Blues CD Reviews 108
Frankie V. And The Lonely Club Play The Blues VSM Records
By Peter "Blewzzman" Lauro © Oct 2025
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.
