Blues CD Reviews 108
J.T. Lauritsen & The Buckshot Hunters
(With Friends)
Still Be Friends
Hunters Records
By Peter "Blewzzman" Lauro © Oct 2025
The subtitle to this recording is actually "J.T. Lauritsen & The Buckshot Hunters: 30 Years, 10 Albums - and Still Be Friends". In addition to its being a celebratory anniversary album, it is also a testament to long term friendships and the bond between J. T., his bandmates, and the musicians he's met along the way. Somehow, after all that time, everyone has still remained friends. Kudos to everyone on this admirable feat.
Normally, when there are this many musicians on an album, I tend to shy away from listing them all. However, when the list is a who's who of industry peeps, I just gotta give everyone their due credit. On Still Be Friends, J.T. Lauritsen - on vocals, accordion and Viscount 261 Soul - is joined by The Buckshot Hunters, who are: Jon Grimsby on drums and percussion; Ian Fredrick Johannessen on electric & acoustic guitar; Arfinn TØrrisen on guitar, and baritone guitar; Morten Nordskaug on bass, and backing vocals; and Paul Wagnberg on Hammond B3. The 'friends' referred to along with the band's name include: Cristopher Lund Andersen on electric & acoustic guitar; June Core and Jack Bruno on drums; Curtis Salgado, Delbert McClinton and Mike Farris on vocals; Kevin McKendree on keyboards; Michael Joyce on bass; James Pennebaker and JW Jones on guitar; Dana Robins on saxophone; Andrew Duncanson on vocals and rhythm guitar; with Lisa Leuschner Andersen, Ronny Aagren, Trez Gregory, Stina Stenerud and Michael Wallace on backing vocals. Still Be Friends features twelve tracks with strong connections to J.T. and the rest of the projects players.
The disc opens with J.T. & TBSH doing a very well-done cover of Howard Tate's 1960's classic "How Come My Bulldog Don't Bark". When it comes to old school soul blues, these Norwegians have it down pat. Having reviewed their Blue Eyed Soul Vol 1 (2018) and Blue Eyed Soul Vol 2 (2020) I can honestly attest to that. The tracks' highlights include smokin' blues guitar leads from Arnfinn and Ian; a roaring rhythm coming from Jon (drums), Morten (Bass), and Paul (organ); and J.T. belting out vocals as large as his frame.
Although it wasn't written by J.T., the title track - "Still Be Friends" (L. Fulcher, R. Osborn) perfectly describes the album's mission statement:
"This could be the last time I see you for a while,
Might be the last time I see your smile.
But for all time, we will still be friends."
Speaking of friends, some of those appearing with the TBSH on this one include Christopher Andersen on guitars, his wife Lisa on backing vocals, and June Core on the drums.
"I Oughta Know" (C. McClinton, B. Channel, B. Parnell) is another one that features J.T. and the TBHS showcasing the tightness that comes with longevity. These guys are one heck of a well-oiled machine that are just masterful together. Addressing giving into temptation, the songs lyrics just might be relatable to many, especially the "Sometimes I say yes, when I oughta know" line.
The story J.T. tells about "When Rita Leaves" (D. McClinton, G. Nicholson) on the sixteen-page booklet that accompanies the CD is worthy of sharing. Back in 2005 while both Delbert McClinton and J.T. & TBSH were appearing at the Notodden Blues Festival, they struck up what would become a long-term friendship. At that event, Delbert invited J.T. up to play accordion with him while the band played "When Rita Leaves". In subsequent years, Delbert also invited J.T. and the band on several of his Sandy Beaches Cruises where they again performed the song together. Fast forward twenty years, and J.T. can barely hide his excitement while telling about Delbert saying "Yes" when asked to perform it with the band on this CD. Kinda makes you think about the disc's title, doesn't it? BTW, this masterful performance is certainly one of the disc's best.
With Mike Farris sharing the vocals, with J.T.; Kevin McKendree on the keyboards; Michael Joyce on the bass; Jack Bruno on the drums; James Pennebaker on the guitar; and Dana Robins on the saxophone; it's quite obvious that Nashville is in the house on "More Days Like This" (G. Nicholson, S. Walker). What should also be quite obvious is that with that lineup, this track features one heck of a vocal and musical performance.
"Hold What I Got" (G. Nicholson), features the same musical lineup as above with Curtis Salgado joining in on the vocals. The song has J.T. and Curtis offering some very sound advice:
"Watchin' me watchin' all the pretty young women, I have to laugh at myself.
They got me grinnin', my head spinnin', but I don't want no one else.
"I'm gonna hold what I got, I'm gonna hold what I got till I'm gone."
"No Good Place To Cry" (G. Nicholson, R. Houser) is the last of five tracks recorded at Kevin McKendree's Rock House Studio in Franklin, TN, and featuring the all-star Nashville lineup. The track's short and solemn sax intro from Dana immediately sets the tone for this melancholic ballad on which J.T. absolutely sings his heart out. Along with Stina's angelic backing vocals, they took me to church on this one. Hands down, as these slow bluesy ballads usually are, this was my favorite song of the lot.
The disc closes with the song's composer - Andrew Duncanson - joining J.T. on the vocals. With that duet being joined by Ronny, Michael and Stina on the backing vocals, it's an absolutely beautifully sung song. Musically, JW Jones is stunning on the guitar leads; and Jon, Morten & Paul are at their usual Buckshot Hunters selves on the soulful rhythm.
Other tracks on Still Be Friends include: "Friction" (G. Nicholson); "Stronger Than You Need To Be" (G. Nicholson, David Z., B. McCabe); "Soulshine" (G. Nicholson); and "Easy Kind of Love" (J. Russo, C. Andersen).
If you haven't yet gotten a copy of "Still Be Friends" for airplay, or if you just want to learn more about J. T. Lauritsen & The Buckshot Hunters, please contact them at - www.jtlauritsen.com. As usual, please tell them their buddy the Blewzzman sent you.
I'm happy to say that Slim Pickin', the latest release by three-time UK Blues Award winner Oli "Mississippi" MacDonald, is the fourth of his releases that I have had the pleasure of working with. On his second acoustic release, Mississippi MacDonald - on vocals and guitars - is joined by long time bandmate Phil Dearing - the album's producer - on keyboards, guitars and percussion; and Brent Cundall on bass. The disc's ten tracks are a 50/50 mix of originals and covers.
On the opening track titled "Trouble Doing The Right Thing" (Zachery Logan) - a re-worked version of a song off of his 2023 Heavy State Loving Blues release - Mississippi MacDonald immediately establishes himself as a real deal acoustic blues artist. His vocals and acoustic guitar work leave absolutely nothing to be desired.
More often than not, acoustic releases are generally by solo or duo performers. That said, it is my opinion that this trio that Mac has assembled is the ideal combination for an acoustic performance. On the original title track - "Slim Pickin'" - hearing his soulful vocals and masterful guitar work, along with Brent's deep bass lines and Phil's fanciful piano playing, will testify to that.
As the title, "I'm Sorry", should imply, this moody ballad finds Mac apologizing for the wrongs he's done. The sincerity in his "If I get time, I'll make it right" statement leads me to believe he'll surely find that time. The track features some of Mac's best guitar playing, especially the masterful pickin' as the song ends.....which, of course, made it worthy of a replay.
Paying homage to the elder statesmen of acoustic blues, Mississippi MacDonald puts on an absolutely flawless rendition of Blind Willie McTell's "Statesboro Blues". It's performances like this that may very well get Mississippi MacDonald some recognition in future "Acoustic Blues" categories at future award ceremonies.
On another of his originals, "Got To Get To Walkin'", Mac is hell-bent on getting himself to Memphis. Although his destination is one to appreciate, his method of getting there seems questionable. That said, Memphis is indeed a good place to be when those awards get handed out.
This embittered ballad finds Mac down in the dumps over being dumped. Not knowing why, he mysteriously finds answers while listening to "Sad Songs". His exact heartfelt and emotional words on this original song are "You up and left me and didn't tell me why, sad songs will kill you every time". Phil's beautifully soft and somber piano playing is the perfect accompaniment for Mac's sorrow.
Other songs on this very well-done album by Mississippi MacDonald include: another original titled "My Bad Attitude"; "Goin' Down Slow" (James Oden); another re-worked version of a song off of an earlier release - "Strange Things Happen Everyday" (Sister Rosetta Tharpe); and "You Can Love Yourself" (Kevin Moore).
To find out more about Mississippi MacDonald, just go to - www.mississippimacdonald.com - and should you have not yet received your copy of Slim Pickin' for airplay, please contact Betsie Brown at www.blindraccoon.com. Remember, wherever you go and whoever you talk to, please let them know The Blewzzman sent you.
A comment in the biography section of the one sheet accompanying Man On A Mission, the eighth release by Manu Lanvin, states that "Every album that Manu has released has reached #1 in the French Blues Charts". It's no wonder why, on that same one sheet, Davis Coen referred to him as "A driving force in French blues-rock".
On Man On A Mission, Manu Lanvin - on guitars, drums, kazoo and vocals - is joined by: eight other musicians who play drums and/or percussion; at least three others who play bass - in one form or another; three others who play many different keyboards of many types and makes; a few horn and harmonica blowers; a couple of other guitarists of different types; eight background singers; many handclappers; and even someone whistling and making a 'vinyl scratch'. That said, since I cannot list them all, I'll try my best to give credit during my individual song descriptions. Of the disc's thirteen tracks, Manu had a hand in a dozen of them.
The disc opens with a rocker titled "Just Need Me" (J. Clarkson, A. Bauer). With gritty and heartfelt vocals, Manu tries to keep a good attitude about a bad breakup. His way of thinking is "Lost is my love, found is my soul, every dark cloud has a silver lining........I don't need you, I just need me, never felt so free". Musically, the guitar work between Manu and Axel Bauer is indeed electrifying, with the rhythm on this one coming from the hands and feet of Raphael Chassin on drums and percussion, and Nicolas Bonnière on Moog bass.
One of the many highlights on "I Can't Get Enough Of You" are the absolutely beautiful reoccurring sound effects by Manu, Bennett Holland, Jenny Bonneau, BJ Scott, and Chantal & Steve Kashala that kick off the song. That said, I'm sure there's an earworm in my near future. Lyrically, the clever chorus lines of "I can't get enough of you, no matter what you put me through. I can't get enough of you, but have you had enough of me?" finds Manu struggling with some self-doubt. Simply by the number of rhythm and percussionists on the disc, that part of the instrumentation is certainly prominent on all the tracks. This track features Michael Désir on Drums and percussion, with Laurent Vernerey on bass. Helping take things up a notch are Bennett on the keys and Malcom Strachan & Athol Ransome on horns.
In my opinion, "Change My Ways" is not just the best song on the disc, but it could very well be the best song I've heard all year. If I were still on the Blues Music Awards Nominating Committee, this one would unquestionably be at the top of the list on my "Song of the Year" and "Vocalist of the Year" submissions. If you're a vocal instructor and you're addressing putting your heart and soul into singing a song, make it easy on yourself and just play this song. On this soulful and emotional ballad, as he regrets his past, Manu just reeks of sincerity while pleading "If I could change my ways, would you still walk away. Baby will it make you stay, If I could change my way, change my way?" Trust me when I say this, on this masterful vocal performance, Manu takes 'singing your heart out' to a whole other level. WOW! Led by Bennett's brilliant piano and organ work; Laurent, once again laying down those deep bass lines; and this time, Karim Bouazza on the drums and percussion, the rhythm is typically outstanding; and, as he is doing on the vocals, Manu is killing it on the blues guitar leads.
"The rain is coming down; Johnny law come around; My whiskey's run dry; The president lies; Another man in my bed; Baby got no bread"; are just a few of the many reasons Manu will tell you "I Got The Blues". However, the most concerning one is "Can't carry this heavy load, don't see no signs of hope; Further on up the road, somebody get me a rope". Thankfully it's just a song, right Manu? With Karim on the drums; The Psot Boys on percussion; Nicolas Bonnière on bass and Farfisa; Bennett on piano and keys; Bako Mikalian on harmonica; Quentin B on the dreaded vinyl scratch; and the back up vocalist of Zhanè Lanvin, BJ, Chantal and Steve once again belting out another round of vocal sound effects; there's a whole lot going on musically right here.
"Savigny-Sur-Orge" is a sullen, and what I'm feeling to be a truthful tale, of a not so pleasant period in the life of a young Manu and his mother. "Mama I found his busted guitar on the floor, but it's never gonna hurt you anymore. Tonight I'll sing a song you never heard before, and leave this dirty sack at the door" should pretty much explain it all. With Laurent and Bennett back on the bass and keyboards, and Malcom & Athol once again blowin' their horns; this one also features Raphaèl Chassin on the drums and percussion; Nicolas now on the Melotron; and Manu belting out another emotional vocal presentation.
Being quite blunt with his explanation, "Saving Angel" finds Manu telling a potential suitor why he just might not be the right man for her:
"The devil was my daddy;
Jack Daniels was a friend;
Cocaine is my cousin;
The party never ends;
I ain't the saving angel you're looking for".
Further assuring her of the loser that he is, he continues with:
"I'm the missin' man on our wedding day;
I was lookin' for the church, another bar got in the way;
I ain't the saving angel you're looking for".
Alrighty then.
Back at it are Laurent, Bennett, and Raphaèl on the bass, piano, and conga & percussion respectively; Julièn Audigier on drums & percussion; and Julie Layse joining in with the fabulous backing vocalists.
The disc closes with "Une Nuit", a song that is sung in Manu's native language of French, and not understanding one word of it took nothing away from me enjoying it. After all, doesn't everything spoken in French sound beautiful? What was totally understanding was the instrumentation, and it was as beautiful as the song itself.
Other tracks on this very well done album include: "Did You See Judy?"; "What's The Matter With You?"; "I Don't Wanna Say Goodbye"; "Could It Be Love?"; "Make It Right"; and the title track, "Man On A Mission".
If you've not yet received a copy of Man On A Mission for airplay, please contact Betsie Brown at - www.blindraccoon.com - and should you like to find out more about Manu Lanvin just go to - www.manulanvin.com. Remember, wherever you go and whomever you speak with, please tell them their friend the Blewzzman sent you.
Play The Blues, the third release from Frankie V. and the Lonely Club could not have been more appropriately titled, because these guys came to do just that.....play the blues!
The band features Frankie V. - the composer of the disc's ten tracks - on guitar, dobro and lead vocals; Rich Sylvester on keyboards and vocals; Mike Lencioni on drums and vocals; Johnny Valentine on bass; and Ricky D. on sax. Also appearing are Gloria Cumelis on background vocals and Bruce La Mantia on drums.
A comment on the one-sheet accompanying the disc states that "Frankie V. and the Lonely Club deliver the record they've always wanted to make, a straight-up, full-throttle blues album.....", and within seconds of the opening track - "Purple Heart Blues" - it appeared they were well on their way to accomplishing exactly that. Frankie's stinging blues guitar leads; his low down, gritty vocals; the slow blues rhythm groove that Rich, Bruce, and Johnny are locked into on the organ, drums, and bass respectively; and Ricky's fervent sax interludes; are indeed the perfect ingredients for straight-up, full-throttle slow blues at its best.
I'm pretty sure that most of us who have interacted with this product have at one time or another had a case of the "Reposado Blues". The song addresses the trials and tribulations associated with tangling with tequila and losing. Musically, this is a whole lot more of what I spoke about above, with lengthy and crazy good blues guitar runs from Frankie. Lyrically, vocally and musically, slow blues don't get much better than this.
Whatever it is you may be doing, Ricky's smooth, subtle sax leads and Rich's titillating tickling of the ivories on the intro to "So Long Ago", will make you want to stop, sit back and let this one carry you away. Then, Frankie starts crooning and the trance just got enhanced. From start to finish, this is one heck of a beautifully done track.
When you've been doing it for so long, and you do it this good, ya gotta throw in at least one blues rocker. "Home Is Where You Are" starts off with the line "Going down the highway with my foot on the floor" and that pretty much says it all. With that pedal to the metal vibe, this smoker features ferocious rhythm, exuberant guitar runs, and robust lead and harmony vocals.
"The Roller" is a solo acoustic performance by Frankie that showcases his masterful Dobro skills and his eloquent vocal abilities. At just two minutes and fourteen seconds, I highly recommend you give this one two to three replays. It's deserving.
Ironically, it's because of her bad habits that Frankie finds his woman a "Hard Habit" to break. He claims that leaving her might just be a mistake. Hmmmm! Maybe thinking like that is the real mistake. This shuffle features the usual fabulous guitar leads from Frankie and a super soulful sax run by Ricky.
The disc closes with "Chili Pepper Blues". It's a solo acoustic instrumental that features Frankie showcasing his mastery of the slide guitar. Another short and sweet one.
Other tracks on Play The Blues include: "Birds And Bees"; "Letting Go"; and "No Place To Go".
If like me, Frankie V. and the Lonely Club have flown under your radar, here's your chance to do something about that.
If you've not yet received a copy of Play The Blues for airplay, please contact Vince Sanchez at - VSOPROD@gmail.com - and should you like to find out more about Frankie V. And the Lonely Club, check them out at - www.FrankieVandtheLonelyClub.com. As usual, when you contact them, please tell them their new friend the Blewzzman sent you.
Deep Mud is what I believe to be the seventh release from Mud Morganfield and oddly enough, the first one I'm having the pleasure of reviewing. On the other hand, I have had the pleasure of seeing him perform live several times, with one of my favorites of his performances being when he portrayed his father - the great Muddy Waters - in a stage production called Ghost Of the Blues. It was a blues musical that celebrated the music we love and the legends who created that music. The show also featured Biscuit Miller as Willie Dixon, Stacy Brooks as Etta and Koko, Bobby Wilson as Robert Johnson, James Armstrong as John Lee Hooker, and was narrated by Big Lou Johnson. Damn, talk about a soundtrack! Speaking of which, I'd better get back on track and start telling you about Deep Mud.....
Joining Mud Morganfield, on vocals and bass, are: Rick Kreher, one of Muddy's last guitarists, on guitar; Mike Wheeler on guitar; Melvin "Pooky Styx" Carlisle on drums; the disc's producer, Studebaker John on harmonica; E.G. McDaniel on bass; Sumito Ariyo Ariyoshi and Rooselvelt Purify on piano and organ; Rodrigo Mantovani on upright bass; Phil Perkins on trumpet; with Felicia Collins, Kristen Lowe, Jacole Avent, and Demetrias M. Hall on background vocals. Deep Mud features twelve of Mud's originals and two covers of Muddy's songs.
Sounding exactly like something Muddy would say, "Bring Me My Whiskey" opens up with Mud saying, "Bring me my whiskey and set my woman by my side". Yep, this apple did not at all fall far from the tree. That said, that same proverb can certainly be said about Mud's vocals and singing style. Stating "I don't want no vodka, cause vodka makes me sick. Don't give me no gin, gin always make me sin", Mud makes it clear that only whiskey will do. Musically, "Pooky Styx" and E.G. have a hard driving rhythm going on while Studebaker John and Rick are firing it up on the harmonica and slide guitar respectively.
Like so many bluesmen before him, Mud wants a "Big Frame Woman" to, amongst other things, hold him tight and love him morning, noon and night. This up-tempo, dance floor filler features a rhythm to shake to, hot lead guitar licks from Mike, and fabulous piano runs from Ariyo.
Along the lines of those old Memorex commercials that featured Ella Fitzgerald belting out a song while you're being asked "Is it live, or is it Memorex?", Mud's rendition of Muddy's "Strange Woman" could actually have you wondering is it Mud, or is it Muddy?
This smokin' eighties dance music number titled "She's Getting Her Groove On" is sure to transcend you to a dance floor filled discotheque, and if it doesn't get you getting your groove on, you gotta be in a coma. Of course, the rhythm is funky and the energy is taken up a notch by the blazing trumpet blowing from Phil and the very lively organ runs from Roosevelt.
"Ernestine" certainly had a profound effect on Mud. Shortly after asking "Ernestine, Ernestine, can I go home with you?", he immediately comes back "Ernestine, Ernestine, will you marry me? I'll give you anything, anything that you need". Musically it features fiery blues harmonica from Studebaker John; fierce blues guitar leads from Rick; and fervid blues piano runs from Roosevelt.
In a statement he makes on the disc's liner notes, this is how Mud described his music: "Listen man, it's Chicago blues. None of that rock-blues. No rock-blues here for Mud"; and there is no better track to back that up with than "Strike Like Lightning". With every box checked, this is slow and lowdown Chicago blues at its finest.
Along those same lines, with its deep rhythm; serious blues harmonica leads; and monster slide and lead guitar runs; "The Man That You're With" definitely keeps the slow blues thing going on.
On a track titled "A Dream Walking", Mud pays homage to his late mom. The pain he still feels from her loss can clearly be felt from his very emotional and heartfelt vocals. One of the lines from the song is "Have you ever seen a dream walking, have you ever heard an angel sing?" and between the angelic backing vocals, of Felicia, Jacole and Demetrias; and the Gospel feel coming from Roosevelt on the organ; a hymnal effect has indeed been created. An absolutely glorious way to close things out.
Other tracks on Deep Mud, which could very well earn Mud a few more Blues Music Awards, include: "Don't Leave Me"; "Consigner Man"; "Lover Man"; "In And Out Of My Life"; "Carolina"; and "Country Boy", the second Muddy cover.
Should you have not yet received your copy of Deep Mud for airplay, contact Michelle Castiglia at - macradiopromo@gmail.com - and if you need to know more about Mud, check him out at - www.mudmorganfieldblues.com. As usual, whomever you contact, please tell them their friend the Blewzzman sent you.
Grammy Awards, Blues Music Awards, and a Keeping the Blues Alive Award are just a small sampling of singer/drummer/songwriter/producer Tom Hambridge's accomplishments. Listing the rest, and the names of superstars he's produced and/or collaborated with from many different genres of music would indeed be a task that I'm not up for. That said, if you don't already know, I do suggest a visit to his website linked below.
Down The Hatch contains twelve original songs of which several were written or co-written for other artists. Tom's thoughts on this were "I wanted to do my version - the way I heard them in my head when I was writing them". Joining Tom - on vocals, drums, triangle and tambourine - are: Rob McNelley, Bob Britt and Tom Bukovac on guitars; Tommy MacDonald and Anton Nesbitt on bass; John Lancaster, Mike Rojas, Jimmy Wallace, and Noah Forbes on keys; Tim Lauer on accordion; Buddy Guy on guitar; Kevin McKendree on piano; and Glenn Worf on upright bass.
The opening track - "Willie Dixon's Gone" - is one of Tom's three 'revisited' originals. It's a smoker that he co-wrote with George Thorogood back in 2011 for the 2120 South Michigan Ave album by George Thorogood and the Destroyers - which Tom produced and played drums on. Thinking back to his teenage years, when he first discovered "crazy music on a midnight show blasting from Chicago" on his radio, Tom reflects on how things have since changed - one being "The blues ain't as blues, since Willie Dixon's Gone". With Tom, Rob and Tommy in full throttle power trio mode, this one defines the term 'rock-blues'.
Another of those older originals - "Every Time I Sing The Blues" - is one Tom and Gary Nicholson wrote that was originally recorded by Buddy Guy and Eric Clapton. With heartfelt and emotional lines like "I find my inspiration in tears and desperation. It's a sad, sad story that we all know so well; I'm just trying to tell the truth, every time I sing the blues", Tom may very well be at disc's best on vocals. This blues ballad features a tight, laid-back rhythm groove with Rob laying down the scorching blues guitar licks.
I'll take 'similes' for a thousand please.....
Answer: a rabbit wants a hop; a bottom wants a top; an actor wants a line; the police want a crime.
Question: What are just a few of the far-fetched similes Tom Hambridge uses on his "I Want You Bad" song to make his woman know exactly how badly he really wants her? Alright, give me a break, please. As far as I know, there's no rule that the reviewer can't try to be as clever as the songwriter.
There may have never been a more truthful song written than "Believe These Blues" - the final of the three 'revisited' originals written by Tom with Richard Fleming, and recorded by Christone "Kingfish" Ingram. With lines as realistic as "As long as people have to cry"; "Bad things happening to good folks everyday"; and "Children going hungry, with nothing on their plate"; Tom honestly believes these blues are never gonna die. Musically, the song's dark rhythm vibe and somewhat eerie guitar work of Rob's, are the perfect accompaniment for its gloomy lyrics.
Many people have talked about what to do when life hands you a bunch of lemons, but as far as I know, Tom's the only one whoever wrote a song about it. With a "half-filled cup of things he loves enough", Tom is "Making Lemonade". This dance floor filler features all the Toms - Hambridge on the drums, MacDonald on the bass, and Bukovac on guitar - in all out-jam mode; with a bit of extra rockin' thrown in by Tim Lauer on the accordion.
On an instrumental track called "You Gotta Go Through St. Louis", Tom takes us back to his early rock 'n' roll roots. This could very well have been called "Chuck Berry (who Tom played drums for) Meets Jerry Lee Lewis And All Hell Breaks Loose" because that's exactly what is happening. With Buddy wailing away à la Chuck, on guitar; Kevin wailing away à la Jerry, on piano; and Tom and Glenn respectively beating up on their drums and upright bass; this is good ol' rock 'n' roll at its rockin'est.
If you were to ask people how they relate to seeing the morning sunshine, I'm sure you'd get many different responses with most of them being inspirational. On the other hand, if you were to ask that of Tom, he'd flat out tell you it's another "Start Drinking Early Day". This one has that down home, sittin' on the front porch - with a gallon jug of corn liquor, of course - feel.
Other tracks on what will certainly be yet another critically acclaimed release by Tom Hambridge include: "How Blues Is That"; "Hard Times"; "What Does That Tell You"; "What Might Have Been"; and "I Wanna Know About You".
If you've not yet received a copy of Down The Hatch for airplay, please contact Betsie Brown at - www.blindraccoon.com - and should like to find out more about Tom Hambridge just go to - www.hambridgetunes.com. Remember, wherever you go and whomever you speak with, please tell them their friend the Blewzzman sent you.
Although Right On Time is John Christopher Morgan's debut release, he's certainly no new kid on the block. While honing his skills in the Detroit area, touring Europe, and eventually settling in the Los Angeles area, John has consistently been surrounded by luminaries. As a matter of fact, his bandmates on this project are quite a celebrated lot.
On Right On Time - John, on vocals, drums, percussion, marimba, strings, string arrangements and train whistle - is joined by: Ralph Carter on bass, guitar, piano, keys, upright bass, and string & horn arrangements; Blake Watson on bass; Zach Zunis, Rick Holstrom, Brophy Dale, Frank Goldwasser, and Albert Lee on guitars; Martin "Nutty Brown" Gagnon on piano & backing vocals; RJ Mischo on harmonica; Bill Flores on accordion; Aaron Liddard on saxophone; Ron Dziubla on saxophone & flute; Trevor Mires on trombone; Simon Finch on trumpet; Jamie Wood and Marcy Levy on lead and backing vocals; and Viva Vinson on backing vocals. Of the disc's thirteen tracks, nine are band originals.
Talk about making a song your own, John and the band took Huey Lewis' street corner doo wop song "Bad Is Bad" and totally turned it into a scorching blues shuffle. As a line in the song states "Cool is the rule, but sometimes bad is bad".....this one is indeed bad. It opens with RJ Mischo going toe to toe on harmonica with a thunderous rhythm coming from the hands of John and Ralph, and from there it does nothing but get badder. Vocally, John and Marcy certainly do sound 'cool' on the vocals.
One of John's originals is a song titled "Ain't We All In It Together". With John doing a spoken word presentation of the song's inspirational lyrics, Viva Vinson's vocal support takes the song to a whole other level. Her heavenly lead and harmony vocals make you want to throw your hands in the air and sing along to what she, and the strings, have turned into a hymn.
While paying tribute to some of his early nineties California bandmates, King Ernest and Lester Butler, John and the guys lay down a masterful rendition of Lester's "Black Bag Blues". It's a rhythm driven smoker that features John belting the hell out of the vocals; RJ wailing on the blues harp; "Nutty Brown" goin' nuts on the piano; and Zach - who having played on the original version of the song, has to be feeling pretty damn excited right here - shining on the blues guitar leads.
For so many reasons, "The Jeweler's Daughter", is my personal favorite. Yes, it is indeed because it is slow blues at its very best, but the clever lyrics and the sarcastic banter between John and Jamie are fabulously entertaining as well. The story takes place in a jewelry store where John takes Jamie to buy her a diamond ring for a Christmas present. However, things take a turn as John pays way too much attention to his salesperson - the cute, sexy, jewelers' daughter. For the whole effect, you're just going to have to listen to this one for yourself. Musically, with John and Ralph in a perfect rhythm groove being helped by strong support from Martin, Aaron and Trevor on the piano, sax and trombone, respectively; and Zach nailing the guitar leads; this one has all the needed and perfectly performed slow blues ingredients.
On this one John (vocals & drums) teams up with Brophy Dale (guitar) and Blake Watson (bass) for their only appearance on the disc and the trio do a remarkable job of making Guitar Slim's "Done Got Over It" their own. Sounding nothing like the original, musically, this rendition could very well be a part of the next "Kong" movie.
With its so cool SOCAL vibe, Frank Goldwasser was certainly the perfect choice as the guitarist on "Jumpin' With Leon" - an instrumental he and John composed. With its rockin' rhythm, led by Ralph's profound bass lines; rollicking piano runs from Martin; jumpin' horns led by smokin' sax leads from Aaron; and those famously sassy west coast guitar chords by Frank; this one is definitely for the swing dancers.
The disc closes with the title track, an original of John's titled "Right On Time". As the train whistle that opens the song indicates, this one does have the energy of a powerful locomotive. From that whistle to the track's last note - another whistle - there is absolutely no relenting. With Albert Lee and Rick Holstrom leading the way on guitars, Bill Flores adding the hoedown vibe on the accordion, and John and Marcy belting out the sing-a-long lyrics, this rhythm fueled country style smoker is sure to pack the dance floor.
Other tracks on this excellent debut release by John Christopher Morgan include five more originals, titled: "Vidalia"; "Trouble Is My Business"; "Last Heartbeat"; "San Buenaventura" and "Black Bottom Blues"; plus, a cover of Bo Diddley's "Let the Kids Dance".
If you've not yet received a copy of Right On Time for airplay, please contact Betsie Brown at - www.blindraccoon.com - and should like to find out more about John Christopher Morgan, check him out at Facebook at - www.facebook.com/merryfieldmorgan. Remember, wherever you go and whomever you speak with, please tell them their friend the Blewzzman sent you.
