Blues CD Reviews 111
The Anthony Paule Soul Orchestra
Featuring Willy Jordan
What Can We Do?
Nola Blue Records
By Peter "Blewzzman" Lauro © July 2026
For as many years that The Anthony Paule Soul Orchestra have been in existence, that's the same number of Blues Music Award nominations the band has had - nineteen. That said, put me down on record as saying 2027 is their year! With the submission period for the 2027 Blues Music Awards now open my prediction is that not only will What Can We Do? provide the band with their first (and possibly second) award, but one of its many excellent original tracks written by Christine Vitale, could very well be responsible for her first win as well.
On the band's seventh release, The Anthony Paule Soul Orchestra consists of: Anthony Paule on guitar; Willy Jordan on lead vocals, more cowbell and congas; Tony Lufrano on Hammond B3 organ, Grand piano and Wurlitzer; Tim Walker and Endre Tarczy on bass; Bowen Brown and Kevin Hayes on drums; Derek James on trombone; Ethan Piers on trumpet; Charles McNeal on tenor sax; Johnnie Bamont on baritone sax and flute; Rob Sudduth on baritone sax; Jon Otis on percussion; the album's producer Larry Batiste on lead and background vocals; Omega Rae and Nonna Brown on background vocals; and The Sons Of The Soul Revivers (Dwayne, Walter (RIP) and James Morgan) also on background vocals. Of the album's twelve tracks, eleven are Christine Vitale - a.k.a. Mrs. Anthony Paule, the band's publicist - and/or band originals.
Facing the demanding task of having to follow Wee Willie Walker, Frank Bey and Terrie Odabi - all former and very powerful Anthony Paule Soul Orchestra lead singers - Willy Jordan and his commanding voice make the passing of the torch a smooth transition. The chemistry between him, the band, and the background singers jumps right out and grabs you on the opening up tempo track titled "Still Smellin' Smoke". As he soulfully belts out the cleverly written lyrics of "I'm still smellin' smoke from the bridges I've burned", it's obvious he was the perfect heir to the throne.
"Too Late" starts off with Willy very openly sharing his pain and regret. Wearing his heart on his sleeve he confesses that "Watching you walk away, I've got no one but myself to blame. I shoulda done better, and put you first. Now it's too late, too late, too late". Musically, this wonderfully slow and soulful ballad features a melancholic rhythm vibe with fabulous Hammond and horn leads. It's my thought that this is one of several song of the year candidates.
Being written by Anthony, and with a title like "Bigger Guitar", if you're thinking this one features smokin' guitar runs from the boss man, you'd be one hundred percent correct. That said, on this instrumental dance floor filler, the whole band is on fire. With Bowen (bass) and Derek (drums) banging out a rollicking rhythm behind them, Tim's lighting it up on the Grand piano and the four piece horn section - with a killer solo from Ethan on the trumpet - are totally kickin' ass.
The topical "What Can We Do?" addresses the burden that fires, floods, and the lack of empathy by way too many of her inhabitants, are placing on Mother Earth. Switching to Endre on the bass and Kevin on the drums and adding Jon on percussion gives this one a bit of a Latin Vibe; and the backing vocals of The Sons Of the Soul Revivers on the chorus line give it a bit of a fifties feel.
"The Heart Never Says Goodbye" is a heavy-hearted ballad that tells of the pain and suffering associated with the loss of a loved one. It features Willy singing his heart out on lines like "I surround myself, with memories so clear"; "Sometimes I laugh, like you're still here"; "Sometimes I cry, 'cause the heart never says goodbye". With the rhythm section in a solemn groove, and the angelic voices of Omega and Nona on the backing vocals, the song takes on a heavenly feel. Easily, in my opinion, another song of the year candidate.
On this swinger titled "If It Ain't One Thing It's Two", Willy seems to have three, four and many more things to complain about. One in particular is his baby going out for a dozen eggs in the middle of the night when we all know that "Nothin' open at 3:00 Am 'cept hospitals and legs". Showcasing some sass and lots of range, this is one of my favorites of his vocal performances. In the meantime, in spite of Willie's grief, the band seems to be having one hell of a time on this jumpin' number.
Showcasing his falsetto skills, Willie sounds like he stole a page from the Smokey Robinson song book with his stunning vocal performance on "Walkin'".
The disc closes with an instrumental number titled "Blue Mood Indigo" and musically, it's one of the disc's best tracks. With the horn and rhythm sections creating a fabulous old fashioned big band vibe, Anthony is putting on what I believe is his best guitar work.
Other tracks on "What Can We Do?" - what I'm saying will be the vehicle the Anthony Paule Soul Orchestra and Christine Vitale will be driving home the gold in are: "Stranger"; "You Lie Like A Rug"; "Secret"; and "You're Nobody Till Somebody Loves You" (R. Morgan, L. Stock, J. Cavanbaugh).
Should you have not yet received your copy of What Can We Do? for airplay, contact Michelle Castiglia at - macradiopromo@gmail.com - and if you don't already know enough about The Anthony Paule Soul Orchestra, check them out at - www.anthonypaule.com. As usual, whomever you contact, please tell them their friend the Blewzzman sent you.
If you're reading this opening paragraph and you feel like you're experiencing a Déjà vu, you are. With just a few necessary changes, it's pretty much how I opened my review of Ain't Goin' Back, the band's last release.....
Souvenirs is the fifth release from Doug Duffey And BADD, and the third of theirs that I'm having the pleasure of working with. Rather than explain to you how the band got its name, I'll just list the members in a particular order, highlight some letters, and let you figure it out yourself. BADD consists of: Ben Ford on bass; Adam Ryland on drums and percussion; Dan Sumner on guitars, bass, vocals and percussion; and the boss man, Doug Duffey on vocals and keyboards. For this project they are joined by Betsy Shirley, Naomi Holder, and The Sweet-N-Low-Sistas on vocals; Matt Morgan on mandolin; Mason Howard on accordion; Bob Dowell on trombone; Bert Windham and Coby Heath on trumpet; Nate Johnson on tenor saxophone; and Wes Rougeou on sousaphone. As with most everything they do, the disc's nine tracks are all originals penned by the Double D's. With their self-described music being "One hundred percent original Louisiana blues, Delta soul, R&B, Bayou funk, and Swampadelic", it's no wonder the likes of George Clinton, Funkadelic, Marcia Ball, Rare Earth, and others along that style of performers have turned to them for material.
The disc opens with a track that features Doug woefully describing what you're left with after you put everything you possibly can into a relationship and it still doesn't work out - a "Broken Heart And Empty Hand". With B A & D in a relaxed rhythm groove on the bass, drums and keys respectively, Dan's guitar leads highlight this one.
"Bad Luck" is another track that features the nucleus of the band doing their thing with great music and vocals. With his water and gas lines busted; his air conditioner getting stolen; his pick-up truck breaking down; a pine tree falling on his house - then catching on fire; Doug's woes just keep on coming. Musically, with the usually tight rhythm going on behind them, the Double Ds are killing it on the keyboard and guitar leads.
"Axe Jes Rite" is a lesson on how to obtain something you might not necessarily had gotten in the first place. For example, Doug knows a gal who swears she won't, but he thinks she will - because he knows how to "axe her jes rite". He also knows a man who runs a moonshine still who says he don't sell none but Doug knows he will - if you "axe him jes rite". Sometimes he himself won't, but then again, maybe he will - if you "axe him jes rite". Simply said, it's all a matter of how you axe for sumtin'.
"Love Song" is a fun uplifting, smile inducing, sing-a-long that features BADD doing their best interpretation of a song you might hear coming out of a honky-tonk in the French Quarter that just stops you in your tracks and pulls you right in.....to sing-a-long with, of course. Nicely done number.
The title track tells a melancholic tale of mentally preparing yourself for life's final journey and having to leave behind all of the treasures, artifacts, sacred objects and precious "Souvenirs" you've acquired over the years. Musically, Doug on keys, Dan on guitar, and special guest Matt Morgan on mandolin are absolutely masterful together.
The disc closes with a song titled "Don't Let The Darkness In". If you've ever witnessed a Mardi Gras parade, or spent some time at the Saint James Infirmary, be prepared to be taken back to N'awlins when the five piece horn section on this one heats up.
Other tracks on yet another outstanding release from Doug Duffey And BADD include: "Better By Me"; "Delta Melody"; and "Sinking Into the Blues".
If you've not yet received a copy of Souvenirs for airplay, please contact Betsie Brown at - www.blindraccoon.com - and should like to find out more about Doug Duffey And BADD, just go to - www.dougduffeyandbadd.com. Remember, wherever you go and whomever you speak with, please tell them their friend the Blewzzman sent you. Also, you might just want to congratulate Doug Duffey on his Delta Music Museum's Hall of Fame; National Blues and Louisiana Halls of Fame; and Northeast Louisiana Music Hall of Fame inductions as well.
What It's All About is the eighth release for Michele D'amour and the third that we here at Mary4Music have had the pleasure of working with. Those making the music on the album are: Michele D'Amour McDanel on lead and backing vocals; husband Patrick McDanel on electric and upright bass and backing vocals; Steve Gorringe on electric guitar and backing vocals; Carl Martin on drums and backing vocals; Noel Barnes on soprano and alto sax, flute, and backing vocals; and Merlyn Ahern on keyboards and backing vocals. Of the album's eight tracks, seven are Michele's creations and one is a Junior Walker cover.
Speaking of Junior, with the music on What It's All About leaning into the blues with a classic R&B tradition, some of what you'll here will not only echo him, but Etta James; Martha and the Vandellas; The Isley Brothers; and Al Green. Quite a bunch of inspirators.
"What It's All About", the disc's title track, kicks things off and its old school vibe immediately lives up to the album's mission statement. Vocally, with an ample amount of sass, Michele's simple but often repeated chorus line of "Yeah, Yeah", totally makes the song. One listen and you'll know exactly why it's nicknamed "The Yeah, Yeah song". Musically, with a touch of funk, Patrick (bass) and Carl (drums) are laying down a strong dance inducing rhythm; and the standout guitar, piano and sax leads from Steve, Merlyn and Noel respectively, are exactly that - standout!
Since you're already on the dance floor, and The Love Dealers are still pounding out soulful, dance floor filling music - stay there! This cover of a Junior Walker & The All Stars track titled "Pucker Up Butter Cup" sounds as fresh now as it did fifty years ago. That said, hearing Michele coyly singing "Pucker up Buttercup, I want to kiss you just one time" does sound sexier than when Junior sang it. As you might expect, Noel is all over the saxophone on this one.
I know I say this every time I hear one and here I go again. I am a sucker for a slow, bluesy ballad when it's sung by a female vocalist with a great voice. "Pushing Away Love" is that slow, bluesy ballad and Michele D'Amour is that female vocalist with a great voice. Musically, this one is as beautiful as it is vocally. Excellent track!
"Tough Breaks and Bad Decisions" - we've all had some, and we've all made some. While lamenting over hers, Michele claims that "Tough breaks and bad decisions will be the end of me". Musically, with Patrick and Carl in a powerful rhythm groove on the bass and drums, this is another of the band's many dancefloor fillers.
The opening line of "The Visitor" - "What's that shadow at the window? I feel a chill run down my spine. Something's coming for a new soul, I just pray it isn't mine." - is an eerie situation that obviously has Michele concerned. That said, the vibe the band is laying down is the perfect accompaniment for the mysterious happening: the deep, dark rhythm sounds unsettling; the piano leads sound edgy; and the whispering of the flute from Noel brings it all together with a supernatural feel. For me, the flute - which in my opinion is just not used enough - made this one.
The disc closes with somewhat of an inspirational track titled "Let Go Of These Blues". It's a song about realizing that regardless of how bad things may get, you can always make them get better. As Michele says, "Life is so short, you don't have much time. When I feel broken down, well, I still have my mind. I wish I had known there were so many clues, and I've got to let go of these blues". This slow bluesy number features the usual tight rhythm; killer blues guitar leads from Steve; and heavenly keyboard work from Merlyn.
Other tracks on What It's All About" include: "Runaround" and "Broken People".
Should you have not yet received your copy of "What It's All About" for airplay, please email Michele at certifiedblues@gmail.com, and should you like to find out more about Michele D'Amour And The Love Dealers, check them out at www.micheledamourandthelovedealers.com. BTW, when you contact Michele, please tell her that the Blewzzman sent you.
Before even getting to the music, between the one sheet and the six page booklet included with Tribute To Theresa's Lounge, I could spend forever telling you about the album, the history of the club, the musicians who have played there, and a whole lot more. That said, aside from the small intro below, I'm going to focus on the songs and their performers. Besides, you can always let your fingers do the walking.....
This is a tribute album to Theresa Needham and her world famous Theresa's Lounge. There are 13 songs on this album. All these songs, except for John Primer's originals, were songs that you would hear down in the basement of Theresa's Lounge. All the musicians on this album got their start playing at Theresa’s Lounge, 4801 S. Indiana, Chicago, IL. They want to teach us the importance of this place and keep the music and history alive.
Along with John Primer, on guitar and vocals, the featured artists include: Billy Branch on harmonica and vocals; Bob Stroger and Jeff Brinkman on bass; Mary Lane and Willie Buck on vocals; Carlos Johnson on guitar and vocals; John Watkins on guitar and vocals; Harmonica Hinds on harmonica; and Twist Turner and Tony Mangiullo on drums.
The album opens with "Up In Heah" (Daniels & Moore), a track that Junior Wells used to open his set with on his weekly Thursday night gig at Theresa's. Coincidently - or not - the track sounds a whole lot like Mel London's "Messin With The Kid" that Junior had a big hit with back in 1960. This rhythm fueled smoker features Tony and Jeff all over the drums and bass; John belting out the blues both vocally and with killer guitar leads; and Harmonica Hinds very nicely filling the legends role on harmonica.
"Goin' down to Theresa's Lounge, that's the place where all the bluesmen hang out. Yes, I'm goin' down to Theresa's Lounge, that's where all the bluesmen hang out. It's the home of Junior Wells and James Cotton, when they play it will make you jump and shout" are the opening lines of "7 Nights For 7 Years" a song John wrote especially for this tribute to Theresa's Lounge. Lyrically, the track features John testifying about having paid his dues while working seven nights a week for seven long years while learning to play the blues, often wondering if he'd even get paid. Musically, the track features John nailing the storytelling vocals while showcasing those 'learned' guitar skills of his; Theresa's house harmonica player Harmonica Hinds blowin' the hell out of the harp; and two Chicago legends who have played with just about everyone who has ever sung the blues - Bob Stroger on bass and Twist Turner on drums - laying down the real tight rhythm.
The same ensemble continues to sound fabulous together on another of John's originals titled "The Blues Is King". With the band in mellow rhythm groove behind him, John - while stating "Blues has it's own power, the blues has it's own thing....Blues will always be around, always be the king" - puts on one hell of a slide and lead guitar performance.
"Sugar Sweet", a Mel London song that Muddy made famous, is the only track that features Billy Branch on both lead vocals and harmonica, and for that reason it's deserving of mention. Another big reason is that you'll hear what could be some of John's best slide guitar work.
Muddy Waters has had many recognizable lines in his songs and "Yeah bring me champagne when I'm thirsty; Bring me reefer when I want to get high" surely has to be one of the most recognizable. On his "Champagne and Reefer", while John and Billy are nailing the guitar and harmonica performances, Willie Buck does Muddy right with a masterful vocal rendition of the song.
On "We All Need Help", another of his originals written specifically for this project, John pays homage to Theresa Needham who through her actions and guidance, taught him the importance of giving to those in need.
Since Mary Lane was the the only regular woman singer at Theresa's, I believe John would have found it sacrilegious to not include her on this project. That said, enter 91-year-old Mary Lane sounding nothing close to her age as she puts her heart and soul into an appropriately titled song she wrote called "Mary's Song".
Sometimes, while covering another artist's song, a performer does so in a way in which they actually 'made the song their own'. Then there are the songs that weren't meant to be fooled around with and should be done exactly the way the original was. Muddy's "She's Nineteen Years Old" is one of them, and on his rendition, Carlos Johnson - both vocally and instrumentally - put on a classic performance of the classic song.
Should he ever decide to write it. "Blues Survivalist" - another of John's originals - could very well be the title of his autobiography. This slow blues number features John Primer and John Watkins sharing the scorching blues guitar leads; Bob Stroger and Twist Turner creating the perfect slow rhythm groove; and Harmonica Hinds blowin' the hell out of the blues harp.
Back in the day, one of the songs that James Cotton regularly performed during his gigs at Theresa's was "Here I Am Knockin' At Your Door Again". Since the song was written by John Watkins, John Primer thought it would be great to have him perform it for this recording - and it was.
Other tracks on what I'm sure will be yet another highly regarded album for John Primer at next year's various awards ceremonies include: "Little By Little" (Mel London); "Cut You A-Loose" (Mel London); and "Mean Old World" (Little Walter Jacobs).
As with everything that John Primer releases, Tribute To Theresa's Lounge is must have music.
If you've not yet received a copy of Tribute To Teresa's Lounge for airplay, please contact Lisa Primer at - lbeckerconsulting1@gmail.com - and should like to find out more about John Primer, check him out at - www.johnprimerblues.com. Additionally, you can learn more about the CD by stopping by www.blueshouseproductions.com. Remember, wherever you go and whomever you speak with, please tell them their friend the Blewzzman sent you.
Although the group has been around since the 1980s, when they were known as Charlie Karp and the Name Droppers, it wasn't until shortly after Charlie's passing back in 2019 that they officially became The Name Droppers. Since the release of their first album in 2020, Let's Live Together is the band's sixth release in as many years. That's impressive!
The Name Droppers, original members of the legendary Johnny Winter and Charlie Karp Bands, are: Bobby T. Torello on drums; Grammy winner Scott Spray on bass; Ron Rifkin on piano, organ and lead & background vocals; and Rafe Klein on guitar and lead & background vocals; with Simone Brown on lead and background vocals. Additional musicians include: Crispin Cioe on saxophone; Tim Dehuff on guitar; Jay Willie on slide guitar; Richard Hunter on harmonica; and Kevin Monroe & Devotion on choir. Of the 10 tracks on Let's Live Together, five are originals.
The next time you're at a blues show, a quick look around the room will most likely find you noticing a large amount of the attendees who, like Rafe, are dealing with a case of "Grey Haired Blues" - there's just no getting around the genre's demographic. On a song he wrote, although Rafe admits to his "roof being covered in snow" he also boasts that "there's still a fire below". With a rockin' rhythm backed up by some smokin' piano and sax leads; and excellent lead and backing vocals, this dance floor filler is a great introduction to the whole band.
The title track, an original called "Let's Live Together", is a cornucopia of musical styles. I'm hearing some rock; some soul; some R&B; a whole lotta funk; a bit of disco; definitely some blues; and even a bit of Gospel. This topical number relates the sadness in the news that causes us the blues, and the efforts we should all make to stop it. We do indeed have our work cut out. Super rhythm, hot sax runs and fabulous lead and backing vocals are just a few of this one's many highlights.
If you tell me you listened to "Heartbreak City" and weren't dancin' - or at least moving one or more of your body parts - I'll flat out call you a liar. As a matter of fact, I'm willing to bet that within this original track's first thirty seconds - which featured deep bass lines from Scott, vigorous drumming from Bobby, and rich and robust sax leads from Crispin - your whole body will be gyrating...mine sure was. With what appears to be common on all tracks, this time with Ron and Simone teaming up, the vocals were once again outstanding.
Showcasing such vocal versality on "Gotta Serve Somebody" (B. Dylan), Rafe actually caused me to contact the band to confirm that it was indeed him singing. Along with hymnal quality help from Kevin Monroe & Devotion this one features some of the disc's finest vocals. As always, this time led by torrid B3 organ runs, the rhythm is once again absolutely outstanding.
Be careful who may be listening as you sing-a-long to the "Hold me tight, talk dirty" chorus line on "Talk Dirty" (C. Karp, D. Hull, A. Resnick) a song that goes back to the Charlie Karp and The Name Droppers days. Along with his usually great vocals, Rafe's all over the guitar on this one as well.
On a song he wrote titled "Watch Pocket", drummer Bobby T showcases his gritty vocal style while guest guitarist Jay Willie puts on a killer slide performance. Lyrically, Bobby claims that since his woman left him, "There's a hole in his watch poctket 'cause time keeps slipping away".
This is not your Muddy Waters' "Mannish Boy" (M. Morganfield, E. McDaniel- aka Bo Diddley, M. London). Oh, it's the same song alright, but totally made their own by The Name Droppers. Hearing it may make you think back to when Ike and Tina did "Proud Mary" and Tina claimed, "We're going to take the beginning of this song and do it nice and easy, then we're going to do the finish rough". As with the Muddy's version, this one features great vocals and blues guitar licks (Rafe), solid slow (until it's not) blues rhythm by Bobby T and Scott, and killer blues harmonica by Richard Hunter.
Other tracks on this excellent release from The Name Droppers include: "Chain Of Fools" (D. Covey); "Don't Cry Over Me" (F. Durazzo); and "Love Lightnin'" (C. Karp, R. Klein).
If you've not yet received a copy of Let's Live Together for airplay, please contact Betsie Brown at - www.blindraccoon.com - and should like to find out more about the Name Droppers, just go to - www.thenamedroppers.net. Remember, wherever you go and whomever you speak with, please drop the Blewzzman's name.
During the twenty-four years we have been doing CD reviews here at Mary4Music.com, we have had the pleasure of working with so many artists who have repeatedly used our services. That said, spanning seventeen of those years we have had the honor and privilege of working with Shaun Murphy on eleven out of her thirteen releases. It is for that reason Mary and I are proud to announce that we are presenting Shaun Murphy with our first ever "Honorary Lifetime Achievement Award". Shaun, Mary and I want to thank you for all the trust you've placed in us over these years and for your long and wonderful friendship as well. Let's keep this thing going!
Review
When it came to assembling a band for this project, Shaun Murphy kept it simple. That said, there is nothing simple about the recording. As a matter of fact, with just four musicians backing her up, vocally, musically and production wise, Brand New Blues is simply masterful. Those joining Shaun - on vocals and tambourine - are: Tommy Stillwell on guitar and vocals; Tom DelRossi on drums and percussion; Anthony Saddic on keyboards; and Mike Mean on bass. The disc's thirteen tracks include four collaborations of Shaun's and nine covers.
The disc opens with a track titled "Mama's Home" (J. Edwards), and right out of the gate, with her signature power; melodic growls; and borderless range; Shaun immediately commands your attention. The song tells of Shaun's journey back to her lover and hearing her belt out a line like "Open your arms sweet daddy, mama's home" had to have put a smile on that lucky man's face. Musically, with it's roaring rhythm and substantial slide guitar, this one's a smoker indeed.
Everyone who regularly reads my reviews knows that I am a sucker for a slow, bluesy ballad done by a female artist with a beautiful voice. Enter Shaun Murphy. On an original titled "Mobile" (S. Murphy, L. Anderson, T. Stillwell), Shaun had me in a five-and-a-half minute blues ballad trance. With the rhythm section in a calmly, comfortable groove, Tommy's delicate guitar work is as beautiful as the song. Having mentioned this to her before, Shaun knows that I'd love to hear a complete album - or better yet, a seventy-five minute live concert - of nothing but songs like this. I'd even fly to Nashville for it.
Having just bared my soul over my love of her ballads, the other end of Shaun's spectrum leaves nothing at all to be desired. Listening to her rock out on "Brand New Blues" (D. Jones, R. Mason) will testify to that. Speaking of rocking out, just wait till you hear the heavy rhythm being pounded out by Tom and Mike, and the seriously scorching guitar runs from Tommy.
So when I saw this track on the list of songs, the first thought that ran through my mind was that Shaun, during her many tours with Bob Seger, has done it many times over. However, this is not that version of "Against The Wind" (C. Anderson), and I was not at all disappointed. As with every track - this time with Anthony leading the way with outstanding organ work - the rhythm is once again masterful; and the guitar work by Tommy is again stellar.
Prior to doing this review, the preliminary notes I had made for "Just As I Am" (S. Carrol, J. Solberg, L. Allison) were "had me from the opening notes 'cause I immediately knew it was a ballad, and no one does ballads better than Shaun". That said, methinks I already got my point across on this one.
If the clever but very matter of fact lyrics on "Take My Kiss Up Off Your Lips" (J. Edwards) didn't make it clear enough that you are being broken up with, the matter of fact attitude and intensity Shaun's using to broadcast them surely well. Damn girl! Highlighted by some of Anthony's best piano work, this one's again loaded with more great rhythm and guitar work.
Having been around the block a few times when it comes to relationships, the lesson Shaun has learned is that if she had to choose between love and monnnayyy (as she so sassily says), "I'm Gonna Take The Money" (A, Russell, D. Burgess, J. Cotten). Another vocal masterpiece with Shaun doing her own backing vocals.
Unlike other artists (The Four Seasons and Fergie, for starters) who have done songs with a similar sounding title, this original titled "Big Gurlz Don't Cry" (T. Barkoukis, K. Cramer, S. Murphy) is followed by the menacing line of "they get even".
One of the things I especially liked about the music on this disc being the product of just four outstanding musicians is that by the time I got to the last track - another original titled "Love's Track" (S. Murphy, T. Stillwell, K. Cramer), I appreciated not hearing several guitarists, drummers, etc, and I actually felt like I just listened to a concert.....and what a concert it was!
Other tracks on yet another Shaun Murphy masterpiece include: "Bad Luck And Trouble" (C. Anderson); "Killing Time" (C. Anderson); "Flatlands" (S. Azar); and another original titled "Love me Like You Used To Love Me" (S. Murphy, T. Stillwell, K. Cramer).
If you've not yet received a copy of Brand New Blues for airplay, it can be uploaded at Airplay Direct: https://app.airplaydirect.com/music/shaunmurphy/ or you can email T. C. Davis at loroad7@yahoo.com. Of course, if you want to find out more about Shaun Murphy, just go to her website – www.shaunmurphyband.com. Additionally, be it Shaun or T. C. you contact, please tell them their good friend the Blewzzman sent you.
Should anyone have not read it, this is one of those rare occasions where I'm going to repeat part of an earlier review of mine. Back in 2018, this is how I opened my review of City Soul, Russ Green's debut release.....
Having made his mark as an Assistant Director in TV and Film, with such credits as: ER; Prison Break; Hard Ball; The Break Up; and many more, Russ Green is now hoping to make a similar mark in the recording industry and thankfully, he has chosen our genre - the blues! Where he used to hang out with people like: Paul Newman; Tom Hanks, Daniel Craig, Vanessa Williams; Bruce Willis; and dozens more, he's now hanging out with the likes of: Sugar Blue; Billy Branch; John Primer; Lurrie Bell; and Big Llou Johnson - just to name a few.....
On his newest releases titled Stone Cold, Russ Green - on harmonica and vocals - is joined by returning bandmates Giles Corey and Vince Agwada on guitar; and Joe Munroe on keys; with newest members Vic Jackson on bass; and Felix "D-Kat" Pollard on drums. All ten of the disc's tracks are originals of Russ' which he says, "Relate to the trials and tribulations of everyday life".
Unlike some who were born with a silver spoon, "Lint Redux" finds Russ soulfully lamenting over the one that brought him into the world being "plastic, dirty, old and the damn thing was already broke". I guess you could say he started paying his dues right out of the gate; and while currently having "Nothing but lint in my pocket", he still is. Musically, it's a rhythm forward smoker with constant torrid harp leads.
On the title track, "Stone Cold", Russ hasn't yet had a chance to shake that hard-luck of his. As he tells it, "I heard my baby tell the preacher man that she loves everybody but me".....all while he was standing just a few feet away. Not being exactly sure of her intentions, Russ' paranoia now has him sleeping with his eyes open. This smoker features killer guitar runs from Giles; heated organ leads by Joe; roaring rhythm from Vic on bass and Felix on drums: and Russ just absolutely killing it with his compelling harmonica runs.
In the style of Luther Vandross, Barry White, et al, Russ' soulful vocals are as smooth as silk on a track titled "Waiting On You". He's even taken his usually cutting-edge harp blowin' down several notches, which along with the laid-back rhythm vibe, will surely make this a favorite of the slow dancers.
Keeping things laid-back and bluesy, "Nobody Knows" features a relaxed rhythm, soft acoustic guitar strummin', melodious harp blowin', and eloquent vocals.
With pleas like "If you call in the middle of the night, I'll be right there 'cause I need you baby", "Need You So Bad" is a song that finds Russ walking the fine line between optimism and denial. She's either going to come back to him or he just flat out needs to get over her. Musically - with a blend of some rock, blues, funk, jazz and soul, that's highlighted by intense guitar leads by Vince; profound rhythm and percussion from Vic and Felix; keen keyboard work by Joe; and vehement vocals and harp work from the boss; this is hands down the best track on the disc.
On a soulful ballad titled "I Believe", Russ is once again waiting for a lost love to return. Hearing the pain in his voice as he sincerely and emotionally sings "I gotta believe that I will see you again; I gotta believe that I will love you once more." will actually have you hoping he is right. With the band in a finessed groove behind him, Russ - with his heartfelt vocals and slow and bluesy harp leads absolutely shines on this one. Regular readers of mine know that when a song moves me like this one, I like to say that 'I believe' it has all the credentials for a song of the year nomination.
Simply said, I'm going to let the title of the disc's closing track tell you what it's all about - it's called "Boogie Joint". Amen!
Other tracks on another great release from Russ Green include: "12 Feet Of Water" "Hey Man"; and "Troubled World".
If you've not yet received a copy of Stone Cold for airplay, please contact Betsie Brown at - www.blindraccoon.com - and should like to find out more about Russ Green, just go to - www.russgreenmusic.com. Remember, wherever you go and whomever you speak with, please tell them their friend the Blewzzman sent you.
The Rail Yard Sessions is the fifth release from Boston based Rosedale Junction, and I'm proud to say that I have had the pleasure of working with four of them.
Unlike the band's previous releases, this one is totally acoustic. As Toby Soriero, the band's founder claims: "Because the blues grew out of acoustic instrumentation, I wanted to adhere to that format and create an album using only those tools. I believe it makes a greater impact and is more more musically pleasing to tell a story through a simple acoustic performance". Additionally, his take on the album's eight original songs is "I wanted to write material to fit my vocal style, aptly described as talking blues". My take is The Rail Yard Sessions is indeed a very unique and quite interesting album.
On the project, Toby - on lead and background vocals, guitar, resonator, bass, percussion, drums, mandolin, melodica, washboard, vibra-slap and banjo - is joined by: Devon Cox, Andrew Dolan and Leeloo on vocals; Trent Williamson on harmonica; Jim Riley and Jonathan Ulman on drums; Vito Salvatore Gutilla on violin; and Phil Madeira on accordion and piano.
The album opens with a powerfully spiritual duet titled "God Took That Water". Lyrically, with lines like: "I say when God comes a callin', it sure be my time to go"; "I know when it's time, I'll be standing in a long, long line"; "Lord won't you save me, save me and take me home", and "Don't shed a tear, got nothin' to fear"; the song conveys the message that come judgement day, you should not only be prepared but acceptive as well. With Toby providing the perfect musical accompaniment with slick pickin' on the Resonator and a laid back rhythm and percussion vibe behind him, Andrew's heartfelt and soulful vocal performance has me believing he is.
"Great Grandaddy Blues (Fumo Noir)" is one of the songs Toby was talking about when he referred to 'talking blues'. The song tells the story of Toby's not so wonderful snake oil selling great granddaddy and it covers the period from his immigration here in 1900 to the time he was murdered by his former friend Akilla (pun may or may not have been intended). It's another excellent musical duet with Toby, in addition to his gritty vocals, is masterful on about half a dozen instruments and Trent Williamson adding the perfect eerie harmonica leads.
Him: "I don't like the way you look, the way you dance and clean or cook."
Her: "Momma said you an old lazy bum, you so fat you must weigh a ton."
Him: "I'll drive ya to the super mart, I'll even help you push the cart.
But when it's time to pay the bill, don't look to me you old ugly shill."
Her: "I do like I told but the day gonna come, send you straight to hell with
this here gun. Gonna dig me a hole at least six foot deep, toss your fat
ass in lay you down to sleep."
With those just being a few of the warm and fuzzy exchanges between them, these two indeed have a terrible case of the "Shackin' Up Blues". While putting on an impressive vocal duo with Leeloo, this one once again features Toby displaying his multi instrumental skills and Trent with more outstanding harmonica blowing. On a side note, this one led me to google Leeloo and now I gotta say "Thanks for the intro, Toby".
This one is titled "My Old Man Is Crazy" and from the lyrics, his father obviously inherited some of his 'great granddaddy's' characteristics and bad habits.....like going to jail. The lyrics on this one are hilarious - especially with the very interesting way Toby sings...err, make that talks them. Musically, Toby on bass and Jim Riley on drums are laying down a cool rhythm groove; and Trent is back at it with his usually outstanding harmonica leads.
Having always been led to believe that God would provide salvation or money would provide prosperity, finding out that neither of those is happening for him has this poor soul learning that if it wasn't for bad luck, he'd have no luck at all. The song is called "God Or Money", and it's opening lines of...
"If you're lookin' for salvation, you're gonna have to, have to choose;
If you're lookin' for salvation, well you're gonna have to, have to choose;
God or money, either way you're gonna lose"... set the tone for this melancholic track. Because it is over six minutes long and it is real deal slow blues done perfectly, this is hands down my favorite track of the lot. Vocally, Devon Cox, with a very emotional presentation is clearly making you feel his pain; the rhythm of Toby on bass, Jonathan Ulman on drums, and Phil Madeira is right where the rhythm of these kind of songs must be to make them work; and Toby and Trent are both getting in their share of serious blues licks on the guitar and Harmonica, respectively. Real good stuff right here!
Sometimes something you read on a one-sheet or an album's jacket that pretty much needs to be said here the way it was there. That said, I'm going to let Toby tell you 'bout this one: 'Instrumentals are rare these days. "Tennessee Trails" is a country blues acoustic instrumental inspired by my passion for hiking, all things Nashville and love of the Allman Brothers' "Little Martha"'. I'll just add that it's a beautifully performed song that's highlighted by an amazing violin performance by Vito Salvatore Gutilla.
Other tracks on another very well done release by Rosedale Junction include: "My Baby Blues" and "New Woman Blues". To find out more about Rosedale Junction just go to the bands website - www.rosedalejunction.com - and if you haven't yet received your copy of
The Rail Yard Sessions for airplay, just email Toby Soriero at rosedalejunction@gmail.com. Additionally, the release can be found at all major online music platforms. Remember, wherever you go and whomever you talk to, please tell them the Blewzzman sent you.
