Author Archive for Grahame

Here’s a round-up of some new material from our good friend Betsie Brown at Blind Raccoon in Memphis:

LITTLE JOE McLERRAN

“Believe I’ll Make A Change”

(Roots Blues Reborn: RBR06006)

From Tulsa, Oklahoma, comes singer and guitarist Little Joe McLerran – this, his fourth cd, is a very enjoyable collection of traditional and old-time blues, some in the Piedmont style – with him accompanied by a fine band throughout the 13 tracks on offer.

It’s all beautifully played and will appeal to all true blues lovers, with his pleasant, warm voice and nice guitar work the main appeal – the rest of the players being Dexter Payne (reeds and harmonica), Robbie Mack (bass and vocals), Ron McRorey (drums), Jack Wolfe (keyboards), and harmonica contributions from David Bernston and Jimmy Junior Markham.

Standouts are his own “Cocktails For Two”, with nice acoustic harmonica from Dexter Payne; a nice rolling “Blues Before Sunrise” from pre-war blues legend Leroy Carr, and nice slide work on the traditional “Jesus Make Up My Dyin’ Bed – with the featured harmonica this time from David Bernston.

Elsewhere Blind Willie McTell’s “B&O Blues” is really nice, with a rollicking slide workout on Elmore James classic, “Baby Please Set A Date”, and his own “Sargent Sunday” is a jazzy tune with a nice lazy feel.

Highly recommended for those who like their blues pure and from way back!

www.littlejoeblues.com

www.myspace.com/littlejoeblues

WILL TUCKER

“Stealin’ The Soul”

(Will Tucker Music)

“Stealin’ The Soul” is the debut release from 16 years old guitar prodigy Will Tucker, from Memphis, and a regular at BB King’s Blues Club since last May – indeed four of the tracks here are live recordings from the afore-mentioned club, the rest recorded at the famous Ardent Studios, with the crack band of Lester Snell (Hammond organ), David Smith (bass) and Steve Potts (drums).

For someone of a tender age I think it’s fair to report his vocals are still a ‘work in progress’, but his guitar chops are in fine order, as evident on the opening, and only original, “Your Sacrifice”, a funky tune underpinned by Snell’s fine organ work, and followed by a spirited romp through the Muddy Waters classic, “Walkin In The Park”, with some very fine uncredited harmonica work.

The covers are well chosen – from Willie Cobbs “You Don’t Love Me, given a nice arrangement here, to chestnuts such as “Stormy Monday” and “Born Under A Bad Sign”, which both give Tucker ample opportunity to stretch out. The live band – Joe Boogie (keyboards), Randy Middleton (bass) and Pete Mendillo (drums), rock out on the Elvis hit, “Burning Love” and Chuck Berry’s “Johnny B Goode” – however the pick of the live tracks is Memphis Minnie’s “When The Levee Breaks, where all hit a really nice groove.

It’s good to see one so young carrying on the blues tradition, and considering it’s only four years since he picked up a guitar Will Tucker has made outstanding progress . . . a name to keep an eye on without doubt.

www.willtuckermusic.com

www.myspace.com/willtucker1

DAVID GERALD

“Hell And Back”

(David Gerald Enterprises)

Forty-something Detroit-based guitarist and singer David Gerald deals firmly in the soul-blues camp, playing guitar since aged 16 and influence by Prince, and later the music of the likes of Albert King, ZZ Hill, BB King and more. On “Hell And Back” he mixes studio recorded originals with some live blues standards – with the studio tracks recorded, mixed and produced by himself.

The live cuts were recorded at J. Dubs in Riverview, Michigan, and feature the band of Mike Ruppriecht (keyboards), Bob Bennett (bass) and Lou Eurns (drums) – firstly taking on Jerry Beach’s “I’ll Play The Blues For You” and then the timeless “The Thrill Is Gone”, both dominated by his soulful voice and fluid guitar licks.

Of the studio tracks, the opener, “My Guitar” is a soulful ode to his instrument of choice, with “How I Feel” a mid-tempo shuffle, with the title song, “Hell And Back”, telling of a family that has fallen on hard times, and again with a soulful feel and the best of his own songs.

He gives a nod to his guitar heroes on a closing brace of “Cold Shot” and “Red House”, laying his influences on the line, and included due to crowd response at his live shows, but for me a couple more original songs might have been the order of the day!

www.davidgerald.com

www.myspace.com/davidgerald

LEVEE TOWN

“Levee Town”

(self release: LT09004)

LT

Kansas City four-piece Levee Town tear it up on this fine release, 14 tracks of foot-on-the-pedal blues, often with a rockabilly and boogie feel, with the pace taken down at times. The band comprise of Brandon Hudspeth (guitar and vocals), Jimmie Meade (harmonica and vocals), Jan Faircloth (drums) and Jacque Garoutte (bas).

It’s nice to see a wholly original album, with most tunes penned by Hudspeth and Garoutte, and they blast into life on the rockabilly-flavoured “I’m Not Broke”, with Jimmy Meade’s big-toned harmonica excellent, as it is throughout. The swinging “Three Sides” follows, with Hudspeth’s nice guitar work and a nice, driving rhythm section. The slide and harmonica driven “You Mean” takes the pace down, but is straight up again for the rousing “Why Why Why”, a rocking shuffle, with a slight classic Fabulous Thunderbirds feel to it.

“Broken Jar” lopes along with a Jimmy Reed feel, with Jacque Garoutte’s funky “Rhythm Man” being an ode to all the bands constantly out on the road. The boogie of “Etta” positively bursts out the speakers, leading into the slow blues, and album highlight, “Heartless Is The Winter” . . . some fine slow blues guitar from Hudspeth and again most impressive harmonica from Jimmie Meade, as the band stretch out over 6:49.

“Hullabaloo” is a 50s-flavoured rocker and great fun, as is the roadhouse rocker, the band’s own “Rock Me Baby” . . . with the closing instrumental “Chicken Truck, being a funky tune with guest keyboards from Mike Sedovic . . . definitely a band to look out for!

www.leveetown.com

www.myspace.com/leveetown

GRAHAME RHODES

COCO MONTOYA

“I Want It All Back”

(Ruf Records – RUF 1153)

The latest solo release from Californian guitarist, Coco Montoya, may come as a bit of a shock to those fans used to his blistering guitar playing – as this album, his first for Ruf Records, sees co-producers Keb’ Mo’ and Jeff Paris – concentrate more on his vocals, and very fine they are too – on a set of mainly radio-friendly soul-tinged tunes, with few straight blues tracks. But don’t panic – his upside-down, right handed Stratocaster is still featured prominently, but perhaps a bit more restrained, than previous albums.

The man from Santa Monica, California, who learnt guitar under the wing of the legendary ‘Master of the Telecaster’, Albert Collins, and was a member of John Mayall’s Bluesbreakers for ten years – during which time, for a period, he traded licks with Walter Trout – is accompanied on “I Want It All Back” by a crack core band, with Keb’ Mo’ on rhythm guitar and co-producer Jeff Paris on keyboards, with an absolute top-notch rhythm section in Reggie McBride (bass) and Steve Ferrone (drums).

The opening take on The Penguins “Hey Senorita” has a nice rolling feel, with some tasteful, fluid guitar lines and solos, with the title cut, “I Want It Back” following – a soulful tune, written by his friend, David Steen. The 60s’ soul tune, “Forever”, recorded by The Marvelettes, is a standout, with Montoya’s warm vocal and Jeff Paris’s keyboards a joy on this.

The best three tracks for me run in sequence – another really soulful tune in “The One Who Really Loves You”, a Smokey Robinson song that was recorded by Mary Wells back in 1962, another great vocal from Coco Montoya and a great guitar solo; followed by really the only straight blues here, the standard “Fannie Mae”, with the lusty harmonica and sparkling piano of Rod and Honey Piazza helping out, with some tough guitar from Montoya; the swampy funk of “Don’t Go Makin’ Plans – co-written with Little Feat guitarist Paul Barrere – is a treat, riding on the groove of Jeff Paris’s keyboards, and a little reminiscent of classic Average White Band.

Jackson Browne and Danny Kortchmar’s “Somebody Baby” is given a modern reading, with glorious vocals from Montoya and Keb’ Mo’, with some tasteful saxophone from Paulie Cerra and soaring, pure guitar from Montoya . . . a very nice way to end proceedings!

GRAHAME RHODES

www.cocomontoya.com

www.rufrecords.de

VARIOUS ARTISTS: AS GOOD AS IT GETS

(Smith & Co)

Great British Rock ‘n’ Roll Instrumentals (SCCD 1188)

Great Rock ‘n’ Roll Instrumentals Vol. 2 (SCCD 1189)

Lonnie Donegan Vol 2 (SCCD 1190)

Great British Rock ‘n’ Roll Vol 4 (SCCD 1191)

Great British Skiffle Vol 4 (SCCD 1192)

Great Rockabilly Vol 4 (SCCD 1197)

From Dutch label, Smith & Co, come these superb double albums, to add to the previously released volumes – all compiled by Dave Travis, and most boasting between 50 and 70 tracks, with nicely illustrated booklets – a must for fans of the sounds of the 50s and early 60s.

These releases cover some big names from the selected genres, along with some that are very obscure, and probably very rare on original vinyl, if available at all!

Great British Rock ‘n’ Roll Instrumentals has 61 tracks over its two discs from 1949-1959, ranging from early guitar heroes such as Bert Weedon, the jazz and skiffle of Ken Colyer and Chris Barber – and interestingly some tracks from The John Barry Seven – featuring the legendary film score producer. An interesting three tracks on the first disc are from The Drifters, who in 1959 became The Shadows, and the rest, as they say, is history!

Other British treasures here are Lord Rockingham’s XI with their chart topping “Hoots Mon” and pianist Winifred Atwell and her boogie piano . . . and if you want obscure, how about Ozzie Warlock & The Wizards and Ray Sendit & His Rockey Team!

Great Rock ‘n’ Roll Instrumentals Vol 2 features a whopping 64 tracks from the USA between 1951-1965 – with ‘big hitters’ such as Duane Eddy, Chuck Berry and Chet Atkins – and a fair sprinkling of classic tunes such as Santo & Johnny’s “Sleep Walk”, the afore-mentioned Duane Eddy’s rumbling guitar on the timeless “Peter Gunn” and Johnny And The Hurricane’s “Red River Rock”.

Legendary West Coast bluesman Pee Wee Crayton pops up in an uncharacteristic rocking mode on “Blues Before Dawn” – a quite splendid 1 minute and 56 seconds, and another gem being The Wailers “Tall Cool One”. Aside from these more well known names, check out the likes of Preston Epps with “Bongo Rock”  and Arthur ‘Guitar Boogie’ Smith And His Crackerjacks, with the self-explanatory “Guitar Bustin’”.

Lonnie Donegan Vol 2 contains 53 recordings over two discs, subtitled ‘More Original Skiffle Recordings 1952-1959, from the late, much-loved father of British skiffle – with plenty of his best known recordings such as “Puttin’ On The Style”, “John Henry”, “Cumberland Gap” and many more in place.

For collectors this compilation features plenty of rarities – three titles recorded for French radio in 1954, and also featuring The Ken Colyer Skiffle Group, and a home recording circa 1952-3 of influential early bluesman Blind Lemon Jefferson’s “Black Snake Moan”. The blues influence is also evident with the legendary Leadbelly – aka Huddie Ledbetter – on the rousing “Midnight Special”.

A great second collection honouring one of the most influential of British musicians, and the perfect companion to the first volume.

Great British Rock ‘n’ Roll Vol 4 covers the period from 1953-59, boasting 70 tracks, as the British rock ‘n’ roll movement gathered pace, after the initial Stateside blast! Again several of the giants are present, from Cliff Richard, here with the pre-Shadows, The Drifters – with The Shadows also here in their own right; the evergreen Tommy Steele; Johnny Kidd & The Pirates, featuring the sparkling guitar of Mick Green; and other household names such as Marti Wilde, Adam Faith and Billy Fury.

Standouts are The Clash-covered “Brand New Cadillac” from Vince Taylor & The Playboys”; “The Train Kept-a-Rollin’” from Jim Dale – probably most famously covered by TheYardbirds and Aerosmith amongst a host of others.

Again, a marvellous compilation for fans of this era, with many of these vintage cuts having stood the test of time.

Great British Skiffle Vol 4 contains 60 tracks over its two discs, and covers the period from 1950-1959, when ‘skiffle mania’ hit the UK, with bands cropping up everywhere! Giants such as Lonnie Donegan, Ken Colyer and Chas McDevitt feature – but this collection also has a healthy blues content with early prominent players such as vocalist and guitarist Alexis Korner and harmonica man Cyril Davies featured.

Although they weren’t really skiffle musicians two of their 1957 cuts for Tempo are here – “County Jail” and “National Defence Blues”. They both also appear on tracks with one of the best known female skiffle stars, Beryl Bryden.

Other notables are The Vipers, who featured one Wally Whyton in their ranks – who went on to a long and varied TV and radio career; and the legendary late Humphrey Lyttleton, with of course stalwart Chris Barber.

Great Rockabilly Vol 4 takes us Stateside again, with a whopping 70 tracks, covering the period 1952-1959, with the biggest name here, ‘The King’, Elvis Presley himself on some early cuts, with other giants such as Buddy Holly, Eddie Cochran, Carl Perkins, Johnny Cash and Rick Nelson.

One of the favourite rockers of the time is also here, Gene Vincent, with his band, The Blue Caps – represented by “Who Slapped John” and “Race With The Devil”. For all those big names present, an equally, if not more, collection of more obscure artistes are present – Jack Turner & His Granger County Gang, Billy The Kid, The Lonesome Drifter, Derrell Felts & The Bluenotes, and a whole host more – all worthy of investigation on these two discs or rocking sounds!

GRAHAME RHODES

All available from 8th February

www.smithco.nl

LAURA B & THE MOONLIGHTERS

“JUMP AND SHOUT”

(El Toro Records: El Toro R&B 207)

Laura B & The Moonlighters are a seven-piece UK retro swing and blues combo, and this great album delivers, in the words of the album’s sub-title, ‘fourteen classic rhythm & blues jumpers & shouters’ – all impeccably played and great fun as well – and recorded live in the studio to capture the band’s live sound.

The band comprise Laura B (vocals), Paul Richardson (drums), Henri Herbert (keyboards), Steve Ball (double bass), Barry Few  (trumpet), Alex Bland (baritone saxophone) and Evan Jones (alto and tenor saxophone) – the seasoned players, from many top retro bands, lock into the music behind Laura B’s sultry and enchanting vocals. The band don’t have a guitarist, most rare these days, but for sure, the music doesn’t suffer.

The opening “No Mama No Papa” sets the pace – the swinging horns, driving rhythm section and sweet vocals from the lady herself; the following “As Long As I’m Moving” is similarly paced, before the gospel feel of “Act Right”. Henri Herbert’s sparkling piano is to the fore on the rockin’ “Beer Bottle Boogie”, with the three man horn section absolutely terrific on this – indeed, as they are throughout.

The much-covered “That’s A Pretty Good Love” takes the band into jazzy territory, with some glorious trumpet from Barry Few; “Comes Love” is also in the same jazz-flavoured area, a nice smoky vocal from Laura B here, leading into the swing of the title cut, “Jump And Shout”, with the band firing on all cylinders!

Henri Herbert – also holding down the piano chair with The Cadillac Kings at the moment – displays some of his legendary boogie woogie on “Down By The River”, then switches to some tasteful organ on possibly the album’s highlight, the quite beautiful ballad, “Then You Can Tell Me Goodbye”, from the pen of John D. Loudermilk.

The album ends on a joyous note with the inspirational “On Revival Day” – with a sort of gospel meets Dixeland feel – a fitting end to a most enjoyable release from a fine British band, led by a marvellous singer – this comes highly recommended for those who love their retro music.

GRAHAME RHODES

www.myspace.com/laurabandthemooonlighters

www.eltororecords.com

http://www.youtube.com/watch?v=hxygBePz3TQ

MARIA MULDAUR

“Maria Muldaur & Her Garden Of Joy”

(Stony Plain Records: SPCD 1332)

Maria Muldaur has been in music now for some 47 years, during which he has dipped into most forms of American roots music – best known for her 1974 hit “Midnight At The Oasis”, but in her teen years in the early 1960s she was part of the folk revival, and involved with blues, bluegrass, jug band and more. In the 35 years since her major hit she has recorded 35 solo albums of blues, gospel, big band and jazz – concentrating mainly on blues since the 1990s.

Her latest release, “Maria Muldaur & Her Garden Of Joy”, her fourth for Stony Plain, sees her revisiting her jug band era, when she was a member of both The Even Dozen and The Jim Kweskin Jug Band, with the help of many musicians she was associated with way back and some younger talent.

It is a good-time, uplifting and humorous album, fittingly subtitled “Good Time Music For Hard Times!” The tunes include many traditional ones from as far back as the 30s, with a brace of newly written songs by the great Dan Hicks – the album produced by Muldaur herself, with Stony Plain boss Holger Petersen as executive producer.

Veterans from the past on board include John Sebastian, David Grisman and Fritz Richmond and the legendary Taj Mahal contributing some banjo and guitar, with the afore-mentioned Dan Hicks dueting on the hilarious medley of “Life’s Too Short / When Elephants Roost In Bamboo Trees”, with his “The Diplomat” opening the album in fine style, with lovely guitar and mandolins and Maria Muldaur’s fine vocal.

“Shake Hands And Tell Me Goodbye” has a nice old-timey feel to it, with the fiddle of Suzy Thompson highlighted and John Sebastian’s harmonica. The traditional “Shout You Cats” sees newcomer Kit Stovepipe on jug, with the glorious “The Ghost Of The St. Louis Blues” firmly in Dixieland territory with the brass of Bob Schwartz, Kevin Porter and Jim Rothermel – all playing quite beautifully!

Dan Hicks’ second tune, “Let It Simmer” sees Muldaur turning to her jazzy era, with a sultry vocal; Clifford Hayes title track “Garden Of Joy” is another easy on the ear delight, lots more swinging fiddle, jug, banjos and guitars! The Jim Kweskin Jug Band song “I Ain’t Gonna Marry” is again lovely, nice and steady rolling. The ensemble get low down on the traditional “Bank Failure Blues”, with this great album ending with “The Panic Is On” – again in blues mode – but with an uplifting feel for these hard times!

GRAHAME RHODES

www.mariamuldaur.com

www.stonyplainrecords.com

JOE LOUIS WALKER

“Between A Rock And The Blues”

(Stony Plain Records: SPCD1345)

San Francisco bluesman Joe Louis Walker, now aged 60, has been releasing quality blues album since the mid 80s’, and this, his second release for the Canadian label, Stony Plain, finds him in top form – surrounded by the cream of musicians from producer Duke Robillard’s band, and in turn associated with Roomful Of Blues and Ronnie Earl.

The two cuts Walker produced himself sees the band made up of long-time associates – namely Kevin Eubanks (guitar), Henry Oden (bass), Ellis Eugene Blacknell Jr. (piano and organ) and Jeff Minnieweather (drums).

The title, “Between A Rock And The Blues” gives a clue to the fare on offer – from muscular rock-tinged songs to more traditional blues, and some soulful fare – kicking off with the high-energy rocker “I’m Tide” – plenty of snarling guitar leads and his fine voice to the fore; the following “Eyes Like A Cat” is a swinging blues, with sparkling piano from the great Bruce Katz and Carl Queforth and Doug James, respectively very fine on trombone and saxophone.

Walker’s own “Black Widow Spider” treads a soul-flavoured vibe, with the heavy riff of “If There’s A Heaven” changing the feel and direction instantly – definitely one with a rocky edge, but none the worse for it – with incendiary solo. The whole band swing in great style on Murali Coryell’s “Way Too Expensive”, with Joe Louis Walker’s guitar leads answering his vocal. The lengthy ballad “Hallways” – clocking in at seven minutes plus, is reminiscent of Irish blues rocker Gary Moore’s more laid back work – some beautiful mellow guitar and impassioned vocal.

Duke Robillard’s song “Tell Me Why” – a great mid-paced shuffle, sees both him and Walker on guitars and more sparkling tinkling of the ivories from Bruce Katz. The legendary Ray Charles classic “Blackjack” again allows all to stretch out – with, again, fine solos from Walker himself and Katz. “Big Fine Woman” is a funky workout, Walker on wah-wah guitar – with the song hitting a lovely groove.

The album closer is a delightful offering – the acoustic, lazy back-porch “Send You Back” – just Walker’s acoustic guitar and voice, with suitably tasteful harmonica from Sugar Ray Norcia – a very nice way to end a fine album, with if truth be known, a great track.

The full band, apart from the afore-mentioned, also features the rhythm section of Jesse Williams (electric and acoustic bass) and Mark Teixeira (drums and percussion).

GRAHAME RHODES

www.joelouiswalker.com

www.stonyplainrecords.com

BILLY LAVENDER

“Memphis Livin’”

(155 Productions LLC)

Memphis guitarist Billy Lavender received his first guitar 40 years ago and learned to play right-handed instruments left-handed and upside down, and after gigging for years in various styles has put out this fine blues album, with friend Steve Bryson of 155 Productions LLC, with “Memphis Livin’” being produced by noted guitarist Brad Webb, and also featuring local talent such as Reba Russell, Blind Mississippi Morris, Vince Johnson and Tony Adams, amongst a host of others.

Over the 14 tracks Lavender mainly lets his guitar do the talking, but only contributes a few vocals, with the rest shared by the afore-mentioned Reba Russell, Tony Adams, Vince Johnson, and also Ken Dinkins. The result is a very enjoyable modern Memphis album – lots of great blues, soul grooves and some very radio friendly tracks – with the guitars of Lavender and Webb, coupled with Russell Wheeler’s sparkling Hammond B-3 recreating some of that immortal Stax feel.

The second track “Let’s Party” is a standout, a rip-roaring blues shuffle, with Memphis blues/soul queen Reba Russell on vocals and some lusty harmonica from Blind Mississippi Morris – Brad Webb’s long-time musical partner; the pretty “Tonight” sees Lavender on all guitars, with impressive soulful vocal from Ken Dinkins. The instrumental “Just Chillin’” rides on a funky groove, not a million miles away from David Bowie’s huge hit “Fame” – this with Vince Johnson doing the harmonica honours, and featuring the tight rhythm section of Tony Adams (drums) and Mike Stoker (bass).

“Cold As Ice” is a nice mid-tempo blues with more fine harmonica from Vince Johnson, who also takes the vocal on this cut. Billy Lavender cuts loose on guitar and vocals on the roadhouse rocker “Get Along”, leading to the lovely “Blue” – again with Reba Russell on vocal, electric sitar from Brad Webb, which recalls the Steely Dan classic “Do It Again” – very nice indeed!

The ensemble rock out on “Shake It” – another uptempo blues shuffle that features Vince Johnson – with the big ballad “Bottom Line” shifting the pace again, and star-of-the-show Reba Russell on smouldering vocal – if ever a track was made for radio, this is it! The big hook on it given extra feeling by Brad Webb’s striking baritone guitar work, and Billy Lavender’s stinging lead lines.

Elsewhere, the lowdown “Bad Boy” has a funky riff from Lavender and smoky vocal from Tony Adams; the soulful “3AM” catches that classic Memphis sound, with the sparse “If I Could” almost in The Beatles territory, with just Brad Webb’s Dobro and Lavender’s vocal and guitar. The closing “Delta Time” is, unsurprisingly, a swamp blues – a fine end to a most enjoyable release.

GRAHAME RHODES

www.myspace.com/billy-lavender

www.i55productions.com/artist/billy-lavender

Republished due to incorrect information in the original review.

ASYLUM STREET SPANKERS

“God’s Favorite Band”

(Yellow Dog Records: YDR 1049)

Now here’s a fun way to pass 40 minutes or so . . . the latest release from the irreverent Austin, Texas band, Asylum Street Spankers, a live set from The Saxon Pub in 2006 . . . 11 tracks of gospel, blues, ragtime and more, with no lack of humour and also musical skills on offer! They are possibly a new name to some, but have an extensive back catalogue of recordings, going back to 1996.

The band have been around since 1995, and are led by vocalist Christina Marrs, who also produced and mixed the album, and Wammo, who features on harmonica, washboard and vocals – the line-up completed by Nevada Newman (guitar and vocals), Stanley Smith (clarinet and vocals), Guy Forsyth (resonator guitar and vocals), Sick (fiddle, mandolin and vocals), PB Shane (string bass) and Scott Marcus (drums).

The album features some blues and gospel standards and a few original songs, kicking off with a version of Blind Willie Johnson’s “Dark Was The Night, Cold Was The Ground”, dominated by Guy Forsyth’s chilling slide guitar, followed by the Dixieland-flavoured “Shadrach, Meshach, And Abednego”, an Old Testament related story with some fine harmonies. The traditional “Each Day” has Christina Marrs hollering a fine vocal in best Bessie Smith style!

Wammo’s dark original “Right And Wrong” features some hilarious lyrics, this stompy blues again punctuated with Guy Forsyth’s guitar, with the uptempo Violent Femmes tune “Jesus Walking On The Water” flying along, with more superb harmonies from the band, and fiery fiddle playing from Sick.

The gospel tune “Last Mile Of The Way” sees a heartfelt vocal from Christina Marrs, and is followed by the chestnut “Down By The Riverside”, again given a Dixieland jazz feel by way of Stanley Smith’s clarinet. “By And By” is another traditional tune interpreted by the band in their own way . . . some nice harmonica from Wammo, lashings of clarinet and great work from the rhythm section of PB Shane and Scott Marcus.

The original “Volkswagen Thing”, from the pen of Wammo, is delivered Hank Williams style, with more witty lyrics, with the album closer being a Gershwin classic – “It Ain’t Necessarily So” – a far cry from the original I must add, but again great fun!

This release captures the band on top form in front of a home city audience, and is a great collection of American roots music, that will definitely bring a smile to your face in these difficult times!

GRAHAME RHODES

www.asylumstreetspankers.com

www.yellowdogrecords.com