D.K. Harrell — “The Right One” — Little Village

D.K. Harrell’s new album is full of self-assured, musically astute and lyrically confident original blues music.

And it’s just his first album. And … he’s just 25.

Harrell’s sound isn’t entirely original, though, which makes it like so much of the blues, built on the layers of the music that has come before him.

“My sound now is a gumbo of Guitar Slim, BB King, Buddy Guy, Magic Sam, Freddie King, Grant Green, Django Reinhardt, and a few others,” Harrell says in an interview on the Michael Limnios Blues Network. “The foundation of my playing and tone is BB King style, I feel many players can hit B.B. King licks but getting that warm but bright tone and vibrato can be a challenge even for myself.”

It’s not too much of a challenge, though, as his music on this album so aptly demonstrates. Harrell shows a finesse beyond his years; his songwriting is sharp, his vocals are strong and mature, and his guitar work is dazzling.

From the first track, the title song “The Right Man,” Harrell takes command on a sturdy shuffle with tough vocals and guitar work that’s a pure joy to hear. “You’re A Queen” follows and adds background vocals that add another dimension to his own vocals.

“Get These Blues Out Of Me” offers up a slow blues that simmers with down-home flavor. “You’d Be Amazed” struts with a funky beat behind vocal shouts and stinging guitar licks. “While I’m Young” rocks ever so tightly in what might well be a very personal statement of musical purpose.

“Not Here For A Long Time Pts. 1 and 2” says he’s just “here for a good time” and introduces band members who make their own musical statements in a delicious romp. The two parts are separated by “Hello Trouble,” (“Trouble comes with a smile and real short dress…”), another deep blues kicked into high gear by razor-sharp horns, exuberant vocals and fierce guitar work.

“Honey Ain’t So Sweet” opens with a strong guitar flourish and combines a rich blend of instrumental backup with sly lyrics delivered in style. “Leave It At The Door” (“Life’s just too short for wasted tears…”) features a backup chorus of bandmates, and the closer, “One For The Road” kicks off with a gorgeous organ-drenched intro, then shifts into an upbeat farewell that keeps the organ rocking up front, adding still more sizzling guitar.

Harrell’s first album sounds more like the work of an accomplished blues veteran than a first-time effort. With his world-wise songwriting, elegant guitar work, uncannily on-target vocals and the great band behind him (with a shoutout to Kid Andersen’s Greaseland studios), D.K. Harrell shows that he’s a major talent to be reckoned with on the blues stage.

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Here’s a very thorough and informative interview with Harrell at Blues Gr, home of the Michael Limnios Blues Network.

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Here’s the title track, “The Right Man”:

Track list:
01. The Right Man
02. You’re A Queen
03. Get These Blues Out Of Me
04. You’d Be Amazed
05. While I’m Young
06. Not Here For A Long Time Pt. 1
07. Hello Trouble
08. Not Here For A Long Time Pt. 2
09. Honey Ain’t So Sweet
10. Leave It At The Door
11. One For The Road

It’s always a pleasure to find out about a slice of blues history that I haven’t known about, especially if there’s some music connected to it.

This new find (for me) comes from reading an article in the July 28 issue of Texas Monthly about a long-gone bluesman named Alger “Texas” Alexander. The article is part of the series, “Texans You Should Know” highlighting overlooked figures and events from Texas history.

It’s very possible that Alexander may be well known to some of you, and if so, I apologize for underestimating your blues knowledge. If not, his music should come as a pleasant surprise — he is regarded as quite an important figure in early blues history — the late 1920s and early ’30s.

Prather’s article is titled “The Myths and Melodies of Forgotten Bluesman Texas Alexander,” and I would paste it all in here, except it’s a long read, and also, I might be violating copyright law! The author of the piece is music historian Coy Prather, who published the book “A Tombstone for Texas: Texas Alexander and the Blues Pioneers of Texas,” in spring of 2023.

Here’s a summary of Alexander’s work from Prather’s article:

Alexander was “one of the major singers of Texas, and indeed of the blues as a whole,” blues historian Paul Oliver wrote, “one whose work, more than that of any other blues singer, was rooted in the vocal traditions of the plantation and the penitentiary.” Fulson, who got his start in music by touring with Alexander, was another of the few who never forgot him. “When he sang you could hear him a block away,” Fulson later recalled. “He really had that big voice. He had a big chest and he didn’t sing, he just roared. . . . He filled every place he went in.”

Alexander did not play an instrument but sang in a haunting voice to the accompaniment of some of best early musicians, including future guitar giants Lonnie Johnson and Eddie Lang. His vocals combined the eerily primitive yet sophisticated style often found in the best early blues singers. His songs were mostly slow and mournful stories that seemed to be drawn from his own personal travails.

Alexander’s was prolific, recording 66 singles, of which Paul Oliver wrote: “He might well be said to have been the quintessential blues [singer] for all but one of his sixty-six issued titles . . . were blues of the most rural kind.”

In 1927, he began a recording career that continued into the 1930s, recording sides for Okeh Records and Vocalion Records. Over the years he worked with a number of other artists, including Lang, Johnson, King Oliver, Little Hat Jones, the Mississippi Sheiks, J. T. Smith, and Lightnin’ Hopkins.

After 1945, Alexander returned to performing and recording. His last recording was made in 1950 with Benton’s Busy Bees, with Leon Benton on guitar and Buster Pickens on piano. Alexander died in 1954, at the age of 53. He was buried in Longstreet Cemetery, in Montgomery County, Texas.^[2]

Here’s a list of his recordings, many of which were later issued in album form by a variety of labels. I found that my streaming service, Amazon Prime Music, will play many of his songs. YouTube offers choices as well.

Prather has also submitted to the Montgomery County, Texas, Historical Commission for a marker for Algernon “Texas” Alexander: Application for an Official Montgomery County Historical Marker.

If you’ve never heard Alexander, you should try his music, an important piece of early blues history.

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Here are a few of Alexander’s recordings. The first three are from the late 1920s and early ’30s. The last one is from his final session in 1950.

From 1950

Monster Mike Welch — “Nothing But Time” — Gulf Coast Records

Mike Welch, who became “Monster” Mike Welch when comedian/actor/”Blues Brother” Dan Aykroyd hung that nickname on him because of his guitar prowess when he was just 13 years old.

The name stuck, and fortunately for us, the prowess has just gotten better.

In 2001, the Boston-based Welch joined the fine New England blues band, Sugar Ray and the Bluetones, where he stayed until 2017. He left to focus on his partnership with vocalist Mike Ledbetter, which became the Welch Ledbetter Connection.

That led to seven Blues Music Award nominations, which resulted in winning Best Traditional album in 2018, and Welch won the BMA for Guitar (and Band ) in 2019. Welch has received three consecutive Blues Music Award nominations. Sadly, Ledbetter died unexpectedly in January of 2019. (Personal note: I was on the LRBC cruise that Ledbetter was to have been on with Welch later that month. There were many tearful tributes, all beautiful to witness.)

Welch then contracted COVID, which kept him out of pocket for a year and a half. “At its worst,” he says, “long Covid was completely debilitating, and I spent most of 2022 genuinely unsure whether I’d be able to play music full time ever again. Kid Andersen and Mike Zito inspired me to take a leap of faith and make a new start; they both had my back and gave me the support and freedom to make the most personal record of my career.”

That record, of course, is the superlative “Nothing But Time,” recorded at Andersen’s California Greaseland Studios and released on Zito’s Gulf Coast label.

The supporting cast here is drawn from Andersen’s outstanding studio players including two-time Grammy winner bassist Jerry Jemmott, pianist Bob Welch (no relation), drummer Fabrice Bessouat, plus horns and backup singers. The 14 tracks include ten originals, two Robert Johnson classics, one from Buddy Guy, and one from George Harrison. 

Welch opens the album with fierce guitar licks on “Walking to You Baby,” backing up a tough vocal turn that sets the tone for the entire session. Welch hasn’t been known for his singing, but this album shows off his considerable vocal chops. Robert Johnson’s powerful blues, “If I Had Possession Over Judgement Day,” switches gears and kicks in with Rick Estrin’s sharp harp work. The title track, “I’ve Got Nothing But Time,” shuffles in nicely, adds horns, backup singers in a little call and response, and a stinging guitar solo.

Harrison’s “I Me Mine” is an eloquent take on that familiar song, leading into “Offswitch Blues,” a hard-charging tune with wicked guitar, horns, and keys all leading the way. “I Ain’t Saying” powers into place, followed by the rugged group of “In Case You Care,” “Time to Move,” and “Losing Every Battle.”

“Hard to Get Along With” is pure straight-ahead blues, “Jump for Joy” makes jump blues more than just a name, and then Welch’s guitar soars on the scorching “Ten Years Ago.”

“Afraid of My Own Tears Parts 1&2″ is a simply gorgeous instrumental — eight-minutes-plus of razor-sharp guitar work leading a brilliant musical ensemble in an exuberant display of Welch’s “monster” talent. This one alone is worth the price of admission.

Welch then closes quietly but elegantly with another classic, Robert Johnson’s “Kind Hearted Woman Blues,” steeped in authenticity with acoustic guitar and falsetto, and giving it a personal touch by inserting his own name into the lyrics.

This is an outstanding album, bringing back to life the passionate guitar work of Mike Welch, and adding the revival of his considerable vocal skills. Enjoy it soon. And often. It’s great music.

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Here’s “I’ve Got Nothing But Time”:

Tracklist:
1. Walking to You Baby – Mike Welch
2. If I Had Possession Over Judgement Day – Robert Johnson
3. I’ve Got Nothing But Time – Mike Welch
4. I Me Mine – George Harrison
5. Offswitch Blues – Mike Welch
6. I Ain’t Sayin’ – Mike Welch
7. In Case You Care – Mike Welch
8. Time to Move – Mike Welch
9. Losing Every Battle – Mike Welch
10. Hard to Get Along With – Mike Welch
11. Jump for Joy – Mike Welch
12. Ten Years Ago – Buddy Guy
13. Afraid of My Own Tears Parts 1 & 2 – Mike Welch/George Lewis
14. Kind Hearted Woman Blues – Robert Johnson

Nina Simone — “You’ve Got Learn” — Verve Records/UMe

On July 2, 1966, Nina Simone, often known as the high priestess of soul as well as a civil rights icon, performed a passionate 30-minute set at the Newport Jazz Festival.

That electrifying performance had been lost until this year, the 90th anniversary of her birth, when it was recovered and released as this album, which takes the title of the first song from the set, “You’ve Got to Learn.”

Simone plays piano in front of a small combo of drums, guitar and bass. There are occasional sounds problems with the live recording, but Simone’s power and passion shine through.

The set includes a swinging version (if that’s not too much of a contradiction) of Simone’s fiery protest song “Mississippi Goddam,” that she wrote in response to the 1963 Alabama church bombing that killed four little girls and the assassination of Medgar Evers in Mississippi that same year.

The set also includes “You’ve Got to Learn, ”‘I Loves You, Porgy,” “Blues For Mama,” “Be My Husband” and an encore, ”Music for Lovers.”

In a spoken introduction, Simone describes “Blues for Mama” as a “gutbucket blues. It is so because of its background. There’s an old porch, and there’s an old man, and there’s a beat-up guitar and a broken bottle. There are flies all around, there is molasses all around, and he is composing this tune on a hot afternoon. The lyrics are written by Abbey Lincoln, and I wrote the music. It will appeal to a certain type of woman who’ve had this kind of experience.” Midway, she tells the audience, “I guess you ain’t ready for that.”

Simone recorded nearly 40 albums between 1958 and 1973, with such songs as “I Put a Spell on You,” “Don’t Let Me Be Misunderstood” and “Feeling Good.” She died in 2003.

If you’re a fan, this is essential listening. If you’re not familiar, it’s even more essential that Nina Simone become part of your musical language.

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Here’s “Mississippi Goddam” live from the album:

The reissues of some old blues recordings in the past couple of months are great reminders of just how good this music has been — and still is.

Why, you may ask, should I focus on “old” music when there’s so much fine new music around?

Well, as far as I know, classical music fans still play Mozart, and despite Chuck Berry, Beethoven hasn’t rolled over yet. And jazz afficionados probably still visit the legendary music of Miles Davis or John Coltrane.

And there’s so much great older blues material, it would a shame, and probably our loss, not to give it the occasional enjoyment it deserves.

The first of this “new” music comes from the fine Delmark label on the 70th anniversary of its existence, having been founded by the late Bob Koester as Delmar Records.

Delmark claims the title of the oldest independent jazz and blues record label in the world, with a catalog of more than 12,000 recordings by a virtual who’s who of jazz and blues. As part of its 70th birthday celebration, the label has pulled together an album of classic cuts and artists from its vintage blues cellar.

The artists and songs include the following:

Junior Wells with Buddy Guy on “Snatch It Back And Hold It,” Magic Sam with “All Of Your Love,” Otis Rush on “All Your Love (I Miss Loving),” Jimmy Dawkins with Otis Rush & Big Voice Odom on “All For Business,” Dinah Washington on “Blues For A Day,” T-Bone Walker on “I Want A Little Girl,” Big Time Sarah on “Long Tall Daddy,” Little Walter with Muddy Waters on “I Just Keep Loving Her,” Memphis Slim with Matt Guitar Murphy on “Memphis Slim U.S.A.,” and Jimmy Johnson on “Ashes In My Ashtray.”

I like that the label included one seeming outlier here, surrounded by tough guitar-driven blues. That’s “Blues for a Day,” by Dinah Washington, a gently swinging blues with a jazzy combo behind her expert vocals. But her spot here is richly deserved.

The other five albums, all from Alligator Records, are reissues, but with a twist. They’re all on vinyl. Why vinyl?

Well, for the turntable-enabled among us, sales of vinyl records have been on the rise since they began a comeback somewhere around 2006, and according to the Recording Industry Association of America’s 2022 year-end revenue report for the music industry, record sales hit a new high last year with 41.3 million EPs/LPs sold in the U.S. last year, up more than 45 times since 2006. And for the first time since 1987, unit sales of vinyl albums outpaced those of CDs. Of course, CD sales aren’t what they used to be either, thanks largely to streaming. But they’re still nowhere near the 300 million LPs and EPs sold in a single year in the 1970s.

Here are the five classics that Alligator has chosen for a vinyl revival:

Johnny Winter’s “Guitar Slinger,” Roy Buchanan’s “When A Guitar Plays the Blues,” Delbert McClinton’s “Live From Austin,” Lonnie Mack’s “Strike Like Lightning,” and Fenton Robinson’s “Somebody Loan Me a Dime.”

Winter’s effort was the first of three he recorded for Alligator starting in 1984, when he arguably made the purest blues records of his career. Buchanan became known as “The Best Unknown Guitar Player In The World,” and this was one of the guitar wizard’s finest. This was McClinton’s first live album, helping to define his career as a rocking roadhouse spitfire.

Originally released in 1974, and only Alligator’s fifth album, “Somebody Loan Me A Dime” featured Robinson at his finest, with his unique vocals and guitar stylings. Hard-driving Lonnie Mack revived his career in 1984 with “Strike Like Lightning,” another classic.

All of the above are excellent albums, featuring great blues and a few other artists in their prime. Give them a spin if you have a record spinner (turntable), or check out the music where you can. It’s well worth the effort.

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Here’s just a sample from this list, and one of my favorites — Fenton Robinson with “Somebody Loan Me a Dime”:

The Nick Moss Band & Dennis Gruenling — “Get Your Back Into It!” — Alligator Records

When Chicago blues guitarist Nick Moss joined musical forces with longtime friend and furious blues harp wizard Dennis Gruenling in 2016, they created a tough bluesy sound that honored what came before them, but was entirely their own.

They released two albums on Alligator: “The High Cost Of Low Living” in 2018 and “Lucky Guy!” in 2019.

Together, they have received five Blues Music Awards, with wins in 2020 for Band Of The Year, Song Of The Year (“Lucky Guy!“) and Traditional Blues Album Of The Year (“Lucky Guy!”), and in 2019 for Traditional Blues Male Artist (Moss) and Instrumentalist—Harmonica (Gruenling).

So yeah, they’re pretty darned good.

After a pandemic hiatus, they are back with the effervescent “Get Your Back Into It!,” another rollicking session pumped with 14 originals filled with their unique blend of high-frequency music and sharp songwriting.

The album jumps into high gear immediately with “Bait in the Snare” (video below), a rocking jump blues, followed by “Aurelie,” a steady-driving blues loaded with tough harp about a French lady who it’s hard to connect with because — no French. The title track follows, stepping up the Chicago sound with fierce solos by Gruenling and pianist Taylor Streiff wailing about a snack of “forbidden fruit.”

“Man on the Move” jumps out with Gruenling on harp and vocals, followed by the change-of-pace scorcher “Living in Heartache,” a throwback to hard-edged Chicago laced with stinging guitar. “It Shocks Me Out,” rocks back in a stop-time number with an old-time R&B feel. The instrumental “Out of the Woods” breaks the heavy blues mood with a lighthearted jazz combo feel featuring John Kattke on organ and Gordon Beadle on sax and a sparkling Moss solo.

“Choose Wisely” is a smooth throwback blues with lyrical guitar and harp backing, “Your Bark Is Worse Than Your Bite,” features Gruenling again with another easy, classic sound that fits just right. Moss chugs back hard with his vocals on “Losing Ground,” with standout guitar and harp solos.

Pierce Downer’s drumming with a rhumba attitude pulsates through the instrumental, “Bones’ Cantina,” then “Lonely Fool” drives back to basic broken-hearted empty-bed blues. “The Solution” looks back in honor of the great Chicago blues guitarist Jimmy Johnson, who died last year at 93. The closer is Moss with his own surf-guitar sound on the instrumental “Scratch ‘n’ Sniff.”

“Get Your Back Into It!” is another enthusiastic effort from Moss and Gruenling, who have taken the best of what they’ve learned from the blues world, filtered it through their own talented musical sensibilities, and created another winning album.

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“The Bait in the Snare” from “Get Your Back Into It!”

Track list & credits:

1. The Bait In The Snare 
2. Aurelie 
3. Get Your Back Into It 
4. Man On The Move *
5. Living In Heartache 
6. It Shocks Me Out 
7. Out Of The Woods 
8. Choose Wisely
9. Your Bark Is Worse Than Your Bite *
10. Losing Ground 
11. Bones’ Cantina 
12. Lonely Fool 
13. The Solution 
14. Scratch ‘N’ Sniff 
     

Nick Moss: Guitar, Vocals (except as noted), Foot on “Your Bark Is Worse Than Your Bite”

Dennis Gruenling: Harmonica, Vocals on “Man On The Move” and “Your Bark Is Worse Than Your Bite”

Taylor Streiff: Piano and Keyboards (except as noted)

Rodrigo Mantovani: Upright and Electric Bass, Percussion

Pierce Downer: Drums

plus

“Sax” Gordon Beadle: Saxophones

“Brother” John Kattke: Organ on “Out Of The Woods”

The Nick Moss Band Featuring Dennis Gruenling: Background Vocals

All songs by Nick Moss, Eyeball Music, BMI, except as noted *

“Man On The Move” and “Your Bark Is Worse Than Your Bite” 
Dennis Gruenling, Small Scale Music, ASCAP

The Living Blues poll results:

Critics’ Poll

Blues Artist of the Year (Male)

John Primer

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Blues Artist of the Year (Female)

Shemekia Copeland

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Most Outstanding Blues Singer

Irma Thomas

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Most Outstanding Musician (Guitar)

Christone “Kingfish” Ingram

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Most Outstanding Musician (Harmonica)

Charlie Musselwhite

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Most Outstanding Musician (Keyboard) 

Kenny “Blues Boss” Wayne

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Most Outstanding Musician (Bass)

Bob Stroger

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Most Outstanding Musician (Drums)

Kenny “Beedy Eyes” Smith

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Most Outstanding Musician (Horns)

The Texas Horns

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Most Outstanding Musician (Other)

Shardé Thomas (Fife)

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Best Live Performer

Bobby Rush

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Comeback Artist of the Year

Jimi “Prime Time” Smith

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Artist Deserving More Attention

Dylan Triplett

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Best Blues Albums of 2022

Album of the Year

Diunna Greenleaf
I Ain’t Playin’
Little Village Foundation

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Best New Recording / Contemporary Blues

Shemekia Copeland
Done Come Too Far
Alligator

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Best New Recording / Traditional or Acoustic Blues

Taj Mahal & Ry Cooder
Get on Board
Nonesuch

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Best New Recording / Soul Blues

Trudy Lynn
Golden Girl
Nola Blue

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Best New Recording / Best Debut Release

Dylan Triplett
Who Is He?
VizzTone

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Best Historical Release / Pre-war

Tampa Red
The Guitar Wizard: The Tampa Red Collection 1929–53
Acrobat 

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Best Historical Reissue / Postwar

Elmore James
The Sky Is Crying: The Ultimate Collection
Sunset Blvd

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Best Blues Book of 2022

The Blues Dream of Billy Boy Arnold
By Billy Boy Arnold with Kim Field
University of Chicago Press

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Producer of the Year / New Recording

Will Kimbrough
(Shemekia Copeland – Done Come Too Far – Alligator)

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Producer of the Year / Historical Reissue

Bill Dahl
(Elmore James The Sky Is Crying: The Ultimate Collection – Sunset Blvd)

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Reader’s Poll

Blues Artist of the Year (Male)

Christone “Kingfish” Ingram

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Blues Artist of the Year (Female)

Shemekia Copeland

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Most Outstanding Musician (Guitar)

Buddy Guy

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Most Outstanding Musician (Harmonica)

Charlie Musselwhite

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Most Outstanding Musician (Keyboard)

Marcia Ball

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Best Live Performer

Buddy Guy

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Most Outstanding Blues Singer

Shemekia Copeland

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Best Blues Album of 2022 (New Release)

Buddy Guy
The Blues Don’t Lie –RCA
Silvertone

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Best Blues Album of 2022 (Historical Recording)

Elmore James
The Sky Is Crying: The Ultimate Collection
Sunset Blvd 

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Best Blues Book of 2022

Further on Up the Road: Traveling to the Blues
By Martin Feldmann
Self-published

Nic Clark — “Everybody’s Buddy” — Little Village Foundation

It’s not hard to describe Nic Clark’s second album, “Everybody’s Buddy,” in a word: joyous.

On this album of 11 finely crafted personal tunes and one cover, the versatile singer, songwriter, guitarist and harpmeister demonstrates an ability to turn life’s (mostly his own) hard knocks into soft-spoken melodies of encouragement.

“Laughing In the Rain” opens the session with a bright harp intro to an optimistic little shuffle that’s very appropriately described by its title. That’s followed by “I’ll Be Alright,” and those two cuts speak nicely to the philosophy of the entire album. The title track “Everybody’s Buddy” is another upbeat track that adds to that spirit

“Try To Understand” is such an infectious lyric and melody, it’s hard to believe it has its origins in two car wrecks when he was 21 and 23 years old. The bluesy “Good Advice” is the only cover here, written by J.B. Lenoir, and performed by Clark as a tribute to his own grandmother for her life-changing advice.

On the one song that deviates from the rest of the mood, the harmonica-led, dirge-like “How I Met the Blues,” is a somber song he wrote on the unexpected death of his 13-year-old cousin. Clark was just 11 when he wrote this emotional tribute.

The rest of the album, however, is filled with upbeat ideas, emphasized by Clark’s thoughtfully casual delivery — unhurried in melody, but urgent in its emotions.

“I know how terrible and sad life can be, and these songs are trying to get you out of these moments when you think everything is hopeless,” Clark says.

And it’s quite likely that even if your life is not sad and terrible, Clark’s infectiously optimistic music will lift your spirits.

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A live version of “Everybody’s Buddy”:

Tracks:
01. Laughing At The Rain
02. I’ll Be Alright
03. Try To Understand
04. Good Advice
05. Hurricane
06. She’s A Fighter
07. Don’t Count On Yourself
08. Anxiety Blues
09. How I Met The Blues
10. Flying Blind
11. Everybody’s Buddy
12. Breathe Slow

Mike Guldin & Rollin’ & Tumblin’ — “The Franklin Sessions” — Blue Heart Records

Mike Guldin is a veteran bluesman from Eastern Pennsylvania with an ear for music that swings easily behind his gruff vocals.

His fifth album, “The Franklin Sessions,” brings together his aptly named Rollin’ & Tumblin’ band plus a handful of musical aces who help polish off the nine crackling originals and three covers that spark this lively session.

The album title comes from the Franklin, Tenn., Rock House studio of Grammy-laden Kevin McKendree, who produced and contributed his always top-notch keyboard skills.

The talented players also include James Pennebaker, David Santos, Yates McKendree, Tim Hooper, Bill Sharrow, Billy Wear, Mikey Junior, Su Teears, with the Philadelphia Funk Authority Horns – Dale Gerheart, Kyle Hummel, Neil Wetzel, Andrew Kowal – with background vocals from the McCrary Sisters.

The opening track “Franklin Shuffle” sets a swinging groove that shuffles along behind Guldin with McKendree’s son Yates driving the beat and dad Kevin on roadhouse piano. It sets just the right tone for all that follows.

An extended-jam version of Howlin’ Wolf’s “Killin’ Floor” follows, adding honky-tonk piano flavor to the stinging guitar solo on this tough blues classic. Guldin and the McCrary Sisters then make a fervent gospel plea for “love and compassion and understanding” on “The Right Thing.”

“Sometimes You Gotta Roll the Dice” strides in with second-line style from New Orleans, and then “Blow Wind Blow” strikes a Chicago blues note with some fiery guitar licks. The Authority Horns step up next to punch along the soulful throwback, “Prisoner Of Love.”
Another tough shuffle, “Smokin’ Woman,” rolls along until “Two Hearts” shows up with vocalist Su Teears joining Guldin for the horn driven duet that leans on Philly soul for inspiration.
The honky-tonky “Sad and Lonely” is nicely juiced with keys and guitar, and “Gettin’ Over You Is
Workin’ Over Me” turns a tongue-twister title into a bit of jaunty remorse.
The finale is a hard-rocking version of Sleepy John Estes’ “Divin’ Duck Blues,” with Mikey Junior dipping a hot blues harp into this classic blues stream.

All of this adds up to a joyous musical romp propelled by a musical enthusiasm that you should enjoy along with this talented and energetic crew. This music is just sheer fun, and maybe it’s just me, but it seems like that’s getting harder to find these days. Enjoy it soon and often.

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“Killin’ Floor” from The Franklin Sessions:

Track list & credits:

Blues Blast Magazine is ready for you to vote for the best in blues.

The magazine is offering its 16th year of awards in various blues categories, with final selection done by popular vote. The nominees are selected using a group of blues music industry professionals, including music critics, journalists, festival promoters, music venue managers, producers and musicians.

Voting begins July 1 and continues until Aug. 18 on the mag’s website. Voting is free and open to anyone, but you can only vote once. The winners will be announced at the annual BBMA show on Sept. 23.

It seems like any of the nominees would make an excellent choice for your blues listening. Here they are:

Contemporary Blues Album

Silent Partners – Changing Times

Joe Louis Walker – The Weight Of The World

Jimmy Hall – Ready Now

Taj Mahal – Savoy

Bruce Katz Band – Connections

Shemekia Copeland – Done Come Too Far

Traditional Blues Album

John Primer – Hard Times

Lil Jimmy Reed & Ben Levin – Back to Baton Rouge

Martin Lang and Rusty Zinn – Mr. Blues, Mr. Blues

Jimi Primetime Smith & Bob Corritore – The World in a Jug

Cash Box Kings – Oscar’s Motel

John Németh – May be the Last Time

Soul Blues Album

Stan Mosley – No Soul No Blues

Annika Chambers & Paul DesLauriers – Good Trouble

Billy Price – 50+ Years of Soul

Eddie 9V – Capricorn

Johnny Rawls – Going Back to Mississippi

Alabama Mike – Stuff I’ve Been Through

Rock Blues Album

Ally Venable – Real Gone

Sass Jordan – Bitches Blues

Gráinne Duffy – Dirt Woman Blues

Mighty Mike Schermer – Just Getting’ Good

Mike Zito Albert Castiglia – Blood Brothers

Jeremiah Johnson – Hifi Drive By

Acoustic Blues Album

Doug MacLeod – Raw Blues

Bob Margolin & Bob Corritore – So Far

Catfish Keith – Still I Long to Roam

Charlie Musselwhite – Mississippi Son

Hudspeth & Taylor – Ridin’ the Blinds

Mick Kolassa – They Call Me Uncle Mick

Live Blues Album

GA-20 – Live In Loveland

John Primer – Teardrops for Magic Slim

Alastair Greene – Alive In The New World

Doug Deming & the Jewel Tones – Goovin’ and Gooove Now!

Too Slim & the Taildraggers – Brace Yourself

John Németh & the Blue Dreamers – Live from the Fallout Shelter

Historical Or Vintage Recording

Bob Corritore & Friends – High Rise

Duke Robillard – Duke’s Mood (Live In Bremen – 1985 & 2008)

Floyd Dixon – Fine! Fine! Thing!

Bob Corritore & Friends – Women in Blues Showcase

Doug Deming & the Jewel Tones – Double Down

New Artist Debut Album

DaShawn Hickman – Drums Roots & Steel

Lady J Huston – Groove Me Baby (Album)

Yates McKendree – Buchanan Lane

Eric Demmer – So Fine

Dyer Davis – Dog Bites Back

Dylan Triplett – Who Is He

The Özdemirs – Introducing The Özdemirs

Blues Band Of The Year

Doug Deming & the Jewel Tones

GA-20

Phantom Blues Band

Cash Box Kings

John Németh & the Blue Dreamers

Rick Estrin & the Nightcats

Male Blues Artist

John Németh

John Primer

Alabama Mike

Charlie Musselwhite

Sugaray Rayford

Taj Mahal

Female Blues Artist

Crystal Shawanda

Annika Chambers DesLauriers

Diunna Greenleaf

Kat Riggins

Shemekia Copeland

Rory Block

Sean Costello Rising Star Award

D.K. Harrell

Ben Levin

Silent Partners

Skylar Rogers

Dylan Triplett

Yates McKendree

Producer Of The Year

Joe Bonamassa & Josh Smith

Kid Andersen

Tony Braunagel

Mike Zito

Bob Corritore

Tom Hambridge

Electric Guitarist Of The Year

Laura Chavez

Paul DesLauriers

Joe Louis Walker

Kid Andersen

Christone “Kingfish” Ingram

Chris Cain

Acoustic Guitarist Of The Year

Doug MacLeod

Eric Bibb

Brandon Hudspeth

Jontavious Willis

Rory Block

JJ Appleton

Slide Guitarist Of The Year

Joanna Connor

John Primer

Lil’ Ed Williams

DaShawn Hickman

Catfish Keith

Sonny Landreth

Bass Guitarist Of The Year

Bob Stroger

Rodrigo Mantovani

Danielle Nicole

Andrew Gohman

Jerry Jemmott

Russell Jackson

Keyboard Player Of The Year

Kenny “Blues Boss Wayne

Ben Levin

Bruce Katz

Dave Keyes

Kevin McKendree

Anthony Geraci

Percussionist Of The Year

Derrick D’Mar Martin

Tom Hambridge

Tony Braunagel

Kenny “Beedy Eyes” Smith

Tony Coleman

Jimmi Bott

Rodd Bland

Harmonica Player Of The Year

Big Harp George

Bob Corritore

Charlie Musselwhite

Dennis Gruenling

John Németh

Jason Ricci

Horn Player Of The Year

Kaz Kazanoff

Sax Gordon Beadle

Jimmy Carpenter

Eric Demmer

Vanessa Collier

Deanna Bogart

Vocalist Of The Year

Billy Price

Shemekia Copeland

John Németh

Oscar Wilson

Dylan Triplett

Kat Riggins

Blues Video Of The Year

Angelique Francis – “Ashamed”  – https://youtu.be/TkXm8KA8ENY

Hudspeth & Taylor – Little Girl in Rome – https://youtu.be/Piea3U2-_KM

Jimmy Hall – Jump for Joy – https://youtu.be/LUHABMKhX5k

Alabama Mike – Fat Shame – https://youtu.be/KCvHwJILBzQ

Eric Bibb – Family – https://youtu.be/HYhwUgl3P0U

Derrick Procell – Hello Mojo – https://youtu.be/NWUOtNSJp9M