Kinky Friedman — “Poet of Motel 6” — Hardcharger Records

Richard Samet “Kinky” Friedman was one interesting character. (The “Kinky” part was a nickname from his youthful curly hair.)

He wasn’t a bluesman, but he was definitely a practitioner of Americana music — although his music was sometimes described as alt-country. No matter what it was called, Friedman’s music pushed the boundaries of good taste and satire, making a name for himself with his band, Kinky Friedman and The Texas Jewboys, formed in 1973. It was thought to be a play on the name of the legendary Bob Wills and His Texas Playboys. But with Friedman, you could never be sure what he really meant.

They recorded songs with a bite, like “They Ain’t Making Jews Like Jesus Anymore” and “Asshole from El Paso,” and Friedman’s cowboy hat, shades and cigar became part of the image of the countrified hipster, satirical comic and cultural critic that he rode throughout his life. He died in June 2024.

I also enjoyed him for the series of detective novels he wrote, starting in the 1980s, with none other than himself as the crime-solving protagonist. The titles were always interesting, such as: “Kill Two Birds and Get Stoned” (2001) and “God Bless John Wayne” (1995). I also liked his ever-present cigar, and the fact that he once started his own line of cigars (I tried one; it was pretty good.).

And I admired his social consciousness. He founded a ranch for rescue animals, as he and his sister, Marcie, ran Echo Hill Ranch in the Texas Hill Country, which they inherited from their parents and which they offered as a summer camp, free of charge, to children of parents killed while serving in the U.S. military. Although he was born in Chicago, Friedman’s family moved to the Hill Country when he was young, where they opened Echo Hill.

And I was especially impressed when he ran for governor of Texas in 2006. He was a serious candidate, but I fondly remember his answer to one interviewer about why he was running: “I need the closet space.” The closets were never to be, as Friedman was defeated, receiving 12.6% of the votes, coming in fourth in the six-candidate lineup.

I’ve listened to Friedman’s final, posthumous album, and it’s a fine one. It’s filled with gently graveled vocals telling stories of life and loss, and though it may not have been intended as such, it’s an eloquent tribute to Friedman’s life.

I’m going turn over the album’s description to Raoul Hernandez, a music journalist entrusted to write Friedman’s website bio, where he elegantly explains Friedman’s final session:

“Poet of Motel 6” opens the album upon its producer’s bed of strings – mandolin, dobro, acoustic guitar – which all bounce a rousing and rising strum of mood and motion that encases Kinky’s folksy croon: tangy, twangy, intimate. Dressed with Joel Guzman’s Texican squeezebox, Mansfield’s country fiddle, and preternatural accompaniment from Panhandle whisperer Jimmie Dale Gilmore, the song at first appears autobiographical before unfolding a stirring ballad for Lone Star song prophet Billy Joe Shaver.

“May you lay in a field of stars, serenaded by a million guitars / playing songs of your honky-tonk youth / playing songs of your beautiful truth.”

Gilmore’s tickling harmony lopes behind Kinky’s ambling, heart-on-leather-vest recollection of his great friend, Waco’s poet laureate, who passed away in 2020. Finally the music parts up to the firmament itself and the main attraction intones: 

“And then, one uncloudy day, God’s voice was heard across the heavens and this is what he said: ‘Ladies and Gentlemen, please welcome Billy Joe Shaver.’”

Willie Nelson himself might shed a tear right there – for both the song’s subject and its singer.

“Hello, Good Morning” follows up with a back-porch ramble that embodies the entire album, which sounds like Kinky holding court at the fire pit, Kinky holding court in the main cabin living room, and Kinky courting the wide open range and wherever Texas roots music bubbles up from the Earth as a natural resource. And speaking of Willie, his daughter Amy Lee Nelson steps up here with a second vocal that conjures an honest-to-God Gram and Emmylou moment.

“Buddy, You’re Living My Dream” sounds like a tune Guy Clark found on his work bench and gave to Joel Guzman, who breathed life into it with his accordion before Kinky walked in and ordered drinks for the entire establishment.

Willie joint to be? Just as the Red Headed Stranger covered Clark’s “My Favorite Picture of You” late in the day, the man who ever only refused Kinky a single favor out of countless will want a crack at “See You Down the Highway.” In fact, the country titan’s lieutenant Mickey Raphael already blows harp on it:

“Are you going my way, dear old pal of mine? / We will never make enough money, love or time / But we’ll be dancing on the shoulder of the highway of the mind.”

Shout out to co-author and late L.A. song pundit Chuck E. Weiss.

“The Life & Death of a Rodeo Clown” pushes back from the table with a clip-clopping twirl and Mariachi horn. “Hummingbird Lanai” hums a languid lullaby to the elements – sky, sea, and land – on an island of the heart. “Kacey Needs a Song” reminds us Kristofferson wrote a Casey song once and would’ve commended his comrade here for this one.

Poet of Motel 6 finale “Whitney Walton Has Flown Away” opens with a lei lapping at the toes of trumpet, fiddle, and is that Mansfield on singing saw? Climb inside and sail away. Westward ho, to see Kinky once more.

Read the Kinkster’s bio in the link below. Light up a cigar. Check out the music. Read one of his novels. I hope you’ll become a fan.

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Friedman’s bio from his website.

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Here’s the title track:

Tracklist:
01 – Poet of Motel 6
02 – Hello, Good Morning
03 – Buddy, You’re Living My Dream
04 – See You Down the Highway
05 – The Life and Death of a Rodeo Clown
06 – Sometimes
07 – Banjo, Sophie, and Me
08 – Hummingbird Lanai
09 – Kacey Needs a Song
10 – Whitney Walton Has Flown Away

Andrew Duncanson — “California Trap” — Run It Back Records

Passionate singers of soulful blues have been disappearing into the musical mists of time for at least the past half-century. Their voices are fast becoming as scarce as sunshine on a cloudy day.

But then there is Andrew Duncanson, who for more then twenty years has been reaching deep into that primeval source and adding his own deeply soulful voice to the music. He has been the voice of the Kilborn Alley Blues Band, and more recently The Dig 3, a trio whose name was inspired by Willie Dixon’s Big Three Trio. California Trap is Duncanson’s first solo album, and he’s paired here with co-producer Michael Peloquin, who also contributes his talents as a horn arranger, songwriter and harmonica player. Kid Andersen is also co-producer of the session, recorded at Andersen’s Greaseland Studios.

Great soul and R&B music has traditionally been rich with horn sections, and they resonate throughout this album, with Peloquin’s sassy brass charts kicking the music into a higher gear. Duncanson has also been gifted with a songwriter’s voice, so California Trap is mainly original songs – with one from Peloquin – and a couple of fascinating covers.

Everything opens with the lilting, horn-laced R&B of “Relearning to Climb,” with its optimistic tone: “I’m trying a new state of mind, re–learning to climb.” Then Duncanson leans into his regrets in a lover’s lament with “Naw Naw Naw” – “I’m sorry baby—for being untrue / But you got to do, yeah—oh just what you got to do.” “Hold Me Back” floats in on a harp intro, then then pounds out a delicious shuffle with Duncanson’s equally tough attitude and vocal: “You never drove a used car, never had your ass kicked in a bar / If I see you in a tavern, Jack – It’d take all twelve apostles, to hold me back.”

California Trap is a gorgeous blues with a stinging guitar that summons Duncanson’s vocal from its soulful depths, enhanced by some down-home piano: “I’m leavin’ in the morning, baby will you take me back / You know that California sun, ain’t nothin’ but a trap.” A joyous “That was good!” shout at the end says it all. “Town Saint” steps out to a funky beat with a chunky bass line and a soaring sax solo with a flourish of hypocrisy: “He’s got scars from the woman that he loves / Wakes up every day and thanks the lord above.”

“Outer Space” is a stellar bit of musical whimsy launching a desire to cast aside earthly restraints: “Getting ready to jump—jump into outer space / Been sittin’ too long, sittin’ too long, in one damn place.” Peloquin’s original “What Kind Of Man” is a gently soulful plea asking “What kind of man does she want—what kind of fool has he been,” and answering, “Now he’s the man that she wants, not the fool he used to be.”

Duncanson says that Peloquin suggested this swinging cover of Woody Guthrie’s anthemic “This Land Is Your Land,” inspired by an old version by Sharon Jones and the Dap-Kings, adding Andersen’s funky bass line. “Feelin’ Better Now” opens with a bluesy Peloquin harp and pulses along in a solid R&B vein, with a wicked harp solo midway: “Well, I was feelin’ low, snake’s ass in the mud / Now I’ve got my good sweet baby, bringin’ all that love / Feelin’ better now, feelin’ better now.”

Duncanson’s aching vocals reach deep for the plaintive “Next Life,” echoed by sympathetic horns and a haunting guitar solo: “Everything I thought I knew turned out to be untrue … Oh what a mess, the next life will be the best.” The rhythmic “More Lows Than Highs” chugs in with soaring horns as a bouncy counterpoint to its existential theme: “Sure as you’re born—you gonna die / And there’s more lows — more lows than highs.”

The other cover, “It’s A Pleasure,” by Might Mike Schermer (who Tommy Castro calls “Probably the best blues guitarist, singer and songwriter you’ve never heard of”) is an upbeat ode to friendship, with Peloquin’s eloquent harp solo, “No matter where this road may end / It’s a pleasure to call you my friend.” The closer, “Better Off Now,” offers an uplifting finale to this gorgeous musical outing: “Oh, that’s how I feel and I need you to know / That I’m better off now, than I used to be / I’m better off now, oh than I used to be.”

We’re all better off now that Andrew Duncanson has given voice to California Trap. His passionate vocals sing with authenticity in a musical style where authenticity is the blues standard. You won’t want to escape the sheer musicality of the California Trap.

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Here’s “Relearning to Climb” from the album:

Tracklist:

1. Relearning To Climb 2:59
2. Naw Naw Naw 4:31
3. Hold Me Back 3:04
4. California Trap 3:12
5. Town Saint 5:33
6. Outer Space 4:02
7. What Kind Of Man (Michael Peloquin-BMI) 4:58
8. This Land Is Your Land (Woody Guthrie & TRO-Ludlow Music, Inc. -BMI) 4:08
9. Feelin’ Better Now 4:21
10. Next Life 4:10
11. More Lows Than Highs 3:11
12. It’s A Pleasure (M. Schermer/Bentsongs-BMI) 3:07
13. Better Off Now 4:04
    

Kid Ramos — “Strange Things Happening” — Nola Blue Records

“Strange Things Happening” is an unusual new album from a veteran bluesman — a gospel album.

The blues-gospel combination itself isn’t all that unusual, but this is the reverse of, historically, how blues and soul music has emerged from the church through performers who moved from the sacred to the secular in their careers.

This album also stretches me out of my blues comfort zone. I’ve always been aware of the presence of gospel music in a historical way but have not until recent years paid much attention to the actual music, except for enjoying the occasional performance. That’s my loss.

The difference in recent years has been my attention to a radio program (yes, radio) broadcast weekly on WMNF, a community radio station in Tampa, Fla. I’m talking about The Rhythm Revival, a show hosted by the Rev. Billy C. Wirtz and Marvelous Marvin Boone. Both are walking encyclopedias of music history, and the show features recordings that explore the roots of rock, blues, R&B, soul, country and gospel — and examine the intimate and often little-known relationships between them. Boone and Wirtz do this by simply playing the music and decoding what has been called the secret handshake between gospel and its musical brethren.

All of that is a long-winded introduction to this fine album, featuring classic and original gospel songs, driven by the signature guitar work of Kid Ramos, a veteran of more than 40 years The California native  has been a member of the James Harman Band, The Fabulous Thunderbirds, The Mannish Boys, Los Fabulocos and The Proven Ones. He has received 14 Blues Music Award nominations. This is his first album in five years.

The vocals are provided mainly by Brian Templeton, another 40-year music veteran. He was the voice of The Radio Kings and has performed with Jerry Portnoy, Sonny Rhodes, James Cotton, and Otis Grand. His record label, Straight Street Records, presents his approach to Christian music. Ramos’s son, Johnny Ramos, a singer/songwriter and guitarist from southern California, shares in the vocals. The session includes Dave Limina on Hammond organ, bassist Mike Tuturro, and Stephen Hodges on drums.

This stirring session opens with what may be the best-known “popular” gospel record, and arguably one of the most influential — “Strange Things Happening Every Day,” a traditional gospel song recorded in 1944 by Sister Rosetta Tharpe. She sang and played gospel with a wicked electric guitar in what could easily be described as one of the first rock ‘n’ roll records. Her electric guitar stylings did not go unnoticed. Chuck Berry once said: “My whole career has been one long Sister Rosetta Tharpe impersonation.” That song is a great choice to lead off this album, with Ramos rocking the guitar highlights and Templeton impressively handling the vocal.

“How I Got Over” was written by Clara Ward in 1951, and its R&B flavored licks roll behind Templeton’s rousing soulful vocal. “I’m Working On A Building” was written by A.P. Carter, head of the Carter Family, with another uplifting, blues-shouter vocal by Templeton, backed by Limina’s exuberant organ and sharp Ramos guitar solo. The delicate “Oh, What A Meeting” was written by gospel legend Arthur Lee Crume and greatly enhanced by a luminous vocal from Johnny Ramos.

“Jesus Dropped The Charges” was written by Bishop Richard “Mr. Clean” White and gets rollicking vocals from Templeton as the band powers him along. “An Answer for Isaac,” written and sung by Templeton, expands its message with a powerful fuzztone, grunge-like sound.

“God Walks The Dark Hills,” by Audrey Czarnilow, features another gorgeous vocal by Johnny Ramos, then “Satan’s Jeweled Crown” features a duet between Templeton and Johnny Ramos. The song was written by the virtually unknown Edgar Edens and recorded by the country and gospel duo, the Louvin Brothers in 1959.

“Nobody But The Lord” is the second song from Templeton, then“Every Grain of Sand” covers a Bob Dylan song. “More Love Than Power” is another stunning duet with Johnny Ramos and Templeton. The closer is “I’m A Pilgrim,” an upbeat and uplifting written by Senior Roy Crain and sung by Templeton.

The inspiration for this record came when Kid received a phone call from an old pastor friend, James Rasmussen. “James decided he was going to start supporting musicians that were playing gospel music and spread the word that way, and he wanted to know if I wanted to make a God record. Of course I had to call my brother Brian Templeton and he was down for the project. We recorded everything live in basically two days.” Ramos says that “My first gospel record is really from the heart, and I hope people enjoy it.”

It’s hard to not enjoy this special album, combining the power of Ramos’s West Coast blues with the passion of great gospel music.

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Here’s “Strange Things Happening” from the album:

Tracklist:
1. Strange Things Happening (Feat. Brian Templeton) (4:38)
2. How I Got Over (Feat. Brian Templeton) (5:39)
3. I’m Working On A Building (Feat. Brian Templeton) (3:49)
4. Oh, What A Meeting (Feat. Johnny Ramos) (7:09)
5. Jesus Dropped The Charges (Feat. Brian Templeton) (5:39)
6. An Answer For Issac (Feat. Brian Templeton) (4:56)
7. God Walks The Dark Hills (Feat. Johnny Ramos) (5:10)
8. Satan’s Jeweled Crown (Feat. Brian Templeton & Johnny Ramos) (4:10)
9. Nobody But The Lord (Feat. Brian Templeton) (3:28)
10. Every Grain Of Sand (Feat. Brian Templeton) (6:20)
11. More Love, More Power (Feat. Johnny Ramos & Brian Templeton) (4:54)
12. I’m A Pilgrim (Feat. Brian Templeton) (5:43)

I have been writing the Blues Roadhouse blog for about five years, and I seem to have been building something of an international audience. I’m not complaining! I’m very grateful.

But I’m curious.

I use WordPress software, which tells me how many of you show up, what pages you read, and what country you are from. I’m impressed by the constant stream of visitors from countries other than the US of A, where I live and work (Largo, Florida, if you’re interested). The blues is truly an international language.

So my question is: Would any of you from the world beyond me like to let me know what city or location you are in? I’m not compiling a database or trying to target any ads (I have nothing to advertise, except the Roadhouse!). I’m just curious as to where you are, and maybe, what you like, or don’t like, about these posts.

So, if you are so inclined, please let me know in the comments.

Thank you all very much. Your readership is greatly appreciated.

Allison August — “August Moon” — MoMojo Records

Allison August’s bright new album, “August Moon,” has been in the works since Covid interrupted its development, but its release shows it was worth the time it took to craft this exemplary package of original songs.

Each track reflects a moment in August’s personal journey and shines on her effortless ability to blend a variety of styles to her personal musical vision, propelled by soulful vocals and a crackling band of backers.

The session was produced by Grammy-winner Tony Braunagel (who plays drums on most tracks), backed by a stellar cast of musicians that includes, including Paul Barrere (guitar); Mike Finnigan (keyboards); Lenny Castro (percussion); Bob Glaub (bass) and backup vocals from Teresa James, Gregg Sutton and Maxayn Lewis. (See the full cast on each song below the video.)

Also guesting is blues powerhouse Sugaray Rayford, in a scorching duet highlight on the funkified “I Won’t Say No,” with August matching Rayford with her own lusty pipes.

August has provided her own thoughts on the songs here, showing how each one evolved from her life and experiences. It’s a special window into her musical creativity, and I’ll let her speak for herself:

“Afraid of Love” is a funky little jam about being torn between wanting love and connection but being too guarded to let down your defenses. “Dashboard Madonna” is about my love/hate relationship with Los Angeles. It is a creative hub for artists and musicians with beautiful beaches, mountains and palm trees, but also filled with people struggling with poverty and homelessness.

“I Won’t Say No” is the story of friends and lovers who struggle navigating their complicated relationship. “What Would Mama Say?” takes me back to my early twenties when life was carefree and fun, but pretty confusing, and my mother’s attempts to protect and guide me with (usually unheeded) advice.

“Blue Eyed Boy” is about my son, our deep connection, and trying to navigate parenting a teenage boy. “Honey Jar” is a Wood Brothers song that seeps into your bloodstream and makes you dance whether you want to or not.

“Desiree” is my beloved cousin who passed away several years ago. She was a bright light in this world and known to kids in the neighborhood as “Mama Dez.” This song is my way of honoring her. “Dog In You” reflects life’s trials and tribulations, which often lead to great stories – and this is one of them.

“Blues Is My Religion” explores my disappointment with the misinterpretation of the teachings of the bible and other religious texts and how they are used to marginalize different groups of people instead of bringing them together in peace, love and respect for all man (and woman) kind.

“The Cure” came about while my friend Paul Barrere and I were both battling cancer. We would commiserate about the side effects of treatments, and I’d say, “talk soon,” to which he’d reply, “If the cure don’t kill me first!” Anybody who knew Paul was privy to his sometimes, morbid sense of humor, and I really miss him. “I Ain’t Lyin'” talks about wanting to keep things simple in relationships by telling it like it is.

“Born Yesterday” is my ode to making the most of what you’ve got and aiming for the stars even when it seems the cards are stacked against you and daring to believe in yourself when no one else does.

“August Moon” is packed with creative songwriting, sparkling musicality and powerhouse vocals that refuse to be eclipsed. Shine on Allison August!

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Just who is Allison August? Here’s an interview with Michael Limnios of Blues GR.

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Here’s a live performance by August:

Track Listing and Credits

1)Afraid of Love: Drums – Bryan Head, Bass – David J. Carpenter, Guitar – Sam Meek, Organ – Phil Parlapiano, Percussion – Lenny Castro, Saxophone – Joe Sublett, Trumpet – Les Lovitt, Backing Vocals – Maxayn Lewis & Jen Castonon, Lead Vocals – Allison August

2)Dashboard Madonna: Drums – Tony Braunagel, Bass – David J. Carpenter, Guitars – Paul Barrere & Billy Watts, Piano – Mike Finnigan, Violin – Don Teschner, Percussion – Lenny Castro, Backing Vocals – Teresa James & Gregg Sutton, Lead Vocals – Allison August

3)I Won’t Say No: Drums – Tony Braunagel, Bass – David J. Carpenter, Guitar – Sam Meek, Horns – Dino Soldo, Keys – Mike Finnigan, Percussion – Lenny Castro, Lead Vocals – Sugaray Rayford & Allison August

4)What Would Mama Say?: Drums – Tony Braunagel, Bass – David J. Carpenter, Guitar – Sam Meek, Keys – Mike Finnigan, Percussion – Lenny Castro & Dino Soldo, Backing Vocals – Maxayn Lewis & Jen Castonon, Lead Vocals – Allison August

5)Blue Eyed Boy: Drums – Bryan Head, Bass – David J. Carpenter, Guitar – Sam Meek, Organ – Phil Parlapiano, Percussion – Lenny Castro, Backing Vocals – Maxayn Lewis & Jen Castonon, Lead Vocals – Allison August

6)Honey Jar: Drums – Tony Braunagel, Bass – David J. Carpenter, Guitar – Sam Meek, Keys – Mike Finnigan, Percussion – Lenny Castro, Backing Vocals – Maxayn Lewis & Jen Castonon, Lead Vocals – Allison August

7)Desiree: Drums – Tony Braunagel, Bass – David J. Carpenter, Guitars – Sam Meek, Organ – Mike Finnigan, Backing Vocals – Teresa James & Gregg Sutton, Lead Vocals – Allison August

8)Dog in You: Drums – Tony Braunagel, Bass – David J. Carpenter, Guitar – Billy Watts & Buzzy James, Percussion – Lenny Castro, Saxophone – Joe Sublett, Trumpet – Les Lovitt, Backing Vocals – Teresa James, Lead Vocals – Allison August

9)Blues is My Religion: Drums & Percussion – Tony Braunagel, Bass – Bob Glaub, Guitar – Josh Sklair, Organ – Phil Parlapiano, Saxophone – Joe Sublett, Trumpet – Les Lovitt, Backing Vocals – Maxayn Lewis & Jen Castonon, Lead Vocals – Allison August

Mike Farris — “Sound of Muscle Shoals” — Fame / Malaco Records

From the hard-driving opening bars of “Ease On,” with the passionate voice of Mike Farris fronting the soul-soaked sounds of the Muscle Shoals rhythm section, to the world-weary finale of “Sunset Road,” Farris’s latest album is a glorious non-stop musical journey.

That journey includes nine sharply crafted originals and a pair of gorgeously sung covers: Tom Petty’s pensive, slow rocking “Swingin’,” and the soulful gospel of the Staple Singers’ “Slow Train,” with sublime backup vocals.

Elsewhere, Farris lets his deeply felt Southern-soul-filled vocals roam expressively through songs like the thundering “Heavy on the Humble,” the delicate thoughtful soul of “Bird in the Rain,” the pedal-steel countrified “Bright Lights,” and the richly voiced soul stirrers “Her” and the painfully elegant “Before There Was You & I” resonating with echoes of the great Otis Redding.

Farris has come a long way musically since his 1990s fronting the rocking Screamin’ Cheetah Wheelies. His 2014 album “Shine for All the People” (2014) won a Grammy for Best Roots Gospel album, followed by his thoroughly soulful “Silver & Stone” in 2018.

It feels like this entire album is a kind of return to his roots for Farris. “Ease On,” for example, is rich with details of his early years in Franklin County, Tennessee. “We didn’t have much, and life always felt like a struggle, and for many years, I found it hard to go back there. But in a way, “Ease On” pulled the curtain back and allowed me to take stock of where I came from and how I got here.” The lyrics reflect this sentiment: “It’s a long, long journey from where we began.”

Mike Farris is criminally under-appreciated as a soulful Southern voice, one that’s laid bare in the vibrant tracks of “The Sound of Muscle Shoals.” Farris and the roadhouse bravado of his music command your attention and demand your respect.

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Here’s “Ease On” from the album:

Tracklist & Credits:

1. Ease On
2. Heavy On The Humble
3. Swingin’
4. I’ll Come Runnin’
5. Bird In The Rain
6. Slow Train
7. Bright Lights
8. Learning To Love
9. Her
10. Before There Was You & I
11. Sunset Road

Mike Farris–Lead Vocals
Clayton Ivey–Piano, Hammond Organ, Wurlitzer
Will McFarlane–Guitar
Kelvin Holly–Guitar
Jimbo Hart–Bass
Justin Holder–Drums, Percussion
Wes Sheffield–Guitar
Wendy Moten, Kevin Clayborn, Lashanda Evans, Cindy Walker, Angela Hacker–Vocals
Philippe Bronchtein–Steel Guitar
Brad Guin–Saxophones
Drew White–Trumpet

Jad Tariq — “Jad Tariq Sings” — MoMojo Records

Jad Tariq may not sound exactly like the name of someone deeply into American roots music, R&B and jump blues.

But he is. And he’s very good at it.

And you can thank world-class bluesman, harp player and fellow Memphis resident John Németh for bringing him to our attention.

As a senior at Rhodes College in Memphis, Tariq began turning up at Németh’s gigs, and John eventually let him sit in with the band. Németh says Tariq’s blues and R&B work is impressive, but “I really love when he incorporates his Palestinian heritage and those sounds into his music. It’s super unique.” Tariq would later go on the road with Németh and appeared on his 2023 album, “Live From The Fallout Shelter.”

Tariq found his blues calling when: “My guitar teacher played me some Stevie Ray Vaughan, and my parents bought me that record of Albert King and Stevie together. It was so clear that Stevie got his influence from Albert.  Albert was such a monster.  He completely changed how I saw guitar.  He got me into the more traditional blues.”

“In the end,” Tariq says, “I guess I classify what I do as rhythm and blues, but there’s a lot of different kinds of music in there too,” he added.  “It’s all the stuff I love and listen to. I’m just trying to put my own spin on it.”

This debut album includes five originals and three classic covers, all smoothly executed by Tariq and his Memphis bandmates — Art Edmaiston on saxophone, Carl Caspersen on upright bass, Gerald Stevens and Wyly Bigger on piano and organ, and Earl Lowe on drums. Tariq handles guitar and vocals with a passion and polish that belie his 28 years.

The album kicks off with the original “Flapjack,” splashed with liquid guitar notes firing a swinging rhythm with a big band feel behind Tariq’s deceptively relaxed vocals. “You Think You’re Too Good For Me” follows, another original, with sizzling horns biting into another swinging session. “Had You Told It Like It Was” covers a recording by Albert King with a hint of a Latin rhythm behind big fat guitar notes.

“Fortune’s Fool” shifts back to an original, and shifts the mood to a dreamy ballad effortlessly crooned by Tariq — you’d swear you were sipping an icy martini in a classy ’50s cocktail lounge. “Shame, Shame, Shame” strips down the backers to guitar, upright bass, drums and piano for an original that adds a sensuous R&B feel to its doowop flavor.

Tariq reinvigorates the jump blues classic “Bloodshot Eyes” from R&B legend Wynonie Harris, swinging it appropriately hard and fast, then adds a lyrical guitar and tasty piano to the equally legendary T-Bone Walker’s “No Sleepin’est Woman.” Tariq closes with his own easy-rocking “So Much Water,” brightly lit by a sharp horn intro, carried along by stinging guitar riffs, and more slow-rolling vocals that complete this outstanding musical package.

“Jad Tariq Sings” is an impressive debut from this multi-talented guitarist/singer/songwriter/bandleader. Tariq dips deftly into the deep well of classic blues, jazz and R&B and comes out swinging as he filters these classic sounds though his own musical sensibilities.

It’s great listening, and you can dance to it!

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Just who is Jad Tariq? Here’s a profile from Blues Blast Magazine.

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Here’s “Flapjack” from the album:

Tracklist:
1. Flapjack
2. You Think You’re Too Good For Me
3. Had You Told It Like It Was
4. Fortune’s Fool
5. Shame, Shame, Shame
6. Bloodshot Eyes Harris
7. No Sleepin’est Woman
8. So Much Water

Bob Corritore & Friends — “Doin’ the Shout” — VizzTone Label Group

Bob Corritore, who’s been a keeper of the big blues flame for decades, is back with another scorching album for your front burner.

“Doin’ the Shout” is another of Corritore’s masterful efforts to present fresh takes on the classic Chicago blues sound. He does it by using a seemingly endless supply of his talented Friends, who all just happen to be gifted musical veterans. And that includes Corritore himself, who weaves his magical harp throughout.

“Shout,” which VizzTone says is Corritore’s 30th release, is comprised of recording sessions from 2023 and 2024, and which represent a simply gorgeous collection of fine blues from extra-fine artists. And the album cover art, in the style of many Corritore releases, is its own artistic pleasure.

The Friends here include Bobby Rush, Thornetta Davis, Bob Stroger, Francine Reed, John Primer, Dave Keys, Nora Jean Bruso, Oscar Wilson, Tia Carroll, Bob Margolin, Jimi Primetime Smith, Carla Denise, Johnny Burgin, Kid Ramos, Johnny Main, Johnny Rapp, Anthony Geraci, Ben Levin, Lewis Nash, Steve Ferrone, Chester Thompson and Mark Earley.

The rollicking opening track “Say, Baby, Say” is a swinging take on a 1950 tune by Alberta Adams, done here by Thornetta Davis, with Corritore rocking his harp. The slow-blues scorcher “Woman Wanted” is handled by big-voiced vocalist Oscar Wilson of The Cash Box Kings, with Bob Margolin on steamy slide guitar. The title track follows, written and terrifically sung by Nora Jean Bruso.

The heartfelt ballad “I Guess I’m A Fool,” written by Memphis Slim (Peter Chatman), gets a soulful treatment from the ageless Francine Reed and mournful Corritore harp. Bruso struts in again with the powerful shuffle, “It’s My Life,” then Wilson returns with another wicked slow blues, “Just A Dream,” his vocal turning rich and soulful.

Bobby Rush lends his legendary talents to the session by writing and delivering a slyly libidinous “I’ve Got Three Problems,” with some deep blue Corritore harp and rolling B3 by Chester Thompson. Davis wrote her next tune, the joyously uptempo “That Don’t Appease Me,” with Dave Keys on piano. Tia Carroll offers the swampy “I’ve Got To Be With You Tonight,” from the Slim Harpo (James Moore) songbook, with stinging guitar from Kid Ramos and Johnny Main.

John Primer holds forth with the tough shuffle, “Twenty Room House,” featuring Anthony Geraci romping on piano. Jimi “Primetime” Smith and Carla Denise join on a romping duet, “Same Old Thing.” The closer is an original by Bob Stroger, the slow-dancing, belt-buckle polishing languid blues of “My First Love.”

Just because I didn’t mention him on every track, Corritore’s impeccable harp work enhances every song, while the multitudinous Friends add just the right blues notes.

“Doin’ the Shout” is an album packed with real-deal blues the way they were meant to be played — and meant to be heard — from the heart and soul of the music. Bob Corritore just keeps finding new ways to revitalize America’s classical music.

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Here’s “I’ve Got Three Problems” from the album:

Tracklist:
 1. Say Baby Say – 3:25
 2. Woman Wanted – 3:16
 3. Doin’ The Shout! – 4:34
 4. I Guess I’m A Fool – 4:14
 5. It’s My Life – 3:35
 6. Just A Dream – 4:54
 7. I’ve Got Three Problems – 4:16
 8. That Don’t Appease Me – 3:57
 9. I’ve Got To Be With You Tonight – 4:00
10. Twenty Room House – 4:43
11. Same Old Thing – 3:41
12. My First Love – 4:04

Steve Howell — Yeah Man” — Out Of The Past Music

Fingerpicking guitarist and songster Steve Howell is a man of many talents, but his biggest superpower is time travel – that’s how he and his band, the Mighty Men, journey back into the past in search of music they love in order to make it fresh again.

Howell was thirteen when he first heard Mississippi John Hurt’s fingerpicking country blues. That experience became a revelation that opened the door to a new musical universe – and a 30-year career. “Since I was very young, I have loved the music from the early twentieth century,” the Texas native says. “This has been a constant in my life and been reflected in my repertoire.”

Howell’s latest album “Yeah Man,” is another cool collection of fine old and even older fine music that he adds to that repertoire. Joining him are his regular Mighty Men, Chris Michaels on electric guitar and vocals, Dave Hoffpauir on drums and vocals, and Jason Weinheimer on bass, keys, and vocals. They float effortlessly from blues into jazz, some old soul, a touch of doo-wop, spirituals, and a little dash of rock ‘n’ roll, ranging from the early 1900s to iconic mid-century melodies. Howell plays acoustic and electric guitars, and, of course, sings. Their music is vital, with an easy-rolling feel enhanced by Howell’s world-weary vocals.

Howell dips back nearly a century for the opener, swinging easily with “Long Lonesome Blues,” recorded by Blind Lemon Jefferson in 1926. Next, Howell is achingly soulful on the title track, a 1978 gem from Eddie Hinton, a lead guitarist for the Muscle Shoals Rhythm Section. “20% Alcohol” is a whimsical whiskey-flavored blues from J.B. Hutto in 1968, with tough guitar work from the Mighty Men.

“One Mint Julep,” a libidinous 1952 romp by the Clovers, gets a jazzy instrumental treatment, with a little vocal assist from the Mighty Men, introduced by a lilting organ from Weinheimer and filled with bright guitar riffs. “Little Ol’ Wine Drinker Me” is a blast of country pop from the ’60s about a man drinking away his romantic troubles, an unlikely hit by actor Robert Mitchum in 1967. “I’m Glad For Your Sake” is a dreamy ballad with a doo-wop dance beat, by Peter Tinturin and Jack Lawrence. First released in 1937 by Andy Kirk and His Clouds of Joy, Howell says his favorite version is the 1968 cover by the Sir Douglas Quintet.

“Just Like Romeo and Juliet” is a bouncy ode to young love from Freddie Gorman and Bob Hamilton, and was a hit for the doo-wop group, The Reflections, in 1964. Organ and guitar interplay with an R&B twist highlight the instrumental version of “Mercy Mercy Mercy,” by Joe Zawinul and a hit for jazz saxman Julian “Cannonball” Adderley in 1967. Howell reaches into rocker Bo Diddley’s songbook for 1958’s “Dearest Darling,” with Bo’s signature beat percolating at its bottom. Howell’s dusky vocal enhances “Lover Please,” the rhythmic Clyde McPhatter hit from 1962 written by Billy Swan. Traveling deep into musical history, Howell offers an uplifting version of the traditional spiritual “Wade In The Water,” published in 1901 and based on a version by the Fisk Jubilee Singers. The closer is a sensuous instrumental take on Bob Dylan’s 1964 anthem “Chimes Of Freedom,” with an elegant guitar solo that does poetic justice to its title.

The bright musical memories living in the tracks of “Yeah Man” represent another gorgeous trip back to the future with some of America’s classical music from Steve Howell’s master class in music appreciation. It deserves to be mightily appreciated – it’s a classical gas!

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Here’s “991/2” from the album

Tracklist:

01.Long Lonesome Blues [Blind Lemon Jefferson]
02.Yeah Man [Edward Craig Hinton]
03.20% Alcohol [J.B.Hutto]
04.One Mint Julep [Rudolph Toombs]
05.Little Ol’ Wine Drinker Me [Dick Jennings]
06.I’m Glad for Your Sake [Peter Tinturin – Jack Lawrence]
07.Just Like Romeo and Juliet [Freddie Gorman – Bob Hamilton]
08.Mercy Mercy Mercy [Joe Zawinul]
09.Dearst Darling [Ellas Otha Bates McDaniel > Bo Didley]
10.Lover Please [Billy Swan]
11.Wade in the Water [traditional; spiritual]
12.Chimes of Freedom [Bob Dylan]

Jimmy Vivino — “Gonna Be 2 of Those Days — Gulf Coast Records

Multi-talented Jimmy Vivino is probably best known for his 30-year gig with The Basic Cable Band, as Conan O’Brien’s longtime musical director.

And he’s held down a few other jobs, too. He’s a member of the Beatles tribute group The Fab Faux and plays in the current lineup of Canned Heat. He’s in demand as a multi-faceted sideman. As Vivino puts it: “I’ve worked in every form of media in the business from movies and TV to Broadway, radio, recordings and concerts all the way down to funky little clubs. After all, I always say, ‘I’m just a bluesman with a job’.”

With that sterling resume in his pocket, he’s still only recorded a pair of albums on his own, the most recent being 2013’s live session with his band: “Jimmy Vivino and the Black Italians – 13 Live.”

Vivino’s latest, at age 70, the blues-hued “Gonna Be 2 of Those Days,” almost makes up for that lack of recording. It’s a gem of an album, filled with sturdy originals, sly lyrics and great blues licks. Plus Vivino’s vintage vocals.

The caustic opener, “Blues in the 21st,” finds Vivino paired with Joe Bonamassa in a fiery guitar-laden track bursting with powerful riffs and lyrical images of desperation in the 21st century. “Ruby Is Back,” is a little wordplay Kenny Rogers’ “Ruby Don’t Take Your Love to Town,” with Vivino rolling out heavy B3 lines.

The title track is a whimsical exploration of some bad luck and trouble themes with a nice guitar break, then some tasty piano, and Vivino shouting the blues. “Beware the Wolf” features John Sebastian on a lively barrelhouse piano-forward shuffle, then “Ain’t Nuthin’s Gonna Be Alright” is another sturdy blues.

The mid-tempo “Better Days Past” gets it blues power from Healy’s piano, some tough guitar, Vivino’s crisp vocals, and sharp lyrics. “Fool’s Gold” is a slow blues scorcher with Vivino on a soulful B3. “Crossed My Mind” is a loping blues shuffle, leading into New Orleans-flavored “Goin’ Down Fast.” “Shady Side of the Street” eases along with a vocal flourish before John Sebastian’s lyrical harp work leads the acoustic closer, “Back Up the Country,” with a sly wink and a nod to Canned Heat’s classic “Goin’ Up the Country.”

“Gonna Be 2 of Those Days” is a smartly written, musically astute session, with Vivino’s vintage vocal style adding perfect notes of bluesy wit and wisdom. Give this one a spin.

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Here’s a live version of “Blues in the 21st”

Tracklist:
1. Blues In The 21^st (featuring Joe Bonamassa
2. Ruby Is Back
3. Gonna Be 2 of Those Days
4. Beware the Wolf (featuring John Sebastian)
5. Ain’t Nuthin’s Gonna Be Alright
6. Better Days Past
7. Fool’s Gold
8. Crossed My Mind
9. Goin’ Down Fast
10. Shady Side of the Street
11. Back Up the Country (featuring John Sebastian)
Musicians:
Jimmy Vivino: Acoustic and Electric Guitars, Hammond B3, Piano, Vocals
Jesse Williams: Upright and Electric Bass
Rich Pagano: Drums and Percussion
With:
Joe Bonamassa: Guitar (“Blues in the 21^st”)
John Sebastian: Harmonica and Acoustic Guitar (“Beware the Wolf,” “Back Up the Country”)
Mark Teixeira: Percussion
Scott Healy: Accordion, Piano (Gonna Be 2 of Those Days, Beware the Wolf, Better Days Past)
Mark Teixeira: Percussion