Albums by Duke Robillard, Mitch Woods, Blue Moon Marquee, Colin James, Kid and Lisa Andersen, Eric Bibb, J.P. Reali

Well, 2024 is finally over, which means (what else?) that 2025 is finally here — not that I was breathlessly awaiting its arrival. It also means another welcome year of new blues and blues-related music to enjoy and write about.

But first, I can’t let go of ’24 without mentioning some albums I probably should have written about but didn’t. And I probably missed some others. So, here’s a handful of mini-reviews of worthwhile releases that are very deserving of a mention. In no particular order.

Duke Robillard — “Roll With Me” (Stony Plain) — This a rocking blues album with plenty of honking sax and blazing guitar from the veteran Robillard that he began in 2005 and finally got around to finishing. It’s filled with originals and great blues covers like “Built for Comfort,” “Boogie Woogie Country Girl,” and “Are You Going My Way,” a rollicking update of “Good Morning, School Girl.” first recorded by John Lee “Sonny Boy” Williamson (the original Sonny Boy) in 1937. It’s fine, fun listening — some of Duke’s best.

Mitch Woods — “Happy Hour” (MoMojo Records) — Pianoman Woods and his Rocket 88s jump out with his trademark boogie ‘n’ blues that fill this album with the kind of joyous music that spawned rock ‘n’ roll back in the ’40s and ’50s. The 88s add raunchy horns and flashy guitar work to Woods powerful piano-pounding. His growling vocals complete this swinging session. A happy hour indeed.

Blue Moon Marquee — “New Orleans Sessions” (Bigtone Records) — Canadian guitarist/vocalist A.W. Cardinal and standup bassist/vocalist Jasmine Colette are Blue Moon Marquee and together they’ve created a delicious session of old-timey New Orleans-flavored music, recorded on location in just two afternoons with a swinging cast of New Orleans musicians. They reach back into the 1920s and ’30s for inspiration and songs to cover. The live-to-tape production and Cardinal’s raspy vocals give the album a raw, authentic feel that lends just the right atmosphere to this lively set. A highlight is their raucous treatment of Charlie Patton’s “Shake It and Break It.” A genuine Big, Easy treat.

Christoffer “Kid” Andersen — “Spirits” / Lisa Leuschner “Little Baby” Anderson — “Soul” (Little Village double album) — Kid Andersen runs Greaseland recording studios, and in the past 15 years or so, has produced more than 150 albums. He’s also the guitarist in Rick Estrin & the Nightcats band. His wife Lisa Leuschner “Little Baby” Anderson has a stellar history as a singer. Together they run Greaseland, with Lisa providing backup vocals on many of Kid’s productions. Finally, they’ve recorded themselves on this excellent double-disc set, with Kid offering a crackling bluesy session and Lisa contributing her own soulful sides. They’re backed by the considerable talents of Greaseland studio musicians, plus a few extras. A fine outing all around.

Colin James — Chasing the Sun” (Stony Plain) — James is veteran Canadian singer (this is his 21st album) whose rootsy guitar work and smooth vocals enable the folksy story-telling style emphasized on this smartly crafted. Despite his genius at Americana, James isn’t all that well known in this part of the Americas. This album should help. It’s filled with musical gems that speak honestly about the human condition.

Eric Bibb — “In The Real World” (Stony Plain) — Bibb says of this richly conceived collection: “Musically, the album feels like a self-portrait because it truly represents my influences.” His influences are many and varied, fueling this insightful music and allowing him to create another thoughtful album, deep in the blues and roots tradition, but also, rooted in the real world. And that’s the best of both worlds.

J.P. Reali — “Blues Since Birth (Reali Records) — Washington D.C. music veterans Reali and Jim Larson combine on this pandemic project of eight bright and bluesy originals and one splendid cover of Bob Dylan’s “It Takes A Lot To Laugh, It Takes A Train To Cry.” Reali handles the vocals and plays the guitar parts (including some sharp slide) plus harp, with Larson on percussion — and a little help from some musical friends. Their originals span a variety of vintage blues styles and are well worth a listen.

The Two Bad Jims — “Over The Hill – A Tribute To RL Burnside” — Thunder Town Music

There are many shades of blue in the blues — music that has often shape-shifted in the century-plus that it’s been busily creating its unique place in the history of American music.

One of those musical hues is a shamefully lesser known but powerful and influential style known as Hill Country Blues — or sometimes North Mississippi Hill Country Blues, based on its origins in the hill country of northern Mississippi bordering on Tennessee. It’s a style that leans heavily on percussion, which has been traced to influences from West Africa that were brought to America by African slaves. R.L. Burnside was one of its most well-known practitioners, with his original dramatic and hypnotic style.

Which brings us, where else, to the United Kingdom and a pair of Washington state transplants who call themselves the Too Bad Jims, after Burnside’s album on the Fat Possum label, “Too Bad Jim.” The Jims are veteran guitarists and Burnside aficionados Little Victor and Son Jack Jr., who added Nick Simonon on drums. This tribute album is their debut, featuring ten songs from Burnside that range from the well-known (to blues fans) to more obscure tracks.

The trio leans heavily into the Hill Country style, with their aggressive guitar work and hypnotic percussion. “Miss Maybelle” launches their effort, with dual vocals adding another layer to the already dynamic mix. “Going Down South” adds razor-sharp slide that brings eerie overtones to an already other-worldly feel. “Long Haired Doney” increases the tempo without decreasing the intensity, and then “Peaches” shakes the tree with a touch of melody.

“Black Mattie” is classic Burnside, faithfully freshened by the Jims’ talented enthusiasm, with an invitation to hit the dance floor with trance-like moves. “Out On The Road” shuffles in with thumping Delta-Chicago riffs, then “Jumper on the Line” leaps out with a wicked beat. “Over The Hill” is a droning chant with intervals of hand-claps and a gospel feel. “Alice Mae” and “Skinny Woman” close the set in fiery style and guitars blazing.

With this passionate Burnside tribute, the Too Bad Jims give the slogan “keeping the blues alive” fresh meaning. They’re reviving a valuable piece of blues history before it gets lost in the primeval mist that cloaks the often-hidden origins of this music.

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A brief history of Hill Country Blues

Who are the Too Bad Jims?

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From 1978, a video of R.L. Burnside performing “See My Jumper Hanging On The Line”

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The Too Bad Jims perform “Black Mattie”

Track Listing
1. Miss Maybelle 2:36
2. Going Down South 4:30
3. Long Haired Doney 3:32
4. Peaches 2:35
5. Black Mattie 3:29
6. Out on the Road 3:32
7. Jumper on the Line 2:28
8. Over The Hill 2:18
9. Alice Mae 4:05
10. Skinny Woman 2:24

Various Artists — “Walking in a Winter Wonderland — Nola Blue Records

I know, I know. Christmas holiday music is everywhere. But I like to think that some of it is a little different — especially if you’re a blues (or even close to blues) fan, as am I.

So, here’s a sparkling session featuring artists from Nola Blue Records with a handful of songs designed to provide some memorable blue Christmas music.

The nine tracks (just enough to enjoy without shopping mall overload) range from the ribald — “Slim Down Santa” by Jim Koeppel to the spiritually soulful — “Go Tell It On the Mountain” by Trudy Lynn.

“I Want Some Christmas Cheer” by Benny Turner is a sweet, soulful opener with a bouncy, bluesy beat that’s good all year round. Trudy Lynn’s “Go Tell It On the Mountain” is spiritually suitable for any season. Tiffany Pollack’s plaintiff “River” is a gorgeous song, beautifully sung, for any season. “Christmas on Bourbon Street” is an appropriate Nola tribute from Gregg Martinez, and Sugar Ray Norcia lends his romantic pipes and soulful harp to “That’s What I Want for Christmas.”

“Every Day Will Be Like a Holiday” is a soulful gem from the late Frank Bey, then Clarence Spady struts in with a bouncy “Christmas,” leading into the horn-laced closer, “Funky Mistletoe,” by Willie J. Laws.

Altogether, this eclectic collection adds just the right note for the holiday season. Or, really, good music has no season. But if your holidays threaten to be unnecessarily blue, some of this bluesy music just might help.

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Trudy Lynn’s version of “Go Tell It On the Mountain,” from the album:

Tracks and personnel:
I WANT SOME CHRISTMAS CHEER
Benny Turner: Bass, Vocals
Jack Miele: Guitar
Keiko Komaki: Keyboards
Jeffery “Jellybean” Alexander: Drums and percussion
GO TELL IT ON THE MOUNTAIN
Trudy Lynn: Vocals
Steve Krase: Harmonica
David Carter: Guitar
Tamara Williams: Drums
Jon Cometta: Rhythm guitar
Eugene “Spare Time” Murray: Bass
Barry Seelen: Organ
SLIM DOWN SANTA
Jim Koeppel: Guitar and Vocals
Gene “Daddy G” Barge: Tenor Saxophone
Tennyson Stephens: Piano
Welton Gite: Bass
James Gadson: Drums
Backup vocals: James Gadson, Tennyson Stephens, Cash McCall, Welton Gite, Stanley Behrens
RIVER
Tiffany Pollack: Vocals
Eric Johanson: Vocals, guitar
Jack Miele: Bass, Additional Guitar, Percussion
Brentt Arcement: Drums, Organ, Piano, Percussion
CHRISTMAS ON BOURBON STREET
Gregg Martinez: Vocals
Kris Landrum: Keyboard
Shawn Faulk: Drums
Tony Goulas: Guitar
Ronnie Eades: Saxophone
THAT’S WHAT I WANT FOR CHRISTMAS
Sugar Ray Norcia: Vocals, Harmonica
Marty Ballou: Bass Guitar
Ricky Russell: Guitar
Bobby Christina: Drums
EVERY DAY WILL BE LIKE A HOLIDAY
Frank Bey: Vocals
Anthony Paule: Guitar
Paul Revelli: Drums
Paul Olguin: Bass
Tony Lufrano: Hammond B3 and keyboards
Nancy Wright: Tenor saxophone
Mike Rinta: Trombone
Tom Poole: Trumpet
Loralee Christensen: Background vocal
CHRISTMAS
Clarence Spady: Vocals, Guitar
Andy Galore: Bass Guitar
Dave Archer: Organ
Dave Archer: Piano
Barry Harrison: Drums
FUNKY MISTLETOE
Willie J. Laws: Vocals, Guitar
Roberto Morbioli: Guitar
Steve Bigelow: Bass Guitar
Bobby Christina: Drums

FreeWorld — “More Love” — Swirldisc

Imagine a band so joyously creative that for 37 years, dozens of its current and former members have perpetuated a magical Memphis musical tradition as a popular Beale Street jam band, filled with multiple styles from funk to psychedelia, offering a spiritual union of Memphis, New Orleans, and San Francisco.

Meet FreeWorld: A musical ensemble that’s been evolving since a young bassist Richard Cushing met legendary saxophonist Herman Green in1987 and formed the band’s nucleus. Green passed in 2020, but Cushing remains a driving force as bassist, lead singer and writer or co-writer of most of the songs on this session, along with sax player Peter Climie.

“More Love” is FreeWorld’s eighth album and showcases the band at a creative high point in musical breadth and originality. There are whiffs of Bob Marley, the Grateful Dead, Frank Zappa, Booker T. & the M.G.’s, Steely Dan, Chicago, and the Meters. But the unique music they weave from this eclectic tapestry belongs only to FreeWorld.

The “More Love” core members are a band of brothers and sisters from many grooves: Cushing, Climie, Cedric Taylor on keyboards, Alex Schuetrumpf on trumpet, Courtney Reid as a lead and backup singer, Frank Paladino on sax, Freedman Steorts on trombone, Walter Hughes on guitar and Matt Sweatt on drums. There are cameo turns by more than a dozen special guests and FreeWorld alumni – including the Tennessee Mass Choir on the title track.

The band roars out of the gate with “Outta Sight,” horns soaring and a B3 pulsing, copping an attitude for everything that follows: “So get the message / Just catch the vibe / Take the journey and enjoy the ride.” Expressive songwriting makes a statement on the horn-fed “Give Until You Live”: “Sometimes you’re sure you’ll win / Sometimes you’re full of doubt / If you don’t go within / Then you will go without.”

The title song, “More Love,” with Jerome Chism as lead vocalist, offers a spiritual and musical hint of Bob Marley with its rich emotional appeal: “Every time you get a chance / Don’t leave it to happenstance / Spread your Love to those around you / What’ll happen will astound you.” For the eloquent instrumental “Red Moon,” Cushing brought together five of the six original FreeWorld members from 1987 as a tribute to its composer and band founding father Green, with his spoken words bringing it to a solemn close.

Joyful music highlights the somber plea of “To Arise” — “It’s time for justice to arise / We’ve got to up our eyes / And start listening to the wise.” “Rush Hour” is a heart-pounding instrumental musical rush; “Heart On the Table” bids for an open heart: “Lay your heart out on the table / Seek the truth / Stop chasing those fables.”

“11:11 on Beale” conjures the spirit of Beale Street and its musical heritage with a musical intro and a spoken ode to its late-night mysteries: “We be Bobby “Blue” Bland’s moan, / Aretha’s gospel home / We are home of the blues, / Birthplace of rock & roll.” The heartfelt “Life for Tomorrow” offers sage advice: “So don’t live your life for tomorrow / Live it today.”

The instrumental “Who Knew?” soars on a magnificent horn section, then “Nothin’ Wrong” adds a little funkified whimsy: “In our world here we belong / We just dance and sing our songs / Ain’t nothin’ wrong with bein’ strong.” The jazzy instrumental “Color Trip” takes flight and you can almost see the colors on this effervescent seven-minute trip.

As if all that glorious music isn’t enough, two bonus tracks offer an alternate take of the title track featuring Walter White on vocals, and an audio cut from the award-winning video “D-Up (Here’s to Diversity)” featuring a soulful vocal turn from Courtney Reid – “Sink or swim, we’re all in this together / And there’ll be times where it’s more than we can weather / With communication, respect, and harmony.”

FreeLove members are definitely “all in this together,” effortlessly creating the emotional richness of “More Love” with smartly vivid lyricism framed by their joyous music.

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Here’s “D-Up (Here’s to Diversity)” from the album:

Tracklist:
1. Outta sight 4:18
2. Give until you live 4:48
3. More love 3:59
4. Red moon 4:12
5. To arise 4:16
6. Rusk hour 3:39
7. Heart on the table 4:48
8. 11:11 On Beale 5:35
9. Life for tomorrow 5:27
10. Who knew? 5:08
11. Nothin’ wrong 4:15
12. Color trip 7:04
Bonus tracks:
13 More love {Alternate Version} 3:59
14. D-UP (Here’s to diversity) 4:38

Ollee Owens — “Nowhere to Hide” — Ollee Owens Music

Canadian singer Ollee Owens’ luminous second album, “Nowhere to Hide,” blows in like a cool breeze out of the farming community of New Bothwell, Manitoba, fresh and bluesy, a soulful session filled with music shaped by her own life and feelings.

Owens is not a newcomer but a veteran singer-songwriter who took a 15-year break to raise a family and now finds herself ready to tell her musical stories with a rich, emotional vocal style that gives life to her passionate lyrics.

The album features a varied cast of excellent backing musicians, pulled together by producer and drummer Bobby Blazier. They float creatively through arrangements that carry inflections of jazz, blues and soul.

The opening (and title) track, “Nowhere to Hide,” strides in with a Southern blues-rock feel, heavy with guitars and pulsating organ behind a tough vocal message: “Trouble, trouble, trouble, ain’t no trouble gonna bring us down.” A sensuous sax and rippling organ help drive “Solid Ground” into jazzier territory, with Owens’ seemingly effortless strong vocals.

The rhythmic, upbeat in spirit and style, “Some Days” grows out of a faith in human resilience. A gentler, slightly funky “Roots” features a softer Owens vocal turn, giving her a chance to emphasize the eloquent lyrics. “Love You Better” rocks in with a chuckle and bouncy beat. “Still In Pieces” is a lovely ballad with an almost-whispered intro and a mournful lyric: “All in pieces now, don’t know what to do.”

“Shivers and Butterflies” is an elegant ballad exploring the feelings of love: “You light up my eyes, you make me feel so alive, I just love, love, lovin’ you.” The soaring, rollicking blues of “My Man” continues that sentiment. “Love Hung Around” continues a recurring love theme that fills much of Owens’ music with gentle passion driven by the blues. “The Neighborhood“ pushes its horns front and center, giving this track a different edge.

“Lord Protect My Child, a Bob Dylan song, is a glorious bit of singing and musical backing in the finest gospel tradition, dedicated to one of her three daughters who has a cognitive disability. “My daughter is twenty-three now, but there’s still a lot of vulnerability…the desire for protecting and taking care of her will never go away.”

“Nowhere to Hide” is a superb sophomore effort from Ollee Owens, whose powerful singing and smart songwriting deserve a much wider audience. You owe it to yourself to hear her music.

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Here’s “Some Days” from the album:

Track List and Credits:
1. Nowhere To Hide 3:55
2. Solid Ground 2:47
3. Some Days 4:15
4. Roots 4:52
5. Love You Better 3:45
6. Still in Pieces 4:14
7. Shivers and Butterflies 4:42
8. My Man 3:22
9. Love Hung Around 3:59
10. The neighborhood 4:06
11. Lord Protect My Child 6:29

Musicians:
Guitar: Will McFarlane (Tracks 1,2,4-6,8-10) Phil Hughley (Tracks 1,2,4-6,8-10) Chris Rodriguez (Tracks 3,7,11)
Bass: Tommy Sims (Tracks 1,2,4-10) Craig Young (Tracks 3,11)
Drums/Percussion: Bobby Blazier (All Tracks)
Keys/Organ/Piano: DeMarco Johnson (Tracks 3,4,6,7,10,11) Gabe Klein (Tracks 1,2,5,8,9)
Horns: Rahsaan Barber (Sax on tracks 2,10) Cord Martin (Sax on track 11) Roland Barber (Trumpet on track 10)
Background Vocals: Joey Richey (Tracks 2-11) Gene Miller (Tracks 2-10) Minnie Pearl (Track 11)

Songwriter Credits
Ollee Owens, Kornelius Colyn: Some Days/Love You Better/Still in Pieces/Roots/Shivers and Butterflies
Ollee Owens, Will McFarlane: Solid Ground/My Man
Ollee Owens, Phil Hughley: Nowhere to Hide
Will McFarlane, Tommy Coomes: Love Hung Around
David Hidalgo, Louie Perez: The Neighborhood
Bob Dylan: Lord Protect My Child

Jovin Webb — “Drifter” — Blind Pig Records

Jovin Webb is finally getting a chance to tell the story of his musical life.

The Baton Rouge-based bluesman had just about given up on his dreams when he got a rousing welcome on American Idol in 2020, and then his newfound fame led to this powerful bayou-drenched debut album.

It’s also the emotional story of a young man searching for — everything. “It’s me trying to figure out religion, women, my career, and everything I’ve gone through,” Webb says.

“At a young age, the longing and pain expressed by Southern Black Baptist church music spoke to me, but as I experienced my own trials and tribulations, I felt the pull of the blues,” Webb says. “I soon realized that gospel and blues are related. Someone with the blues is in a low place, and when you seek salvation you’re also usually in a low place.”

All of Webb’s searching comes together in this splendid 12-song set that features classic down-home blues, soulful ballads and a few hard-rocking tracks, fueled by his eloquent harp work. The mostly original songs here, mainly from Webb and producer Tom Hambridge, speak to Webb’s personal and very emotional quest for meaning. Hambridge also plays drums, with Kenny Greenberg on guitar, Mike Rojas on piano and keyboards, and Rob Cureton on bass.​

“Drifter” roars to life with “Bottom of a Bottle,” a wicked harp riff intro to a down and dirty blues that unlocks the rawness of Webb’s vocal grit and personal pain: “Take a shot for my troubles, take a shot for pain, at the bottom of a bottle, I’ll wash your sins down the drain.” “Save Me” is a gentler take: “I was raised not to judge another of a man by the color of their skin.”

“I’m A Drifter” is the title theme, with a percussive feel that pays tribute to The Temptations “Papa Was a Rolling Stone” and Muddy Water’s “Rolling Stone.” “Drunk On Your Love” is a love song that turns Webb’s vocal style into a soulful gem. “Wig on Wrong” is good old-fashioned rock ‘n’ roll with Rojas on barrelhouse piano, and Little Richard’s spirit lurking in the background. “Livin’ Reckless” is another sensuous slow blues that Webb’s voice, aged beyond its years, was born to sing:  “So many mistakes I’ve made… I’ve been fearless, foolish, but still here somehow, Lord, help me find my way.”  “Blues for a Reason” is an uplifting ode that explains why he sings: “I got my own story to tell, I sing the blues for a reason.”

Webb pours his soul into the heartfelt “Mine Someday” — “I have been trying so hard to get your attention / I would do anything to make you my girl.”  “Hand on the Bible” is laced with R&B rhythms and a vow to gain her love. But the her “Bad Deeds” “is messing with my mind / I bring home the bacon, you feed me crumbs,” filled the spirit of classic blues turned out with a funky harp flurry. “It’s The Hawk” rocks in on a fierce cold Chicago wind that greets him on his arrival from Louisiana.

Everything gets wrapped up nicely with a tough cover of the Albert King classic, Booker T’s “Born Under a Bad Sign” with Max Abrams adding sax and Julio Diaz on trumpet. You get the feeling that this is also Webb bringing some of his own personal pain into the mix.

But the pain of the blues is also tempered by its pleasures, and that’s what the talented Jovin Webb has graced us with on his superb “Drifter.” Let’s hope it’s just the beginning.

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“Drunk On Your Love” from “Drifter”

Track List:
1. Bottom of a Bottle (Jovin Webb, Tom Hambridge, Richard Fleming)
2. Save Me (Jovin Webb, Tom Hambridge, Richard Fleming)
3. I’m a Drifter (Jovin Webb, Tom Hambridge)
4. Drunk on Your Love (Jovin Webb, Tom Hambridge)
5. Wig on Wrong (Tom Hambridge, Richard Fleming)
6. Livin’ Reckless (Jeff Schroedl, Tom Hambridge)
7. Blues for a Reason (Jovin Webb, Tom Hambridge)
8. Mine Someday (Jovin Webb, Tom Hambridge)
9. Hand on the Bible (Jovin Webb, Tom Hambridge, Richard Fleming)
10. Bad Deeds (Jovin Webb, Tom Hambridge, Richard Fleming)
11. It’s the Hawk (Tom Hambridge, Richard Fleming)
12. Born Under a Bad Sign (Booker T. Jones, William Bell)

Mississippi MacDonald — “I Got What You Need” — APM Records

Oliver “Mississippi” MacDonald is one of those rare blues musicians who isn’t satisfied with just recreating this great music.

Instead, he has absorbed the blues, filtered it through his own considerable inspiration, and created a sound that is uniquely his own.

MacDonald’s music is filled with his own intensity and passion, created with a musical economy that underscores his understanding of the power of understatement, whether he’s delivering a passionate vocal or razor-sharp guitar licks. He lets the music breathe in between the notes.

MacDonald, from London, England, says of his style: “The great soul and blues vocalists sing in a way that conveys the song as if a friend were telling you of their trials and tribulations. Same for my favorite guitarists – I value economy and expression, not guitar histrionics.” 

MacDonald’s bandmates here are the very capable Phil Dearing on guitars and keyboards, Elliot Boughen on bass; Jim Kimberly on drums, and Lucy Randall on stirring backing vocals. Nine tracks on the session feature five original songs with four by MacDonald and one by Dearing.

The band opens everything up, fittingly enough with the title track, a hard-driving version of the song originally written and recorded by William Norris, with MacDonald’s guitar leading the way. His guitar sparkles again behind soaring vocals on “We’re Gonna Make It,” a 1965 Little Milton cover. “Stop! Think About It” is a MacDonald original, where he delivers a hauntingly spare guitar solo and a vocal that reaches deep into the blues for its soulful feeling: “You said you love me child, are you walkin’ on me?”

“3.35 AM” is another MacDonald original, a lively, very danceable instrumental shuffle — if your feet can keep up. “Hard Luck and Trouble” jumps in next, written by John Ward, founder of Memphis-based Ecko Records. MacDonald steps up the pace with a rocking blues. “Sinking,” written by producer Dearing, is yet another of the passionate slow blues that MacDonald turns into a vocal masterpiece: “Your blues eyes don’t mean nothing to me, the water is coming over the side and this boat is sinking now.” Randall adds a soaring harmony for the final touch. “Soul City One” is another MacDonald instrumental, punched higher by Dearing on the B-3.

Next is the rousing gospel of “If I Could Only Hear My Mother Pray,” with MacDonald reaching higher and higher with splendid vocals. The song has a unique history — written by John Whitfield Vaughan and James Rowe in 1922. A 1934 recording of the by Thomas A. Dorsey (former hokum blues star and Tampa Red partner Georgia Tom), was selected in 2007 by the United States’ National Recording Preservation Board for preservation in the National Recording Registry.

The emotional closer, “Your Dreams,” features Dearing’s elegantly understated piano behind MacDonald’s eloquent guitar lines and spine-chilling lyricism: “For the dreams that we share, when we’re no longer there, break the heart of a poor man in two … if the day feels so long, and your heart has no song, raise your hand, let me know if you’re near…” It’s a moving musical triumph that powers MacDonald into the ranks of truly gifted musicians.

On his two most recent and equally excellent albums, McDonald has offered similarly powerful outings, music that seems to have been dredged from some primeval soulful depths — “Let Me Explore Your Mind,” “I Was Wrong,” and “I’ll Understand” are a few examples. This time, “Stop! Think About It!,” “Sinking” and “Your Dreams” explore those same deep emotional origins. It’s music that has the ability to fulfill the deepest longings of the soul.

Mississippi MacDonald pours his heart and soul into his music. You would do yourself a favor by letting him pour it into yours.

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Who is Mississippi MacDonald?

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Here’s the title track, “I Got What You Need”

Tracklist and credits:
01. I Got What You Need
02. We’re Gonna Make It
03. Stop! Think About It!
04. 3.35 AM
05. Hard Luck And Trouble
06. Sinking
07. Soul City One
08. If I Could Only Hear My Mother Pray Again
09. Your Dreams
Mississippi MacDonald – Vocals , Lead Guitar
Eliott Boughen – Bass
Jim Kimberley – Drums
Phil Dearing – Guitars, Keyboards
Lucy Randall – Backing Vocals

Various Artists — “Mistletoe Mojo” — MoMojo Records

Christmas music already? Why not — before you know it, the stores will be full of spring fashions and patio furniture. So enjoy it while it lasts.

And you can start with this delightful compilation of rollicking holiday music from the folks at MoMojo Records. It’s definitely not your grandfather’s Christmas music — I think it’s much better — and how can you go wrong with a label that calls itself MoMojo?

There are 14 Christmas songs here, all from the joyously eclectic MoMojo roster. Some are traditional, in a non-traditional sort of way: “I Saw Mommy Kissing Santa Claus” by the honey-voiced Teresa James, “Santa Baby” by sassy Lil’ Red & The Rooster, the ever-hopeful “Santa Claus is Coming to Town” by The Stacy Jones Band, “Silver Bells” rung by The Texas Horns, and “Amazing Grace II,” a different riff from Croatian blues harpmeister Tomislav Goluban.

Some are more contemporary: “I Was a Bad Boy This Year” by Rick Vito, “Nick’s Place” by Mark Cameron, and “Who Stole the Baby Jesus” by Dave Keyes. And there are more seasonal sounds from Mark Cameron, Dustin Douglas & The Electric Gentlemen, Peter Veteska & Blues Train, Joel Astley, Bobby Gentilo, and Mike Guldin. (Complete track list at the bottom, under the mistletoe.)

Let’s face it. You’re about to be bombarded with holiday Muzak whenever you step outside. It will be fun for a minute, but its mind-numbing tendencies would annoy even Santa himself. You need the comfort and joy that comes from letting “Mistletoe Mojo” work its holiday magic.

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Here’s “Santa Baby” by Lil Red and the Rooster:

Tracklist: 1. I Was a Bad Boy This Year – Rick Vito 2. I Saw Mommy Kissing Santa Claus – Teresa James 3. Nick’s Place – Mark Cameron 4. Santa Baby – Lil’ Red & The Rooster 5. Santa Claus is Coming to Town – The Stacy Jones Band 6. Even Santa Gets the Blues – The Texas Horns 7. Christmas is the Time to Say I Love You – Dustin Douglas & The Electric Gentlemen 8. I’ll Be Home For Christmas – Peter Veteska 9. Naughty List – Joel Astley 10. Who Stole the Baby Jesus – Dave Keyes 11. Silver Bells – The Texas Horns 12. Santa Claus Go Straight to the Ghetto – Bobby Gentilo 13. Please Come Home For Christmas – Mike Guldin 14. Amazing Grace II – Tomislav Goluban

Johnnie Taylor — “One Step From the Blues” — Stax Records / Craft Recording

Soul music is a wonderful American creation.

It produced a generation of singers (most of whom came to the music from their gospel roots), that defined music that was indeed one step from the blues, with all its soulful heritage.

Johnnie Taylor, “The Philosopher of Soul,” was one of those singers, not to mention, one of the greatest. His voice may not have been one of the silkiest, but it was one of the most raw and passionate.

Taylor’s music is being celebrated this year, the 90th anniversary of his birth, with a compilation of his work released on Stax Records / Craft Recordings, “One Step From the Blues.” The album overflows with a dozen of Taylor’s finest, including selections from his prolific Stax Records years, from his signing in 1966 to the label’s closing in 1975. It was Stax who aptly decided that Taylor was the “Philosopher of Soul.”

Taylor’s career included much more than his Stax recordings, but those sides helped to define his sound and his popularity. He was nominated for three Grammys, won a Pioneer Award from the Rhythm and Blues Foundation, and was inducted into the National Rhythm & Blues Hall of Fame and the Blues Hall of Fame.

Taylor grew up singing in gospel groups in West Memphis, Ark., and joined the legendary gospel quartet, the Soul Stirrers, in 1957, when he replaced Sam Cooke, who had moved on to his secular career. Taylor later joined Cooke’s SAR label, and then moved to Stax after Cooke’s death. When Stax lost its star, Otis Redding, to a plane crash in 1967, the soul mantle fell to Taylor, who responded with years of great music. (Here’s a photo of Taylor in 1967.)

Those years are represented here with some of Taylor’s best: The breakthrough single in 1968, “Who’s Making Love” (it sold over a million copies), followed by “Steal Away,” “Stop Doggin’ Me,” “Cheaper to Keep Her,” “I Had a Dream” and “Save Your Love for Me.” There are more, and they all paint a picture of one of America’s finest soulmen.

This is a gorgeous collection of some of Taylor’s signature soul. If you’ve never heard his passionate pipes, this a great place to start. If you have, these tracks should add to the magic. They will fill any hole in your soul.

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Here’s a live performance of “Who’d Makin’ Love”

Track list:
1. Steal Away
2. I Had a Dream
3. I’d Rather Drink Muddy Water
4. Part Time Love
5. Cheaper to Keep Her
6. Separation Line
7. Doing My Own Thing, Pt. 1
8. Somebody’s Sleeping in My Bed
9. That’s Where It’s At
10. Stop Doggin’ Me
11. Save Your Love for Me
12. Woman Across the River

Benny Turner — “BT” — Nola Blue Records

Benny Turner is an original.

One of the last of the originals.

The long and winding road of the musical career of Turner, the younger brother of legendary blues guitarist Freddie King, has carried him through the highways and byways of gospel, blues, soul and R&B. And Turner’s last ten years have seen a renewal of his still soulful 85-year-old pipes, thanks to the prescience and perseverance of Nola Blue label owner Sallie Bengston (you can hear her handclaps and backup vocals on a couple of songs here!).

Turner started his career playing guitar for The Kindly Shepherds, a gospel group that he joined on guitar and background vocals for several recordings. At that time, Turner also started playing with his brother at Chicago clubs, where he later joined Dee Clark’s R&B band. Turner then toured with Clark and later the Soul Stirrers in the early 1960s, where he played bass for those legendary gospel quartet pioneers. He eventually rejoined his brother’s band and toured on the blues side of the highway.

Bengston launched her Nola Blue label with Turner’s album “Journey” 10 years ago on Turner’s 75th birthday. The “BT” release celebrates Turner’s 85th year, and the tenth for Nola Blue. That’s a lot of celebrating, but these new sides are up to the occasion. They run the length of his stellar career and cover a variety of styles that never lose sight of Turner’s deep, old-school gospel and blues roots.

He starts it all off with the raucous “Bump Miss Susie,” written by the great R&B songwriter Rudolph Toombs and recorded by Big Joe Turner. Benny Turner easily handles the uptempo, blues-shouter style before slowing down for the classic, gospel hued “Goin’ Down Slow,” first recorded by its composer, St. Louis Jimmy Oden in 1941.

Turner highlights his funky bass work on “The Walk,” a reminder of the teens doing the stroll on American Bandstand. Then Clayton Ivey’s B3 lends passion to the very soulful “That’s When I Call on You,” a 1958 Dee Clark tune. Next is a strong cover of the little-known Muddy Waters song, “Born in This Time,” with another aching Turner vocal.

Turner adds background vocals behind his own lead to mimic Hank Ballard and the Midnighters’ chestnut, “Finger Poppin’ Time,” with Billy Davis, an original Midnighter, on guitar. “Smoke My Peace Pipe (Smoke It Right)” is an homage to Turner’s New Orleans years with a salute to Big Chief Bo Dollis, and Marva Wright on background vocals. (The “big chief” reference is to a group called the Wild Magnolias, which participated in the local “Indian masking” traditions and performed New Orleans Mardi Gras music. The group’s lead member was called the Big Chief, and Dollis became Big Chief in 1964.)

“”Drunk” is a Turner original, a whimsical ode to the bottle, with a tough Jimmy Reed-style shuffle pouring on the music. Two more Turner songs close the session with his down-home guitar leading the gorgeous instrumental “Sleepy Time in the Barnyard.” The fitting finale, “Who Sang It First” is a tribute to the origins of the blues that Turner so obviously cherishes, a paean to all those early bluesmen and blueswomen who actually did sing it first — creating America’s classical music.

Speaking about this session, Turner says: “I had a great time working on this album with some of my favorite musicians and reminiscing about my musical history, from picking up the guitar again to revisiting my gospel roots, to finally recording some of my favorites….the songs “Born In This Time” and “Who Sang It First” are a very important reminder of the history of slavery and the roots of the blues that should never be forgotten.”

What should also never be forgotten is Benny Turner’s own immeasurable contribution to this music. “BT” is an instant classic, with roots that go deep into the heritage of the blues. Ignore it at your peril!

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Benny Turner interview with Blues Blast Magazine.

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“Drunk,” from the album “BT”

Track Listing and Credits:
Bump Miss Susie 2:52 – Rudolph Toombs; Unichappell Music, Inc.
Lead Vocals – Benny Turner; Background Vocals – Charlie Burnett, Bobby Gentilo, Paul Murr, Nate Young
Guitar – Bobby Gentilo
Upright Bass – Charlie Burnett
Piano, B3 – Nate Young
Drums – Paul Murr
Going Down Slow 5:35 – James Oden; Universal-MCA Music Publishing Division of Universal Music Corp.
Lead and Background Vocals – Benny Turner
Guitar – Will McFarlane
Harmonica – Harrell “Young Rell” Davenport
Bass – Benny Turner
Keys, B3 – Clayton Ivey
Drums – Justin Holde
The Walk 4:01- Jimmy McCracklin; Arc/Conrad o/b/o Arc Music, Inc.
Vocals – Benny Turner
Guitar – Derwin “Big D” Perkins
Horns – Sax Gordon
Bass – Benny Turner
Piano, B3 – Shawn Allen
Clavinet – Bobby Gentilo
Drums – Jeffery “Jellybean” Alexande
When I Call On You 4:12 – Dee Clark; Arc/Conrad o/b/o Conrad Music
Lead Vocals – Benny Turner
Background Vocals – Tiffany Pollack, Bobby Gentilo
Guitar – Will McFarlane
Guitar – Bobby Gentilo
Upright Bass – Charlie Burnett
Wurlitzer, B3 – Clayton Ivey
Percussion – Bobby Gentilo, Benny Turner
Drums – Christy Enge
Born in This Time 4:28 – Willie Boyd and Maurice Jarre; Sony/ATV Harmony and Sony/ATV Melody
Lead Vocals – Benny Turner
Background Vocals – Tiffany Pollack
First Rhythm Guitar – Will McFarlane
Second Rhythm Guitar – Bobby Gentilo
Banjo – Benny Turner
Bass – Benny Turner
Upright Bass – Charlie Burnett
Piano – Keiko Komaki
Wurlitzer, Hammond B-3 – Clayton Ivey
Percussion – Bobby Gentilo
Drums – Jeffery “Jellybean” Alexande
Finger Poppin’ Time 4:11 – Hank Ballard; Embassy Music Corporation
Lead and Background Vocals – Benny Turner
Guitar – Billy Davis
Bass – Benny Turner
Piano, B-3 – Keiko Komaki
Piano, Wurlitzer – Nate Young
Handclaps – Benny Turner, Jeffery “Jellybean” Alexander, Sallie Bengtson, Keiko KomakiDrums – Jeffery “Jellybean” Alexande
Smoke My Peace Pipe (Smoke It Right) aka A Tribute to Big Chief Bo Dollis 3:32 -Wilson Turbington; GOPAM Enterprises Inc. o/b/o Turbine Music
Lead Vocals – Benny Turner
Background Vocals – Warner Williams
Background Vocals – Marva Wright
Lead Guitar – June Yamagishi
Rhythm Guitar – Bobby Gentilo
Rhythm Guitar – Jack Miele
Bass – Benny Turner
Keys and B-3 – Keiko Komaki
Clavinet – Nate Young
Bass Drum – Norwood “Geechie” Johnson
Drums – Jeffery “Jellybean” Alexande
Drunk 2:51- Benny Turner; Nola Blue Music
Lead Vocals – Benny Turner – Bass and Vocals
Background Vocals – Benny Turner, Sallie Bengtson and Bobby Gentilo
Guitar – Will McFarlane
Guitar – Steve Grills
Harmonica – Harrell “Young Rell” Davenport
Bass – Benny Turner
Piano – Bobby Gentilo
Wurlitzer – Clayton Ivey
Percussion – Bobby Gentilo
Justin Holder – Drum
Sleepy Time in the Barnyard 4:59 – Benny Turner; Nola Blue Music
Lead Guitar – Benny Turner
Guitar – Bobby Gentilo
Upright Bass – Charlie Burnett
Piano – Nate Young
Drums – Paul Mur
Who Sang It First 3:59 – James George and Benny Turner; Nola Blue Music
Vocals – Benny Turner
Background Vocals – Kassie Netherland Miele and Tiffany Pollack
Guitar – Will McFarlane
2nd guitar – Jack Miele
Bass – Benny Turner
Wurlitzer – Clayton Ivey
B-3 – Joe Krown
Drums – Justin Holder
All tracks produced by Benny Turner; Tracks 4, 6, 8 co-produced by Bobby Gentilo