"I'm What You Need" conveys better than any previous studio CD his ability to produce exciting blues/rock. The CD opens with the title track and it is straight into rocking electric guitar lines. This is a good punchy song. The second track, 'Ya Drive Me Crazy' is a little slower but still in the same rocking vein. Brass enters the third instrumental track 'Strawberry Shortcake and Carvin plays some highly effect influenced guitar, slightly Hendrixesque with piano courtesy of Tim Furkes. The slow blues 'Drowning on Dry Land' is familiar territory for the blues guys and once again with some trademark Carvin Jones impressive guitar. The album continues with a mix of blues/rock and a little romance with rock 'n' roll especially accentuated by the rolling piano on 'Born To Win' and 'Miss You Baby'. The album closes with a solo guitar piece 'I Need Your Sweet Lovin'.

To sum up the album, it is for the blues/rock fans and the Hendrix influence is evident in the guitar and Peter Green in the voice - not such a bad combination
Delbert Black     www.rockingtheblues.com

Carvin Jones is nothing if not active; hundreds of gigs a year and this year alone appearances at the Colne International Blues Festival, the Skegness Rock & Blues Festival and an October tour of the UK with twenty gigs over the month. Over the last few years, Carvin’s music and showmanship have been enthusiastically greeted by reviewers of his gigs and his wealth of self-produced CDs, DVDs and memorabilia.  Some of Carvin’s output is towards the rock end of the genre, but when he wants to he can really do the blues. Outstanding tracks here include ‘Drowning On Dry Land’ and ‘Stuck In The Mud’. The band is terrific with a special mention to bassman Bill Troxell
Ian McKenzie   www.bluesinthesouth.com
 

Luther Allison ~ Underground
Such are the vagaries of the blues profession that this previously unreleased recording by the then 18 year old Luther Allison came 7 years before his first official single in 1965 and his subsequent 1967 debut album. And while there are any number of reason for being suspicious about a release like this, ranging from its how it was sourced, to the barely 30 minutes plus worth of material, its pleasing to report that this is a real find. Listening to the younger Allison is a bit like trying to find the connection between the younger Hendrix as a sideman and the psychedelic gladiator of later years. The difference of course lies in the genre which for Luther Allison was always soulful blues. In the company of Bobby Rush, himself a purveyor of soulful funky blues, Luther gets his first opportunity to air his guitar playing and vocal talent, and you can just about feel the beginnings of his true vocation. The session as outlined in the liner notes was a down time affair and very low key, but there are occasional moments of real inspiration, and signifiers of a talent that took far too long to be recognised in his native USA. For the most part there’s enough youthful enthusiasm and eagerness in Luther’s vibrato to suggest he was hungry to learn his trade and as fast as possible, but more importantly he doesn’t sound at all phased by fronting the band. In fact he manages to relax and lean into his solos on ‘Easy Baby’ with only an early fade depriving us of further guitar exploration. If nothing else ‘Underground’ is the work of a blues player finding his voice and developing his tone, but with enough self confidence to take his chance.  Luther’s fluent playing is well captured on ‘You’re Gonna Miss Me’ on which he offers a brief improvised rap on the outro. In little over 30 minutes the band weave their way through 8 standards including a tough reading of ‘Driving Wheel’ which Luther attacks with real passion in a quavering vibrato before adding some bottleneck for good measure. The only shame again is the sudden fade out. Even a curious tempo change on ‘Cut You Loose’ doesn’t throw Luther off the scent as he makes the most of this rare occasion as a front man to improvise and slip into ‘Spoonful’ with accompanying organ. All in all the 18 year old takes it all on his stride. By the time of the closing slow blues ‘Rock Me’ he’s hit the spot, with a fine vocal performance and some telling licks. Listening to this session it’s hard to believe a decade would elapse before a combination of changing public fashion and business sense allowed him to cut his debut album.
 Pete Feenstra     www.getreadytorock.com

Lost recordings released for the first time – a statement that always makes the music world sit up and listen and in the case of Luther Allison it is well justified. However, the claim that this set is making its debut is far from clear. These songs were allegedly sitting in Luther’s home for approaching 50 years before his son, Bernard, discovered them. They were originally thought to have been recorded in 1958 (according to Bobby Rush) but recent findings show the sessions are most likely not to have been before 1967/68. Putting all of that aside, it is good to hear any early Luther Allison material. The opener, Hide Away, is a vibrant, raw R&B instrumental and is followed by the often recorded Don’t Start Me Talking, which shows the beginnings of his strong vocal and guitar work. Drivin’ Wheel features slide guitar and has a very contemporary sound, leading into Cut You Loose before he unleashes Easy Baby. This confirms that he was mature before his time and although the voice was still a little raw it isn’t much of a problem. You’re Gonna Miss Me is, quite simply, a highlight. Take My Love is a strong R&B boogie and BB King’s (I think) Rock Me Baby is a slow electric blues with excellent slide guitar. BB King songs need a strong vocal and Luther delivers with interest.
David Blue    www.bluesblues-bluesman.blogspot.com
 

1132

Guitar maestro Brozman pulls out all the stops here with an album that demonstrates fantastic guitar (and anything there or thereabouts!) virtuosity and incredible dexterity. Vocally Brozman also shows that he's fully equipped to 'shout' the blues with a stunning display of vocal perfection that tests his range and expression; Brozman is not found wanting in any department!!  'Post-Industrial Blues' is sensational, a masterpiece of blues for the here and now. Brozman infuses the genre with up-to-date vocal 'ramblings' in the form of a, and I quote from his presspack, "perfectly timed soundtrack for today's changing world". Brozman croons, groans and howls out his splendidly observant lyrics with committed passion, believable sensibility and deft unique-ness. Here, the recording and production is crisp and precise; Brozman's guitars, quite rightly, take centre stage with the magnificently handled support from what is essentially just bass and drums providing the intricate but almost understated platform from which Brozman grows his organically nurtured guitar blues. This is a piece of blues genius - exceptional, exquisite! Bob Brozman shows with 'Post-Industrial Blues' that he's one of the most individual and stylised blues performers around at the moment. 'Post-Industrial Blues' by Bob Brozman is a work of quality and belief in a cause - absolutely brilliant and mind-numbingly compelling!!
Peter J Brown aka toxic pete (www.toxicpete.co.uk)

Rammed with superb, easy jazz this Chris Barber release would grace the collection of any jazz lover, anywhere. Forget all the hype about what jazz is and should be. Forget all the modern jazz nuances and experimentation. Chris Barber was part of the fairly hefty movement that managed to get themselves into the homes of the British public and start to change the way 'the man in the street' took his music. Barber was one of the lucky ones early on who managed to get onto the radio and into our homes and into our heads. He brought his lively brand of small band jazz to the fore and was one of the prime-movers in the success of jazz in Britain. Now, to me jazz is jazz - a musical form full of optimism and flair - a genre that allowed more freedom to express than much of what had gone before. Chris Barber, on his way to becoming a household name, was very much instrumental in the success of this musical form and encouraged many like-minded artists to go on to bigger things in their own right. Chris Barber, in many ways, was ahead of his time. This tasty release tells it very much as it was; homely and innovative without ever being self-indulgent - music that most people could come to terms with - music that helped popularise jazz in the dismal '50's. Now it's available in modern format for all to enjoy again (or for the first time!) - unspoiled, untainted by modernisms - just how it was - just how it is!! Nice stuff!!
Peter J Brown aka toxic pete (www.toxicpete.co.uk)
 

As part of the series, 'Just About As Good As It Gets!', this Ken Colyer collection gives you a chance to re-visit British jazz that was born following the devastation of WWII. Yes, Colyer was very New Orleans in style; prominent bass and plenty of percussive elements (washboard etc) added a new 'zing', maybe even elements of flippancy, to the music that was trying very hard to break through on these shores. The happy, up-lifting feel of much of the New Orleans style was probably the difference between make or break in the UK; Britain needed joy and positivity after the war and New Orleans jazz squeezed its way into our homes as radio coverage moved from being very 'British' and straight laced to at least allowing some of what the public were crying out for. Ken Colyer was certainly a prime-mover in the success of jazz in Britain and together with several like-minded jazz artists of the era he helped to change the way Britain listened to its music. This album is a beautifully honest compilation that clearly errs on the side of New Orleans jazz and interestingly suggests many of the elements that became so successful as skiffle which in turn became rockabilly, rock'n'roll etc - and so it goes on, the development of modern music from works that people like Ken Colyer had to fight to get aired. It all seems so ridiculous now but back then these guys really had a fight on their hands to get their music heard, understood and excepted. Listening to 'Ken Colyer - Just About As Good As It Gets!' is like re-visiting a golden moment in time - a time of great musical importance - a time of the stiff-upper-lipped came face to face with musicians that didn't just conform, a new and dedicated musical force that wanted their say and had to work hard to make it through. Ken Colyer was one of those gritty, determined people and, thankfully, he helped 'win the day' - 'Ken Colyer - Just About As Good As It Gets!' is as historic as it is current, as fresh as it is old - great stuff, the stuff from which legends are born!!
Peter J Brown aka toxic pete (www.toxicpete.co.uk)
 

This Humphrey Lyttelton compilation gives you access to the original recordings from 1948 to 1956 - forty-four tracks in all - a pretty big chunk of warm, vibrant jazz in all its early glory; the basic recording techniques back then don't detract at all from the excellent music and musicianship - it actually sounds great to hear jazz that's pure and without some of over-embellishment made possible in the studio nowadays. This is genuine, the real deal - and, it's actually really good! Purists may say that the recordings should be left as they were, on 78rpm wax records, warts 'n' all. But, like it or not, re-visiting works such as this and lifting them onto CD does no harm what so ever - compilations such as this increase longevity and ensures access to this important stage of musical development. So, if you're at all jazzy - this Humphrey Lyttelton release is well worth seeking out - get it, enjoy it, re-visit and remember. Cool stuff!!
Peter J Brown aka toxic pete (www.toxicpete.co.uk)
 

Omar (minus most of his band The Howlers) teams up with guitarist Jimmie Vaughan (Omar concentrates on singing) in this impressive tribute to Jimmy Reed in both body (7 of his songs are covered) and spirit (5 other tracks including the scintillating biographical title track, one of two Kent Dykes and Steve Calliff penned songs on the album)
The second song ‘Baby What You Want Me To Do’ is a rousing 12 bar with great harmonica by Kim Wilson and the twin guitars of Vaughan and Derek O’Brien. Originally a hit for Reed in 1959 this makeover works well- these guys really know what they’re doing!
‘Big Boss Man’, co-written by Willie Dixon has been covered by many artists of course and it’s nice to see its inclusion here as many people would not know, I guess, this was part of Jimmy Reed’s repertoire.
Another strength of the album is the contribution of Lou Ann Barton’s considerable vocal talents on three Reed songs and a solid rhythm section of Ronnie James and Wes Starr. (It’s nice to se Omar’s son Jake take the drum stool for the final song and Howler Barry Bihm taking the bass duties on two).
There are some famous guests as well. James Cotton takes the harmonica parts on the slow blues ‘Caress Me Baby’ and Delbert McClinton adds vocal and harmonica to an old Reed favourite ‘Hush Hush’, a companion song to the typically forthright ‘Aw Shucks, Hush Your Mouth’ , a ‘blues boogie shuffle’ that was to be much copied (in different guises) in succeeding years.
Gary Primich is yet another harmonica player to feature on songs like ‘Baby, What’s Wrong’, instantly recognisable even to those unfamiliar with Jimmy Reed’s considerable legacy in popularising the blues. So expect ‘Dirty rhythms and twanging strings’ as it says on the sleeve notes and loads of harmonica but also the subtlety of ‘I’ll Change My Style’ ( a cousin to ‘Unchain My Heart’) on which Omar demonstrates the versatility of his singing- he’s not just a howler after all!
My advice is, if you’re at all into the blues, take the Jimmy Reed highway today!
Phil Jackson   zeitgeist


'On The Jimmy Reed Highway' is a curious project. Firstly there has already been a recent plethora of Jimmy Reed re-issues, born of the late blues man's penchant for recording just about anything for anybody. Then there is the pairing of Omar and Jimmy Vaughan. While Omar's Mississippi roots are undoubtedly as real as Jimmy Reed's were, it is his profile on the Texas scene that links him with both Jimmy Vaughan and the stellar guests that populate this album. And it is the past and present members of the Fabulous Thunderbirds members who dominate here.
Vocalist Lou Ann Barton is as fiery as ever and if anything Kim Wilson plays within himself, while bass player Ronnie James anchors the album and drummer Jay Moeller makes one appearance. And you don't get guests with anymore credibility than Delbert McClinton, and James Cotton both of whom add their respective harp styles, while Delbert also delivers a gritty vocal on 'Hush Hush'.
On top of that Omar brings in producer and Texas guitarist Derek O'Brien, and the harp playing Gary Primich, both of whom appeared on Omar's 1998's Jump Blues album, 'Swingland'. A neat final touch is that he is also reunited with veteran drummer Wes Starr on half of the album tracks. Wes appeared on Omar's 1980 recording debut 'Big Leg Beat', and there's a sense of passing on the baton to the new generation as Jake Dykes takes the drum stool for the closing Omar penned 'You Made Me Laugh'.
And yet, enjoyable as this project is, you almost get the feeling that aside from some stirring vocal performances from Omar on a number of solo and duet outings, everyone is almost falling over themselves not to push too hard.
The title track is one of the album highlights, on which Omar's characteristic growl brings to life his own self penned lyrics about Jimmy Reed's music and contemporaries. Thereafter it's really a question of what to leave out, as Reed's catalogue is so bewilderingly extensive. And significantly perhaps in the context of this album is the fact that Omar seems happiest on the laid back material as evidenced by the languid blues duet with Lou Ann Barton on 'Caress Me Baby'. He also leaves plenty of room for James Cotton to apply his expressive harp. On the similarly sparse 'I'll Change My Style', Jimmy Vaughan demonstrates his art of conjuring up an expressive solo through the delicate use tone, space, and all round dynamics. Where others use speed and volume, Jimmy quietly delivers his lines with real feel and expression, while Omar's emotive reading does Reed's original justice.
The familiar Dykes growl is resurrected on the slightly more up tempo 'Bad Boy', while Delbert McClinton fronts the swinging rendition of 'Hush Hush', swapping vocal lines with Omar to great effect.
Apparently 'On the Jimmy Reed Highway' took about a year to record, but in spite of some lovely moments, there's isn't a consistent spark and momentum. Listen for example to the undulating swing of 'Good Lover' on which the triumvirate of Omar, Lou Ann and Jimmy really lean into the song, and both Omar and Lou Ann find time to ad lib. If only the rest of the album had the same kind of frisson. Frustratingly the number fades out just as it is gathering momentum, and acts almost a metaphor for a laid back album that is one or two performances short of catching fire, but is still good enough to recommend.
Pete Feenstra     www.getreadytorock.com

From the opening growl of ‘Omar’ on the title track and the enormously musical picking by Vaughan this record screams class, conviction and love for the music of Jimmie Reed. Dykes vocals are gruff, growling and perfectly suited to the lyrics of Jimmy Reed classics such as ‘Bright Lights, Big City’ or ‘Baby, What’s Wrong’ or the monumental ‘Hush Hush’. Vaughan’s guitar is spare, softly picked rather than riffed and has a tone and musicality that is rare today but that works with the songs to underpin the lyrics rather than obviate them. On Willy Dixon’s masterful ‘Big Boss Man’ the pair, together with Kim Wilson on harmonica, blow up a storm and with Lou Ann Barton sharing the vocals on ‘Good Lover’ the variety and multiplicity of styles gets over to the listener just how important and core to Texas Blues Jimmie Reed was. I’ve been a fan of Omar and the Howlers for a few years now but I haven’t heard him deliver the way that he does here and it is obvious that the material has a great deal to do with it but also the other musicians that he has the opportunity to work with. Jimmie Vaughan is, of course, a legend, both as a guitarist in his own right and as the older brother to and mentor of Stevie Ray Vaughan but his role here is to support the lead vocals and harmonicas, filling in with soloes when they fit and he does it with such awesome simplicity and rightness that if he were to add a note here the song would feel overpowered but if he took a note away then the listener would be bereft. The special guests are, for once, special. Kim Wilson and James Cotton deliver some great Blues harmonica, Lou Ann Barton gives superb vocal range and counterpoint to Dykes and Delbert McClinton’s performance on ‘Hush Hush’ is stunning, all accent and attitude. Overall a massive thumbs up for a project that was clearly conceived out of love for the music and that, hopefully, will propel the music of Jimmy Reed back where it deserves to be.
Andy Snipper / blues matters!

Not surprisingly, 'On The Jimmy Reed Highway' by Omar Kent Dykes (Omar & The Howlers) and Jimmie Vaughan is a gritty blues album by way of tribute to the late, great Jimmy Reed. With plenty of Reed biggies to enjoy plus a few 'extra' ditties along the way, 'On The Jimmy Reed Highway' is just what you'd expect it to be; pained vocals cryin' out hurtin' lyrics, bright (and for Reed's time), expansive electric guitars, wailin' harmonica and sympathetic rather than bold instrumental support.
Retaining that 'early' blues rawness that typifies Reed's recordings, Dykes and Vaughan (and a few friends) make a pretty decent fist of his works. I particularly like the fact that the guys haven't tried to modernise Reed's songs too much; they generally keep it all in the spirit of the (Reed) time with the chuggin' rhythm section simply laying the backdrop for Dykes to moan and groan out his rasping vocals alongside Vaughan's Reed-esque guitar work - the heartbreak, misery and worry are there for all to hear. The sparseness of the recording is pretty true to type and does justice to the writing and playing of Jimmy Reed and his long-time collaborator Eddie Taylor.
'On The Jimmy Reed Highway' is a fascinating and deferential look back at the great man's work - it doesn't take liberties and it doesn't gloss over the poignancy of the lyrics or the mood. Some Reed purists may take exception to these re-workings but I think there'll be just as many Reed virgins that'll find Jimmy Reed through 'On The Jimmy Reed Highway' by Omar Kent Dykes & Jimmie Vaughan. Peter J Brown aka toxic pete (www.toxicpete.co.uk)

‘On The Jimmy Reed Highway’ is a curious project. Firstly there has already been a recent plethora of Jimmy Reed re-issues, born of the late blues man’s penchant for recording just about anything for anybody. Then there is the pairing of Omar and Jimmy Vaughan. While Omar’s Mississippi roots are undoubtedly as real as Jimmy Reed’s were, it is his profile on the Texas scene that links him with both Jimmy Vaughan and the stellar guests that populate this album. And it is the past and present members of the Fabulous Thunderbirds members who dominate here. On top of that, Omar brings in producer and Texas guitarist Derek O’Brien, and the harp playing Gary Primich, both of whom appeared on Omar’s 1998’s Jump Blues album, ‘Swingland’. A neat final touch is that he is also reunited with veteran drummer Wes Starr on half of the album tracks. Wes appeared on Omar’s 1980 recording debut ‘Big Leg Beat’, and there’s a sense of passing on the baton to the new generation as Jake Dykes takes the drum stool for the closing Omar penned ‘You Made Me Laugh’.The title track is one of the album highlights, on which Omar’s characteristic growl brings to life his own self penned lyrics about Jimmy Reed’s music and contemporaries. Thereafter it’s really a question of what to leave out, as Reed’s catalogue is so bewilderingly extensive. And significantly perhaps in the context of this album is the fact that Omar seems happiest on the laid back material as evidenced by the languid blues duet with Lou Ann Barton on ‘Caress Me Baby’. He also leaves plenty of room for James Cotton to apply his expressive harp. On the similarly sparse ‘I’ll Change My Style’, Jimmy Vaughan demonstrates his art of conjuring up an expressive solo through the delicate use tone, space, and all round dynamics. Where others use speed and volume, Jimmy quietly delivers his lines with real feel and expression, while Omar’s emotive reading does Reed’s original justice.
Pete Feenstra    www.feenstra.co.uk
 

Records

At first glance I expected this, the debut album from Chrystina Tomlin, to be like an identikit Tanita Tikaram but then upon hearing the first track ‘Your Demise’ I automatically expected Joan Osborne-lite filled with angst and bitterness.
Actually, I was wrong on both counts. Tomlin, a product of The Christine Holmes Academy of Recording and Performing Arts, has her own style, folk-fuelled, with a spiky edge and definitely more Richard Thompson than Lindisfarne.
The 12-tracks are a nice blend and a good listen All tracks were written by Tomlin, so she's clearly a talented lady. In addition to the vocals she also plays acoustic guitar and piano, and the album was recorded with multi-instrumentalist, Phillip Goss (drums, guitars, bass and keyboards) who also handled production.
Stand out cuts for me are ‘Bitter Twisted Wrong’ and ‘Stand Corrected’ and Tomlin has a knack of telling a story with her lyrics, without becoming bitter-laden or too self-indulgent and all-in-all this a credible and accomplished first effort.
Steve Hole     www.totalkitcar.com

More brass than Chrissie Hynde, Dido with attitude, KT Tunstall with balls. And isn't there some weird Kate Bush-like wailing in there somewhere?
There's a new diva in town and she doesn't mince her words. Shockingly forthright new talent Chrystina Tomlin is the naïve teenager who grew up to realise she had claws and could use them to fight back against the world.
The result is the most brutally frank, fascinating and undeniably triumphant debut album, Bitter Twisted Wrong, you're ever likely to come across.
Tomlin's lyrics tell tales of a girl who's grown up - a victim of broken relationships who's picked herself up off the floor and taken command of the situation.
Bitter Twisted Wrong is really an album of two halves - the first part is based on driving heavy rock guitar, the second more melodic and experimental and featuring own Tomlin's piano accompaniment.
Both are fascinating. Incredibly for this album's recording, only Tomlin and Phillip Goss are involved - she contributes lead and backing vocals, piano and acoustic guitar, he adds electric and classical guitars, bass, drums, percussion and keyboards. As such, this is a studio masterpiece.
Tomlin's chamelon-like qualities see her experimenting with a variety of vocal styles - the tortured No More has echoes of '80s band The Pretenders while Sometimes reminds me of KT Tunstall. Later on in the album Tomlin really goes for it to test the upper limits of her range and here you might be reminded of Kate Bush and Carol King at their best.
But the greatest compliment I can pay Tomlin is that she is no karaoke copycat - her forceful style can cross all boundaries and her take-no-prisoners lyrics are as refreshing and shocking as a bucket of ice water over the head.
Her incredible versatility is perhaps best showcased in the title track, when Chrystina explores just how many octaves she can take her voice, though Lonely Tonight runs it close and is in perhaps her most natural key.
Whether you like your music poignant and sad or sassy and tough, Bitter Twisted Wrong will strike painful chords with all listeners.
It's an amazingly accomplished album which begs one question - just how good is Tomlin outside the studio and can she take these mainly self-penned songs out on the road and make them a success?
According to her website, Chrystina is now performing live with her band, mostly around Bucks, so it's early days, but with talent like this, people will surely wake up and smell the coffee.
Alan Candy      www.lutontoday.co.uk
 

This is probably the album you never thought could be made - Christmas blues style - one for the blues enthusiast with a sense of fun and a very open mind. I'm not sure what Canned Heat fans will make of this though - I'm sure some will see the lighter side of it all but, I'm just as sure that many will totally hate what this iconic blues outfit have done.  Eat s**t mother******r, just enjoy it for what it is!!!
So, what's it all about then? Well, it's simple, straightforward and just a bit mad really. Here you have some of the 'standard' Christmas sing-alongs revamped to twelve-bar and stereotypical boogie blues. Does it work? Yes, to a degree - this is indeed the same old Canned Heat sound, the same old raw edged blues with plenty of guitar breaks, loads of blues harp and the usual Canned Heat, down-trodden vocals. But, instead of dirty, gritty lyrics telling mournful stories and cryin' on about hard times, you've got Christmas cheer and jolly words about Christmas trees, jingle bells, Santa Claus, snow fallin' and all the rest of the paraphernalia that goes with the season of good will to all 'men'. Yes, it's weird - it's almost incongruous - but somehow, it's quite a nice jaunt and it's certainly very different. If you think that Canned Heat didn't take this seriously, just ask Eric Clapton, Dr.John and Greg Lake - they all make stunning guest appearances here! Guests aside, if you're into the whole Canned Heat style and sound, then 'The Christmas Album' could still work for you. Now, I'm not really into all this seasonal music but I sort of managed to shut out the 'mundane' seasonal aspects here and tried to listen to what the Heats did musically - it's all there, the usual 'grubby', raw but compelling Canned Heat. 'The Christmas Album' by Canned Heat is defo not for the average man in the street who likes a bit of Christmas cheer in his music around this time. However, it's gonna take a awful lot of blues freaks (with a mighty sense of fun!) to make this a 'hit' album. But, if you like boogie blues and you want something a bit different then Canned Heat's 'The Christmas Album' might just provide you with a whole lotta Christmas blues light relief. Interesting, weird but somehow cheery and entertaining.
Peter J Brown aka toxic pete (www.toxicpete.co.uk)

Paradise Records PMCD0081

ALBUM OF THE WEEK “Here is the latest high octane offering from Aussie Bluesman Gwyn Ashton. He is out to prove just how powerful a power trio can be… Apart from their cover version of Rory Gallagher's 'Secret Agent', all of the tracks are written by Gwyn… The album showcases his versatility on a range of guitars, not just the blistering fuzz laden numbers, but also on a couple of slow acoustic offerings, with some nice slide work on a resonator. My favourite track has to be 'The Road Is My Religion', which tells the tales of life on the road for an itinerant Bluesman… Gwyn must have got a few new effects pedals for Christmas, as he seems determined to explore every sonic avenue going! All in all, probably more rock than Blues, but I loved it just the same!”
Bluesmatters Magazine

Blues guitarist, singer, and songwriter Gwyn Ashton was born in Wales and raised in South Australia. At an early age he developed a love for blues and rock music began learning to play guitar from the age of 11. He formed his first professional band in his teens to play local blues clubs and bars before going on the road across Australia. He now tours and performs his infectious brand of slide guitar-filled blues-rock in countries worldwide, including the United States and Europe. Ashton is joined on this new album by bass player Chris Glen and drummer Ted McKenna, with a cameo by the acclaimed keyboard player Don Airey. Prohibition shuffles a smart selection of tough rocking styles, from the blues-soaked Ball & Chain, through to more lyrical forays such as Castaway and the demonic Bo Diddley-esque shuffle of the title track. The album also includes a soulful tribute to Stevie Ray Vaughan, Rest In Paradise. Every element of the blues is encapsulated here and played with amazing dexterity and power. Old Strats, Teles, National resonators, Fender tweed amps, fuzz boxes and his ancient Echoplex are driven to the extreme, guaranteed to satisfy the most discriminating taste in guitar-led blues. Gwyn Ashton’s formidable virtuoso guitar  work is perfectly balanced by the Glen/McKenna axis to keep things devastatingly simple. Prohibition captures Ashton in his finest rocking blues performance to date, blending Mississippi, New Orleans and Texas blues, 60s surf, British 70s rock and no-holds-barred Australian boogie. Highly recommended. Folk & Blues

‘Prohibition’ is easily Gwyn Ashton’s best ever album, bringing out the best in both his own playing and his stellar rhythm section.
UK based Aussie guitar slinger Gwyn Ashton has been round the block a few times, building up a strong following in both Germany and France, where he has worked in the footsteps of Rory Gallagher with Band of Friends. Meanwhile he’s cleverley retained his stronghold back down under while adding to his profile in the US with tours of Texas and the west Coast.. Stylistically he’s always straddled the Rock Blues divide, with a slight leaning towards the blues camp. A superb guitarist and passionate player, ‘Prohibition’ is perhaps the album that he’s threatened to lake for years. Together with the former Rory Gallagher/Alex Harvey rhythm section of Chris Glen and Ted McKenna, and together with a helping hand from Don Airey on keys and Liz McLaughlin on bv’s, he’s come up close to fulfilling all that early career promise.
Undoubtedly more rockier and heavier than anything he’s done before, Gwyn shows the full repertoire of his guitar talent, and only a limited vocal range stops this from appealing to a wider crossover rock audience.
While the blues influences remain, Gwyn seems to have toughened things up enough to readjust his focus to the rock market. From the tub thumping slide-led opener ‘Get Up, Get Over It’ with its AC/DC inflections through Rory’s ‘Secret Agent’ to the heavy duty shuffle ‘Ain’t My Style’ on which the rhythm section is in its element, Gwyn rocks out to great effect. On the wild slide shenanigans of ‘Ball And Chain’ he emulates fellow Australian Dave Hole with a virtuoso slide guitar performance, which is a rare example of a live wire performance in the studio.
Also check out the occasional thinly disguised rock references most notably the ‘Hey Bulldog’ riff of ‘Come On/Don’t Walk, Run’, and the Hendrix ‘Machine Gun’ riff of ‘Are You Lonely’.
Aside from some scintillating playing as on the Johnny Winter derivative ‘Guitar Town’, on which he delivers two full blooded, big toned solo’s, there can rarely have been an album that has benefited so much from a thunderous unrelenting rhythm section such as this. Yes the ghosts of Rory and SRV may loom large in the life of Gwyn Ashton but with ‘Prohibition’ he can take his career to a new level. The bonus tracks showcase some neat dobro playing and some nifty licks on a closing red hot boogie workout which is the perfect rocking end to a fine album that will appeal to all guitar fans. Pete Feenstra    www.getreadytorock.com

If you like yer blues bold, raunchy and rockin' then you need to get a copy of this stunning album by Gwyn Ashton. One of the quiet and unassuming blues-sters currently on the big scene, real nice guy Ashton shows just what can be done with contemporary rock/blues. Sitting nicely astride the invisible fence that separates raw blues from hard rock, 'Prohibition' will suit both camps equally well. Just listen to how Ashton makes his vibrant and explosive axe growl, wail, cry and laugh, adding depth and feeling to emphasise the lyric lines - stunning!
'Prohibition' is solid gold from start to finish. Ashton has called on friends and 'brothers in arms' Chris Glenn and Ted McKenna as his mainstay band here and with a bit of extra help from Don Airey and Liz McLaughlin the sleeve notes reads like a who's who of modern blues. So, with all that wealth of experience and Ashton's natural bent for solid rock'n'blues, this just had to be something very special. Oh, and it is!!
Ballsy and dynamic, 'Prohibition' touches spots that most albums can't get close to. It just keeps on comin' at yer like a tenacious terrier that, once it's got a hold it just won't let go. Ashton's gritty vocal delivery is precise and emotionally charged - heart and soul stuff beautifully woven into the superb tapestry of guitar laden songs that just kick ass. And, what guitar! Ashton shows his true colours here; he proves that he's a match for anyone with his beautifully poised, expressioned style.
Generally hard rockin' and up-front 'Prohibition' begs to be played loud but, it's not all in-yer-face stuff - Ashton slips in a couple of real gritty, acoustic based 'chunes' for good measure and some aural respite. It all works incredibly well. Superbly packaged and presented, 'Prohibition' leaves nothing to chance - this is indeed the total 'package' - the mutt's nuts! Guitar driven blues rock is not only alive and well but thriving in the hands of the mighty blues warlord that is Gwyn Ashton. But please, don't just believe me; go grab a copy and give it a try for yourself - it's a stunner!
Peter J Brown aka toxic pete    www.toxicpete.co.uk

Australian guitarist Ashton has toured extensively throughout Europe, the USA and Australia with the likes of Johnny Winter, BB King, Jeff Healey and Pat Travers. With that in his locker I looked forward to a treat with his new album, Prohibition. The opener, Get Up, Get Over It is blues rock with AC/DC style phrasing -- not too flamboyant but great slide at the end. Good start. Ashton adds a bit of funk for Come On/Don't Walk, Run! but he firmly remains on the rock side of the blues and confirms his standing as one of the worlds up and coming guitarists. There's a Jimi Hendrix style fuzzed solo but the addition of Don't Walk, Run seems a bit superfluous despite being fine in its own rite. Back To You is back to AC/DC again, albeit with more sedate vocals but with solid guitar throughout. Castaway is a venture into acoustic land so get your lighters out! There's a big, electrified solo as you would expect so, few surprises but a top performance. Secret Agent shows that Rory Gallagher lives on – top tune, enough said? Ain't My Style continues the Gallagher theme and is a rolling blues to drift away on. The title track is a shuffling guitar and harmonica blues with distorted vocal. The addition of Liz McLaughlin on backing vocals is a welcome distraction and the whole feel is that of a slowed down Bo Diddley (sorry to hear about his recent stroke). The Road Is My Religion casts Ashton as the latest in a long line of musical storytellers. This is a highlight where he shows his class in archetypal AOR style. Former Alex Harvey rhythm section, Ted McKenna on drums and Chris Glen on bass herald the arrival of Ashton's slicing guitar on Ball And Chain, a pounding blues to get the blood coursing through your veins. This is classic power trio fare with Glen and McKenna providing the perfect backdrop to Ashton on guitar, as they do throughout. Are You Lonely is a storming R&B with fuzzed solo. Guitar Town is not the Steve Earle song but is a funky blues where Ashton lets his guitar loose - superb. Rest In Paradise (For Stevie) is dedicated to Stevie Ray Vaughan and is a low key finish but is, as you would expect, a festival of guitar. There are two bonus tracks, Judgement Day which is a great blues of acoustic slide and basic backing and Shake It On Down where I knew he would not let me down and comes up with a rocking finish after all.     David Blue   www.netrhthms.co.uk
 

Drawing inspiration from the likes of Earl Hooker, Memphis Minnie, Albert King and Buddy Guy, Sue Foley and Deborah Coleman bring a vintage blues and rock pedigree to their music, honing their skills as part of the blues women tour with Roxanne Potvin who has her own impressive CD of soul and blues just out.
The instrumental Foley opener (the title track) is a great loosener, a hard hitting blues rocking toe tapper with a touch of the Jerry Lee Lewis and Chuck Berry about it (Bruce McCabe plays the piano and Foley, presumably plays the guitar!)
The acerbic lyric of ‘Hittin’ On Nothin’ introduces us to the soulful voice of ‘new kid on the block’ Roxanne Potvin. It ends with a whoop of ‘I like that’ and the whole album is infused with an atmospheric warmth and a genuine feeling that the blues women are enjoying the sessions.
‘So Far’ is a Sue Foley take on the Bob Dylan song writing school and a nice departure for her lifted by fluid guitar work and solid rhythm backing.
There’s another change in style on a cover of James Brown’s ‘Talkin’ Loud and Sayin’ Nothin’, absolutely perfect for the introduction of Deb Coleman on lead vocal in a fantastically funky rendition. Of course, the other two ladies offer admirable assistance in the vocal department. Mark Lichteig’s choppy B3 organ, some dextrous bass and snappy drumming (Jim Anton and Billy Thommes) not to mention the wonderful wah wah guitar also go down a treat here!
‘Strong Enough To Hold you’ is a big ballad with a nice clean vocal from Roxanne, guitar arpeggios and broody organ. ‘Show Me’ owes much to a bygone era of blues singers like Memphis Minnie and Bessie Smith, a blues shuffle complete with honky tonk piano. ‘Motor City’ is another slice of B3 soaked funk with Deb sounding very much like Joan Armatrading.
Spoken interjections between tracks continue to add to the sense of fun as Roxanne delivers a Commitments-style original ‘Get Up’. Then it’s back to blues stomp on Foley’s ‘Two Moons Gone’. Producer Kevin Bowe’s ‘Don’t Start The Car (If you ain’t gonna drive)’ is a variation on the ‘come back and finish what you started’ with some fine piano backing by McCabe and percussion by Bowe.
The album concludes with a cover of Billy Davis’ ‘In The Basement’ (made famous by Etta James) on which they sound like they really are having a party down there!
‘Time Bomb’ goes off in the nicest possible way.
Phil Jackson    Zeitgeist

Here's an album to set the cat among the pigeons. It's long been the case that women's place in the macho world of ‘she done me wrong' blues has for too long regarded as little more than tokenism.
Things have gradually started to change with a new generation of players such as Bonnie Rait, Joanna Connor, Ana Popovich and more recently Finland's Erja Lyytinen. But still the feeling persist that any mention of blues heritage too often overlooks women practitioners from Sue Foley's major influence Memphis Minnie, to Bessie Smith, Big Mama Thornton, and Etta James, let alone crossover artists like Janis Joplin. But this project - the third version of the Ruf records championed Blues Caravan - seeks to redress the balance.
Rarely in any field of music let alone blues have three disparate talents combined so effectively. Executive producer Sue Foley, has seemingly found herself the perfect context for her own edgy blues style that can in the space of one song shift from Downhome blues to Dylan and the Stones. But above all this album is a triumph of the whole over the considerably talented parts.
If nothing else 'Timebomb' should achieve wider fame and recognition for three leading contemporary blues players who just happen to be women. Of course all three of them don't leave their sexual politics at the studio door as Deborah's biting metaphorical 'Don't Start The Car' and Roxanne's uncompromising ‘Hitting On Nothing' suggests.
And when it comes to rocking out, look no further than the title track, which could have graced any era Fab T Birds album. Even more refreshing is the fact that aside from a bristling funky arrangement of James Brown's 'Talking Loud', brilliantly handled by Deb Coleman and a lovely retro outing of Billy Davis penned Etta James hit 'In The Basement', there are nine startlingly original cuts here.
The album shifts from kick ass blues to Sue's Dylanesque 'So Far' and the Memphis Minnie influenced, 'Show Me' to funk and an album highlight, Roxanne Potvin's powerful blues ballad 'Strong Enough To Hold You'.
And while blues fans have long known about the merits of Deb Coleman, which are further confirmed by the beautifully sung 'Motor City', it is newcomer Roxanne Potvin who is the biggest revelation. Probably unknown to many before this project, Canadian Roxanne can deliver real emotion and toughens things up on the hard driving, ascending chord arrangement of 'Get Up'.
'Timebomb' works so well because it sounds like a genuine project rather than a loose aggregation of talented performers. Producer Kevin Bowe strikes a deft balance between his goal of a achieving a sumptuous sound and capturing the inter-artist spark.
With the rhythm section of Jim Anton, and drummer Billy Thommes, alongside veteran pianist Bruce McCabe and Mark Lickteig pushing the front line vocalists all the way without overstepping the mark, 'Timebomb' might already be considered as one of the best contemporary blues albums of the year. Pete Feenstra      www.getreadytorock.com

'Time Bomb' finds the coming together of three extremely influential blues women of the twenty-first century and sets up the 'Blues Caravan Tour 2007: Blues Guitar Women'; Sue Foley, Deborah Coleman and Roxanne Potvin join forces to come up with a stunning piece of guitar driven, contemporary blues. Each with their own style and take on how they see and play the blues, this melding of talents is a supreme display of powerful and varied blues of the highest quality imaginable.
What's remarkable is that this line-up sounds as though they were born to play together; they each do their own thing here but it all comes together as a beautifully slick, seamless piece of work. Never does one individual sound or feel like they're trying to outdo the other - it's just an inspired collaboration made in heaven! The songs are absolutely superb and every one is driven home by top notch performances. This really is one for the collector and should not be missed!
'Time Bomb' shows quite clearly that women can and do have the blues. Quite right too! For too long the blues has been dominated by male artists; now they've got some real competition, from at least three individuals and/or one great collaboration. Amazing stuff, really impressive and the more I listen, the more I'm drawn in and the more I like what I'm hearing. Quality, quality, quality - totally absorbing, thoroughly enjoyable and absolutely believable!
'Time Bomb' is exactly what the title suggests - a highly toxic and explosive force that's primed and ready to go. Foley, Coleman and Potvin have joined forces and together they've come up smellin' of roses of the most fragrant and sensually charged type. 'Time Bomb' is a positive blues fest, a mammoth release - simply stunning! I actually feel that this release, given air play and exposure, could easily pull in a few new converts to the blues cause! It could raise the profile and dispel a lot of the myths about the blues being 'same old, same old', 'cut-throat' music. There's nothing too raw, nothing OTT and certainly loads to admire here; melodic songs, up-lifting performances and great hope for the future of the genre. My oh my, it's good!!
Based on 'Time Bomb', as the Blues Caravan Tour 2007 takes to the road, I can only suggest that you get yourself off to one of their concerts - you won't be disappointed of that I'm sure.
Peter J Brown aka toxic pete   (www.toxicpete.co.uk)
 

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