is suddenly overcome with emotion, blurting out “That shit hurts ” and walking out of the studio to regain his composure, leaving Poluck to visibly struggle to hold himself together.

The companion audio disc included with this package contains full-length versions of material from the film, including an intense studio version of “Mean Blues”. The film has a live performance of the song from Lee’s appearance at the Sunflower Blues Festival. Another musical highlight is a clip of the band at Po’ Monkeys, one of the last of the original juke joints. Both segments feature Sam Carr on drums.

Don’t think for a minute that this film is another feel-good Hollywood story. While the project started out focusing on Lee’s search for his past, reality forced it’s way into the storyline with Nella’s illness. One can only imagine the effort it took for Poluck to juggle the recording schedule, the planning of Lee’s trip, writing new material, making the journey to Mississippi - all while doing everything he can for Nella. In a movie about musicians, the music takes a back seat to the drama that touches the lives of everyone involved in this moving narrative, a tale that is a stark reminder of the blues is all about.

Just for You reviewed by Harmonica Joe

Just for You
Darrell Nulisch
http://www.darrellnulisch.com/
http://www.severnrecords.com/
Severn Records
10 tracks/37:55

Darrell Nulisch has just released "Just for You", his fourth recording for Severn Records. Darrell has been a full time singer since 1978. He was a full time member of Ansonfunderburg and the Rockets. "The Whole Truth" his first cd for Severn Records came out in 1998.

Of the ten songs on "Just for You", Darrell wrote six of them. Besides being a good song writer and harmonica player, his main attribute is his great vocal talent. His voice is his main instrument on this recording, setting the stage for some fine easy listening. His vocal range can be sometimes gritty and raw, bluesy, gentle or big and booming. He has great dynamics in his vocal range. He puts a lot of himself into his lyrics and presents them to us with feeling and meaning.

The band on "Just for You" features the so-called house band of Severn Records. It is a great mix of talented musicians. The keyboard style of Benjie Porecki really is animated and stands out to be a really great addition to the recording. Johnny Moeller, of the Fabulous Thunderbirds, brings his very impressive guitar skills to the project. He also adds a reggae influence to "Let a Women be a Women". With the addition of Steve Gomes on the bass Robb Stupka on drums, a full horn section and some fine background singers Darrel has an awesome band to compliment his vocals and lyrics. This is a really good mix!

Darrell's take on, Slim Harpo's, "Just for You" is a good example of his ability to take a song and make it his own. He uses great phrasing and his vocals keep a heart felt tone to them. Also on "Just for You' we are treated to some of Darrell's harmonica skills. He has a true Slim Harpo - Lazy Lester quality about him without just being a harp clone. Adding the horn section to this tune with his harp playing makes it a very bluesy sounding track.

"Let a Women be a Women", written by Nulisch and Gomes, is one of the most upbeat tunes of the cd. The keyboard playing of Benjie Porecki is featured a lot here. Good stuff it is. Johnny Moeller also has a standout guitar solo that brings a reggae style to the tune. This could be one of my favorite tunes of the cd.

"Just for You", to me, may not be an all out blues CD. It leans more to the soul - rhythm and blue side a bunch but it still ends up to be bluesy in a good way. This is not a bad thing to have happen. Darrell Nulisch is an absolute pure vocalist. He can go from subtle to powerful and back without effort. He brings great phrasing, meaning and feeling to his lyrics. This is all good.

"Just for You" is a fairly short recording, just about 38 minutes; it is filled with quality presentation. Not being a big horn band fan, I must say that I still found this CD to get me attention in a good way. It is very easy to listen to and enjoy!

American Songster reviewed by Steve Jones

American Songster
Don Flemons
Music Maker
www.myspace.com/donflemonsmusic
15 tracks/

No one plays roots music quite like Don Flemons. He delivers performances that are accurate, authentic, moving and quite fun to listen to. Flemons is quickly becoming an icon in blues and folk music. His band, the Carolina Chocolate Drops, has received much acclaim after performing hundreds of show worldwide and features Rhiannon Giddens and Justin Robinson along with Flemons. The brand of roots music he and the band perform gives us a very fresh and updated take on the music that has been performed in the back woods and fields of America for hundreds of years.

This solo CD features Flemons doing 12 covers, 2 of his own songs and a cut by band mate Robinson. Featuring three songs by his musical hero Henry Thomas, a couple of Leadbelly cuts and an assortment of other goodies to delight the root music fan, the music transports the listener to a simpler time.

I saw Flemons and the Chocolate Drops most recently at the Old Town School of Music in Chicago. They are superb performers and uniquely talented individuals who can take jugs and kazoos and make sounds that the listener just marvels over. Their banjo and guitar work is exceptional. Flemons also adds bones, quills, fife and the bass drum to the music, giving it an old fashioned and realistic sound.

Whether it is a field holler-styled song, a dancing tune, or a ballad, Flemon’s vocals are impeccable as is his instrument work; this includes the quills (sort of an African pan flute). One has to marvel at the depth and extent of the man’s formidable talents. There are 15 fantastic tracks on this CD that will give listeners an idea of what music was like early in America’s history in old mountain towns and on he porches of homes on quiet back roads. He is a master at his craft, and every new song I hear from Don further impresses me. Roots music fans certainly need to get this CD and anyone with even the slightest interest in roots music and folk blues should buy this. It will not disappoint you and may even turn you into a big fan of roots music!

Voice of the Heart reviewed by Steve Jones

Voice of the Heart
The CSL Jr. Band
Lancaster Records (Self Released)
www.myspace.com/thecsljrband
10 tracks/

I was wandering through MySpace Music and stumbled upon The CSL Jr. Band. I listened to them on My Space and liked them, so we swapped amenities on line and a few days later a CD appeared in my mailbox. These guys play a hard driving brand of blues based rock that remind me a little of ZZ Top, the early Marshall Tucker Band, and others of that genre. Hailing from Sedalia in the Show-Me State, these guys have laid down ten original tracks that really impressed me. They are not a bunch of guys sitting in their garage or basement trying to sound like someone else and playing a bunch of covers. They are creating new music based on their influences and likes and they have done a pretty damn good job of it.

Greg Lefholz fronts the band as vocalist and he also contributed to the track “Coup DeVill”. His gritty and gut-wrenching vocals are super. Chuck Lancaster leads on guitar and had his pen in at least part of every track’s composition. Les Gifford play bass and Carl Michael is on drums, both providing a driving backdrop to the tunes. Jamey Shepherd is also on guitar and has credits involving four of the songs. The songs have the sound of the big, gnarly jam bands but the songs range from 2:41 to just over 5 minutes, so there is nothing overdone or overstated here. They present their songs in your face and when they are done they move on to the next track without getting lost in endless repeats without getting into so many differing takes on the chords and melody. I’m sure these guys could turn some tracks into 15 or minute jam sessions, but they have created some really nice songs and not just a means to jam. I don’t have a problem with jam bands, but some of them get lost in trying to prove something and miss the forest for the trees. These guys have created music within bounds and they deliver the goods within those bounds.

The first cut opens with a driving beat as they give us “Big as TX”. It is a big and bouncing song and they do “play it big as Texas”. “All In” and “Coup DeVill” later on are similar, bigger than life, driving, almost rockabilly songs with the dual guitars banging out a groove and alternating the solos/leads. They can wail when they want to, but they are not afraid to let it hang out acoustically. In “Hangman” they get down and dirty into the blues and give us some acoustic guitar mixed in along with a little slide; it is quite well done with gutsy vocals and beautiful guitar work. The CD is filled with little gems of good stuff; “New Loving” adds a little harp and is a full fledged deep in the blues number that is one of the CD’s real stand outs.

“Bluezin It” is a wicked guitar instrumental that features some stratospheric fret work by Lancaster. They also close out the album with another guitar-led instrumental entitled “Mason”. A simmering and slow southern blues rock with the rhythm guitar paralleling some of the stuff and filling in ever so nicely the rest of the time. As the song fades into the distance, it leaves me wanting to hear more of these guys. I hope I can catch up with them somewhere in the New Year and listen to these guys live; they have a hot CD with some great songs that really deserve that you give them a listen!

Falling Through the Cracks reviewed by Mark Thompson

Falling Through the Cracks
Doug Deming & the Jewel Tones
Mighty Tiger Records
www.dougdeming.com/
15 tracks/70:46

It has been seven years since guitarist Doug Deming released his first Mighty Tiger recording, Double Down. During that time, he and the Jewel Tones have been playing dates in the Detroit area as well as backing a variety of well-known blues musicians. If you can judge a musician by the friends that appear on his recording, Deming is held in high esteem. Guests include Kim Wilson and Dennis Gruenling on harmonica, the veteran Bill Heid on keyboards for five tracks and Al Hill, leader of Bettye Lavette’s band, on piano on one cut. The Jewel Tones - Bob Connor on bass and Julian VanSlyke on drums - provide in-the-pocket accompaniment throughout the recording.

The proceedings get off to a rockin’ start with “Tonight is the Night”. Deming’s vocal is strong and assured - his voice has grown richer and more powerful. Dennis Gruenling ignites the track with a mesmerizing harp solo. Not to be outdone, Deming fires off his own incendiary solo, alternating thick chords with rapid single note runs on his guitar. Things slow way down on the title track as Deming pleads with his lover not to give up on their relationship. His taut, biting fretwork brings to mind the late Magic Sam. Wilson contributes his usual stellar harp work on the up-tempo “Momma Didn’t Raise No Fool” with Deming adding one of Magic Sam’s signature licks in his solo. Heid makes his first appearance on “You’ve Changed”, burning up the keyboard on his Hammond organ over a cool shuffle rhythm from VanSlyke.

The band slips into a tough Chicago sound for “Only Time Will Tell”. Doug gets a gritty tone from his guitar, Hill’s piano fills the arrangement and Wilson takes honors for another inventive harp workout. “East Side Hop” is a jump blues instrumental that has Gruenling, Deming and VanSlyke trading solos after a hot, swinging solo from Doug that amply demonstrates how talented a guitar player he is. Gruenling wails away on his harp over a shuffle groove on “Whisper”. The following track, “I Can’t Believe My Eyes”, is a Texas-style rocker that sounds like a lost Fabulous Thunderbirds tune, with Kim Wilson on board for added authenticity. The closing number, the instrumental “Heiding Out”, is a funky jazz piece with Heid again commandeering the Hammond organ, at one point holding a note for several measures before erupting into a dazzling run across the keyboard.

Three tracks feature a horn section comprised of Keith Kaminski on saxophones, Dwight Adams on trumpet and John Rutherford on trombone. On “It Was the Wine” , Deming’s guitar tone and attack bring to mind Johnny Watson. The horns serve as a nice contrast to Deming’s sensitive vocal on the ballad “Every Night About This Time”. Deming gets a cool, swinging feel on “No Sense”, a tale of a hipster living beyond his means that features a hot solo from Kaminski on tenor sax.

One song - “Don’t Worry Me” - has two parts with radically different approaches on each version. The initial run-through is taken at a fast tempo with Dave Morris, formerly of Microwave Dave & the Ultrasonic, on harmonica trading licks with Deming’s guitar. The second version recasts the tune in a slow, blues vein with Wilson’s harp the only backing for Deming. They go deep into the blues, Wilson’s mournful harp tones and Deming’s dark vocal making this track a special performance.

This package makes it clear that Doug Deming is a multi-faceted musician with talents that extends beyond his instrumental prowess. He served as the producer for this project, wrote all of the material and did the horn arrangements, expertly mixing styles , tempos and guitar tones into a coherent package that delights from start to finish. This one is highly recommended !!!

Bottle Tree reviewed by Mark Thompson

Bottle Tree
Virgil Brawley
Circle J Records
www.myspace.com/thejuvenators
11 tracks/38:39

Virgil “Big Juv” Brawley hails from Mississippi and is a member of the Juvenators, whose recordings have received praise from Crossroads reviewers. This release is his first solo project, featuring a batch of original tunes and three covers. Brawley has one of those soulful voices that oozes that backroads, country feel that can only come from living the life. And he is a talented guitarist, utilizing a variety of instruments on this project.

It wouldn’t be a blues record without at least one tune lamenting a lost love - and the disc starts off with some humor as Brawley promises to show the world his feelings about being left alone by painting his “White House Blue”. Jimmy Jarrat provides a boost with some fine work on the piano. Jarrat makes one other appearance on piano and Hammond organ on “Solid Ground”, with Brawley’s heartfelt vocal making this one of the highlights of the disc. “Little Susie” is pure acoustic, country blues with Brawley on slide guitar and Steve Chester picking out a strong rhythm on acoustic guitar. Brawley switches to the country gospel style on ”Fish Tale”, a song that relates the biblical tales that examines the disciple Peter’s relationship with Jesus.


Brawley continues in the gospel vein on “Walking Through Eden”. seeking redemption from life’s troubles before the inevitable judgment day. Chris Gill helps create a walking-past -the-graveyard feel with his slide work a National Triolian Resophonic guitar. The final track on the disc is a solo rendering of Lightnin’ Hopkins classic “Needed Time”, with Brawley using a dobro to support his world-weary vocal. “Eudora’s Jitney” is pure country as Brawley uses the evolution of the local country store as a metaphor for our rapidly changing world.

The spirit world is addressed in the title track as Brawley tells about discovering a bottle tree, used to captured evil spirits. Brawley decides to start his own tree but first he has to empty some bottles, creating a battle with spirits of a different nature as he hopes the “dead soldiers” won’t prove to be his undoing. Brawley handles two guitar parts, one on a resonator and the other on slide, to create the appropriate atmosphere. The rhythm section of Tyler Bridge on bass and Ted Gainey on drums lay down a strong foundation.

“Delta Woman Blues” is a Tampa Red composition that Brawley handles on his own, picking the rhythm on an acoustic guitar and overdubbing the slide guitar lead past. He lays the guitar down in favor of a bass drum for Muddy Water’s “Louisiana Blues”. The spotlight shifts to Gill, playing slide on his National Resophonic with support from Louie Munn on acoustic guitar.



This release shows that “Big Juv” has a deep understanding of the blues idiom. He eschews the raging guitar solos and pounding beats, opting for a simpler approach that focuses on the storytelling, not the musicians. The fact that this recording was selected as one of the twelve finalists for this year’s Best Self-Produced CD award from the Blues Foundation is ample proof that he succeeded on a number of levels. Be sure to check this one out the next time you want some honest, down-home blues.

Doctors, Devils & Drugs reviewed by Mark Thompson

Doctors, Devils & Drugs
Floyd Lee Band
Amogla Records
www.amoglarecords.com/
9 tracks/36:27

The recording sessions for this disc were an integral part of the documentary film, Full Moon Lightnin’ (see page 11). Five of the tracks are included on the audio soundtrack disc that is packaged with the DVD version of the film. Guitarist Joel Poluck wrote all of the songs, sharing co-writer credit on one, as well as serving as the producer. Leader Floyd Lee handles all of the vocals, Brad Vickers plays bass and acoustic guitar with Steve Pozzelanti on drums and washboard.

Many of Poluck’s tunes deal with his emotional turmoil during his partner Nella’s losing battle with cancer. His music is rooted in the blues tradition of the Mississippi hill country, Lee’s birthplace. But there is also an edge to the band’s sound, particularly when Poluck is playing slide on his lap steel guitar. Lee has a powerful and expressive voice that can be heard over the surging band as well as handling more delicate phrasing when called for, as on the acoustic rendition of “Bird With a Broken Wing”. Other highlights include “Blues is a Beautiful Woman”, with Lee singing and moaning with authority - and the opening cut, “Empty Well”, as Poluck seems to try to exorcise all of his demons through his lap steel guitar. “Nella” is a brief, touching tribute to Poluck’s lost love.

This recording stands on it’s own merits but certainly takes on several additional layers of meaning if listeners have viewed the film, which provides a stark look at Lee and Poluck’s struggles to deal with the vicissitudes of life. Both men cling to healing power that music offers them and both manage to find their way through the heartache and pain by sharing it with the rest of us on this recording.

The French Connection by Rick Davis

The French Connection
Zora Young
Delmark Records
http://www.delmark.com/
14 Tracks

In my estimation Delmark has found the new "Queen Of The Blues"! Zora Young a very talented Chicago blues and gospel singer recently released an electric/acoustic/live CD titled The French Connection.

Young, who is a distant relative of Howlin' Wolf, moved from West Point, Mississippi to Chicago at the age of seven and got her start as gospel singer at the Greater Harvest Baptist Church. As an adult, she ventured into the R&B music scene, playing with blues greats Junior Wells, Jimmy Dawkins, Bobby Rush, Buddy Guy, Albert King, Professor Eddie Lusk, and B. B. King. She has a list of collaboration on albums with artists like Willie Dixon, Sunnyland Slim, Mississippi Heat, Paul DeLay, and Maurice John Vaughan.

Young has also performed on both the live stage and television. As veteran of more than 30 tours of Europe, Zora has been a featured performer three times at the Chicago Blues Festival. She has performed concerts throughout North America, and on stages in Italy, Germany, Belgium, Sweden, France, Switzerland, Greece, Austria, Tai Pei, and Turkey.

The French Connection is her third cd with Delmark Records. The successful completion of the CD is due in part to producer Chris Dussuchaud and musical director Bobby Dirninger who assembled three different bands for three different sounds. She opens with the funky electric tune penned by producer Dick Shurman "I'm In Love With You". Following the opening track, she sings Sunnyland Slim's "Goin' Back To Memphis". The first live cut is a superb tribute to the late great Koko Taylor, with Willie Dixon's tune "Wang Dang Doodle". Her power blues voice is evident in Dirninger's original "I'm In Love With You". She is backed by some of best guitar and Hammond B-3 instrumentals that I have heard on recent CD. The next live cut features an incredible slide guitar solo in the Muddy Water's Mississippi delta style tune "Honey Bee". Zora's voice is absolutely perfect in this rendition that Muddy would be certainly be proud to hear. Young follows with Bob Dylan's country blues number "Tonight I'll be Staying With You" which she does as duet with Bobby Dirninger. Her gospel roots are evident in the traditional "A Closer Walk With Thee". Young's voice in Ma Rainy's "See See Rider" blends well with the core of professional musicians surrounding her. Her next tune begins with dialogue leading into the Mac Davis/Elvis Presley hit "In The Ghetto". The next tune in this showcase of music is the hit "Mystery Train" a song written by Junior Parker and Sam Phillips. The next live tune is an incredible rendition of a Hank Snow's hit "I'm Movin' On". This version has arrangement for horns, piano, and a flawless guitar solo. Back to back live cuts feature Young's own song "Toxic" displaying the real "power" of her blues voice. This number features one of best trumpet solos that I have heard on a blues cut with Olivier Bridot on trumpet. The cd concludes with a second acoustic version of "Goin' Back To Memphis" followed a live performance of the B.B. King / Joe Josea hit "Rock Me". This last song alone will convince any blues lover that this lady could indeed be the new "Queen of The Blues".

If you need a first class collection of blues, gospel, soul, Mississippi Blues, and country blues, this cd is must for any collection. A famous quote comes to mind after listening to this cd - "If you don't dig the blues you got a hole in your soul"... Albert King.

Boogie Woogie Kings reviewed by Rick Davis

Boogie Woogie Kings
Various Artists
Delmark Records
www.delmark.com/
19 Tracks

Boogie Woogie Kings is a collection of traditional boogie woogie piano masters of the day from Jazz Reports Paul Affeldt's Euphonic Sounds label. The CD offers a combination of barrelhouse boogie and early swing starting as early as 1939. Picture yourself walking into the famous Sherman Hotel in Chicago for a nostalgic look at some of famous boogie woogie kings of the late 30's. Seated a piano is the incredible Albert Ammons playing "Pinetop Blues".

The album starts with Albert Ammons in Chicago October 4, 1939 playing "Pinetop Blues". Boogie Woogie Kings continues with Pete Johnson pounding out "G-Flat Blues" in Chicago September 30, 1939.

This collection contains several of "Cripple" Clarence Lofton tunes recorded sometime between '38 and '39 in Chicago. Among those historic recordings are "Streamline Train", "Pitchin' Boogie", "Mistaken Blues", "Travlin' Blues", "I Don't Know", and "Mercy Blues". Lofton's vocals are featured on "Streamline Train" and "I Don't Know". The next boogie woogie king featured is Meade Lewis playing his tunes "Doll House Boogie" and "Whistlin' Blues".

In addition to the early Chicago recordings, this trip into the past takes you to St. Louis with Henry Brown and his boogie woogie tunes "Deep Morgan", "22nd Street Stomp", and "Pickin' Em Out Again" late August, 1960. Blues piano legend Speckled Red follows in late December, 1955 with great tunes like "Dirty Dozens", "Dad's Piece", "Pinetop's Boogie Woogie" (Clarence "Pinetop" Smith), and "Right String But The Wrong Yo Yo". Speckled Red was the first bluesman to record for Delmark Records.

This CD of historic boogie woogie piano classics concludes back in Chicago with legends Ammons, Johnson, and Lewis rockin' out with "Boogie Woogie Prayer" and Meade Lux Lewis wrapping up with "Closing Time". If you are big fan of the piano style popular in the early 1930s and 1940s known a boogie woogie, which was a important chapter in blues roots, Delmark's new collection needs to be on your list.

Pale Rider reviewed by Harmonica Joe

Pale Rider
The Hitman Blues Band
Nerus Records
www.hitmanblues-band.com/
12 Tracks/47:43

Having never heard of The Hitman Blues Band, I did not know what to expect when I first listened to "Pale Rider". I was pleasantly surprised from the start. Russell "Hitman" Alexander has released four albums since 2001. One was recorded live on stage and the others in the studio. The Hitman Blues Band traveled to the UK in 2004 and has toured there three more times since. In 2008 they toured Europe. They are booked as a blues - rocker type band.

The Hitman's band members vary while on tour except for the leader, Russell Alexander. Russell has also written most of the songs on the albums released. The band for “Pale Rider” consists of Russell Alexander on guitar and lead vocals, Kevin Ryman on keyboards, Mike Porter on bass and Ed "The Hat" D'Alesso on the drum set. This is a real solid mix for a blues band.

"Your Blues" sets the stage for this recording. It is an up tempo solid blues tune. Featured on this song are the Hitman's gritty vocals, his solid guitar licks and lyrics that tell a story. It is all about "Blues in the night”, “your man's no good", “your woman let you down", "the rent is overdue”,” times are good” and "times are hard." But in the end it all comes down to the fact that the band will "Before this night is done we're going to play your blues". Good tune it is, enough said.


"I Know About The Blues", is a slower paced blues tune. This song showcases some fine slide guitar work from Russell and a steady drum line from Ed "The Hat" D'Alessio.This song also has great lyrics. It seems to me that the Hitman is correct when he states "I Know About The Blues".

On the tune "Miss Catherine", we see a different side of The Hitman Blues Band. Joining the band on this track are a piano, a clarinet, a tuba and a guitar solo from Mike Mulieri. "Miss Catherine" has a Mose Allison, Dr. John swing type sound to it. Russell Alexander's lyrics make you think on this track. One is left to wonder who is or what is this "Miss Catherine?"

This latest release on Nerus Records is a solid, refreshing blues CD. With the bands rock - blues style, Russell "Hitman" Alexander's gritty guitar licks, throaty vocals, blues lyrics and a fine band backing him up we are given a recording that is easy to listen to, keeps your attention and one that you will also remember.

Play for Love reviewed by Steve Jones

Play for Love
Dave Keller
Tastee-Tone Records
www.davekeller.com/
13 tracks

Vermont. A green and rural state with small and beautiful mountains and serves as a pastoral home to cows, fine dairy products like Ben and Jerry’s Ice Cream and…the blues??? The blues! Dave Keller lives in the Green Mountain State and brings us a soulful vocal style that lures the listener in for more and he delivers it!



Keller does all the vocals and guitar work, offering up electric, acoustic and National steel guitar on the thirteen original tracks served up here. Dave wrote all the songs except “To the City”, and that one he co-authored with Dylan May. While his guitar work is precise and very good to listen to, it is his voice that first gets the listeners’ interests peaked. Ronnie Earl’s latest release features Keller as both singer and songwriter. In this CD I got to see a lot more of Keller and I like what I saw, or more appropriately, heard.



There is a lot of heartfelt music delivered to us on this CD. The title track is a thoughtful song that was written shortly after the birth of his second daughter when his gigs were limited. He played on the couch at home for an audience of two, which he claims helped him remember why he started to play music in the first place. He sings that money and pride may be fine to play for, but it’s more important to play for family, friends and the glory of God by playing (and living) for love.



The one instrumental on the CD, “Gabriella” (named for his guitar), closes it out and shows us how Keller can get deep down into the blues with his favorite, strat-styled guitar. It is from an impromptu jam at the live studio recording session for the CD, and it really grooves. Dave shows us that this Massachusetts transplant to Vermont can be soulful and bluesy with the best of them.



There are a lot of fine songs on this CD. He writes, plays and sings passionately of his love for his wife and kids, but he also can get down and play blues or funk it up in cuts like “Give it a Rest.” He is a talented singer, musician and songwriter and I was very impressed with this CD from top to bottom.



The CD features Jan Schulz on Fender bass, Brett Hoffman on drums and Ira Friedman on Hammond organ and Wurlitzer electric piano. These guys are as talented as the front man and create a balanced and sonically great backdrop to showcase this artist. I liked this CD a lot from the first play and now after several plays I want to hear more from Keller and his band!

Alchemy of Soul reviewed by Steve Jones

Alchemy of Soul
Jacob Merlin
Backline Records
www.jacobmerlin.com/
11 tracks/43:31


Merlin. The name conjures up the images of wizards, hats, castles, and the magical alchemy that is inherent to the Arthurian legend. It is also the name of a talented, young musician whose musical alchemy stirs up a sorcerer’s brew of magical musical treats.



Keyboard wizard Jacob Merlin hails from Portland, Oregon, but his music comes from a deeper and more exciting world of funk, New Orleans jazz, and soul. His songwriting, piano and keyboard playing and use of horns are truly magical. I had no idea what to expect from “Alchemy of Soul”, but it serves up a magical mix of really fine music! Tower of Power’s Mic Gillette adds his trumpet, flugelhorn and trombone to Merlin’s band, which features Michael Suffin on guitar, Erik Mimnaugh on bass, and Jordan Ruback on drums. The horn section is Renato Caranto on tenor and soprano sax, Andy Fuller on trumpet and Rick Tippets on trombone and tuba. Rick arranged all the horns and is Jacob’s father. Background vocals are provided by Kristina Rae, Debra Arlyn and Malia Tippets.



The CD opens with a dervish of a song “Come to Papa” that seems like a New Orleans marching (or maybe even a swinging kelzmer) band backing up Merlin’s soulful vocals. The whirl of the music sets a tone for a really well done album of music. The backing horns and solos are solid and strong here and throughout the CD. The CD touts “Cover Me” as it’s single; this cut is a very soulful and laid back track with breathy and expressive vocals by Merlin and Rae with subdued but moving backup music.



“Madness” gives us grittier vocals from Merlin with some exceptional brass work. “When I See You Again” is almost gospel-like as Merlin and the three women sing, “I finally have an angel watching over me.” “Hammerhead” and “Déjà Vu” give us 70’s styled stuff served up fresh and clean sounding. “Muddy Right Foot” showcases a really hot Suffin fuzzed up guitar solo. All good stuff here- 11 hot and well done tracks.



Orchestrated horn interplay with the keyboards and main band and Merlin’s vocal work and it all works so sweetly. At times one could close their eyes and imagine that this could be the band Chicago playing back in the 70’s (when they were tight, creative and had not become the formulaic hacks that they became in the three decades after that). At other times Merlin and company sound a bit like Steely Dan or Earth, Wind and Fire. Whatever they are doing, they need to keep it up because they have a superb sound and create really impressive music. If you like jazzy, funky stuff with great vocals, keys and horns then do not miss this CD; Jacob Merlin is a man on a mystical mission of musical wizardry!

Seven Moons Live reviewed by Steve Jones

Seven Moons Live

Jack Bruce and Robin Trower
Ruf Records
http://www.jackbruce.com/
http://www.trowerpower.com/
13 tracks/78 minutes


“Seven Moons” was a somewhat psychedelic rock studio effort last year that Jack Bruce and Robin Trower, along with drummer Gary Husband, created to some decent critical acclaim. “Seven Moons Live” gives us live versions of nine of the eleven songs from “Seven Moons”, along with three Cream tracks and one track from Trower’s and Bruce’s good but somewhat forgettable 1981 “B.L.T.” album. Live albums are always a great measure of how performers really sound and this measures up as a solid effort from these two rock icons. This album was taken from the third stop on their tour, but the chemistry was already firmly in place as Bruce notes in one of his aside comments on the CD.



The “Seven Moons” tracks are all solid. Bruce’s vocals are crisp and compares well with the studio version and showcase that this fantastic vocalist and bass player can still deliver great stuff after four decades of performing. Trower’s guitar work is nothing less than impeccable throughout, giving each track a sense of what a man with equal experience and talent to Jack Bruce can bring to a song. The songs themselves are all very good but not as memorable as some of their earlier work. That does not negate that they are good, it’s just hard to top their extensive library of great songs. They launch the album with the title track, then follow along with “Lives of Clay” and “Distant Places Of The Heart” as in the studio album. This trio of songs is very solid and opens the show much to the crowds’ pleasure.



The covers give us another side of the band to admire. Jack Bruce sings on all tracks, and gives some really great performances on these covers. “Sunshine of Your Love” is next up and it is very interesting to hear Trower’s somewhat restrained but still powerful take on this classic. The B.L.T. track “Carmen” is hauntingly and lamentfully sung by Bruce, and he and Trower play sublimely together on this cut.



They follow with seven tracks from the studio CD and then close with “White Room” and “Politician”. The “Seven Moons” tracks are well crafted stuff, but they seem to turn it up a notch again for the covers. The guitar intro on “White Room” is uniquely Trower giving us his take on Clapton, and Bruce delivers on the vocals and super base line. The tempo is just a bit slowed down here, making the song fit more into the tone of the new stuff. “Politician” gives us Bruce at his best again, even referencing Mr. Obama in the midst of one verse. Solid stuff from two veterans of over forty years on the rock and roll trail, and there is also a DVD of the show available on Ruf Records. Fans of Bruce and Trower will certainly love this set of tunes and those new blues and rock fans needing an intro to these artists can’t miss by listening to this CD!

The Essential Coco Montoya reviewed by Karl Dahlin

The Essential Coco Montoya

Coco Montoya
Record Label: Blind Pig
www.cocomontoya.com
www.blindpig-records.com
12 tracks/57:39

Coco Montoya grow up in California and starting out his music journey playing rock and roll on his drums but somewhere along the way mastered playing blistering blues on the guitar. He got a break in the late 70's when Albert Collins asked him to help out on an upcoming tour. This was a great learning experience where he was able to study under the Master of the Telecaster.



He later had an other big opportunity in the mid eighties to play in the newly reform Blues Breakers. The musicians he met in both bands later help out on his first solo releases with Blind Pig Records. The songs on this CD where produced by Coco himself and represent his finest work at a time when he won an award for Best New Blues Artist at the Handy Awards in 1996.


His career has spanned 30+ years and the hand picked 12 tracks on this CD cover some of his handiwork from the mid nineties. Four out of the twelve are originals. All the songs originate from three albums: Gotta Mind to Travel (1995), Ya Think I'd Know Better (1996) and Just Let Go (1997) all with Blind Pig Records.
Coco plays lead guitar and vocals on all tracks but does shares duties with other guest musicians. He has help on four tracks from Debbie Davies on rhythm guitar. She too was cut from the same mold by playing with both Albert Collins and John Mayall.


If you are looking for early solo music from Coco this one CD will fill the spot in your collection.

Tail Dragger Live At Rooster's Lounge reviewed by Harmonica Joe

Tail Dragger Live At Rooster's Lounge
l Dragger
Delmark Records
http://www.delmark.com/
www.myspace.com/taildraggercrawlinjames

DVD - 12 tracks/75 min.

CD - 11 tracks/68:21

"Tail Dragger Live At Rooster's Lounge" is Delmark Record's latest release on both DVD and CD. These live recordings at a real blues bar are a great way to present and preserve the real tradition of blue music and the blues artist. Delmark does a fine job doing this. This is Tail Dragger's second recording for Delmark.

Tail Dragger is a great choice for a live recording on DVD. Tail Dragger was born James Yancey Jones in 1940 in Arkansas. He was influenced by the likes of Muddy Waters, Sonny Boy Williamson and Jimmy Reed. He main mentor was none other than Howlin' Wolf. Tail Dragger got his stage mame because he had a habit of being late to the gig most of the time. He was also known as Crawlin' James because he would do some crawling on the floor during some of his shows. He does work the audience. After Howlin' Wolf's passing Tail Dragger hooked up with Hubert Sumlin. The two of them played together for some time in the West Side Chicago blues clubs.

We are treated to fine band on Tail Dragger's recording, "Live At Rooster's Lounge". On stage with him is a full blues band with two awesome guitarists, a great harmonica player a hard hitting drummer and a real solid bass player. Add Tail Dragger's gritty, growling, low down vocals to the mix and we are on the road to a fine show. His timing is just outstanding as you watch him on stage.

On guitar we have Rockin' Johnny Burgin, who has been with Tail Dragger for a long time, good or bad. He is an outstanding guitarist with his own tone and style. He is a great compliment to Tail Dragger's vocals. Also on guitar is Kevin Shanahan, a regular member of the Tail Dragger Band. Beside his fine rhythm playing he lays done an awesome solo.

Martin Lang has been the harmonica player for Tail Dragger for a long time. Lang brings the old school dirty harp playing to the mix. His tone is outstanding, his timing is right on and he just flows with each tone that he plays. This is good stuff f you are a harp fan. With the addition of Todd Fackler on drums and Rob Lorenz on bass driving the band we have a quality blues machine going down the blues highway!

Tail Dragger, James Yancey Jones, is a very talented song writer, having written five of the tunes on this recording. "Be Careful", penned by Tail Dragger, is a fine example of his talent to write tunes. This slow blues tune also has an awesome guitar solo by Rockin' Johnny. Johnny looks a lot more relaxed and like he is enjoying the moment now then as I remember him years ago. This is all good to me. Martin Lang's harp playing also really stands out on this track. "You better be careful or someone else will tell on you to' tells the story of this tune. It is too bad that this tune is only on the DVD.

On "Wander", another Tail dragger tune, we are treated to the fine guitar style of guest Jimmy Dawkins. Dawkins has a rich deep tone and great blues licks in his guitar playing. He truly plays the blues. His interaction with Rockin' Johnny's guitar is good on this track. On the DVD version of "Wander” we see Tail Dragger working the audience with his gyrations and awesome vocals.

There is not a track on the recording, "Tail Dragger Live At Rooster's Lounge” that I do not care for. "Louise", a Chester Burnett tune, and "Blues With A Feeling", a Walter Jacobs tune, both stand out on this DVD - CD. Delmark Records has done another fine job with "Tail Dragger Live At Rooster's Lounge". I must say, for me, the DVD is the way to go with this recording. The CD is a great recording, but the commentary by Tail Dragger on the DVD is worth the price of the whole recording. Watching Tail Dragger strut his stuff, work the audience, pump up the band and present his vocals to us is one great blues show. It is really good to see Rockin' Johnny back playing the blues.

Thanks again to Delmark Records and Bob Koester for presenting and preserving the blues as it should be. A special note to my friend, Kevin Johnson of Delmark Records, just for seeing him in the audience enjoying the blues show at Rooster's Lounge.

Stomp the Floor reviewed by Steve Jones

Stomp the Floor

Arthur Adams
Delta Groove Records
http://www.arthuradams-band.com/
12 tracks/46:48


Arthur Adams has been a great gospel and blues man for a long, long time. His current long standing stint as BB King’s house band leader in Universal City has made him a fixture in the LA/West Coast blues scene. He landed in LA in the mid sixties after spending a lot of his early career touring around the south; he released his first album in 1972, which made his smooth voice and guitar picking in demand. He’s done session work with many greats in music and television, but he and BB seem to be joined at the hip for a variety of projects. He appeared on tour with the Mannish Boys after the first Delta Groove release ever in 2004 and then Randy Chortkoff invited him to appear on Mitch Kashmir’s debut album. This is his first album with Delta Groove and it is a very sweet effort.



His voice is a mix of Robert Cray, Bobby Bland and a non-falsetto version of Aaron Neville. There is a smoothness and sweetness to his voice that evokes deep emotion and feeling. His guitar style is more in the BB King vein, with clear and precise notes and phrasing; not too many notes like some gun slinging axe wielders try to use to impress people. He chooses his words and notes with care and warmth and then bundles his music up in a velvet wrapper so the listener is rewarded with a profound listening experience.



I like Arthur at his smoothest. These 12 tracks are all originals and all are quite good, but when he goes to the slow ballad it really, really is nice to listen. “I Know What You Mean” and “Nature of the Beast” are two melodic tracks that are so easy and smooth I felt like I was getting covered in a warm, buttery glow. His slow blues like “Don’t Let the Door Hit You” remind the listener of BB King on guitar, making the frets wail with emotion to match his soulful voice. Tunes like the title track and “Thrive on Your Vibe” give us a soul-filled and funky take on Adam’s music. The instrumental “Around the Sun” also shows us another side of Adams, this time more in the way of a George Benson approach to funky guitar. He closes with a more up tempo instrumental following this one called “Blue Roots”, which is interesting in that he does not sing on the last two songs. It does not matter, because they contrast each other nicely and showcase a man who is at equal ease singing or picking on his guitar.



This is a well done CD that features a man who is superb at his craft. Arthur Adams is a soulful and funky blues man who delivers a sound and style that is rich in style and beautiful to listen to. I recommend this to all blues and soul fans who love a good, funky, original album; this guy’s got a great set of tracks assembled that you should not miss!

Booker’s Guitar reviewed by Steve Jones

Booker’s Guitar

Eric Bibb
Telarc International
http://www.ericbibb.com/
15 tracks/49:29 plus 3 bonus tracks


I must begin this review with a little blues history. Booker (aka Bukka) White was well known for playing National steel guitars. His name, much to his chagrin, was misspelled in 1937 by Vocalion, his second record label, and it stuck with him for the rest of his life. The cousin of BB King (who gave BB his first guitar, a Stella) was a consummate blues man and slide guitar player. Eric Bibb met a man named Keith while touring the UK who offered Eric a chance to play Booker’s guitar, affectionately named “Hard Rock” by Booker. Keith and Booker became friends during the American Folk Blues Festivals that exposed the kings of the blues to Europe back in the 1960’s. After meeting and recording Booker on cassette and exchanging countless letters, Booker sent “Hard Rock” to Keith as a gift shortly before he passed away in 1977. Keith has protected and kept the fabled instrument, and even showed it to BB King who remembered it sitting in White’s place in Memphis many years go. Bibb fondly remembered the experience and later wrote the song “Booker’s Guitar” with the intent to record it while playing the guitar, which he has done. Along with the title track, Bibb has recorded 15 tracks along with a second promo CD of 3 bonus tracks (one for itunes and two as bonus downloads for CD buyers). Set for release in late January, 2010, Telarc Records and Bibb join up for their fourth album together.



The title track is an interesting story about the guitar, Booker’s heart shaped charm that he affixed to the guitar, the old dirty brown case it lived in and the scotch taped play list on the case. Bibb sings and plays almost reverently, with the sweet sounding notes coming off this 75+ year old guitar like it was new. Eric is a master at solo acoustic blues and here he gives us a humble and humbling performance. His three decades of experience melt away as he plays this song and Booker’s guitar. I found it quite moving even though it was a studio recording.



So where does that leave us? Well, it is the first song on the CD, so we are girded and ready for 14 more tracks delivered as Bibb only can. He plays with a thoughtful and metered approach to his music. Never showy, his guitar and occasion harp are given to us to listen to, mull over and accept. His voice takes on the same timber as his guitar, restrained yet powerful, in control but with a maelstrom of power and intensity living behind it. Whether it be slow blues, folk, a little boogie woogie, in an old spiritual style or whatever, we are listening to a man who knows his craft well. There is no need for flashiness or bravado; his soul-filled baritone voice and impeccable guitar work speak volumes. He picks and plunks his way through each track like the guitar master that he is, selecting each note as a shrine to the music he plays.



Singling out other particular tracks would be futile. Each delivers to us a story that must be heard, whether he sings of water tasting like turpentine instead of cherry wine or about sitting on the porch in the shade and talking about his new rocking chair, we are listening to a man with a set of stories to tell us and we are compelled to sit and listen to each and every one of them. Folk blues at it’s finest; Bibb and Telarc have produced another fine album here that will be listened to over and over in sublime and utter joyfulness as Eric lives his

Fire It Up! reviewed by Steve Jones

Fire It Up!
Laurie Morvan Band
Screaming Lizard Records
http://www.lauriemorvan.com/
12 tracks/54:30


Laurie Morvan and her band were finalists in the 2008 IBC both as a live band and for the best self-produced CD for “Cures What Ails Ya” (her 3rd CD), the only act to become a finalist in both categories.  The reason for this is quite simple and obvious when you hear them- they are a truly great band with truly great songs!



Laurie wrote all the cuts again on this new 4th album; she has a keen edge to her lyrics, both in the serious and lighter veins.  “Skinny Chicks” sings of the up sides of skinny girls, something Morvan thinks important because of all the time spend by blues singers focusing on big legged women and such.  “Come Over to My BBQ” is also lighter in tone, filled will double entendres like she’s “gonna put up her tenderloins” and that “your cold cuts will never be the same”.  It’s nice to see these sorts of blues songs from a woman’s perspective, especially one as talented and confident as Morvan.



The opening and closing tracks are cut from similar molds, with fiery hot licks and a driving blues rock beat.  “Nothin’ But the Blues” offers up a testimony to her love the blues genre and “Café Boogaloo” sings of a jumpin’ juke joint.  The former features some really hot guitar and piano solos while the latter offers steamy guitar and organ solos.  These songs seem to hearken a bit to Stevie Ray Vaughn in being bigger, production number blues rock songs.  Morvan also sizzles on her slow blues in cuts like “Livin’ in a Man’s World” and “Good Girls Bad Girls”.  Her vocals remind me a little of Marcia Ball and her guitar is as fluid and smooth as anyone’s.



In addition to Laurie, the band consists of Pat Morvan on bass. Kevin Murillo on drums, and Lisa Grubbs and Carolyn Kelley on backing vocals.  Sammy Avila fills in on B3 organ on several cuts while David Matthews also does B3 and piano on a few others.  They are a tight, focused and closely knot band playing solid, hot road house style blues.  Hailing from Illinois , they are now touring more widely and are gaining fans across the nation with their outstanding play.  Highly recommended!!!

Live in England reviewed by Mark Thompson

Live in England

Hamilton Loomis
Ham-Bone Records
www.hamiltonloomis.com
14 tracks/72:50

Local blues fans have been able to watch the growth of Hamilton Loomis as a musician and a performer through his frequent appearances at Big Cities Lounge over the last few years. Loomis proved he could handle the larger stage with his dynamic set on the Left Bank stage at last year’s On The Waterfront festival. Now all of his fans can have a prime example of Loomis and his band in full flight from recordings done at two venues in England.

The band storms out of the gate with the instrumental “Pull Strings”, with Stratton Doyle heating up the crowd with his outstanding tenor sax solo followed by Loomis firing on all cylinders on his guitar. The rest of the program features highlights from Hamilton’s last three studio recordings and a tribute to his mentor, the legendary Bo Diddley.


Highlights include a rousing version of “Workin’ Real Hard” with a shout-out to Stevie Wonder – and the funky humor of “Best Worst Day”. Loomis displays his skill on harmonica on “What It Is”, an extended piece that features some nice harmony vocals from the band and another sweet sax solo from Stratton. “No No No” slows the pace but Loomis lays down an impressive, heartfelt lead vocal that maintains the emotional intensity.


The band turns in another lengthy performance on the crowd-pleasing cover of Johnny “Guitar” Watson’s classic track, “Bow Wow”, which keeps the funk quotient at a high level and provides Loomis the opportunity to showcase his prodigious ability on guitar.


The Bo Diddley medley rocks hard thanks to the pounding beat from drummer Jamie Little and Kent Beatty on bass.

The set closes with “Get My Blues On”, a tune that really epitomizes what makes Loomis such a special musician – funk and blues expertly mixed into a tight package, delivered by a soulful singer with the vocal range to do whatever he wants to. The added bonus track reaches back to Hamilton’s first recording for “Turnin’ Heads”, with Loomis singing the praises of a woman beyond compare.


Released without any touch-ups or overdubs, Live in England serves as a fine career summation for Loomis and his talented cohorts. The cuts crackle with extra energy and excitement. And Loomis once again proves that he is a rare performer, able to captivate an audience while offering a new perspective on the blues tradition.


* Don’t miss Hamilton Loomis – appearing on Monday, Jan. 25, at Big Cities Lounge.*

Hey Jodie! reviewed by Mark Thompson

Hey Jodie!
Quintus MCCormick
Demark Recods
www.myspace.com/quintusmccormickband
15 tracks

Having been given this CD to review by Big Brother Mark at the recent West Side Andy show on my Birthday (he took advantage of me during a weak moment), I feel a bit pressured having to live up to the standards he & others from CBS have set for reviews but I will give it my best shot. Quintus was born in Detroit in 1957 & moved to Chicago in the late 70's. His grandma bought him his first Strat after he'd only been playing for 7 months. He attended Columbia College in Chicago ( a Major School for the Arts) & graduated in 1994 with a music degree. When in school, he was a sideman for Lefty Dizz, James Cotton, A.C. Reed & Otis Clay earning spending money while in school. He was influenced by Hendrix, Jimmy Page & Humble Pie before turning to pop music. His intro to the Blues changed him forever.


This is his first Delmark release that delves into the real roots of R&B more so than just Blues. The voice & lyrics are THE mainstay with the music taking a second seat. Not that you don't hear the band (bass, drums, keyboard, harp, trumpet, tenor & baritone sax) but it supports the songs rather than dominates them. Quintus has strong vocals that evoke emotions & remind one of the Otis Redding / Marvin Gaye days of old. He is also an accomplished guitarist but chooses few occasions to showcase as again, the band lays the groundwork for the vocals to shine.

“Hey Jodie!”, the title tune (oh yeah - dictionary definition is a ‘Back Door Lover’), starts us off with what you'd expect from a true R&B artist with horns & all reminding one of Otis Redding days gone by. “Get Some Business” starts off with a traditional blues lick, a driving bass line & keyboards backing the vocals. “What Goes Around Comes Around” begins with a lengthy guitar solo leading into your typical down & dirty blues tune with all the fixins'. “You Should Learn From This” made me think, "Fool Me Once - Shame on You: Fool Me Twice, Shame On Me" with it's upbeat tempo while the horns spicing up the tune. 50 / 50 - a smooth easy offering with horns, harp leading us down the music road. “You Got To Do Me Better Than That” - a Joe Louis Walker sounding offering. “I'm Alright Now” made me think I'd gone back to the 60's at the instant it began, I heard “She Likes Bread & Butter” (that's the lick) but it works. Get That Money - a rockin' up tempo tune that adds backing vocals for some spice. “Hot Lovin' Woman” is a very soulful offering. “Plano Texas Blues” reminded me of a W.C. Clark offering (I do like him). “I'm a Good Man, Baby” is more of what you'd expect from a current blues-man. “I Wasn't Thinking” is where we get a bit funky (probably his 70's Pop influence coming out). “There Ain't No Right Way To Do Wrong’ is the lone laid back tune on the CD with life's lessons the centerpiece. “You Got It” gets back to the funk, he was in the mood to get down. “Let The Good Times Roll” is the only thing left was to get rolling, here the piano taking center stage (what else!) for some boogie woogie,


If you're tired of being overpowered by the music & long for the days of real R&B, Quintus has given a good shot at reviving this genre. He has learned from some of the best, his talents are on full display with this release & he would be someone to see live for the full experience.