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REVIEWS

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THE JAY TAMKIN BAND - Sorted

Here’s another great young blues guitarist.
Best thing is, Tamkin (just 22) is British. This young man is highly regarded and he and his band (Pete Searle - bass and Nick Ramos Pinto - drums) have already supported the likes of Ian Seigal, Sherman Robertson and Chris Farlowe, while he has also shared a stage with ex-John Mayall guitarist, the great, Buddy Whittington, who passed on many words of wisdom.
With the likes of Jay Tamkin, Oli Brown, Ian Parker and Aynsley Lister, the British blues scene seems well served and set for a fine future.
Tamkin’s debut album ‘Sorted’ is a cracking listen, showing great promise, and opening track out of the speakers, with a hard, rocking beat and incessant guitar riff, while most of the other songs are quite outstanding, too, showing a maturity far beyond a 22-year old. Watch out for Jay Tamkin.
Total Kit Car Magazine

Jay Tamkin apologised to me just after he recorded this CD because he didn't think it would be 'Bluesy' enough for my tastes. Having first met this engaging young man about two years ago , I have followed his blossoming career with a proprietary interest and not a little excitement.
Make no mistake. This debut album marks the arrival of someone very special on the British music scene. Jay Tamkin has met and exceeded our expectations every time and I am confident he will continue to do so.
Yes, he is an exciting performer. Yes, there is an inventiveness to his music. He writes good tunes, he is a fleet-fingered guitarist when
the moment demands (not to mention a very good singing voice too) but there is so much more. There is a sense of adventure evident throughout this CD. But it is not a gung-ho experience either. Jay is willing to experiment with both sound and fills. There is a solid musicianship evident in this youngster's songwriting but there is a musicality too. Each track is very different, each a considered blend of ideas and execution. And then, just to confound us, there are a couple of surprises too.
Jay Tamkin has class and this CD clearly demonstrates that he is not a 'one-trick pony'. There is absolutely no necessity for apologies about this fine piece of work. I believe that, with the right promotion and encouragement, this young man could become a major performer.
Blues Show Bob GTfm

Another west country lad, Jay Tamkin aligned himself to the blues aiming at the rockier end of that spectrum. This is full fat blues, power, energy twelve bar blues with a maturity that goes beyond the years that Jay Tamkin has been on this earth. There's no mistaking his influences, this would sit well in any 60s early 70s blues collection, but there's also no mistaking a musician developing his own style. It's the album of an apprentice that's well on his way to becoming the sourcerer. It's proud, it's loud, great riffs and stunning solos, great axe work.
Fatea Magazine


There is no shortage of fine young guitarists, all vying to join the likes of Ian Siegal, Matt Schofield or Aynsley Lister as the great British guitar hope and there seems to be no shortage of people willing to listen to them.
Into all this comes Jay Tamkin and if he is given the right guidance and assistance he could be as big as any of them.
His guitar playing is fast and funky and he isn’t a half-bad vocalist while his songs are fine examples of the craft but it is his variety and maturity that, at only 22 years old, points to a stellar future.
Among the little gems on this album are the opener, 'Get In Your Way’, a funk/Blues workout with an excellent vocal performance and 'Jedi’, an unclassifiable love song (really!). His acoustic dexterity is also shown on 'Intermission Two – La Frescura’ where he freshens the musical palette with some Spanish flavoured solo guitar work.
He has it in him to become a serious player and this is a damn fine start.
Andy Snipper
www.music-news.com


Hailing from ‘The English Riviera’ town of Torquay comes this first release from The Jay Tamkin Band – fronted by the 22 years old guitarist and vocalist, with the rhythm section of Pete Searle (bass) and Nick Ramos Pinto (drums) – firmly in the blues-rock camp, but with enough variation and subtlety to make it an interesting listen. Jay Tamkin seems to be well on the way to establishing himself and band firmly on the scene, with support slots already with Ian Siegal, Sherman Robertson and Chris Farlowe, and a healthy number of gigs forthcoming – including three at the prestigious Maryport Blues Festival in July.
Those admirers of the likes of Aynsley Lister, Ian Parker and Oli Brown will find plenty to like in the twelve tracks on offer here, kicking off with the melodic rocker “Get In Your Way”, followed by the moody blues of “I Remember When” and the funky groove of “Love Don’t Keep Me Down” – with its spiky lead lines and Tamkin’s gutsy vocals.
The two tracks that show his diversity are “Intermission One – Nice ‘N’ Jazzy” – an acoustic Django Reinhardt-style instrumental; and later, “Intermission Two – La Frescura”, another delightful acoustic piece with a nice Latin tinge to it, and some very fine fingerpicked guitar work.
Elsewhere the band rock hard on “Jedi”, and Tamkin lays down a Texas shuffle on “Troubles” – and he freely admits that listening to the late, great Stevie Ray Vaughan inspired him to pick up a guitar. Another  tough rocker is “Your Friends Are Mine”, with more funk grooves on “Tomorrow” – showing off his fluid guitar lines.
The SRV influence is stamped on “Got A New Reason” and the closing “Leavin’ This Town” – two driving blues-rockers, but containing enough ‘light and shade’ to make them not self indulgent, with the solid rhythm section of Pete Searle and Nick Ramos Pinto being really tight behind Tamkin.

GRAHAME RHODES Blues in the North West

Robin Hoare Band - A time and Place
Sheffield bluesman steps up to the plate with a suitably steady tone and a big band. Hoare touches on funk, rock and jazz, but it's clear where his heart lies. Its nothing new and the vocals are a touch mid - Atlantic , but the overall vibe is pleasingly wholesome and satisfying.
Guitar and Bass Magazine
Omar Dykes - Big Town Playboy
Dykes’ Howlin’ Wolf-inspired growl could shake the sturdiest foundations, and veteran Jimmie Vaughan knows exactly how to weave his cool licks around the big man’s booming vocal. They first paired up for a Jimmy Reed tribute album back in 2007 and the combination proved such a success that they’ve gone for a second helping. Choice blues classics spark and sizzle, while King Bee positively smoulders with lewd intent.
Guitar & Bass Magazine

Jimmy Vaughan and Texas-based blues don Omar Kent Dykes made a fine tribute album a couple of years back: “On the Jimmy Reed Highway”, which brought together Fabulous Thunderbird harpist (and Vaughan former playmate) Kim Wilson, as well as other Austin, Texas, blues notables Lou Ann Barton and guitarist Derek O’Brien (who also produced).
Its generally positive reception confirmed an enduring demand for the work of one of blues most-covered stars, but a Vaughan album footnote dedicating it to Reed’s long-time partner, Mississippi/Chicago bluesman Eddie Taylor, hinted at unfinished business.
Taylor, who reportedly taught Reed to play guitar and also served as his sidesman throughout much of his career, is credited with keeping his better-known friend in hand (and in time).
But he never achieved Reed’s fame, even though he penned a couple of minor hits of his own.
So to redress the balance, the first two tracks on this new album – the eponymous Big Town Playboy and Up Side Your Head – are Taylor-composed shuffle-blues driven by Dykes pleasing roar.
Blues in London


Ruf

Louisiana Red & Little Victor's Juke Joint - Back to the Black Bayou

If anyone has the right to really sing the blues, it's Louisiana Red. What a start in life he had. His mother died not long after he was born; when he was still a child, the Ku Klux Klan strung up his father. He lived in an orphanage until an aunt took pity on him and helped bring him up.
That Red is still alive at 73 surprises some people, that he is still making incredible music is another. If you love vintage blues straight from the horse's mouth, this is akin to striking gold in musical terms.
So let me point you in the direction of the best blues album I've heard for years - Louisiana Red's superb Back In The Black Bayou (Ruf records), which I've played endlessly for weeks and which I regard as the nugget in my collection.
From start to finish, Black Bayou is a constant delight - no low points, endlessly interesting, always varied, effortlessly impressive.
Sympathetically backed by the most laid-back outfit around, Little Victor's Juke Joint, this album showcases the amazing talents of one of the last original bluesmen and heroes of the folk-blues revival of the '60s and '70s.
Here, you'll find evocative harmonica, gently tinkling piano and Red's snappy, rugged electric guitar playing, all tied in to that unmistakeable, smoky voice that's still clear as a bell.
Alan Candy - Luton Today

The brainchild of producer Little Victor, Iverson Minter’s songs are given a new immediacy that reflect a unique touch developed under the tutelage of Muddy Waters, Lightnin’ Hopkins, John Lee Hooker and Elmore James. You’ll hear the spirit of all of them here and also the unique voice of Minter AKA Louisiana Red backed by a stellar cast of backing musicians. Years later tunes like ‘I’m Louisiana Red’ would resurface as ‘Willie The Pimp’ etc. Elmore James’ influence can be heard on songs such as the stunning 12 bar ‘Crime in Motion’ with Minter playing the slide guitar. Added to the mix is some ‘feel good’ country blues ‘Ride On Red, Ride On’ with Little Victor on lead guitar and the slow Chicago blues ‘Sweet Leg Girl’. The melody to the swampy title track is borrowed from ‘Catfish Blues’ while the tune to ‘You Done Quit Me’ was picked up on by Cyril Davies on ‘Someday Baby’, a groove that may well have preceded and succeeded Louisiana Red! The care gone into this project to the extent of the reconstruction of Minter’s songs with in some cases bass lines becoming guitar parts and the empathy shown by the musicians on upright bass, harp and piano makes ‘Back to the Black Bayou’ the most authentic and exciting blues adventure for a long time! There are too many high points to list but just a few more- the lyric of ‘Too Poor To Die’, the rockabilly ‘I Came From Louisiana’ with the Bo Diddley beat and the Muddy Waters tribute ‘At The Zanzibar’.
‘Back to the Black Bayou’ is absolutely indispensible for all lovers of the blues.
Phil Jackson for Blues in the South

Louisiana Red born Iverson Minter is a true giant of the blues who inspires everyone he plays with or listens to him by the sheer depth and emotion of his performances!   Being fortunate enough to have played with many of the great blues masters like Muddy Waters & John Lee Hooker etc... we get to feel their spirits as they pour over into 12 of his own original's on 'Back to the Black Bayou'!
Louisiana Red plays guitar & vocals whilst Little Victor... a long time admirer of Red's gets to produce this gem as well as play guitar and harmonica along with Robert Alexander Pettersen on drums and Bill Troiani on upright bass!  Add Kim Wilson, Bob Corritore & Jostein Forsberg on harp, Dave Maxwell & Reidar Larsen on piano, The Hawk on guitar & Peter Lundell on Percussion and you have one hell of a groove!
'Back to the Black Bayou' is the album you have always wanted to own... either to listen to or get down with as each track is a living history of the blues that you will enjoy reliving with every beat of your heart! 
John - www.bluesconnections.com


Ruf
The Radio Kings - The Radio Kings

Chances are that if you partied in Boston clubs in the '90s, you saw the Radio Kings. They were in high demand, boosting bar revenues, and releasing three albums, one on Rounder Records' Bullseye Blues label. After a long hiatus, the group's core - brassy singer Brian Templeton and guitarist Michael Dinallo - are back with luminous new originals that maintain their rocking soul roots while adding a more extended reach suggesting everyone from Danois Lanois to the Allman Brothers Band. Dinallo has upgraded his production chops - he is part of the Tremolo Twins, who produced this album and the latest Stax/Volt release by Memphis great Eddie Floyd. The sound highlights Dinallo's sinuous riffs entwining with the lap steel of Steve Sadler as they steer a smart fusion of soul, blues, country (the astonishing "I'm Not Trippin' "), and funk ("Everything's Gonna Be All Right" echoes Sly Stone). Templeton's harmonica riffs recall the whomp of Paul Butterfield, and the rhythm section features Boston all-stars Dean Cassell and Andy Plaisted. This is music played by lifetime musicians who hold nothing back.
STEVE MORSE - Boston Globe

Lovers of the blues cannot fail to be impressed by the comeback of The Radio Kings after a 10 year hiatus. This Boston duo of singer/ harpist Brian Templeton and guitarist Michael Dinallo, backed by lap steel, bass and drums/ percussion/ clavinet, have written 7 new songs for the album encompassing many different styles including Memphis blues, country, blues-funk, dark ‘jungle’ blues (‘Evil Love’, one of many highlights) with varying tempos from upbeat (the ‘pop’ of ‘Donna’) to ballads such as ‘I’m Not Trippin’ that has been compared to Roy Orbison. All in all though popular opinion is that their sound seems closest to the Fabulous Thunderbirds. They also rework a couple of ‘traditionals’- ‘Pallet on the Floor’ and ‘You Got To Die’ (both very convincing!) as well as Magic Sam’s ‘She Belongs To Me’ and the blues soul of O.V. Wright’s ‘You’re Gonna Make Me Cry’.
Phil Jackson for Blues in the South

Back from a ten year break, this group were always mentioned in the same breath as The Fabulous Thunderbirds. And whilst I will always have a soft spot for that crew’s first album with it’s Jimmy Vaughan chugging guitar and straight-off-the-griddle Kim Wilson harp, I have never felt the need to collect all the FB albums. However, this collection kicks off with as good a starter cut as I’ve heard this year as ‘Can’t Keep a Good Man Down’ steams into life with an irresistible Delbert McClinton/John Hiatt  style about it. Southern Soul as it should be heard ! ‘Donna’ has an easy roll about it and reedy country harmonica ; the song ‘She Belongs To Me’ is NOT the Dylan chestnut, but a Magic Sam tune. There is a Prine heaviness to ‘Watch The Trains Roll By’ and a country blues Leadbelly touch to ‘The Moanin’ Blues’. The band’s ‘own thing’ might be the dark funk workout of ‘Everything’s Gonna Be All Light’ and this really works. ‘Pallet On The Floor’ is bayou rock’n'roll ; ‘Evil Love’ does indeed have a Texas / FT vibe.
Vocalist and harpist Brian Templeton works well with guitar man Michael Dinallo and they don’t get in each other’s way, though players of this calibre can and do spark off each other on stage, doubtless these chaps enjoy the live situation.
There are runs of lap steel from Steve Sadler here and there and the Cassell/Plaisted/Carlisle team cover bass, drums, percussion and clavinet. It’s strange that they don’t sound more like Little Feat, really…..
In summary then, a purposeful and entertaining set and certainly a good song-souvenir for concertgoers who like what they hear.
Pete Sargeant   
www.fairhearing.co.uk
 

As a genre, blues has always liked it's titles, Dukes, Lords, Counts etc and it's good that The Radio Kings are interested in carry on that tradition, but it does raise expectations somewhat. There's not a lot wrong with the bands self titled album, they can obviously play their instruments and put pen to paper for a song or two, but there's not a lot to lift it above a pack of other good blues artists. It's not quite being done to a formula, there's some really nice individual moments, just not enough of them to make you think 'The Radio Kings, yep they probably are...'
Fatea Magazine

 


Corazong
Eric Brace and Peter Cooper - You Don't have to Like them Both
A Nashville duo with a celebration of songwriting, in essence. Pretty good singers, the pair of them and on this set they are going for a laidback, easygoing mood that lets the compositions connect. There are some gems of songs here. Brace writes material for the band Last Train Home, which he fronts. Cooper is a writer who makes music. Cognoscenti’s of songwriting will smile at the listing of composers, as it includes Kris Kristofferson, Todd Snider, Jim Lauderdale and David Olney.
The ensemble features legendary steel player Lloyd Green and he sits well in the gentle John Prine-style settings exemplified by opener ‘I Know A Bird’. Next song ‘Omar’s Blues #2′ is an Olney song and has echoes of the great Steve Goodman. The singers are careful to sustain clarity of delivery, often a relaxed Hammond sighs in the background, all adding to the backporch sound. ‘Down To The Well’ is soaked in tuneful melancholy, you can see the peeling paint on the buildings and there is a brief but gritty guitar solo from Tim Carroll. Evoking the current Clint Eastwood ‘grumpster provoked’ film hit, ‘The Man Who Loves To Hate’ is a classic song worthy of moodmaster Kevin Montgomery and there’s more biting guitar from Tim Carroll.
Who will this appeal to ? Well, I guess those who enjoy John Prine, Randy Newman perhaps, Buddy Miller certainly. The album never gets noisy, stays tuneful. I would expect Radio 2’s Bob Harris to pick up on this one.

Pete Sargeant    
www.fairhearing.co.uk

The title "You Don't Have To Like Them Both" and 'Wallace & Gromit' approach to the album artwork hint that maybe this is a folk album that's going to come in from the left field, a little bit quirky, a little bit off the wall. For once the cover doesn't lie. Eric Brace & Peter Cooper have put together a collection of songs with more than a sideways glance at life. It's an album out of the American Songbook tradition with about a quarter of the songs off their own pen. For me though the stand out track a sea shanty, "Her Bright Smile Haunts Me Still", featuring Tim O'Brien guest appearance.
Fatea Magazine
 

Corazong
Krista Detor - Robert Johnson Has Left Mississippi
Two things here - one, I'm not sure whether this is a single, an EP or just a promotional sampler - two, whatever it is, 'Robert Johnson Has Left Mississippi' sure does the business when it comes to selling the wonderful talent that is Krista Detor.
Just three tracks here - each taken from a different album and each displaying Detor's wonderfully rich vocal attributes and her sensational piano work. From Bloomington, Indiana, Krista Detor's music tends to be an homogenised blend of folk and blues that has, within its heart, just a few nu-country nuances. Detor sings with massive presence, her woody, dusky voice is perfectly suited to her darkly haunting nu-folk style. Her beautifully succinct and punctuative piano work accompanies rather than drives and with well proportioned guitar, drums, bass and the odd 'extra' instrument Detor's arrangements are wonderfully empathetic and supportive - not totally laid bare but certainly pretty stripped-back!
Detor's work seems to be based on simplistic moody melody and sympathetically weighted breathy vocals; she's as smooth as silk but much more robust as she effortless pours out her heart-rending lyrics with absolute honesty. Included with the title track, which is taken from 'Cover Their Eyes', Detor gives us 'The Hampton Sisters (Glory)' from 'Mudshow' and 'Blue Sky' from 'A Dream In A Cornfield'. If this is purely a promotional work it's right on the money and totally hits the spot; in the case of Krista Detor, less certainly isn't more and the three tracks here just aren't enough! A fantastic taster, yes - but the seeds are now sown and I'll be looking for more of this Krista Detor musical magic!
If alt-folk is what you're looking for then Krista Detor is probably just what you need; 'Robert Johnson Has Left Mississippi' is absolutely brilliant and a fantastic introduction to this stunning artist. It really don't get much better than this folks!!
Peter J Brown aka toxic pete (www.toxicpete.co.uk)

Corazong
Various Artists - Double CD - Just About As Good As It Gets - Great British Rock'n'Roll
 Vol 3 - The original Rock'n'Roll Recordings 1956 - 1958

The success just goes on; this series of historical British rock'n'roll recordings can seem to do no wrong - quite right too!!
Yes, more 'Just About As Good As It Gets' featuring 'Great British Rock'n'Roll Vol 3 - The original Rock'n'Roll Recordings 1956 - 1958'; bet you didn't even know that there was this much material out there!! Words fail me, there's really nothing for me to say or add that could make a difference here - the music speaks for itself!
As this series builds I'm finding it difficult to express the worth of this fantastic collection; anyone even vaguely interested in the history of modern popular music should have this in his/her collection - this is pretty-much the beginning of it all as we now hear it and know it! Another sixty-eight tracks on this two disc release explain, through music, the birth of a musical 'monster'. But, it's much more than simply re-visiting the past, this is just as much about the now and the future as far as rock'n'roll music is concerned - absolutely enthralling stuff from days long gone that left their mark, planted the seeds and now live on through this inspired series of releases.
Listen, I'm not gonna make any difference to what happens commercially with this work, it sells itself, it don't need Toxic Pete to enthuse and get moist around the genitals to make it happen - I can certainly post these words onto the 'net' but, at the end of the day, the 'Just About As Good As It Gets' series will find its level and its place out there. Just make sure you're in on it though - you don't wanna miss it - it's exceptional stuff!!
Peter J Brown aka toxic pete (www.toxicpete.co.uk)

Smith & Co
SCCD1171

 
Various Artists - Just About As Good As It Gets - Great British Skiffle Vol 3 - The original Skiffle Recordings 1952 - 1958
From everything I heard so far from this 'Just About As Good As It Gets' series, the skiffle works are, without doubt, my personal favourites.
'Great British Skiffle Vol 3 - The Original Skiffle Recording 1952 - 1958' is an audio history lesson that lets the listener imbibe on the simplistic beauty of skiffle music; that infectious syncopated blend of blues, country and jazz that rocked the world and set new markers that others then took and used as bench-marks for the new world of rock'n'roll / popular music.
As British as these works obviously are you can still hear American influences especially on the more country weighted songs; the vibe is just so basic but bloody catchy and of course there was often a slightly flippant core that people associated with and took to their hearts. I consider myself somewhat blessed because skiffle was part of my up-bringing, I heard it nearly every day during my more tender years and it obviously had a pretty powerful effect on me that has stayed with me for years and years and ye....ok, that's enough!! Skiffle always moved me more than its close cousins rock'n'roll and rockabilly; of course, the great Lonnie Donegan was probably the most well know of the skifflers of the age because he was fortunate and talented enough to be able to rise from obscurity to stardom with his infectious and very tangible music - but, Donegan was just one very small part of a massive and pretty robust musical movement and here you can sample a hefty slice of what was happening fifty years ago.
Anyway, no amount of words from me will make a difference here; 'Great British Skiffle Vol 3' will surely prove to be as popular as all the rest of the 'Just About As Good As It Gets' series so far - and rightly so, 'Great British Skiffle Vol 3' is another sixty-two tracks of swingin' syncopation from a golden age that influenced millions and helped change the way music was written, composed and recorded. Skiffle is in my heart and I hope it'll soon be in yours - great album!!
Peter J Brown aka toxic pete (www.toxicpete.co.uk)

Smith & Co
SCCD1172
Various Artists - Just About As Good As it Gets - Great Rockabilly Vol 3, The Original Rockabilly Recordings 1954 - 1958
Another seventy tracks make up this formidable album, 'Great Rockabilly Vol 3'; another in the series, 'Just About As Good As It Gets' series which features 'The Original Rockabilly Recordings 1954 - 1958'.
Rammed with powerful, energetic songs that so typify the Rockabilly era, 'Great Rockabilly Vol 3' may not be exactly timeless music but it sure is ageless and musically defining. Hosts of artists both the well known and not so well known are conjoined on this wonderfully vibrant and educational work. Of great historical importance, the Rockabilly age never did quite die out as witnessed by the plethora of sound-alikes, tributes and originals outfits still plying their trade through this lively and extremely likeable form.
'Great Rockabilly Vol 3' is as relevant now as it was when these great songs were originally recorded, such is the strength and influence of this often maligned genre. Some say Rockabilly is just rock'n'roll under another name, others just don't get the vibe. Rockabilly is I suppose a melding of rock'n'roll with skiffle, all bare witness to the great artists of the blues and jazz eras, all sit quite comfortably together musically but each still seems to have its customer pigeonhole that separates it from the others.
Whatever the pros and cons of the form, Rockabilly happened and is still happening and the millions of fans and followers can't all be wrong can they. Absobloominglutely! Rockabilly lives on and this brilliant compilation offers the chance to hear and experience some of its early beginnings, to sample the essence of the genre as it was back then and very much as it still is now.
'Great Rockabilly Vol 3' is burstin' with toe-tappin syncopation, knee-jerkin' rhythms and finger-poppin' grooves; 'Just About As Good As It Gets' indeed! 'Great Rockabilly Vol 3' is just one small part of the 'Just About As Good As It Gets' historical music series; a piece of history that refuses to go away and die - and why should it? Rockabilly lives on - go get this and hear where it all started!
Peter J Brown aka toxic pete (www.toxicpete.co.uk)

Smith & Co
SCCD1170
Various Artists - Just About As Good As It Gets - Great Rock'n'Roll Instrumentals - The Original Rock'n'Roll Recordings 1950 - 1960 

Sunday Express
 
 Wow, what a great compilation! Part of the 'Just About As Good As It Gets' series this is the album that could so easily have been forgotten about.

'Great Rock'n'Roll Instrumentals - The original Rock'n'Roll Recordings 1950 - 1960' is an inspired compilation; I probably wouldn't have thought about getting this one sorted! But thankfully it's not only sorted but now available for all to hear and cherish. Sixty-three fantastic instrumental tracks on two great discs; blues, jazz, skiffle, rockabilly and rock'n'roll all on one album, all at one time, all absolutely as they were back then - what a pleasure to behold.
'Great Rock'n'Roll Instrumentals' is a really exciting work; all this wonderful material could so easily have been overlooked simply because of the natural trend towards the vocal offerings of the age. Every bit as exciting, every bit as enticing, every bit as worthy, 'Great Rock'n'Roll Instrumentals' just about fills in all the missing places that the other great albums in the series didn't quite fulfil - and what a great vibe and what a fantastic buzz this is! Because it's not genre specific (even though its title suggests it's just 'Rock'n'Roll'!)  you've got yourselves something here that offers great variety and t'riffic flexibility; something for most moods, something that's easy on the ear and just so..well, superb!! Educational and historical, 'Great Rock'n'Roll Instrumentals' gives a great insight into the hearts and minds of the musicians of that age; not content to just record the more obvious vocal tracks these 'guys' were brave enough to lay down their thoughts in music alone, a brave thing for those times methinks! Anyway up, 'Great Rock'n'Roll Instrumentals' is a must-have addition to the 'Just About As Good As It Gets' series, more than just worthy this is essential! Bloody great stuff this - I love it - think you will too!!
Peter J Brown aka toxic pete (www.toxicpete.co.uk)
 


Smith & Co
SCCD1173
Inneke 23 & The Lipstick Painters - Charcoal - Corazong CRZ255113
 
Hey folks, how'd you like yer country? Not sure eh! Well, how about this then, 'Charcoal' by Belgian outfit Inneke 23 & The Lipstick Painters takes 'country' music and brings it into the twenty-first century; nu-country, urban-country, junkyard-country - I'm not quite sure what-country this is but it's bloody brilliant!

'Charcoal' brings together many of the subtle nuances of American country music, mixes in a little bit of blue-grass, adds a hint of blues and the odd touch of folk and the end result is a gloriously cool and intoxicating sound that can offer something for most tastes - yes, even the unbelievers out there! In their press pack it's written extremely perceptively, '..some of the words appear to have been written for nobody 'cept you...'; what great words coz 'Charcoal' has a wonderful intimacy about it that makes you feel warm, safe and cared for and, yes indeed, Inneke 23 & The Lipstick Painters actually could be right there in the room with you, singing to you, just you - it feels real, it feels honest, it feels personal  - very clever stuff and what a total blast too!
Stunningly crafted, 'Charcoal' leaves no base untended; from conception right through to final production every song is treated with all due respect and empathetic attention to detail but, nowhere is anything over-cooked, the slightest bit pretentious or remotely indulgent - this is music from real people for real people, from the heart to the heart. 'Charcoal' is as good as anything nu-country that I've come across, not just lately but, for many years, 'Charcoal' makes country music accessible to the masses, it brings it home as a totally viable contemporary art-form that's right up there with the big names in any successful genre. Quite simply, 'Charcoal' by Inneke 23 & The Lipstick Painters is one of the best albums I heard for absolutely donkey's trousers!
I think one of the most poignant things about country music, on the whole, is that it has an almost indescribable quality that makes it something that can be listened to and enjoyed almost anywhere and no matter what mood is prevailing at the time. And, Inneke 23 & The Lipstick Painters only strengthen that belief - certainly I could chill and thrill to this album regardless of time, space and mood, it really is a joy to behold and I'm knocked sideways by every aspect of it. 'Charcoal' by Inneke 23 & The Lipstick Painters is quite simply brilliant but, the only way you'll understand my positive ramblings is to get out there, find a copy and give it a go for yourself - you won't be disappointed, in fact, I think you'll be amazed!! 'Charcoal' by Inneke 23 & The Lipstick Painters is nothing short of sensational!!
Peter J Brown aka toxic pete (
www.toxicpete.co.uk)


Corazong
Joanne Shaw Taylor - White Sugar - RUF1147

Here’s an impressive major label debut from a young lady who seems to have been around for ever on the British blues scene, despite her still tender years – born in 1986. Joanne Shaw Taylor has had the female blues guitar market pretty much to her self in the UK since she first toured at aged 14, and on “White Sugar” she shows a maturity, both in songwriting and playing, way beyond her age.
Recorded in Tennessee, with crack producer Jim Gaines (SRV, Albert Collins, Bobby Mack) at the helm, and the top rhythm section of Steve Potts on drums, and David Smith on bass, the album’s ten tracks possess nine originals, and just one cover – a mighty version of The Hoax’s “Bones”, off the “Humdinger” album.
Her vocals are both sweet and tender, and gritty when required, with her fiery guitar licks of the highest calibre. The opening “Going Home” is a mid-tempo rocker that builds; with the following “Just Another Word” riding on a Memphis soul groove, with some lovely clipped funky guitar. The afore-mentioned “Bones” struts in fine Texas style, with the rocking “Who Do You Want Me To Be?” containing more biting guitar, and backing vocals from two ladies simply known as Vicky and Heather.
“Time Has Come” has echoes of The Hoax again, a rolling blues with lashings of sweet guitar; the title cut “White Sugar” has a New Orleans rumba feel to it, with a switch of pace on the very nice “Heavy Heart” – a soulful poppy song, with nice vocal and nice groove.
Taylor digs into a Texas feel again on “Watch ‘Em Burn”, driven by the excellent throughout Steve Potts and David Smith; with the closing epic 8-minute plus “Blackest Day” being a gritty slow blues with some sweet leads, building to intense solos, and smouldering vocal – a very fine end to a most impressive album.
It’s easy to see how Joanne Shaw Taylor has been feted by musicians such as Dave Stewart – this is a very classy effort from the girl from the Black Country of the West Midlands, and comes highly recommended! With the likes of Dani Wilde arriving on the scene now it looks like the UK will have a few lady blues players to savour!

 
GRAHAME RHODES - Bluesinthenorthwest.com


Classic Rock Magazine

What a very pleasant surprise this turned out to be!! Well actually no, not really as surprise cuz I've kept a watchful eye on this girl's progress ever since I saw her when she was still at the tender age of seventeen (just!) and she was already making a massive impression with her shy but workmanlike approach to her industrious blues music.
By asking around in the blues fraternity and keeping an eye open for her name I knew how much progress Joanne was making. Now, with her debut album, 'White Sugar', I've at last caught up with her in 'real time' as it were! Wow, the girl's good!! Joanne has honed her honest yet adventurous guitar style and is now expressive, fluid and totally professional. Vocally (she didn't even sing the last time I saw her live!), Joanne's turned into a blues monstress; gutsy yet soulful, ballsy yet poised! Her songwriting is bloody fantastic too and she's put together a great band to assist with her attack on the established and pretty scary blues scene. The girl's not just done good - she's a bloody marvel!!
'White Sugar' is absolutely splendid from start to finish; full of moody energy, absolutely rammed with quality - modern electric blues at its best! It's certainly 'up there' with much bigger names and presents itself superbly to challenge for blues notoriety. Joanne shows that not only can women sing the blues but 'white women from Britain' can, and that they can also compete on equal terms with the best of 'em out there. Her sensational guitar playing is matched by her soulful vocal delivery to render her sweet songs 'real' and believable; so, Joanne is not just a guitarist of distinction, she's also one helluva blues 'shouter'!
I really can't find fault with this excellent album - Joanne has managed to keep it very 'open' and very organic; the mix and production are absolutely spot-on - never over-complicated, never flashy - beautifully proportioned, superbly honest. Of course there's loads of great guitar solos to get yer rocks off to but it's much more than just a guitar-fest and overall 'White Sugar' really is an all-round triumph. Joanne Shaw Taylor proves that she's got the talent, the heart and the head for life in the blues fast-lane. As a debut work 'White Sugar' is outstanding and I can't even begin to think what's still to come from this brilliant lady of the blues!
'White Sugar' by beautiful Joanne Shaw Taylor is a stunning debut album; it delivers everything it needs to and shows what can be done when natural talent meets dedication and long-term commitment. Due for release at the end of January 2009, 'White Sugar' by Joanne Shaw Taylor sets a very high standard right at the start of the year - it's gonna be a hard one for others to compete with and I can see 'White Sugar' receiving major plaudits and reaping massive rewards as its ups the ante and sets the bar at such a height that the rest will struggle to keep up.
Peter J Brown aka toxic pete (www.toxicpete.co.uk)

How do Ruf keep doing it? Yet another blues sister joins the fold and quite possibly the best yet. Joanne has thrown down the gauntlet with this recording and achieves a consistency that her stable mates (Sue Foley et al) would find it hard to emulate. I love the mixture of swampy heavy blues rock riffs of ‘Going Home’ and ‘Bones’ (an absolute standout) with the sensitivity of ‘Just Another World’. Joanne teases a tantalisingly clean and pure sound from her Telecaster and her touch is angelic. I am still reeling from the realisation that someone so young could produce something so beyond her years. (Apparently no less than Dave Stewart has come to a similar conclusion). She even has the sultry voice to go with her formidable blues licks. The words are good too! Things get really heavy on ‘Who Do You Want Me To Be’ proving that Joanne can mix it with the best of them. The slow walking blues of ‘Time Has Come’ is also a treat and Joanne’s guitar fills are a joy to the ear. Let’s not understate this- the playing is nothing short of phenomenal and every bit as good on the audacious instrumental title track. The arrangements are also superb no better illustrated than on ‘Kiss The Ground Goodbye’. (Jim Gaines the producer’s pedigree is the likes of Santana, Stevie Ray Vaughan and Albert Collins). ‘Heavy Heart’ verges on reggae and further emphasises the tightness of the rhythm section of David Smith and Steve Potts. The band fire on all cylinders on ‘Watch ‘Em Burn’ and the album ends with another slow blues with the yearning in Joanne’s voice of an intensity seldom heard since the days of Janis Joplin. Although the press release tells us that Jo cut her teeth in the UK from age 14 (!) the Tennessee blues never sounded so good (for that was where ‘White Sugar’ was recorded). Jo really does let her guitar do the talking. I have only one question- when is Joanne Shaw Taylor coming to Scotland? Definitely my blues album of the year! ‘White Sugar’ is released in January, 2009 so it could be my blues album of next year as well!
Phil Jackson for Blues in the South

 

Derrin Nauendorf - Skin Of The Earth
Derrin carries on where he left off on the excellent ‘Rattling Wheel’ CD and accompanying single ‘Shipwrecked’ with a strong collection of songs that truly inhabit the territory where the ‘blues crosses over’. For example, the title track is bluesy country rock, a bit swampy in true Tony Joe White tradition. Derrin has a great vocal style which he also varies well-  I’d been trying to place one facet of his voice on a song like ‘Michelle’ and it came to me –Joe Cocker! There are some really strong compositions on the CD like ‘Push the River’ and even a decent cover of Bob Dylan’s ‘Most of the Time’. A fine instrumental ‘The Round-Up’ breaks things up well. Derrin is well supported by Rick Foot on double bass and Mike Hellier on drums and surely he is sufficiently established by now so he can stop selling records from the back of his car! ‘Skin of the Earth’ is a stunning collection of songs that really do take the blues somewhere else!
Phil Jackson   Blues in the South

Derrin Nauendorf is a man that plays good rockin' r'n'b. Previously he's ploughed the artists record label route, but "Skin Of The Earth" sees him signed to RUF and a wider access to Europe ready for the next highly deserved boost in his career. The album has been recorded with his band and that tends to be higher octane than his solo performance, this is no exception. It's got energy, occasionally drifting to the point where the blues meet rock 'n' roll. Nauendorf is a consumate guitarist as well as writer so an album of this quality is no surprise
Fatea magazine

DERRIN NAUENDORF is one of my personal favourites. I've seen him live, interviewed him and admired him for the sincere, nice guy that he is.
If anyone deserves success, it's this straight-down-the-line, likeable Aussie who has found success the hard way from humble beginnings. After all, not many people would have the sheer guts to emigrate here and sell thousands of their own CDs from the back of the van they lived in for a year.
Now his continued excellence both a solo singer-songwriter guitarist and band leader has brought him before bigger audiences and it all seems to be happening for him.
That's why his new album Skin Of The Earth (Ruf Records), on sale next week, is such an important project, pushing him on that extra mile.
And because I like him, I'm relieved to be able to report that it's refreshingly original and superbly executed.
Eight excellent songs, two atmospheric and fascinating solo instrumentals, Dylan-esque tortured lyrics and primeval rhythms that keep this album rolling from start to finish.
It's not hard to single out the title song Skin Of The Earth as the most outstanding track, with its spaghetti western beat and haunting guitar work.
But Nauendorf (I've learned to spell it and say it now) is never one-paced. Michelle takes us straight into some fast, fundamental 50s style rock n roll; Pride Before A Fall is an unashamed, wistful, slow ballad; The Round-Up unwraps itself as a delightful cowboy-tinged moody instrumental, complete with subtle wah-wah pedal.
Mystery Child is Springsteen and Dylan tinged, showing his influences, and the rhythmically complex Everyone's Got A Plan is a triumph of acoustic gymnastics.
I like the laid-back feel of Most Of The Time and would love to see the drum-spanking, eastern-flavoured Not Alone performed live.
Nauendorf waves us off with Sometime, an all-too short, gentle guitar solo that's sweet without being cloying and is about the most therapeutic tune you could ever unwind to, lights low, drink in hand.
Thanks, Derrin, and hope to see you soon. If you ever get the chance, do yourself a favour and catch this guy live. You won't regret it or forget it.
Alan Candy   Luton Today

It seems that no matter what this guy does he always comes up smelling of roses. So, you won't be surprised to read that Derrin Nauendorf's latest album release is yet another super piece of work! Nothing at all flash about this - this is just real straight arrow, straight down the line, folk blues of the highest calibre. Quality from conception through to final delivery, nothing amiss, nothing to fault - much to admire, much to take away and think on. Altogether, 'Skin Of The earth' by Derrin Nauendorf is the mutt's nuts and a real pleasure to partake of.
'Skin Of The Earth', for me, finds Nauendorf in a slightly bluer vein; on the country side of folk blues with the occasional subtle hints of delta and the odd part 'trip' to the sounds of the big cities. As you'd expect, 'Skin Of The Earth' demonstrates Nauendorf's guitar virtuosity but never falls close to becoming self-indulgent. Nauendorf is more poet than prima donna and he makes a difference through words, voice and instruments without having to rely on fussy showmanship or showboating. The songs are exquisitely written and beautifully crafted to bring all that's good about Nauendorf to the fore. Nauendorf's distinctive dusky vocals are absolutely typical of the great man and his vocal delivery is precise and crystal clear. So, nowt to pick up on so far then!!
'Skin Of The Earth' is quite sparsely populated when it comes to instrumentation; Nauendorf allows his songs to be the prime movers as he adds, in the main, just bass and drums to his own, trademark, guitar work with just an occasional extra instrument added to add drama and effect and to punctuate rather than lead; the result is dynamically uncluttered and nicely proportioned. Packaged beautifully, 'Skin Of The Earth' demonstrates how to offer a complete 'package' without needing to overdo things - again Nauendorf lets the songs and their execution be the key, no pussy-footin' around for this guy, it's all down to great songs and fantastic musicianship and nowt else.
'Skin Of The Earth' by Derrin Nauendorf is everything you'd expect it to be from a man of such musical wealth and creativity; another in the long line of top notch releases from the gritty and influential Derrin Nauendorf. Hot stuff - awesome! Flawless!
Peter J Brown aka toxic pete (www.toxicpete.co.uk)
 


Arthur Louis  - Black Cat
Bluesman Arthur Louis' new album, 'Black Cat' showcases his enthusiastic, slick and gutsy blues style. With influences creeping in from his life and times in Jamaica and Brooklyn, Louis' music is something that borders on world blues as enticing Caribbean rhythms meet city blues aggression to erupt as a smooth concoction of earthy yet classy blues tunes for modern times.
Louis' beautifully easy vocal style and fluid, sensitive guitar playing come together superbly as he 'prowls' his blues territory with a distinct coolness and determined attitude. An album full of Louis originals and one very recognisable cover, 'Black Cat' clearly demonstrates Louis' creativity as well as his passionate performance. Louis' somewhat pained but silky vocalisation is matched by his crisp and never flamboyant guitar style and with elements of reggae slipping easily into the generally blue mix, Louis brings his roots to the groove in a very successful and palatable way.
'Black Cat' is a relatively gentle breeze through Louis current new offerings; don't expect any vocal histrionics or big showy guitar breaks - Louis keeps it all nicely under wraps and lets his overall blues creativity speak for itself. And, it's Louis' penchant for simply and succinctly cruisin' the blues that sets him apart from many of his contemporaries - this is cool and sophisticated work that demonstrates that the blues can be anything and everything. As if to further emphasise the point, Louis' occasional sojourn towards a touch of funk is as unique as it is compelling.
Cleverly combining the sharp and expressive dynamics of horns and the more subtle and cosseting blanket of keyboards to vie with his distinctive guitar work, Louis brings new energy and expression to the form. 'Arthur Louis' 'Black Cat' is the personification of easy electric blues - contemporary, varied and beautifully chilled, 'Black Cat' positively purrs along with slick professionalism and gentle persuasiveness.
Peter J Brown aka toxic pete (www.toxicpete.co.uk)

The opening ‘Born to Sing the Blues’, might have been the perfect title for the man himself were it not for the fact that he seems to be restlessly pursuing different styles. Thus after an impressive opening vocal performance hemmed in between  a big horn arrangement and blaze of guitars he wastes little time before slipping into some funky reggae on the title track. Nothing wrong with that. Indeed as on the later ‘End of An Era’ Arthur’s falsetto explorations come close to that of the late Curtis Mayfield.
Pete Feenstra   www.getreadytorock.com  
 


Carolyn Wonderland - Miss Understood

Ms Wonderland is special. She has a voice that can do most anything in the Blues or rock canon and she plays guitar with delicacy and almost illegal raunchiness as well as writing songs and interpreting some classics. She comes from Austin Texas, a special place and her band is augmented by some of Austin’s best itinerant musicians. So why isn’t she a superstar? Sadly, talent and ability are overshadowed by FASHION. In the right place this will sell in bucketloads but unfortunately the R&B obsessed trend setters and droogs will never even get to hear this unless they find one of the few real music programs by accident.
Carolyn Wonderland isn’t a great Blues woman, she is a great Blues performer, regardless of her gender.
Her slide guitar on the title track is real down-home bottleneck style and her vocals rasp like a Texan washerwoman. On the Terri Hendrix number 'I Found The Lions’ she gives it some real soul and the band cook up a Muscle Shoals R&B groove. 'Bad Girl Blues’ has real country tinges to it and a whispery and strident vocal that carries the song perfectly. The band turns in a stunning version of Rick Derringer’s 'Still Alive & Well’ with Ms Wonderland sounding distinctly like Janis Joplin – you can almost see the bottle of Jack Daniels slurping as she belts out the refrain. My favourite track here is probably 'The Farmer Song’ which is a straight country Blues number featuring Cindy Cashdollar on Dobro and a vocal performance that had the hairs on the back of my neck at attention.
There is great Blues out there if you are lucky enough to find it and this album proves it. Now go out and support it.
Andy Snipper   Music-News.com

Carolyn Wonderland, is not an out and out bluesrocker, but she can let it go when she has to, a lot of the songs on "Miss Understood" come with a country tinge, almost to the point of having a torch feel to them, but she seems to know her way around a six string like a rattlesnake knows it's way to a goffer. Her guitar sounds very instinctive like it found it's way to the vibe, rather than had it imposed on it. It contributes to giving the album a relaxed feel, one the musicians stepping back to allow another a phrase or two. It's a highway pounder with truck stops, southern style.
Fatea Magazine

Carolyn Wonderland proves that not only do ladies have the blues but that they feel the blues and can play the blues. 'Miss Understood' is the latest album from the raunchy lady of contemporary blues, Carolyn Wonderland; a meaty, ballsy outing to match anything out there at the moment!
'Miss Understood' offers six Wonderland originals alongside six choice 'covers' - a well balanced and beautifully delivered set of electric blues based around Wonderland's steamy guitar work and her powerhouse voice. This is an album that raises the ante for the established female blues stars and also rocks the boat within the male dominated genre generally. Wonderland has such power in those elastic vocal chords that at times it's a bit scary. However, Wonderland also has the ability to take it down and easy and she uses her full range on this brilliant album. Her guitar gets a great outing too as she demonstrates superior skill and technique through all the required blues elements and styles. Wonderland is certainly a force to be reckoned with and she gives it all loud and proud for you here.
This lady aint all wind and piss though; take a listen to how easily she croons her way through the jazzy 'I Don't Want To Fall For You' and you'll see what I mean - the gals got style, the girls got class! Actually, 'Miss Understood' is quite a mixed bag of blues which showcases Wonderland's adaptability and versatility - oh yes, Carolyn Wonderland's got the blues alright!!
When it comes to knowing her way around a guitar and getting the max out it Wonderland also has it down to a fine art; when it's slow and cryin' she's got all the moves - when she reaches out and fingers fly she's note perfect, as pure as the driven snow! But, considering her quite obvious guitar virtuosity Wonderland doesn't seem to lay too much store on long drawn out solos - sure she knocks 'em out but generally they're shortish and to the point. Wonderland doesn't seem one for showboating but when it's fittingly called for she gets properly down to business and lays some skin on them there strings and that's for sure.
I have to admit that this was my first encounter with Carolyn Wonderland - she's impressed me with her all-round skills and talent. She knows when less is more and she also understands band dynamics so that all the component parts come together in unison to make oh such sweet music - blues all day long, blues of the highest order, blues to chill, blues to excite - Carolyn Wonderland's got the lot! Very impressive album this - I bet there'll be a few 'old hands' out there quaking in their boots when they hear what Carolyn Wonderland has done with 'Miss Understood' - quite right too - the lady's got blues right down to her soul - great musician - great album!! If Carolyn Wonderland was 'misunderstood' before, she certainly won't be now!
Peter J Brown aka toxic pete (www.toxicpete.co.uk)
 


Blues Caravan 2008 - Guitars and Feathers
Deborah Coleman, Candye Kane and Dani Wilde are three artists I’m familiar with from some fine recordings for Ruf Records. Well, here they are together live ably assisted by a rhythm section of Michael Griot and Denis Palatin with organ by Govert van der Kolm (although I do wish it were higher up in the mix). The CD opens strongly with an excellent cover of Ray Charles’ ‘Won’t Leave’ then Dani takes the lead on the four opening tracks from her 2008 album ‘Heal My Blues’ including the outstanding blues ballad ‘I Love You More Than I Hate Myself’. Candye Kane takes over for a bit of down to earth blues holler then it’s Deborah’s turn. There are a lot of originals but also some more invigorating covers, notably of Luther Allison’s ‘Fight’, ZZ Top’s ‘Jesus Just Left Chicago’, off ‘Tres Hombres’ way back in 1973 and, my favourite, a storming reworking of Willie Dixon’s ‘Whole Lotta Love’ in which the band are joined by yet another guitarist Laura Chavez. If you weren’t there then you can be now. There’s really no excuse for not getting on the blues caravan and sampling some of the young female blues talent that Ruf Records are becoming renowned for.
Phil Jackson for Blues in the South
 

Various - Rich Man's War
Aaah, the spirit of protest is still alive. Now that the US elections are well and truly underway Ruf have decided to release a suitably opposing viewpoint of the last 8 years of the Bush presidency.
Kicking off with Bob Brozman’s sublime 'Follow The Money’ which asks the questions Haliburton & Cheney least want aired and moving swiftly on to the folk of Norman & Nancy Blake declaring 'Don’t Be Afraid Of The Neo Cons’ or the stridency of David Evans 'Bring The Boys Home’ the message is clear – there are some Americans who don’t support the war or the tax structures of Bush (and McLain).
On the other hand there isn’t a lot of point in releasing this in the UK – we don’t have a vote!
So the question has to be: is this any good musically?
Accepting that the variety of styles and forms on show means that there won’t be total acclaim it actually works pretty well.
There is a sprinkling of the most folky – Roy Zimmerman’s 'Chickenhawk’ - and a couple of outright soul numbers – Charlie Wood & The New Memphis Underground 'You Don’t Really Wanna Know’ is gorgeous – an outrageous piece of acid-funk in Pat Boyack Band’s 'Mr Wesola’s Lucky Number Dream Book Part II’ and a whole lot of top class Blues – Candy Kayne’s 'Jesus & Mohammed’ or Guitar Shorty with 'We The People’ and the individual tracks are generally pretty good.

Andy Snipper - www.music-news.com

It's a compilation rather than sampler. It's a concept, a message, an observation, a comment! Ruf Records have put together this amazing album with a theme and a message. Ruf Records saw the light, saw the opening and had the talent at their door - now you can all join in!!
Varied, somewhat educational and as blue as you can get - stunningly put together, 'Rich Man's War' showcases some of the best contemporary talent currently doin' the rounds with the blues specialist label. A thought provoking and thoroughly enjoyable work, 'Rich Man's War' voices the unspoken thoughts of millions as it opens wounds, looks into right and wrong and criticises political decisions and world crises. Troubled voices cry out worries and nightmares against some of the best blues playing you'll ever come across as 'Rich Man's War' unfolds and envelopes you.
Not blues for blues sake but blues for the world's sake, not personal, not indulgent blues but blues of the world for the world by people with critical minds and a platform to say their piece (or should that be peace??!!). Whether or not you agree or disagree with the sentiment here you're sure to find solace and reward for your time spent listening - 'Rich Man's War' is just and worthy and you'll not be offended by the commentary or narrative within. If you like the blues then just enjoy the blues. If you care about the world and its troubles then listen harder and reflect!
Featuring Bob Brozman, Guitar Shorty, Norman And Nancy Blake, Matthew Stoller Band, David Evans, Candye Kane, Charlie Wood And The New Memphis Underground, Pat Boyack Band, Roy Zimmerman, Michael Hill, Eddy 'The Chief' Clearwater and Doug MacLeod, 'Rich Man's War' is as varied as the messages concealed within - listen and learn, listen and enjoy!
'Rich Man's War' is a fine example of contemporary blues of numerous influences and nuances - as a musical outing it's brilliant, as a part of history it's observational, cutting, enlightening and brave. Ruf have seen the light and now give you the chance to bare witness to their corporate fears, hopes and foresight. 'Rich Man's War' is a great piece of modern blues music to just enjoy for its creativity and musicianship and to take away, dwell on and move forward. Political? No, not really! Preaching? Not at all! The blues? Definitely! Sublime blues, blues for me and blues for you! Get the message, get the blues, get Ruf Record's 'Rich Man's Blues' - it's awesome!!
Peter J Brown aka toxic pete (www.toxicpete.co.uk)
 


Erya Lyytinen - Grip of the Blues

Finland’s not really the kind of place you’d expect to find a blues dive, but here she is. This is Erja’s second album for RUF Records, not including the ‘Pilgrimage’ record she made with label mates Aynsley Lister and Ian Parker.
She’s not an artist firmly entrenched in the blues, she likes to wander around the styles a bit, and as long as you aren’t a stuffy purist you’ll find plenty to entertain you. Anyway, whatever she does, she always does it with honesty, grace and considerable charm.
‘Grip Of The Blues’ kicks off with Broadcast, an instrumental heavy on the slide, something she really excels at. She has a stab at Tony Joe White’s Steamy Windows which is passable but doesn’t come close to Tina Turner’s version for all out raunchiness. She’s much better when she sticks to her own material and one track that highlights her sensuous voice is I Wanna Get Closer, a funked up number rich in sexual feeling. She croons about ‘getting closer and taking her clothes off’ and it really is a saucy little song. The album closes with Dissatisfaction, a track that enables her to show off those considerable guitar skills of hers.
Hi Fi Plus Magazine

The only cliche that holds true about this album is that female blues players have to work twice as hard for half the recognition, harder if they're from Europe. Fortunately RUF are a label that realises that you don't have to have testosterone in the system to play the blues oestrogen really is just as good. Lyytinen gives full range to her emotions through voice and guitar, with the latter providing the majority of that feeling. "Grip Of The Blues" really does feature an artist that immerses herself in her music. You can almost feel her setting up home inside her songs. Full gutsy performance.
Fatea Magazine

 

Erja Lyytinen's 'Grip Of The Blues' finds the young blues lady laying it down pretty much as she's currently doin' when playing in the live arena. The feel, the style, the power and the enormously driven blues ethos are as close to her live work as can be accomplished when recording in the sterile environment of the studio.

Sliding and pickin' her youthful but dextrous way through a set of mainly original songs, Lyytinen once again sends shivers down the spine and puts contemporary electric blues back in the spotlight. 'Grip of The Blues' is as exciting as it is fresh as Lyytinen stamps her overall authority on the whole blues thing. Lyytinen is growing musically as she matures; her playing is much more studied and confident now, her writing now stems much more from her own experiences within the competitive blues marketplace and her vocals are as practiced and driven as her playing. 'Grip Of The Blues' doesn't simply sit and languish contemptuously in one blues element; Lyytinen runs the gamut of blue themes, timings and styles. Lyytinen explores the world of gritty truth, varied fortunes and troubled times through her music with honesty and commitment in this stylish and believable album of beautifully melodic and rhythmically dynamic yet damn raunchy songs. 'Grip Of The Blues' finds Lyytinen undeniably growing and maturing into her music; 'Grip Of The Blues' is where she's at but, 'Grip Of The Blues' will not mark the end of Lyytinen's journey of blues education, this lady's will continue to develop her skills and hone her talents as she progresses and mellows. 'Grip Of The Blues' is a stunning portrait in blue of life as seen through the eyes of a still youthful soul; Erja Lyytinen is clearly not one for standing still, not someone who takes the easy option. Erja Lyytinen shows total commitment to her blues cause - 'Grip Of The Blues' is merely a moment in time, a time that required a stop-over to collect and re-collect her thoughts and experiences. 'Grip Of The Blues' is not the terminus, 'Grip Of The Blues' is just a rest-stop on Erja Lyytinen's fascinatingly creative journey - next stop - who knows!!  But, I'm sure it'll be just as creative, equally well tended and probably even better delivered. 'Grip Of The Blues' by Erja Lyytinen is modern blues at its best - a brilliant example of contemporary electric blues with one eye fixed firmly on tradition whilst the other eye seeks inspiration for the future of the blues form. In my very humble opinion,  this is the best album to date from Erja Lyytinen - superb!!
Peter J Brown aka toxic pete (www.toxicpete.co.uk)
 

Paul Mark & The Van Dorens - Blood & Treasure

Where do these guys hang out? This, believe it or not, is Paul Mark’s seventh album in a 15 year career, and I have to confess I’d never heard of him until this dropped on my doormat.
‘Blood and Treasure’ was recorded in Memphis with what Mark calls “real live musicians.” It has that ‘live’ feel – not too polished with just the right amount of raunch and roll to get into all the receptive places. So, what does he sound like? Sweaty, honest, a little bit rock, a fair bit old soul, bluesy but in a rootsy way and tough…he sounds tough, like he’s had to do it the hard way playing sweaty clubs for a few hundred dollars a night, which he no doubt has. He has a deep resonant voice perfect for what he does, and he reminds me so much of Joe Grushecky, a New Jersey singer cut from the same cloth.
I imagine this lot are absolutely sensational live, belting out tunes at maximum volume whilst all around them the beer and whisky flows and fights break out at one a minute. This is gritty stuff; even the ballads have a certain aggressiveness to them, but therein lies this record’s strength and it’s charm. It doesn’t pretend to be anything but straight ahead, urban rock ‘n’ roll, and there’s nothing wrong in that.

Hi Fi Plus magazine

There is a real growl to Paul Mark's blues. He combines the classical elements, guitar, hammond organ, angel voiced backing singers to contrast the rougher, get down and dirty lead vocal. There's an element of the preacher in the delivery to boot, almost Elvis like spoken word sections built into the songs. The Van Dorens are a strong bunch of sidemen and women that allow Mark to build the songs, sometimes switching from vocal refrain to an almost brutal gob iron. "Blood And Treasure" has a bucket load of energy that occasionally powers it into rock 'n' roll
Fatea Magazine

For me, 'Blood And Treasure' by Paul Mark & The Van Dorens is an album that takes rhythm & blues back home; yes, that great, lively and energetic rhythmic blues stylee that was perpetrated so well by the late, great Paul Butterfield!! Paul Mark brings it back to the fore with his own twists and turns as he stamps his own trademark style deep into its heart.
'Blood And Treasure' grinds out those blues with sophisticated attention to detail but still manages to leave it all feeling very real and very honest. Mark's style is efficient, ebullient and very effective; he tells of life at grass roots level and plays his blues with similarly honest integrity. Not retro, not old-hat - just great, honest-to-goodness heart-felt blues from the heart and soul, done to a turn by the man on the street, for the man in the street. Butterfield meets Waits if you will - and how cool and inviting does that sound?
'Blood And Treasure' is as honest as the day is long - Paul Mark and his trusty band absolutely nail it with playing that's distinctive and gritty, bringing the words to life through syncopated rhythm & blues of the highest order. The album is polished yet retains a certain 'street-cred' reality; great playing aimed at keeping things on an even keel and holding on to the 'truth' - too many blues outfits are guilty of over-polishing their music and instead of adding they subtract, make it all too fluffy, too synthetic. Paul Mark and his worthy crew keep the songs grounded and they're all the better for that down-home grit and grind.
'Blood And Treasure' by Paul Mark & The Van Dorens is an exemplary album of fine blues tunes - a positive musical encyclopaedia of roots music that sounds and feels contemporary yet somehow sounds from another era - timeless, ageless, long may 'Blood And Treasure' live in our hearts and minds - quite an album and quite sublime!!
Peter J Brown aka toxic pete (www.toxicpete.co.uk)
 


Radiation
Sean Walsh Band - Timetravellersexmachine

Dutch blues rockers Sean Walsh Band appear to have a penchant for going pretty much live and unprepared into the studio. That ethos means that their recorded work, well certainly this one, ends up very organic and pretty genuine.
'Timetravellersexmachine' by Sean Walsh Band is your true rockin' blues, blues with a punch, blues with a kick. Yes it's electric, yes it's pushing at the boundaries of blues, yes it's verging on pure rock. But, what a great result!! 'Timetravellersexmachine' benefits from its organic gestation, it feels real, it sounds dirty, it rocks and it rolls!! Sean Walsh Band is a pretty large organisation and to pull this all together within the confines of a small studio, on the spot as it were, is a remarkable coup. It could all so easily have gone awry - but it didn't. Sean Walsh Band took the option of 'running by the seat of their collective pants' and I think it actually enhanced the end product. I like the whole 'live' feel, the not knowing what's coming up next or what twist the band are gonna throw in. Nothing really feels pre-ordained or cast in concrete. Sean Walsh's flamboyant blues rock grows as it explodes, it bursts from the speakers to knock you sideways. That wouldn't necessarily be the case if everything had been dotted i's and crossed t's before the 'event'!!
It would appear that these guys like to live dangerously and let their songs evolve through the passion of the moment rather than by pre-set ideas. The whole organic thing turns full circle and adds to the freeform nature of the band's songs. This aint new of course, many bands went this way way back when. And there again that's where this gets an edge; this feels like experimental blues rock that comes from quick decisive minds and nimble fingers. At times 'Timetravellersexmachine' borders on prog rock as it wanders off into fx land before coming back to the main theme so that everyone can re-join and re-build. Hey, it works for this outfit - it may not be all that easy for others to make it count so well.
'Timetravellersexmachine' by Sean Walsh Band is a bit like a trip back in time to the experimental 60's - it isn't though, it's very much a work from the now and for the future. With solos creeping in all over the place and the whole looseness of feel 'Timetravellersexmachine' could be a totally live recording (without the audience noise). Whatever, 'Timetravellersexmachine' by Sean Walsh Band gets the job done and gets it done well. Some may find things a little loose, others will love it's honesty - listen well and make up your own mind. Me, I thoroughly enjoyed the 'experience' - must do it again!!
Peter J Brown aka toxic pete (www.toxicpete.co.uk)

Sean Walsh and his band have a sense of the dramatic as they take blues on a tour, visiting hard rocking blues, country blues and an number of stations in between. For the most part this is electric blues, Walsh's guitar licks blending with the Kai Liebrand's flying fingers on mr hammonds finest organ. "One More For The Happy Few" spins off at one of a tangent at the end, sounding like the illegitimate of Marc Bolan and the Bonzo Dog Do Dah band. The tongue is firmly in the cheek on a couple of the numbers, but avoids being cheesy. Walsh knows that he can pull off eccentric.
Fatea Magazine


Corazong
Oli Brown - Open Road

This young British talent has provided a real freshness to playing the blues.
In the final analysis it doesn’t matter a jot where Oli Brown and band hail from and equally, the ages of the band are of no importance because OPEN ROAD is an exciting example of white-hot blues.
For the record Oli Brown, Fred Hollis and Simon Dring are young and British but more than that the trio have grown up immersed in the blues and all three understand intimately the power that the blues contains. You would be disappointed if a young band didn’t play with a certain excitement and energy but the Oli Brown Band adds a razor sharp clarity and focus to that energy and excitement. Once you’ve listened to about 30 seconds of the opening track Psycho, it will come as little surprise to learn that one of Oli Brown’s heroes was a certain Jimi Hendrix, the comparison is obvious and not particularly outlandish. Oli Brown, like Hendrix, is a naturally gifted and powerhouse guitarist and a musician who pushes his talent to its limit. In fact, so strong a presence is Oli Brown that you have to continually remind yourself that this is a band effort and that’s a bit of shame, because without Hollis and Dring OPEN ROAD would certainly lack some of its spark. They are the ones that provide the foundation allowing Brown to soar.
At heart OPEN ROAD is good old-fashioned, kick down the door guitar blues, although the version of the Ram Jam Band’s Black Betty is a bit of an eye-opener. But within that framework Brown and co groove their way through the aptly titled New Groove, indulge in a little guitar pyrotechnics with Played By The Devil and Can’t Get Next To You and show real pain and emotion with Missing You.
The talent of all three members of the Oli Brown Band is clear for all to hear but it’s the freshness and complete lack of tired cynicism that help create the magic.
When Oli Brown was advised by Carl Gustafson of US Blues outfit Blinddog Smokin’ to form his own band it was good advice, we should give thanks that this young blues talent had the good sense to follow it.

Michael Mee     Maverick Magazine


Classic Rock Magazine

Oli Brown has taken in the influences of the great British blues players of the past and those of his contemporaries such as Aynsley Lister to take up the baton for the 21st century. He has already shared a stage with greats such as Koko Taylor, Walter Trout, John Mayall & Buddy Guy and is ready to take his place in the spotlight. Psycho is a contemporary blues played by a power trio. The rhythm section of Fred Hollis on bass and Simon Dring on drums ably backs Brown’s guitar in its quest for the elusive note. The eponymous title track is a mid-paced grinder with nothing out of the ordinary in the voice. Stone Cold (Roxanne) is a shuffling blues in the Kansas City style and there is no doubting his credentials as he lets it rip on the chorus. The first cover, Can’t Get Next To You has him not really out of first gear yet and this needs a bit of pace injected. It’s another contemporary blues rock with the introduction of Govert Van Der Kolm on organ. Shade Of Grey is slow again and has a spoken vocal intro. It does build a little and turns to the funky side.

All The Kings Horses has a heavy intro and highlights Brown as one of many playing this type of blues at the moment, and he’s certainly not the worst by any manners of means. This has his best guitar work yet and the pounding drums from Billy McLelan breathe life into it as it builds to a fantastic crescendo. Black Betty (yes it is the Ram Jam song) has a drawled vocal and although essentially the same as the Ram Jam cover of Leadbelly’s song, Oli does let himself go -- short and sweet. Missing You is a slow, uncomplicated blues with incisive guitar bursts -- this will be a great live track. New Groove is a beefed up Robert Cray style strolling blues in parts but we have had to wait until Played By The Devil before we get any genuine pace and this is a highlight as he shows how good he really is. Complicated is slowed down again but I’d have rather had him sprinting for the finish although this 21st century blues is a good finish to an intriguing album.
David Blue

  
Mojo Magazine                                                            Rock n Reel


With personal endorsements from many blues legends many of whom he has already supported, Oli Brown is indeed a precocious talent and ‘Open Road’ has got to be one of the most energising blues recordings I’ve heard for a long time.
Usually it’s a good idea for a young blues artist to include some covers and Oli and his band oblige with solid versions of Strong/ Whitfield’s ‘Can’t Get Next To You’, Allison/ Solberg’s ‘All The King’s Horses (the guitar break is brilliantly constructed and the band whip up a frenzy); and the populist touch of Lead Belly’s ‘Black Betty’.
But it’s on some of the original compositions like the angst ridden ‘Psycho’ with its touch of Hendrix  the title track, the musically literate, well observed  slow blues ‘Shade of Grey’ and the magnificent ‘Missing You’ that Oli reveals his true potential and growing maturity as an artist. The clean, fluid guitar playing and a clear, expressive voice are also great assets and two different rhythm sections provide solid backing. Govert Van Der Kolm’s B3 also enhances the sound on a couple of tracks .My only reservation, and it’s a slight one, is that ‘Stone Cold (Roxanne)’ sails a bit too close to ‘Shakin’ All Over’.
That aside, Oli Brown is one young man we’re going to be hearing a lot more about. Well done, Ruf Records for discovering another new blues talent!
Phil Jackson

 
 Guitarist Magazine                                      Sunday Express

Oli Brown has played guitar since the age of twelve and his first main influence was Jimi Hendrix. In 2005, when invited to the States to guest with American Blues band Blinddog Smokin’, he learned about stage performance, soloing and some of the history and meaning of the Blues, which has all helped develop his writing, singing and playing to produce a formidable performer. He has opened for artists such as Buddy Guy and Taj Mahal in the States and back in England has played alongside the legendary John Mayall. The latter is highly significant, as Oli Brown’s music stands comparison with the great British blues bands of  the 1960s. As well as Hendrix, other influences include Chris Cain, Albert Collins, Freddie King, B.B. King, Albert King and Tom Waits. Towards the end of 2006, whilst playing at jam sessions in Norwich, Brown met drummer Simon Dring and asked him to join the band. Talented bass player Fred Hollis soon joined and in March 2007 the Oli Brown Band performed their first gig at The Walnut Tree Shades in Norwich. Since then they have played up and down the country to increasing acclaim, recorded a live session for BBC Radio 2’s Paul Jones Blues Show, and signed to Ruf Records. The excellent Open Road, Oli Brown’s first official album, was recorded in Germany and proves that the authentic blues sound is alive and in safe young hands. ‘A great talent’ – John Mayall.
www.new-classics.co.uk


First off, I'm going to say that I've seen Oli and his band play twice so far, once as support for Devon Allman's Honeytribe and once as headliners, showcasing this album. Both times I walked away knowing that I'd seen something special. This is a band worth following. For the guitarists amongst you, here is what you need to know:
The boy has tone..............and he's not afraid to use it!
And he's so frikkin' young and talented it's enough to make you hang up your guitar, lock yourself in the bathroom and cry for your Mommy. If that's not bad enough, at 18 years old he's got himself a damn fine blues voice.
And he writes his own stuff.
And he has a record deal.
At this point I know you're dying for me to say something like 'he's good, but y'know, all he plays is pentatonics so he's got a long way to go...'
Not so. He plays all over the frikkin' place. Just when you think he's going to do one thing he hits a colour note then tears off in another direction.
And... and...
And I haven't even got round to reviewing the CD!
"Open Road" is definitely a strong debut album. If I had to mark it down for any reason (and I'm totally nit-picking here!) it would be that I think a couple of the tracks could have been arranged more like their live performance. Onstage, the band consistently sizzles but at times the recorded tracks veer more towards a jazzier vibe.
The biggest example is the album cut of "New Groove". Played live it's an edgy, funky, balls to the wall song. On the CD it's a much more laid back. I'd have preferred them to push the tempo and add a bit more snap. In general the drums have been mixed further into the background than I expected, I guess. I get why: so that you can hear every note Oli's plays. I'm sure that I'll get used to the different mix of the recordings and love them after a couple of listens.
Hey I just listened to "New Groove" for the second time and already I'm starting to feel it more. See, I told you I was nit-picking! Y'know I just figured out what the deal is. The album is meant to be played LOUD! Amps to 11, puh-lease!
If you like blues with a twist, buy this album. You will not believe that this sound is created by a bunch of guys who are only just over the UK legal drinking age.
Kenski


Hey Oli, where you going with that axe in your hand? The teenager who’s the most talked about talent in blues music is incredibly only 17, yet comparisons are already being made with the late, great Jimi Hendrix.
Oli Brown isn’t any ‘60s throwback in terms of image. Hendrix was all flower power ruffles and bubble perm – Oli peers out from behind a severely straightened modern fringe. Hendrix was American, Oli carrries the blues torch for the Brits.
And yet.. .it’s hard for comparisons not to be made. Oli definitely has much of the Hendrix sound – the sharply chopped, ice-clear notes, totally uninhibited, loose rhythm style, effortless chord switches, that inate ability to mix it up according to mood, hard or soft.
Maybe Oli doesn’t hit quite so much feedback and wah-wah but his playing’s as sharp cut and stylish as an Armani suit.
Judge yourself in Oli’s debut album Open Road (Ruf Records) which hopefully lays down a blueprint for many great things to come from Boy Wonder.
From the opening track Psycho, which bears easy comparisons with Voodoo Chile, Oli and his three-piece outfit (a la Hendrix Experience) wade into a mean and moody, fast and frantic and sometimes just damn stylish brand of blues, much of which stands comparison with anything turned out by luminaries such as Jeff Beck, Eric Clapton, Jimmy Page and Peter Green at a parallel stage in their careers.
Having already shared a stage with contemporary bluesmen such as Koko Taylor, Walter Trout, John Mayall and Buddy Guy, Oli isn’t about to be backward about coming forward, nor in denying his roots.
Indeed, the up-tempo rock version of Black Betty is an all-too-short but exhilarating take on an old classic by ‘King of the 12 string’ Leadbelly. Two minutes of ecstasy that end in an honourable draw – Huddy Leadbetter couldn’t get near Oli on guitar, but then Oli can’t sing with the raw power of Leadbelly.
Shade of Grey takes us off somewhere more along the jazz-blues fringe and its laid-back mood is obviously something Oli’s comfortable with. He isn’t afraid to rein in the volume and get up close and personal with that axe rather than just hammering it hell for leather.
The spare, minimalist feeling of a tight trio suits Brown’s style, with the teenage bluesman flowing effortlessly between lead and rhythm guitar, ably backed by a sharp, snappy band. It’s encouraging to note that eight of the 11 featured tracks have songwriting input from Brown himself.
Oli can moan and get a little hoarse for the blues cause but it’s interesting to note that like Hendrix, singing isn’t his greatest strength…yet. There’s plenty of moan and angst but he’s no Paul Rodgers or Freddy Mercury...though things could improve with more maturity, as Clapton proved. No, Oli’s magic is in his fingers.
My personal favourite here is the sad and wistful Missing You, which has style, mood and some sweetly laid-back playing plus some soulful vocals, and the jazz-club flavoured Complicated, but in truth there isn’t a dud track here and everything shines in his hands.
Original, sublimely talented, a brilliant live force – just how far can he go? Who knows – but I’ve heard, I believe and I've seen the Promised Land.
Alan Candy - Luton Today

The travellers to the crossroads seem to get younger every year. I wonder if the devil still charges an immortal soul or does he do special rates for teenagers.? The rule book says that blues guitarists do their apprenticeship as the sidesman in a number of bands before making a name on their own. Oli Brown and his album, "The Open Road" basically tears up the rule book and discards it, almost casually in the nearest bin. That a blues guitarist can have so much talent so young, it makes you sick :-) God knows where he'll be with some life experience to draw on.
Fatea Magazine

Live Review - The Oli Brown Band, Leicester Nov 30 2007
Right. I'm going to say something controversial now. Sometimes the blues gets boring. There, I've said it and now I'll tell you why. I've spent many an evening in front of a band of highly competent musicians, playing 12 bar at various tempos, and dear reader, I've been yawning behind my pint glass by the fifth song.
I arrived at The Musician in Leicester knowing that The Oli Brown Band are very good - everyone "in the know" said so, and the mini album in my possession backed that up. What I wasn't prepared for was just how good. From the first chord to the final screams of the encore, I was enthralled by the twists and turns of where Oli took me. Oli's band is a three piece, with Fred on a six string bass,(believe me, this is not just for show - he plays all 6 of them well enough to turn your knees to jelly) and Simon holding it all together on the skins. What I noticed, was that despite their young age and therefore you might think, lack of experience, was that they are not afraid to use space in their songs. Many older musicians would to do well to remember that it is not neccessary to fill up every space in a song - Oli's use of light and shade is sublime.
This was my kind of blues, a set tinged with Stevie Ray Vaughan influences, but definitely with Oli Brown's own signature stamped all over it.
As I was leaving, a grey haired gentleman of senior years was speaking to Oli outside the venue. I happened to overhear him whisper to Oli as he shook his hand "The blues is in safe hands"
I smiled because I knew this was true, and also because I remembered that I didn't yawn once all night.
Webmaster Stitch - GFI Promotions



Ruf1139
Taneytown - East Of Everything
 
Now, I might be wrong but we don't seem to hear much country music from the Netherlands do we? Can Dutch men do country? Well, apparently, yes; Taneytown do it quite beautifully thank you!

'East Of Everything' by Taneytown is bloody great electric country-rock; think Byrds, think Eagles, mix the two 'ages' of the genre and you'll be somewhere in the right direction. Then, just for good measure, you could try adding a few touches of Dire Straits into the meltin' pot to just tint the whole with the appropriate degree of rocky poppiness! Taneytown give country music a lift by imparting their unified love of the genre with new zing and fresh soul. 'East Of Everything' is a twelve track monster of country rock that's as bright as the proverbial button and as good as anything I've heard within this genre. Stunning syncopation and electrifying dynamics mean that 'East Of Everything' is pretty compelling stuff; easy on the ear, foot-tappin', catchy and fuckin' hard to put down! OK, so Taneytown add their take on American-esque to the mix, the vocals have a distinctly pseudo-American lilt to them but hey, country wouldn't really be country I suppose without some reference to their dialect. No matter anyway, Taneytown do it with style and they are totally believable and sound comfortable in that 'skin'. 'East Of Everything' is a real treat to partake of; country music, especially with a modern twist, always seems to have an up-lifting and kick-ass flavour - Taneytown give you exactly that 'twist' and make country-rock not only grounded but appealing and damn commercial. Taneytown's country music is for 'now' and the future; with the greats like the Eagles being so up/down, in/out, on/off I'd like to think that Taneytown have the staying power to once again bring country rock back to the fore, back to the people. Certainly Taneytown seem to have it all sorted and sound ready and up for the challenge - let's hope they've got the stamina for the long haul, stick with it and grow to be the new Eagles. Stunning album this, passionate, bright, earthy and a bloody great thing to behold! T'riffic stuff from Taneytown, they may feel 'East Of Everything' but with a good tail wind they've got the potential to be slap-bang in the middle of 'everything'!!
Peter J Brown aka toxic pete     (
www.toxicpete.co.uk)
 


Corazong
Tim Grimm - Holding Up The World
 
This is a really smashin' work from all-round entertainer type Tim Grimm; 'Holding Up The World' by Tim Grimm is a gentle romp across and through nu-country-folk, a relaxed yet vibrant work of sentimental and observational songs that's absolutely up there with the real big boys.   A true contender, a genuine winner!

Ringing with typically American country sophistication, 'Holding Up The World' is beautifully crafted - not exactly sparsely instrumented, more empathetically minimalistic!   Not understated exactly but stunningly simplistic and superbly proportioned such that the songs are accessible, believable and totally enjoyable in all their glory and professionalism. Grimm's beautifully rich voice is given pride of place in the mix which allows every single word, every little nuance to be heard and understood - so, welcome to the openly silky world of Tim Grimm, come in and enjoy your stay.
'Holding Up The World' is beautifully descriptive and wonderfully lilting; Grimm's approach to his art is unhurried, relaxed and very giving. As you listen, Grimm's songs come to you and you feel like he's singing to you and you alone - Grimm gives, Grimm shares, Grimm exudes a kind of friendly vibe that's really hard to fault in any way. Not that I want to fault anything about this stunning album; 'Holding Up The World' is like a good old friend that's come back to visit and plans to stick around a while. Grimm's music is bright yet hauntingly real, he puts a new spark into an old musical form and make it totally 'now' and commercial within its genre. 'Holding Up The World' by Tim Grimm modernises the 'traditional form' and popularises the sometimes 'acquired taste' of American country music. 'Holding Up The World' is a complete breeze of a work, nothing's anything other than subtle and smooth, everything's perfectly weighted, everything's just so precise! Grimm is joined on this album by a 'band' of like-minded and equally skilled and adept musicians - each brings a well proportioned sympathetic extra dynamic to the mix and each component part is added with due care and full understanding of the concept and/or theme. This really is a wonderfully rich yet somehow simplistic sounding work, 'Holding Up The World' by Tim Grimm is a fine example of modern country music made for the people and with enough grit and grind and 'world' content to perhaps entice new believers and first-timers to the country music fold. 'Holding Up The World' by Tim Grimm is nothing short of brilliant - country music for the new age - the genre here is re-made, re-modelled and re-vitalised, now nu-country, now with a larger net to pull in a greater catch from many walks of life, music-heads from many more musical persuasions. Superb!!
Peter J Brown aka toxic pete     (www.toxicpete.co.uk)

Tim Grimm is quite a character. An actor who has played alongside Dennis Quaid, Johnny Depp, Christian Bale and Harrison Ford, he is also a mean singer and guitar player with folk and country roots with shades of Woody Guthrie (e.g. ‘This Hole’) and Bruce Springsteen, from his (some would argue best) ‘Nebraska’ and ‘Ghost of Tom Joad’ period (‘Heart So Full’ and ‘Swamp’)
The thing that strikes you about Tim’s album is not just the beautiful music and lyrics but also the empathy he has with a group of superb musicians with the arrangements and the flow just spot on! It has also has a consistency that will amaze you considering it’s 9 originals and 2 covers, including Dylan’s ‘Blowin’ In The Wind’, a brave move for sure, but one it has to be said that works!
The title track has got to be one of the best songs I’ve heard in years and you’d have to be a piece of solid rock not to be touched by it! The ‘sparse’ arrangement is perfect (Grimm’s guitar backed by cello and piano also the instruments of choice on ‘So It Goes’). On other songs there’s a richer musical palette with banjo, organ, sometimes bass, sometimes drums (mainly brushes and such) with mandolin, lap-steel, autoharp and pump organ just some of the instruments used in perfect context..
Another personal favourite is the intriguingly entitled ‘Rebecca Versailles’ with its wonderful acoustic guitar arpeggios and banjo pickin’ like something right out of the mouth of a gifted storyteller in the deep south. Classic stuff and following it by the infectious hillbilly fiddle driven ‘Or Bust’ is genius as it lightens the mood even although the subject matter always has a serious side! It’s hard not to be uplifted despite the grimness of some of the lyrical landscapes. (Couldn’t resist that!)
‘Holding Up The World’ is a superlative record for anyone who likes music in general and folk and country roots Americana to be specific- absolutely flawless, absolutely essential!
Phil Jackson   Zeitgeist

Tim Grimm has toured and recorded with his friend, Ramblin’ Jack Elliott, and appeared with Harrison Ford in the film Clear and Present Danger. His songs and performances have established him as a unique voice in Americana music as he walks the fine line between folk and country, while maintaining a strong footing in tradition. He grew up in the woods and small town settings of southern Indiana, and he now lives with his wife and sons on an 80 acre farm close to where he grew up. His songs are full of the rural rumblings that have shaped his life - rich with descriptive details, and sung with warmth and intimacy. Holding Up The World, Tim Grimm’s fifth solo release in the past decade, is flavoured by the rural Midwest places and people he knows so well. The production is simple and he records his songs ‘live’ with guitar and vocal before layering instruments and voices to suit the song. Jason Wilber plays electric guitar, banjo and mandolin. Most of the players hail from Indiana, including Kristta Detor (vocals, piano), Jan Lucas (vocals, harmonica) and Jennie Devoe (vocals). Holding Up The World examines what it means to be human, with songs that thoughtfully express anguish, uncertainty and yearning. Grimm has been compared to Woody Guthrie, Johnny Cash and Bruce Springsteen, but his wise, reflective songs stand on their own. He even risks covering Bob Dylan’s Blowing’ In The Wind and gets away with it. Other highlights include the contemplative title track, Long Way Round, Heart So Full and the beautiful Krista. Highly recommended.
New Classics
 


Corazong
Storm Warning - Something Real 

Storm Warning are a five piece outfit that draw on their diverse musical backgrounds to produce a fluid sound. On The Road opens with echoes of an ancient forest which leads into a joint guitar and harp attack. It’s modern blues with a gruff vocal from Son Maxwell and Bob Moore’s effortless guitar style that can be dressed up when required. Hard To Be A Man has a bit of bounce to it and man fights back during the laconic lyric. Moore’s Vibrant guitar is a standout. Charlie’s Blues is a return to the guitar and harp duet and they have certainly taken the genre into the 21st century. Ian Salisbury’s keyboards are to the fore here to and Maxwell has lungs of steel on the harp. Blues 101 is a harmonica led jazzy blues with numerous references to blues classics that make it a bit of an homage to the great blues poets.

The eponymous title track is a slow blues with sustained guitar but despite the excellent intro it ultimately fails to deliver – patchy. One Step Forward has a snappy acoustic guitar and harp intro that leads us to a fast paced electric burst and manic keyboards. Lucky Peterson’s Nothing But Smoke, the only cover on offer, is another slow one and Bob Moore excels in these. There is a pronounced bass from Derek White and the song is more traditional than most. I Don’t Know has screeching harp and stays on the jazz side of the blues. They are a tight knit unit and Roger Willis on drums keeps them all together. Long Ride is a funky blues to finish with and Moore gets up a head of steam with some excellent flurries.

There is certainly space at the table for Storm Warning
David Blue  
www.bluesblues-bluesman.blogspot.com

Hi-Fi Plus Magazine

Storm Warning is a band that has obviously absorbed a lot of influences mostly rooted in classic blues- as it says in the promotional flier a lot of the numbers on ‘Something Real’ sound like standards.
It’s also nice to hear a keyboard player in a blues band and Ian Salisbury does his fair share of work adding a synth line here such as on the 7 minute opener ‘On The Road’ (Very much in the style of Rory Gallagher with tongue in cheek lyrics- once a bluesman, always a blues man I suppose!) and an electric piano or piano break there (for example on ‘Charlie’s Blues and ‘Blues 101’ where Bob Moore’s soaring guitar breaks are also highlights).
One thing I haven’t mentioned yet is singer Son Maxwell’s harmonica that sounds fantastic throughout. I was looking forward to hearing the two longest numbers to see how such a tight and proficient band would ‘fill the space’ and I was not disappointed. The slow burning blues of the title track is right on the nail and puts succinctly into words what many of us feel about the shallowness and sensationalism of the media contrasting it with ‘something I can use’, something more substantial i.e. the blues! The list of artists that forms the ‘medication when I need a dose of the truth’ proves the range of classic influences alluded to in my opening remarks.
The second longest number is a solid rendition of ‘Nothing But Smoke’ played with great subtlety (But not missing the point!) with some more great guitar work.
Instrumentally organ is used more and more as the album progresses to provide some simmering ‘fills’ on the title track and in a more upfront way on the upbeat ‘One Step Forward’, sounding for all the world like a lost Rory Gallagher classic with Moore on top form on guitar.
Harmonica growls at the beginning of ‘I Don’t Know’ (then solos later on), the organ is back (also soloing) and some jazzy guitar accompanies another toe tapper (with a solo of course!)
Storm Warning are on a winner here with a classic of blues influences, mostly modern but also capturing an authentic blues spirit from the past. Their playing borders on the empathic and the rhythm section of Derek White and Roger Willis holds the whole thing together well.
I haven’t even mentioned my own favourite number yet, a kind of antidote to the strident feminism prevalent in the blues (not unwelcome!) It’s entitled ‘Hard To Be A Man’ and that is all I need to say.
‘Something Real’ is an outstanding album of blues rock that demands the widest exposure.
Phil Jackson - Zeitgeist

‘Something Real’ is the eagerly anticipated second album from one of Britain’s most talented and well respected Blues bands. Their debut album ‘Breaking Out’ was met with critical acclaim, and became a cult hit amongst Blues aficionados. ‘Something Real’ sees the band delivering much more of the same, a distinctive blend of contemporary blues, rock and jazz that creates their trademark slick and classy sound. At times this sound is a little too smooth and polished for this writer’s tastes, however, that being said, this is a very strong release from an obviously talented outfit. The album consists of eight original tunes, along with a cover of Lucky Peterson’s ‘Nothing But Smoke’. ‘On The Road’ is a haunting blues, drenched in reverb, that wouldn’t sound out of place on a Clapton solo record. The title track shows the band off in all its glory, clocking in at over nine minutes long, it gives the band room to showcases their individual abilities in a jam-type setting. With the cover of Lucky Peterson’s ‘Nothing But Smoke’ the band manage to put their own stamp on a blues standard, so much so that those unfamiliar with Lucky’s work could easily mistake this for another original number. ‘Long Ride’ brings the album to a close with maximum impact. This song perhaps has the most orchestrated dynamics of any on the album and moves seamlessly from the sparse verses to up beat solo sections, with guitarist Bob Moore emulating Robben Ford at times with soulful jazzy guitar work. Whilst the originals are generally based on rather simplistic twelve-bar forms, the strength of musicianship within the band distracts from this and the slick production gives a new spin on this raw genre. Son Maxwell’s vocals and harmonica are impressive throughout and it’s perhaps his performance, along with the fiery playing of Moore, that lend an air of authenticity to Storm Warning’s straight-cut blues.
Rhys Williams / blues matters!


LIVE REVIEW
A sadly small audience greeted the headliners at the New Crawdaddy Blues Club this week and those who were not there missed yet another excellent night as Storm Warning, a band that warrants being far higher in the musical firmament than they are, made a welcome return visit.
Storm Warning, by their own admission, defies categorisation being neither a straight blues band nor a pure rock band. I suppose that, loosely, you could call them blues rock but even that does not really cover it. The hell with categorisation, they are very, very good. After listening to their new CD and to their excellent set at the Club which featured quite a few songs from the CD, I feel I can justifiably describe them as one of the most original and inventive bands on the circuit at present.
We were treated to a wonderful set full of variety featuring some excellent covers and loads of the band’s excellent original material, featuring wonderfully imaginative lyrics delivered with passion and panache by Son Maxwell, great guitar from Bob Moore whose playing was beautiful to listen to, ranging from rock solid and rocking to dreamy, ethereal gorgeousness and superb keyboards from Ian Salisbury, a vastly underrated musician.
The rhythm section of Derek White on bass, dazzling with some smashing bass breaks and drummer Roger Willis, never too much never too little and always spot-on. So a band that is a delight to listen to and who responded with warmth and vigour to the reception from the audience.
With festival appearances around Europe, a Paul Jones show session broadcast earlier this year and a new CD, ‘Something Real’ due for a June release, Storm Warning are definitely a band to catch.
Ashwyn Smyth

Storm Warning fall into the why the hell haven't I heard of these guys before section and are the sort of band that Fatea was set up for. "Something Real" is powerful and evocative blues album, performed by five highly talented musicians that deserve to be better known at home. Grafting hard to get the sort of gigs over here as they're picking up on the European mainland. The lack of exposure doesn't detract from what is a great album, with some of the best gob iron that I've heard in a longtime. Stuart 'Son' Maxwell is there with the likes of William Clarke and Charlie Musslewhite.
Fatea Magazine

Matt Taylor Band - No Trouble at All


Blues in Britain

Hayley Anderson guests on So Far From Home and Taylor goes all Americana and does it very well. The fuzzed vocal is used to great effect. Sheryl Crow’s Everyday Is A Winding Road is given a rootsy treatment and is, it could be argued, more than comparable with the original. Taylor’s not inconsiderable guitar talent is one of the reasons why. Another cover follows in the shape of Greg Allman’s It’s Not My Cross To Bear. This is a soulful blues that builds to a feverish pitch. Snakes is a strange one with a Miami Latin feeling whereas Lovestain is a moody and atmospheric acoustic ballad with Taylor’s soaring guitar ending things perfectly. He gets a jug band feel into No Trouble At All and the fun lasts all the way as he manages to get his guitar to sound like a duck in parts. Three radio edits of You Are The Only One, The Open Road and Everyday Is A Winding Road finish off proceedings.
The Matt Taylor Band makes playing sound so easy, almost no trouble at all.
David Blue    www.bluesblues-bluesman.blogspot.com



Rock n Reel Magazine

Hmmm, very nice work!! 'No Trouble At All' is Matt Taylor Band's second album - the difficult one - the one everybody criticises. Well not me!! 'No Trouble At All' is a little cracker!!
Matt Taylor Band don't do the blues for the blues' sake - Matt Taylor Band are more subtle than that - Matt Taylor Band err on the side of chilled, rockin', funked-up blues - blues with modernity - blues with a soul - blues with a clean face and well heeled boots. 'No Trouble At All' is gentle contemporary blues - mature, considered and well crafted, 'No Trouble At All' is a real worker - this baby grabs you when you're not expecting it, it pulls you in carefully and quietly. And, once in you won't wanna leave - this is really cool stuff!!
There's a decent mixture of Matt Taylor originals and a few interesting and possibly unexpected covers here - and with that mixture there's a whole load of vibes comin' off the player - this is a classy album, an album of distinction, an album to enjoy in its entirety just for exactly what it is - a piece of gritty modern music with real heart and soul! Matt Taylor Band are just a three-piece but sound bigger - comprising Matt Taylor (vocals, guitars, bass, mandolin, ukulele, lapsteel, percussion and programming), Jonny Dyke (piano, hammond, Wurlitzer and synth bass) and Pete Radcliff (drums, percussion and technology), the trio work supremely well together to give off a sound that's polished, refined and very wholesome feeling. The 'keys' take almost as much limelight as the 'guitars' here - the combination is excellent, the mix brilliant and the end result superb. It makes a pleasant change for the 'name' of the band not to completely swamp the fellow members with guitar histrionics and solos. Taylor uses his privileged position to heighten rather than lead - he plays with control and respect for his fellow players - the result is stunning and refreshing.
'No Trouble At All' by Matt Taylor Band is a real gem - a beautifully crafted album that straddles and blurs genre but keeps one eye firmly on contemporary blues. An album that will quite obviously appeal to lovers of all thing blue but will also appeal to just about anyone who loves or appreciates good music. A little beaut!!

Peter J Brown aka toxic pete (www.toxicpete.co.uk)
 

Twilight Hotel - Highway Prayer

The CoraZong label seems to be at the cutting edge of some of the best new roots music. Earlier this year they brought us Seattle’s The Believers and now we have another delight in the shape of the Canadian duo Twilight Hotel and their second album ‘Highway Prayer’. Featuring the vocals and guitars of Winnipeg’s Dave Quanbury and Brandy Zdan, the core duo are aided and abetted by the late Richard Bell on piano (Janis Joplin/The Band) producer/guitarist Colin Linden (Bruce Cockburn/Colin James), and the rhythm section of Stephen Hodges (Tom Waits), and Dave Roe (Johnny Cash). The title says it all really as this hard gigging duo offer 12 tales of the road, full of broken dreams, dark psyches and in the case epic folk song ‘The Ballad of Salvador And Isabelle’ a tale of  life, death, and a generational Chicano struggle against the odds. Brandy also brings just the right amount of hardened emotion to the all too real lyrics of ‘No Place For A Woman’ on a suitably dark tale of the travails of a woman coal miner. Of course both the subject matter and the roosty approach follows a well trodden path but a combination of the intensity of Twilight Hotel’s performance and their poignant lyrics allied with Colin Linden intuitive production brings out all the light and shade of each tale. Even when the duo slip into the closest they get to a straight forward country tune as on the duet on ‘Impatient Love’ the harmonies alone carry the number home. Above all both vocalists confidently take the lead at different times, with Brandy Zdan adding a lovely vibrato and an accordion to the sparse arrangement of ‘Shadow of a Man’ and Dave slipping quietly into the lead on the Salsa twang of ‘Slumber Queen’, another number on which Bell’s deft piano lines perfectly help colour the palette. On ‘The Critic’, Brandy’s alt. country guitar twang and what sounds like (an uncredited) banjo sounds like Blanche with some similar obtuse relationship lyrics over a gypsy jazz rhythm track. Producer Colin Linden adds some perfect dobro on the ironic almost honky tonk feel of ‘If It Won’t Kill You’ to compliment Richard Bell’s piano, while Brandy brings dredges up some latent desire on the self explanatory ‘Sometimes I Get A Little lonely’. ‘Highway Prayer’ is a timely reminder of life between the cracks, of the characters the places and emotions that populate contemporary life and times past. And in that respect alone Twilight Hotel excel as chronicler’s of alt. country from the other side of the fence!
Pete Feenstra    
www.getreadytorock.com

 
'Highway Prayer' by Twilight Hotel is a piece of country-folk-blues the like of which you don't get to hear too often nowadays! Twilight Hotel are a duo from Winnipeg, Canada and their beautifully grounded take on the genre is as fresh as it is intoxicating and as polished as it is honest.  Twilight Hotel deliver their dark edged story-telling blues with a near-unique blend of down-home charm, bar-room grit and mature sophistication.

'Highway Prayer' gets to parts that other albums fail to reach; this is a no pretensions album that just gets down to business and deals all the right cards with slick professionalism and earthy reality. Twilight Hotel comprises Brandy Zdan and Dave Quanbury, a couple that show sublime creative sensitivity to this understated genre and make no attempt to join in with the 'big solos' blues generation. Twilight Hotel tell it simply but give it undivided attention as they pour their hearts out with believable passion and stylish aplomb. From bass-slappin' stylish rockabilly to slippin' and slidin' delta, Twilight Hotel run the full gamut of blues nuances with slick familiarity.  Their no-fuss, band in a subway, approach relies heavily on stunningly worked vocal harmony set against a relatively sparse but empathetic instrumental backdrop - Twilight Hotel feel the pain and make sure you feel it too!  Whether givin' it out with gravel throated balls or honey-drenched harmony Twilight Hotel are quite obviously, plainly and simply, two like-minded souls singing from the same hymn-sheet; both feel it, both live it and both certainly deliver it!!
Twilight Hotel's contagious blues style is beautifully bolstered here by a handful of guest musicians that ensure their inclusion is an augmentation rather than take-over but these songs would work equally well totally stripped back and laid bare.  Twilight Hotel deliver blues with heart and soul and although 'Highway Prayer' is simplistic in form it's performed with great attention to detail and absolute belief.  'Highway Prayer' by Twilight Hotel is captivating and rewarding - a superb trip into blues country that's as contemporary as it is old-school, accessible to the point of being near-tangible and lets you feel the blues without needing to feel blue -  a beautifully understated yet perfectly balanced album rammed full of earthy musical poetry,  worldly sentiment and honest grit - superb!!

Peter J Brown aka toxic pete (
www.toxicpete.co.uk)

 


Corazong Records
   

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