Roadhouse Album Review: Louisiana’s Doug Duffey cooks up tasty Swampedelic gumbo on “Souvenirs”

Doug Duffey and B.A.D.D. — “Souvenirs” — Fort Sumner Music

Louisiana native Doug Duffey has been drawing his musical inspiration from the fertile roots of the Mississippi Delta for more than half a century, cooking up a soulful gumbo laced with the spicy ingredients of his singing, songwriting and keyboard wizardry.

Duffey describes his music as: “One hundred percent original Louisiana blues, delta soul, bayou funk, and gumbo jazz, producing a sound best described as Swampedelic.”

He’s served up this soulful elixir from New Orleans to the rest of the world with national and international performances. Duffey has created his music long and powerfully enough to be enshrined in the Delta Music Museum’s Hall-of-Fame, National Blues and Louisiana Halls of Fame, and just last year, the Northeast Louisiana Music Hall of Fame.

Now, Duffey has released Souvenirs, the followup to his acclaimed Ain’t Goin’ Back. with his very good band, BADD (a title carved from the first initials of band members’ first names). The members include Duffey on vocals and keyboards; Dan Sumner on guitars, bass, vocals and percussion; Adam Ryland on drums and percussion, and Ben Ford on bass. Special guests include: Matt Morgan on mandolin, Mason Howard on accordion, Bob Dowell on trombone, Bert Windham and Coby Heath on trumpet, Nate Johnson on tenor sax and Wes Rougeou on sousaphone, plus the background vocals of Betsy Shirley and Naomi Holder. Duffy and Sumner wrote the songs and produced.

All that talent gathers to offer songs of love, loss and good advice in a spirited session that draws its inspiration from Duffey’s Louisiana roots. These BADD boys open with Broken Heart and Empty Hand, a gently swinging regret for a lost love: Though I did nuthin’ wrong, I’m feelin’ guilt and shame / But I know in my heart that I’m the only one to blame.” On Bad Luck, Duffey’s B3 adds depth and richness to his complaint that if it wasn’t for bad luck… “I’m talkin’ bout bad luck, jes keep on comin’ / Bad luck ain’t lettin’ go.”’ Better By Me builds a stinging guitar line as it rocks along with a chorus in the background and its grievance right up front: “We only held on, cause I was willing to fight / But one of these days, you’re gonna wish you’d done better by me.”

Delta Melody is gorgeous ballad with Duffey’s aching vocal reaching lovingly into the past: “I think of the time we sat and drank wine, down by the river / Loving each other, with night as our cover, with moss as our bed / As you thickly spread all your warm love over me.” Axe Jes Rite shifts into a swampy blues groove that lopes along with its sly lyricism: “I knows a gal what stays by the mill / She swears she won’t but I think she will / Iiz u axe her jes rite.” Sinking Into the Blues is a tough shuffle with a rocking piano solo leading deep into the blues: “Well, I can’t stop cryin’ and baby I aint lyin’ / But there ain’t no denyin’ i’m sinkin into the blues.”

Love Song has an old-timey vibe with crisp honky-tonk piano driving a good old-fashioned love song: “When your heart is filled with love / Nothing can be wrong.” Souvenirs is a delicate farewell, a letting go of memories at the end: “Leaving all I’ve known, leaving without fear / Leaving behind all my souvenirs.” The rousing closer, Don’t Let the Darkness In, is a New Orleans horn-fueled admonition that builds from its gentle opening bars and then marches off in a rollicking street-parade finale: “Don’t let the darkness in, don’t let it take control / Open your heart and let in the light, and let it fill your soul.”

Doug Duffey’s Souvenirs is a delightful journey through his Louisiana roots, nourished by the tasty Swampedelic gumbo that is as good as BADD can be.


Here’s “Better By Me” from the album:

Tracklist:

  1. Broken Heart and Empty Hand — 5:08
  2. Bad Luck — 4:43
  3. Better By Me — 4:04
  4. Delta Melody — 5:04
  5. Axe Jes Rite — 5:11
  6. Sinking Into the Blues — 2:27
  7. Love Song — 4:36
  8. Souvenirs — 3:21
  9. Don’t Let the Darkness In — 4:54

Roadhouse Ramblings: Faye Adams’ gorgeous 1953 recording of “Shake A Hand” is classic, enduring R&B

The music of the blues and its many cousins has been producing memorable songs for more than a century. Every once in a while, one of those songs makes a lasting impression and becomes part of the soundtrack of your life.

One of the earliest of these songs on my own blues timeline is the classic 1953 R&B hit by the big-voiced singer, Faye Adams — “Shake A Hand.” Her vocal power on this and other songs earned her the nickname “Atomic Adams”

It’s a gorgeous, gospel-inspired song, and Adams’ soaring vocal is full of passion and yearning, with minimal but effective backing that leans on subtle piano artistry.

The song was written by Joe Morris and recorded by Adams. It stayed at No. 1 on the Billboard R&B chart for ten weeks in 1953 and reached number 22 on the US pop chart. It sold a million copies and won a gold disc.

Adams had her own gospel roots; she was the daughter of gospel singer David Tuell. Her music career started at the age of five when she joined her siblings to sing spirituals as the Tuell Sisters.

Later, under her married name, Faye Scruggs, she became a regular performer in New York nightclubs in the late 1940s and early 1950s. Ruth Brown saw her perform and got her an audition with bandleader and trumpeter Morris of Atlantic Records. Morris recruited her as a singer in 1952, and signed her to Herald Records, under new management by her former vocal coach Phil Moore. After he changed her name to Faye Adams, her first release at Herald was Morris’s song “Shake a Hand.”

Adams had limited commercial success following “Shake A Hand,” with two more R&B hits, “I’ll Be True” and “It Hurts Me to My Heart” in 1954. By 1963 she had left secular music and returned to gospel. In 1998, she received an award from the Rhythm and Blues Foundation. Adams died on November 2, 2016, at the age of 93.  However, the song itself lives on, as its power and popularity, plus the elegant simplicity of its theme, spawned dozens of cover versions over the years.

The song has been redone by, among many others, Red Foley (#6 country, 1953), Johnnie Ray (1956), Little Richard (#71 pop, 1958), LaVern Baker (#13 R&B, 1960), Jackie Wilson (#21 R&B, #42 pop, 1963), Elvis Presley (on the 1975 album “Today” and Paul McCartney (on the 1999 album “Run Devil Run.” And of course, you know there’s even a Pat Boone version!

“Shake A Hand” sounds just as impressive today as it did 73 years ago. That’s the power of America’s classical music.


Here are some recordings of the song, starting with Adams’ original, then a live Adams performance of “Somebody, Somewhere,” then a few assorted covers:

Roadhouse Album Review: Ryan “Bluwrath” Newman makes impassioned debut on “Wrath of Blues”

Ryan Newman — “Wrath of Blues” — Feverbarn Recordings

When he was just eight years old, Ryan Newman heard an early Jimi Hendrix recording, Wind Cries Mary, and his future as a blues-rock guitarist was never in doubt.

The young Connecticut-based guitarist’s skill and style matured rapidly, and he and his first band were soon playing at clubs, fairs and festivals, sharpening his axe to a razor’s edge..

Along the way, it was said that he was asked to leave Berklee College of Music for playing “too loud.” That “loud” music – the blues of Hendrix, Stevie Ray Vaughan, John Mayall, B.B. King and other greats had already been permanently etched into Newman’s youthful soul. Most recently, this fixture on the Connecticut blues scene was named “Best New Artist” by the New England Music Hall Of Fame.

Newman’s passion for this music and his powerful guitar stylings have earned him the nickname “Bluwrath,” and sparked the title of his debut album, Wrath of Blues. It’s an eclectic mix of electrifying covers, uniquely interpreting music from Hoagie Carmichael to Bob Dylan, with one constant – “Bluwrath’s” fiercely emotive guitar.

Album producer, Jon Grossbard of Feverbarn Recordings, says: “I was astonished by the style and technique of this young blues devotee. The performance was explosive and authentic. I immediately knew I would have to record him with the best players I knew to help raise him up to where he needs to be: a new young dynamic force in the blues scene.”

Wrath of Blues overflows with 13 smartly chosen songs, plus one original, reflecting a maturity of taste and judgment in their selection. Newman is not just recreating these splendid songs or mimicking great artists, he’s absorbed their influences, filtered them through his own talented fretwork and made them his own.

Newman cuts loose on the first track, a spine-tingling version of Dust My Broom, the classic Elmore James version of Robert Johnson’s seminal I Believe I’ll Dust My Broom. He follows with his own Leaving This World, a scorching slow blues lament about lost love. Newman’s guitar-driven take adds a tough edge to the whimsical Your Mind Is On Vacation, from the Mose Allison songbook.

Texas Flood, the Stevie Ray Vaughan anthem, gives Newman a chance to stretch out, combining sensuously spaced notes with furious runs, creating his own masterful version. Vic Washington takes over the vocals on The Thrill Is Gone, the B.B. King chestnut, with Newman’s guitar producing its own thrills along the way. Pretty Woman, the Albert King version, adds a choral background, and Newman’s power-blues licks stand out on Be Careful With a Fool, another B.B. King delight. Arlene Wow’s soaring vocals highlight Let Me Love You, with Newman skillfully adapting the flashy Jeff Beck rocker.

Newman then switches effortlessly into the island rhythms of Get Up Stand Up, the Bob Marley and Peter Tosh classic, with vocal help from Anita Antoinette. On Miss You, a Jagger/Richards song, Newman creates a throbbing Stones vibe, while Arlene Wow provides a Latin-flavored vocal assist.

Although it seems an unlikely choice for a Hendrix devotee, Newman joyfully updates Hoagy Carmichael’s plaintive 1942 love ballad, Baltimore Oriole, expertly blending fiery blues licks and bird-calls. Newman lets the good times roll in the hard-driving R&B of Come On, from Earl King, then digs deep into Bob Dylan’s early catalog for a furious version of the rollicking Highway 61 Revisited. Arlene Wow returns for the soulful closer with a gorgeous rendering of Aretha Franklin’s Good to Me As I Am to You, while Newman’s sensual guitar gently weeps in eloquent sympathy.

Ryan “Bluwrath” Newman unwraps his formidable guitar skills in an incredible array of styles to create his passionate debut on Wrath of Blues.


Here’s a live version of “Dust My Broom”

Tracklist:

Dust My Broom — 2:57
Living This World Tonight — 4:06
When I’m On Vacation — 3:30
Texas Flood — 4:03
The Thrill Is Gone — 3:59
Pretty Woman — 3:04
Be Careful With a Fool — 5:06
Let’s Straighten It Out — 5:48
Get Up Stand Up — 4:35
Miss You — 3:12
Baltimore Oriole — 3:28
Highway 61 Revisited — 4:43
Good Me As I Am to You — 5:59

Roadhouse Blues News: Living Blues Awards announced for 2026

The results of Living Blues Magazine 33rd annual Critics Poll and Readers Poll have been announced in the latest magazine issue, #303.

That’s John Primer, the critics’ pick for male blues artist of the year on the cover. Shemekia Copeland is the critics’ pick for female blues artist of the year.

Here are all the results:

33rd Annual Living Blues Awards

Critics’ Poll


Blues Artist of the Year (Male)

John Primer


Blues Artist of the Year (Female)

Shemekia Copeland


Blues Band of the Year

Southern Avenue


Most Outstanding Blues Singer

Mavis Staples


Most Outstanding Musician (Guitar)

Christone “Kingfish” Ingram


Most Outstanding Musician (Harmonica)

Charlie Musselwhite


Most Outstanding Musician (Keyboard)

Kenny “Blues Boss” Wayne


Most Outstanding Musician (Bass)

Bob Stroger


Most Outstanding Musician (Drums)

Kenny “Beedy Eyes” Smith


Most Outstanding Musician (Horns)

Vanessa Collier


Most Outstanding Musician (Other)

Sharde Thomas-Mallory (Fife)


Best Live Performer

Bobby Rush


Comeback Artist of the Year

Maria Muldaur


Artist Deserving More Attention

Sean McDonald



Best Blues Albums of 2025


Album of the Year

D.K. Harrell – Talkin’ Heavy – Alligator


Best New Recording / Contemporary Blues

Sean McDonald – Have Mercy! – Little Village Foundation


Best New Recording / Traditional or Acoustic Blues

John Primer – Grown in Mississippi – Blues House Productions


Best New Recording / Soul Blues

Johnny Rawls – Make Them Dance – Catfood Records


Best New Recording / Best Debut Release

Sean McDonald – Have Mercy! – Little Village Foundation


Best Historical Release / Pre-war

Bukka White – Aberdeen Mississippi Blues: Complete Recordings, 1930-1940 – Document Records


Best Historical Reissue / Postwar

Clifton Chenier – King of Louisiana Blues & Zydeco – Arhoolie


Best Blues Book of 2025

Before Elvis: The African American Musicians Who Made the King 

By Preston Lauterbach 

Da Capo Press


Producer of the Year / New Recording

Tom Hambridge – Ain’t Done with the Blues – Silvertone / RCA


Producer of the Year – Historical / Reissue:

Adam Machado – King of Louisiana Blues & Zydeco – Arhoolie


Readers’ Poll


Blues Artist of the Year (Male)

Bob Stroger


Blues Artist of the Year (Female)

Shemekia Copeland


Blues Band of the Year

Billy Branch & the Sons of the Blues


Most Outstanding Musician (Guitar)

Christone “Kingfish” Ingram


Most Outstanding Musician (Harmonica)

Charlie Musselwhite


Most Outstanding Musician (Keyboard)

Marcia Ball


Best Live Performer

Bobby Rush


Most Outstanding Blues Singer

Taj Mahal


Best Blues Album of 2025 (New Release)

Bob Stroger & the Headcutters – Bob is Back! – Delmark Records


Best Blues Album of 2025 (Historical Recording)

Buddy Guy – This is Buddy Guy – Craft Recordings


Best Blues Book of 2025

Inside the Moment: Iconic Blues, Soul, Jazz, Rock, and R&B Images andHistory 

By Joseph A. Rosen 

Schiffer Publishing