Blues CD Reviews 107
The Bluesmasters
Featuring Cassie Taylor
Exulans DMD
Publicity: Blind Raccoon
Peter "Blewzzman" Lauro © June 2025
Those whom The Bluesmasters have collaborated with is quite an impressive group of musicians. Just a partial list includes: Mickey Thomas, Aynsley Dunbar, Leon Russell, The Allman Brothers Band, Elvin Bishop, Eric Gales, Mick Fleetwood, Rusty Anderson, Abe Laboriel Jr, Jake E Lee, John Mayall, Pat Travers, Shemekia Copeland, Otis Taylor, Magic Slim, Pinetop Perkins, Hubert Sumlin; and once again, on their eighth studio release, Cassie Taylor.
Having taken time off to conquer personal issues, it's been about a decade since we've heard from Cassie, musically. That said, prior to her break, while touring internationally and sharing the stage with blues and rock legends as her father Otis Taylor's bass player, she accomplished more in her teenage years and early twenties than some seasoned veterans have yet to achieve.
On The Bluesmasters Featuring Cassie Taylor, Cassie - on vocals, bass and banjo - is joined by: Kassidy Kent on bass and background vocals; Christian Teele on drums; Eric Moon on Fender Rhodes, B3 and accordion; Tim Tucker on guitars and bass VI; Stella Ann on percussion and background vocals; Kylee Ribble, Larea Edwards and Chrissy Grant on background vocals; Sally Van Meter on lap steel; and Doug Lynn on harmonica. The disc contains ten covers of Gospel inspired music made famous by some legendary artists.
Within seconds of this one starting, I knew this was not the "Downward Road" (R. Staples) your mother listened to back in 1959. Sure, it may be the same song The Staple Singers did, but it is not the same song The Staple Singers did. Roughing it up with powerful lead and background vocals, slick harmonica leads, thunderous rhythm, and scorching guitar licks, The Bluesmasters certainly made this one their own.
With her angelic sounding falsetto, using the line 'If I die and my soul be lost, it's "Nobody's Fault But Mine" (Blind Willie Johnson), Cassie's clearly made peace with her own shortcomings. Her lead vocals, the heavenly sounding background harmonies, the divine organ vibe, and - oddly enough - even the soothing accordion and soft bluesy harmonica leads, all take this one to a hymnal level.
In the unlikely event someone should ever say to you "I know what Gospel music sounds like and I know what blues music sounds like, but I can't quite figure out what Gospel blues would sound like", just take out this CD and play "Sit Down Servant" (M. Bonds) for them. End of lesson.
As I'm mulling over what to say about "Wade In The Water" (R. Lewis), because of how perfect it was said, something I read on the one sheet came to mind. As Rick J. Bowen stated, "........The Bluesmasters add a hundred pounds of heft to the back beat and pumping bass to create a truly modern cover of the much-loved folk song". Folk song? Not this rendition!
Being one of my favorite blues ballads, I don't think I've ever heard a version of "You're Gonna Make Me Cry" (D. Robey) that I did not like. Of course, The Staple Singers and O. V. Wright were two of the best, but after hearing this rendition by Cassie and The Bluesmasters, I'm saying those are now three of the best. Anyone who's ever read my reviews knows that I'm a sucker for a female vocalist powerfully and emotionally belting out a ballad. While showcasing her superior range, Cassie did just that.
During her ten-year hiatus I've got to believe that although Cassie Taylor may have quit singing professionally, she did not quit singing personally. Besides being helpful in recovery, it was obviously helpful in keeping her on top of her game vocally, because this powerhouse didn't lose a thing throughout the layoff. Just one listen to her version of "Respect Yourself" (L. T. Ingram & M. Rice) will attest to that.
Realizing the common denominator of these songs, how fitting would it be to close out with Aretha's classic "Chain Of Fools" (D. Covey)? VERY! Vocally, Cassie is her usually flawless self, and musically - with a pounding performance from Christian on the drums - the track features some of the disc's best rhythm, and a stellar harmonica performance from Doug.
Other tracks on The Bluesmasters Featuring Cassie Taylor - a disc I'm predicting will have huge success - are: "If I Could Hear My Mother Pray Again" (R. Owen); "If You're Ready" (C. M. Hampton, H. Banks & R. Jackson).
Before I close I'd like to say "Welcome back Cassie" and tell The Bluemasters that I'm looking very forward to their other upcoming release, The Bluesmasters 20th Anniversary.
If you've not yet received a copy of The Bluesmasters Featuring Cassie Taylor for airplay, please contact Betsie Brown at - www.blindraccoon.com - and should like to find out more about The Bluesmasters and Cassie Taylor, just go to their websites - www.thebluesmasters.com and www.cassietaylormusic.com. Remember, wherever you go and whomever you speak with, please tell them their friend the Blewzzman sent you.
Having been at this since the late fifties, saying Rusty Ends has been around the block more than a few times would be grossly understated. Across the decades, Rusty has played more than his share of Roadhouses, Juke Joints and Honky-tonks, so there couldn't have been a more appropriate title for his latest release. For the project, Rusty Ends - on vocals and electric guitar - is joined by: Dave Zirnheld on vocals and electric bass; Gene Wickliffe on drums; Roosevelt Purifoy on piano and organ; and Wayne Young on second guitar.
As Rusty explains, the music on Roadhouses, Juke Joints and Honky-tonks, "Is a combination of our Kentucky roots and the hoodoo beat of New Orleans, and greasy kind of swamp stuff". Of the disc's fifteen tracks, twelve are originals.
Sometimes I listen to songs that make some of the strangest things go through my mind, and for me, that's a real fun part of doing these reviews. You've got to make them fun to write and fun to read. The title of this track made me think of those two school yard tough guys (okay, maybe I was one of them) staring each other down in the school yard with each of them saying "I'm bad", "Well I'm badder", back and forth and over and over to each other, with absolutely no outcome. Now I can't help but wonder what might have happened had one said "Well, I'm bad like Billy The Kid". That very well could have ended the standoff much sooner. Putting nonsense aside, in Rusty's case, it's cranking up the sound on his guitar that makes him feel "Bad Like Billy The Kid". Go for it, Rusty!
If you're going to do an album that refers to them you might as well do a song about them, right? With Roosevelt's piano romps giving the song the barrelhouse vibe it needs, Rusty and the guys put on a killer performance of "Honky Tonk Man" (Troy Seals & Max D. Barnes). Additionally, with Dave and Gene laying down a driving rhythm behind him, Rusty is sounding, and once again, feeling bad on that guitar.
Going old school on this wistful fifty style blues ballad, Rusty is absolutely masterful both vocally and instrumentally. Not knowing where he's going, or where he's been, Rusty appears to be "Lost In The Blues". From my point of view, the longer he stays there, the more I'm enjoying it. Adding in the sullen rhythm groove, led by fabulous organ work from Roosevelt, definitely makes this one reply worthy.
Although I've never done it by train, the opening line on this one reminded me of the times I went "Screaming out of Memphis like a bat out of hell". It's a track titled "Rockabilly Train" and being a rocker that's as fast as a locomotive, definitely makes it the disc's dance floor filler.
Just shy of twenty years ago I did a review of an album by the late Alvin Jett, of Alvin Jett and the Phat NoiZ Band, and my favorite song off of that release was titled "Angels Sing The Blues". With history repeating itself, Rusty has a different song with the same title on this disc, and it also happens to be my favorite of the lot. As Rusty believes, "We each have an angel to guide us through the night" yet so much of what we put those angels through even give them reasons to sing the blues. Just a few of those are:
"For the drunk out on the corner who wants a few dollars for some wine, says he’s drowning his sorrows but he’s really just marking time";
"For the young girl who sells her soul to feed the monster inside, jabs the needle in her arm but the beast won’t be satisfied";
"For the mother with four kids and she can’t pay her rent";
"For the man living on the street, has a blanket for a tent",
"For the old folks left alone, Lord they need a helping hand",
"For the soldier returning home to a place he no longer understands".
With the band in a perfectly edgeless groove behind him, Rusty - with a commanding presentation of the song's lyrics - absolutely shines. This one has "Song of the Year" written all over it.
"Midnight Screams" is another slow blues masterpiece. As the title indicates, this one is about someone going through some troubling and painful times - both of which will be quite evident from Rusty's emotional and sorrowful vocals and his guitar gently weeping.
One of the more whimsical tracks is "When A Geezer Plays The Blues", which is unquestionably an autobiographical composition. That said, I have this message for Rusty - Don't worry about a thing my friend, most of us listeners are geezers, as well.
The disc closes with a cover of a song by an artist who has probably played even more roadhouses, juke joints and honky-tonks than Rusty himself - the great Willie Nelson. The song is "Night Life" and Rusty and the guys are crushing it with an absolutely beautiful rendition: Rusty's vocals, as they have been throughout, are so attention commanding, and his guitar work is so clean and precise; Dave and Gene, who have been masterful together on the bass and drums, are once again being just that; and Roosevelt is demonstrating why listening to a B3 organ can be mesmerizing. I honestly think that you couldn't count the number of recording artists who have covered this song, and I also honestly think you might agree with me that this is one of the best.
Other tracks on Roadhouses, Juke Joints and Honky-tonks, an album I'm thinking may just get Rusty some well-deserved mainstream recognition, include: "The Same Thing"; "A Little Mixed Up" (Betty James & Edwards Johnson); "The Worm's Turned"; "Linda Lu" (Ray Sharpe); "Lie To Me"; "Thing Called Love"; and "Bourbon Moon".
If you've not yet received a copy of Roadhouses, Juke Joints and Honky-tonks for airplay, please contact Betsie Brown at - www.blindraccoon.com - and should like to find out more about Rusty Ends & Hillbilly HooDoo, just go to - www.rustyends.com. Remember, wherever you go and whomever you speak with, please tell them their friend the Blewzzman sent you.
