Blues Roadhouse

The 45th Blues Music Awards will be announced May 9, 2024, at the Renasant Convention Center in Memphis.
And the nominees are ….

Acoustic Album
Wild Ox Moan, Catfish Keith
Raw Blues 1, Doug MacLeod
Sticks & Strings, EG Kight
Ridin’ the Blinds, Hudspeth & Taylor
Ghost Hymns, William Lee Ellis

Acoustic Artist
Catfish Keith
Doug MacLeod
Eric Bibb
Keb’ Mo’
Kevin Burt

Album of the Year
TEARDROPS FROM MAGIC SLIM, John Primer
Live In London, Christone “Kingfish” Ingram
SoulFunkn’BLUES, Blackburn Brothers
Soul Side of Sipp, Mr. Sipp (Castro Coleman)
Get Your Back Into It!, Nick Moss Band Featuring Dennis Gruenling

B.B. King Entertainer
Beth Hart
Bobby Rush
Lil’ Ed Williams
Mr. Sipp (Castro Coleman)
Vanessa Collier

Band of the Year
Larkin Poe
Nick Moss Band
Selwyn Birchwood Band
Southern Avenue
Tedeschi Trucks Band

Best Emerging Artist Album
When the Levee Breaks: The Music of Memphis Minnie, Candice Ivory
The Right Man, D.K. Harrell
Up Next, Mathias Lattin
Everybody’s Buddy, Nic Clark
Tony Holiday, Tony Holiday

Blues Rock Album
POWER, Anna Popovic
Writing On The Wall, Coco Montoya
Blues Deluxe Vol. 2, Joe Bonamassa
Blood Brothers, Mike Zito/ Albert Castiglia
What Key Is Trouble In?, Nick Schnebelen

Blues Rock Artist
Anna Popovic
Joe Bonamassa
Kenny Wayne Shepard
Mike Zito
Warren Haynes

Contemporary Blues Album
Live In London, Christone “Kingfish” Ingram
Ridin’, Eric Bibb
Behind The Veil, Jason Ricci and the Bad Kind
Healing Time, Ruthie Foster
Exorcist, Selwyn Birchwood

Contemporary Blues Female Artist
Carolyn Wonderland
Danielle Nicole
Janiva Magness
Teresa James
Vanessa Collier

Contemporary Blues Male Artist
Chris Cain
Christone “Kingfish” Ingram
Marquise Knox
Mr. Sipp (Castro Coleman)
Selwyn Birchwood

Instrumentalist – Bass
Bob Stroger
Larry Fulcher
Michael “Mudcat” Ward
Rodrigo Mantovani
Willie Weeks

Instrumentalist – Drums
Derrick D’Mar Martin
June Core
Kenny “Beedy Eyes” Smith
Tom Hambridge
Tony Braunagel

Instrumentalist – Guitar
Christoffer “Kid” Andersen
Christone “Kingfish” Ingram
Derek Trucks
Laura Chavez
Sue Foley

Instrumentalist – Harmonica
Billy Branch
Bob Corritore
Dennis Gruenling
Jason Ricci
Kim Wilson

Instrumentalist – Horn
Deanna Bogart
Jimmy Carpenter
Mark Kaz Kazanoff
Trombone Shorty
Vanessa Collier

Instrumentalist – Pinetop Perkins Piano Player
Ben Levin
Dave Keyes
Jim Pugh
Kenny “Blues Boss” Wayne
Mitch Woods

Instrumentalist – Vocals
Billy Price
Diunna Greenleaf
John Nemeth
Ruthie Foster
Shemekia Copeland

Song of the Year
“Bobby’s Blues” performed by the Blackburn Brothers,
written by Brooke Blackburn
“Horns Below Her Halo” performed by Selwyn Birchwood,
written by Selwyn Birchwood
“Midnight Heat” performed by Christone “Kingfish” Ingram,
written by Tom Hambridge & Richard Fleming
“The Bait In the Snare” performed by Nick Moss Band featuring Dennis Gruenling,
written by Nick Moss
“What Kind Of Fool” performed by Ruthie Foster,
written by Ruthie Foster, Hadden Sayers & Scottie Miller

Soul Blues Album
Stuff I’ve Been Through, Alabama Mike
SoulFunkin’ BLUES, Blackburn Brothers
All My Love For You, Bobby Rush
Walking Heart Attack, Johnny Rawls
Soul Side of Sipp, Mr. Sipp (Castro Coleman)

Soul Blues Female Artist
Annika Chambers
Kat Riggins
Terri Odabi
Thornetta Davis
Trudy Lynn

Soul Blues Male Artist
Alabama Mike
Billy Price
John Nemeth
Johnny Rawls
William Bell

Traditional Blues Album
TEARDROPS FOR MAGIC SLIM: John Primer
Nothing But Time, Monster Mike Welch
Get Your Back Into It!, Nick Moss Band Featuring Dennis Gruenling
Savoy, Taj Mahal
Oscar’s Motel, The Cash Box Kings

Koko Taylor Award (Traditional Blues Female Artist)
Diunna Greenleaf
Rhiannon Giddens
Shaun Murphy
Sue Foley
Teeny Tucker

Traditional Blues Male Artist
Billy Branch
Cedric Burnside
John Primer
Jontavious Willis
Nick Moss

As the year ends, and I look back at what I’ve written for 2023, it occurs to me that there were albums or artists I did not write about. So here are a few thoughts about some of that music that I missed, or overlooked, or ran out of time to accomplish in the past year, but still enjoyed. So, in no particular order, which may or may not be attributed to the off-center windmills of my mind, here they are.

Apologies to those I might have overlooked. It’s hard to find good help, especially when you work alone.

Also, happy new year. Peace, love and blues in 2024.

“Hackney Diamonds” (Polydor) — Yes, the Rolling Stones (in their very senior citizen incarnation) released a new studio album of original material, their first in 18 years, not counting their very tasty blues cover album “Blue & Lonesome” from 2016 (Look it up. It’s quite good.) I thought “Diamonds” was a tough, strong Stones effort. There’s a reason that they’re still the best rock ‘n’ roll band on the planet. I especially enjoy the extended gospel-tinged cut, “Sweet Sounds of Heaven,” with Lady Gaga matching Mick Jagger’s ageless power and energy in a spirited duet. And by the way, isn’t it time that Lady Gaga used a real name? She’s talented enough to just be Stefani Germanotta.

“Songs Of Beauty For Ashes Of Realization” (Treated & Released Records) — An album by the always fascinating Reverend Freakchild that contains a reimagining of songs from his past solo projects. This album is filled with the Rev’s enigmatic Eastern mysticism, some psychedelia and a hint of tantric acid spiked with Buddhism. I’m not exactly sure what most of that means, but it’s thoroughly engaging, filled with the Rev’s engaging messages, and often quite inspiring.

“Friends Along the Way” (Club 88 Records) — Ubiquitous piano man Mitch Woods offers an expanded deluxe edition of this 2-CD album. The format is a delicious duo or trio setting with friends that includes a multitude of musical greats like Van Morrison, Taj Mahal, Ruthie Foster, Elvin Bishop, Maria Muldaur, Charlie Musselwhite, Marcia Ball, John Lee Hooker and many more. The very first track, “C.C. Rider,” with Morrison on vocals is an elegant reading that sets the tone for this expansive musical treat. And don’t miss, if you can, Woods’ regular appearances at the late-night piano bar on the Legendary Rhythm & Blues cruises. I’ve been there, and it’s not to be missed.

“Gallery Of Echoes” (Out Of The Past Music)– Fingerpicking guitar wizard Steve Howell shucks his band of Mighty Men for this eloquent solo outing that digs deep into the roots of great American blues music. He absorbs and tastefully recreates the music of masters such as Blind Lemon Jefferson, Reverend Gary Davis, and Blind Willie McTell. It’s a wonderful history lesson taught with this magical music.

“When the Levee Breaks: The Music of Memphis Minnie” (Little Village Foundation) — Candice Ivory, The Queen of Avant Soul, takes some time off from her usual jazz life, and honors one of the greatest blues talents, Memphis Minnie (born Lizzie Douglas). Minnie is regarded as one of the best blues singer / songwriters, and Ivory’s tribute session is remarkable both for her personalized interpretation of the songs, and her desire to honor this great musician.

“Best of Me” (Gulf Coast Records) — A heartfelt and hard-driving session from guitarist Joanna Connor, who says of this effort: “The album touches on my maturing as a woman, facing mortality with grace and thanks, celebrating love won, love lost, lust and passion, the pain and pleasure of having this human experience.” It would be hard to find a better description of the blues.

“Exorcist” (Alligator Records) — One of the most exciting and creative young blues musicians performing today is Selwyn Birchwood, whose contemporary blues are a sharp-edged mix of traditional blues, funk and soul pulled together with imaginative songwriting. For example, his wickedly satirical track “Florida Man” (which he is) tackles the humor found in the daily news of his home state.

“B’s Time,” — (Sweetspot Records) A retrospective from the creative musical mind of cornetist Al Basile, wo began that career in 1973 as a cornet player with the still kicking Roomful of Blues. Basile says of the songs here: “I have well over 200 songs to choose from, and these are not my only favorites, but these are the ones I feel closest to, for many different reasons.”

“Keep On!” (Blue Heart Records) — Lil’ Red & The Rooster (Jennifer Milligan and Pascal Fouquet) describe their music as “retro modern blues,” but that still makes it hard to categorize their sometimes whimsical, sometimes powerful, always swinging, bluesy sound. Ohio-born Red shares vocals with the French-native Rooster, and his guitar work is sharply sophisticated. Red’s approach to life and music: “Mix what’s pissing you off with some bounce and swing, sprinkle a pinch of blue notes, and bend it all together on six strings for guaranteed feel-good satisfaction.” Amen, Red.

“Like White on Rice” — The Reverend Richard John, a Brit living in Spain, offers a unique take on classic American country blues. He provides a back beat using a wooden stomp box, plays harp, and switches between electric and acoustic guitars, including a 12-string. His vocals blend toughness with soulful messaging wrapped in a rhythmic blues package. He’s definitely worth a listen. After all, if it hadn’t been for the British blues bands bringing the music home, we might not even know about the Howlin’ Wolf.

It’s time once again — just days past the winter solstice — for the Roadhouse gang (mostly me) to pause and wish everyone a Merry Christmas or Happy Holidays or a good day, or even week, of your choice, whatever that may be.

That means I get to share my favorite Christmas song, which features special animation just for this occasion.

And I also get to offer some holiday libation advice.

I always recommend leaving a little something out for Santa. I find that milk and cookies do little to lift the holiday spirits, so I heartily recommend some bourbon and brownies. And I also recommend not leaving much of them for Santa, if he ever does show up. I’m still waiting.

But maybe you’re a beer person. In that case, I recommend one of the many beers produced specifically with the Christmas season in mind. And since I’m a big fan, that means an ale from Belgium, where they make some of the world’s best beers and offer special holiday versions.

One of my favorite Belgians is the darkly delicious St. Bernardus Abt 12, and once again this year I’ve made the brewery’s Christmas Ale my holiday choice. It’s slightly more sprightly than the Abt 12, but still has enough warmth and cheer to accompany some fine seasonal blues.

None of this, of course, means that you are somehow obligated to celebrate the actual Christmas. Enjoy whatever holiday, or day, or season, that you like — enjoy being the key word.

So, a very merry, happy, peaceful version of whatever you want to celebrate.

To conclude, here is my favorite Christmas song, “White Christmas,” by the great Clyde McPhatter and the Drifters, with special animation.

Bob Corritore & Friends — “Phoenix Blues Rumble” — VizzTone Records

Bob Corritore, the master of blues harp and keeper of his blues-filled vault, is at it again.

He’s brought still more fine Chicago-style blues from his vaults for our listening pleasure. This time though, he’s focused on the massive blues talent from his adopted home of Phoenix, Ariz.

Corritore moved from Chicago to Phoenix in 1981, and began to make music with local bluesmen such as Tommy Dukes, Chief Schabuttie Gilliame, Big Pete Pearson and Dino Spells. He later persuaded Chico Chism to move from Chicago, and Sugaray Rayford eventually moved nearby.

Corritore opened the Rhythm Room club and started bringing blues artists to Phoenix for performances and recording sessions. Those sessions eventually provided the copious material for his “From the Vaults” album series.

“Rumble” is the fifth album in the “Vaults” series this year, and as its title suggests, it focuses on the blues talents of Phoenix area musicians, recorded between 1987 and 2017. Corritore tends to specialize in working in the traditional Chicago blues style, adding his sharp harp work to the mix.

“Rumble” is no different, as it opens with Chism’s rollicking “Big Fat Woman 480 LBs” with Corritore’s harp soaring over a steady rocking beat. “Come To Me Baby” is another tough blues featuring the rugged vocals of Gilliame. King Karl strolls along with old-fashioned rock ‘n’ roll on “Walking In The Park,” with still more harp lines, then Karl returns with “Mathilda,” and piano reminiscent of Fats Domino, backed here by N’awlins-flavored harp.

Spells is next, checking in with a hard-driving tribute to the V8 Ford that takes on the road in his quest to find his “Jennie Bea.” George Bowman provides powerful vocals on the soulful “I Was A Fool.” Searing Corritore harp opens “Real Bad Day” by Dukes, offering a taste of Jimmy Reed-style blues with piercing guitar work. Next, Bowman returns with “Nine Times Out Of Ten,” another rough-and-tumble blues, again laced with fine harp solos.
Gilliame again brings his gritty vocals to “Leopard Speckled Baby,” wrapped inside harp with equal grit. Dave Riley rides out the “Laughing Blues” with an evil chuckle.

Rayford is up next, bringing his magnificent vocal chops to the seven-minute, gently swinging, light-hearted opus of a three-legged horse they call “The Glide” (“I saw him jump over the Grand Canyon and he didn’t miss a beat … jumped the Grand Canyon without a runnin start …” My favorite cut, this epic horse tale is worth the price of admission!

Pearson brings it on home, closing with his fierce vocal turn on “I’m Evil,” a wicked slow blues, scorched by malevolent Corritore harpwork, a powerful finale to this rough and tough album of traditional blues.

“Phoenix Blues Rumble” is yet another excellent session from the seemingly endless supply of fine recordings mined from Bob Corritore’s mother lode of blues. If you haven’t sampled this “Vaults” series, you don’t know what you’re missing. If you have, this is another blues gem that begs to be heard.

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Here’s “Real Bad Day” from the album:

Tracklist:
Big Fat Woman 480 LBs (feat. Chico Chism)
Come To Me Baby (feat. Chief Schabuttie Gilliame)
Walkin In The Park (feat. King Karl)
Mathilda (feat. King Karl)
Jennie Bea (feat. Dino Spells)
I Was a Fool (feat. George Bowman)
Real Bad Day (feat. Tommy Dukes)
Nine Times Out Of Ten (feat. George Bowman)
Leopard Speckled Baby (feat. Chief Schabuttie Gilliame)
Laughing Blues (feat. Dave Riley)
The Glide (feat. Sugaray Rayford)
I’m Evil (feat. Big Pete Pearson)

Albert Castiglia & Mike Zito — “Blood Brothers Live in Canada” — Gulf Coast Records

Albert Castiglia and Mike Zito separately are two of the best blues-rockers around these days.

Put them together in an album, and you have the excellent “Blood Brothers” studio effort from last March. Put them together on stage and create a live album, and you’ve added the ingredients for this special high-energy session.

“Blood Brothers Live in Canada” takes 10 of the 11 songs from the Blood Brothers album and adds two more, and when you add them all up, it’s an exciting live show, doubling down on the raw musical energy you’ve come to expect from each of these artists.

This show was recorded in a single session at Blue Frog Studios, which does double duty as a performance venue, providing a live venue without having to make the audio compromises needed to produce a concert recording.

They open this set with the pile-driving rocker “Hey Sweet Mama,” complete with a taste of the fiery guitar work that’s roaring down the line. “Tooth & Nail” is a scorching back-and-forth effort; “In My Soul” is a gentle acoustic-sounding track with orchestral overtones. “Fool Never Learns” takes a soulful vocal turn, and “A Thousand Heartaches” is indeed a slow-burning heartache. “No Good Woman” exudes toughness and the sharp lyrical observation: “A no good woman needs a no good man.”

John Hiatt’s “My Business” gets an edgy treatment as the pair trades vocals amid raw guitar riffs; “Hill Country Jam” throws intense organ riffs into an expansive musical tapestry. “You’re Gonna Burn” is a torchy blue flame of a song, and the rollicking “Bag Me, Tag Me, Take Me Away,” is introduced as a happy love song, but with devilish overtones. “Gone To Texas” is rich with guitar and vocal byplay, and the album closer is an appropriately soaring cover of Neil Young’s classic “Rockin’ In the Free World.”

If you’ve ever heard this dynamic pair individually, as I have, you already know they are both exciting performers. But it’s hard to match the sheer exuberance of this combination live, especially the obvious energy and chemistry that takes it all to another level.

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Here’s “In My Soul” from the album:

Track Listing and Songwriting Credits:
1. Hey Sweet Mama (Mike Zito)
2. Tooth and Nail (Tinsley Ellis)
3. In My Soul (Mike Zito)
4. Fool Never Learns (Fred James)
5. A Thousand Heartaches ( Albert Castiglia)
6. No Good Woman (Mike Zito)
7. My Business (John Hiatt)
8. Hill Country Jam (Mike Zito,. Josh Smith)
9. You’re Gonna Burn (Fred James, Berry Hill)
10. Bag Me, Tag Me, Take Me Away ((Graham Wood Drout)
11. Gone To Texas (Mike Zito)
12. Rockin’ in the Free World (Neil Young, Franks Sampedro)

Jason Ricci — “Behind the Veil” — Gulf Coast Records

Jason Ricci is simply one the best harp players on today’s music scene.

His latest, and very fine album recorded with his band, the Bad Kind, is “Behind the Veil,” and it provides ample evidence of Ricci’s prowess in both its musical excellence and its heady eclecticism.

This edition of the Bad Kind includes Brent Johnson, who replaces John Lisi on guitar, Jack Joshua on bass and vocals, and drummer John Perkins. Singer (and Ricci’s wife) Kaitlin Dibble wrote two of the songs, handles a couple of vocals, as well as backing vocals. Joe Krown guests on piano and Hammond B3, Lauren Mitchell provides backup vocals, and guitarist Joanna Connor shows up on Dibble’s “No Way.” And, of course, Ricci on harp and vocals, as well as songwriter on two tracks.

The album opens with an unusual but elegant waltz, Ricci’s original “Casco Bay,” with a gently swinging harp intro and which gives us the title: “I set sail cross the water dark and black from behind the veil….” Dibble’s background vocals give it a majestic choral feeling.

That’s followed by “5-10-15,” a tough version of the 1952 R&B classic “5-10-15 Hours,” written by Rudy Toombs and recorded by Ruth Brown. Dibble’s vocals with Ricci’s soaring harp solo take no prisoners on this rocking remake.

Ricci says that “5-10-15” was the spark for this entire album: “Singer Kaitlin Dibble has been singing this number for a few years and the wheels in my mind started turning on how to capture it the way I heard it so many times on Bob Murret’s WWOZ show. I love the New Orleans R&B feel and I really think we captured it here thanks to Tony Daigle, Kid Andersen and the band, of course. The whole reason we recorded this CD live in one room was centered around this number.”  

That’s really a sweet inspiration!

“Baked Potato” is another Ricci track, an instrumental that gives him a chance to stretch his considerable harp skill. “Cirque du Soleil” is another rolling R&B cut, richly flavored with the sound of Ricci’s current home, New Orleans.

“Wrong Kind of Easy” is a Dibble original, sparkling with her vocals, offering more New Orleans flair. That’s paired in a medley with “Nobody But You,” with a tasty Ricci/Dibble duet. “Ain’t She Fine” is a funky take on the Bobby Rush tune, with strong Ricci vocals.

The dirge-like classic, “St James Infirmary” is eloquently done here, with heartfelt Ricci vocals, and a sensitive guitar solo. Of this track, Ricci says: “This old standard is almost the ‘Mustang Sally’ of New Orleans music, so if I didn’t think we had something really special here I would have never let it on stage – much more this record.”  And it is indeed special.

“Why Don’t We Sleep On It” is an enthusiastic vocal romp with Ricci and Dibble trading lines over a sharp guitar solo, adding some B3 power to the mix. Ricci says: “Kate and I were having a rare argument and the band was in need of some more music. So I sat down to write a tune about how much better I would be doing without her and then kept hearing her voice or my own telling me the truth or her side… So I wrote both our parts; she loved it; we made up and had this fun duet. “ 

“Terrors Of Nightlife” is a powerful ballad, again with Dibble’s tasteful backing phrases completing the ethereal sound. “No Way” is another excellent contribution by Dibble, both writer and singer; her wordplay conjures a potent tapestry of images. “Shipwreck” (“Can I shipwreck on you some night”) rides a stinging guitar behind Ricci’s vocals.

“Hip Hug-Her,” takes the Memphis soul of Booker T. & The M.G.’s. chestnut, adds Ricci’s melodic harp lines over the deep bottom, and rides this session to a rousing close.

This is an excellent Jason Ricci outing, drawing not only on his own formidable skills, but adding an excellent cast around him. Its fresh, authentic sound is a tribute to recording the album live, in one room, as Ricci has noted. An outstanding session.

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Here’s an interesting recent interview with Ricci on Blues Gr, the Michael Limnios blog.

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“St. James Infirmary” from the album:

Tracklist & credits:
Casco Bay – Jason Ricci
5 -10 -15 – Rudy Toombs 
Baked Potato – Jason Ricci / Stachurski Shawn Dustin 
Cirque du Soleil – Jack Joshua 
Wrong Kind of Easy / Nobody But You – Kaitlin Dibble (Wrong Kind Of Easy) – Walter Spriggs (Nobody But You)
Ain’t She Fine – Bobby Rush 
St. James Infirmary – Irving Mills / Don Redman 
Why Don’t We Sleep On It – Jason Ricci (Lyrics & Music) / Brent Johnson (Music) 
Terrors Of Nightlife – Dax Riggs 
No Way – Kaitlin Dibble  
Shipwreck – Jeff Turmes  
Hip Hug-Her – Booker T. & The M.G.’s. (Steve Cropper, Donald “Duck” Dunn, Al Jackson Jr., Booker T. Jones) 

As this Thanksgiving holiday draws to a close, my mind wanders back — not to Pilgrims and Native Americans, or even the Civil War, which is when the Thanksgiving holiday officially began, but instead, my own personal guidepost — Arlo Guthrie’s very famous song, “Alice’s Restaurant Massacree.”

The song, and its creation are summarized in this excellent Smithsonian article, which says in part:

“Guthrie’s beloved musical ode to garbage, small town policing, and military conscription, celebrates many anniversaries. The song – its full name is “Alice’s Restaurant Massacree” – has its conception on Thanksgiving Day, 1965, when Guthrie, then 18, and friend Rick Robbins, 19, were clearing out the Stockbridge, Massachusetts, home of Alice and Ray Brock.”

Guthrie almost immediately began to work the episode into a song, and tinkered with it for a couple of years in coffee house and clubs. Its more or less final incarnation was first broadcast on New York City’s WBAI-FM radio station in February of 1967.

The next stop was the 1967 Newport Folk Festival. After performing “Alice” to a handful of people at a Saturday afternoon workshop at the July fest, Guthrie repeated it for a Sunday afternoon audience of 3,500. Their reception was overwhelming, so producers added Guthrie to the evening finale, this time before an audience of about 9,500.

And after all that rambling by me, the main reason this is a personal milestone is that I was in the audience that night, reporting on the festival for the Worcester (Mass.) Telegram. It was indeed a magical event. Guthrie’s delivery was clever and whimsical, as his drawn-out pauses between verses added to the surprise of the song itself, while running on for about 20 minutes. The audience loved it.

So here it is again. Happy Thanksgiving to all.

Tom Buenger — “Blues From Caucasia” — Self-Release

Tom Buenger’s second album, “Blues From Caucasia,” has been around for a few months, and it’s well past time that I should bring this delightful effort to your attention.

Buenger is a singer / songwriter based in the Seattle, Wash., area, who performs solo, or with a few other talented musicians, all well-suited to the direction of his music. His original style is mined from basic blues and gospel, but goes wherever his rootsy musical spirit takes him, often into rock, soul and Americana. This session expands on his debut album, “Suburban Gospel.”

Buenger’s musical companions here are guitarists Teresa Russell from Los Angeles and
Rafael Tranquilino from Mexico City, plus guitarist Chris Eger, bassist Richard Williams and drummer Cyrus Zerbe. Even though there’s a taste here and there of lively electric guitar, it seems fair to call this primarily an acoustic album, which gives it a more intimate feeling and a down-home, old-timey touch.

The album opens with the spirited light-blues “Above The Sun,” with a hand-clapping gospel feel punctuated by Buenger’s floating harp lines. “Start a Fire” is a torchy love song that showcases Buenger’s multi-instrumental skills on piano, acoustic guitar and harp. plus a soulful vocal turn.

“That Ain’t Right,” is a tough blues with tougher vocals and a percussive backbeat behind Buenger’s vivid acoustic guitar. “What You Gonna Do” is a little soulful philosophy about life’s indifference, as “the world don’t give a damn about your big master plan…. so “when it comes right down to livin’, do what you’re gonna do.”

“Mean Things” is an easy-riding blues that adds a light electric touch in a gentle counterpoint as the music makes his demons sing and dance. “Get With Me” is two-step plea to a woman he’s got his eye on, flavored with a little honky-tonk kazoo. The vocal showcase, “Don’t Stop” draws on lovely vocal harmonies with a hopeful message: “Don’t stop till you reach the other side.”

“Feel Alright” is a soulful love ballad with a touch of classic R&B at its heart. “Fight No More” finds Buenger in an intricate tapestry of delicate harp, acoustic guitar and vocal harmonies with himself in a terrific call-and-response style.

Two solo acoustic blues tracks close it all out: The first is Buenger’s own finger-picking creation, “Talk To Me,” with a sweetly sensitive vocal. The final cut is the classic “Soul Of A Man,” by Blind Willie Johnson, which Buenger beautifully shapes into a vocal duet and an elegant phrasing of music that is the soul of a man.

This is an excellent album, filled with finely tuned original music, rooted in the spirit of the finest blues traditions. You should enjoy it soon.

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“That Ain’t Right” from the album:

Tracklist and credits:

Above the Sun – 2:43
Recorded and Mixed at Plumtree Studios,
Mastered by Rafael Tranquilino
Tom Buenger: 90% — Vocals, Harmonica
Chris Eger: 5% — Electric Guitar, Bass
Richard Williams: 5% — Drums

Start a Fire – 5:31
Mixed & Mastered by Rafael Tranquilino
Tom Buenger: 80% — Vocals, Piano, Acoustic
Guitar, Harmonica
Teresa Russell: 15% — Electric Guitar
Cyrus Zerbe: 5% — Drums

That Ain’t Right – 3:12
Recorded and Mixed at Plumtree Studios
Tom Buenger: 90% — Acoustic Guitar,
Harmonica, Vocals
Richard Williams: 10% — Drums, Bass

What You Gonna Do – 4:43
Mixed & Mastered by Rafael Tranquilino
Tom Buenger: 85% — Acoustic Guitar, Vocals
Rafael Tranquilino: 15% — Electric Guitar

Mean Things – 3:21
Recorded and Mixed at Plumtree Studios
Tom Buenger: 90% — Acoustic Guitar, Vocals
Chris Eger: 5% — Bass, Electric Guitar
Richard Williams: 5% — Drums

Get With Me – 3:46
Recorded and Mixed at Plumtree Studios
Tom Buenger: 80% — Acoustic Guitar, Vocals,
Kazoo
Chris Eger: 10% — Electric Guitar, Bass
Richard Williams: 10% — Drums

Don’t Stop – 3:30
Mixed and Mastered by Rafael Tranquilino
Tom Buenger: 100% — Acoustic Guitar, Vocal

Feel Alright – 3:49
Mixed and Mastered by Rafael Tranquilino
Tom Buenger: 60% — Acoustic Guitar, Vocals
Rafael Tranquilino: 40% — Drums, Bass, Electric
Guitar

Fight No More – 2:45
Mixed and Mastered by Rafael Tranquilino
Tom Buenger: 100% — Acoustic Guitar, Vocals

Talk To Me – 3:58
Recorded and Mixed at Plumtree Studios
Tom Buenger: 100% — Acoustic Guitar, Vocals

Soul of a Man – 3:26
Mixed and Mastered by Rafael Tranquilino
“Blind” Willie Johnson: 100%; Columbia
Tom Buenger: 0% — Acoustic Guitar, Vocal

The Dig 3 — “Damn the Rent”

This album has been around for a couple of months now, and much to my chagrin, I’m just getting around to it. My very bad, since it’s easily one of the finest blues efforts I’ve heard this year.

What makes it special is a rare combination of musical style and substance, performed with considerable skill and gritty authenticity.

The Dig 3 is sort of an old-timey, gutbucket trio featuring guitar and smart vocals by Andrew Duncanson of Kilborn Alley Blues Band, sharp harp by Ronnie Shellist, and the one-man-band that is Gerry Hundt — he plays Farmer FootDrums and percussion, bass, guitar, harmonica, and mandolin. They got together during the pandemic, released their splendid rootsy debut album, “The Dig 3,” last year, and their sophomore effort, “Damn the Rent,” is hot on its heels.

The production here is clean and pure, with the first 10 tracks all being cut live in the studio in a day. It’s clean and pure, but at the same time raw and gritty, with unmistakable passion for the music. And the music, all original, feels just like it’s been freshly dredged from its swampy origins.

The set opener “Take a Ride” drives along over a wicked Bo Diddley beat with plaintive harp fills all wrapped in a torrent of percussion. “All the Love That I Got” is soul with a beat stirred into a winsome blues shuffle. “Big Water” is a rolling boogie with Shellist adding tough harp lines.

“Big Toe” adds bluesy fuel as Duncanson wails “just dip my toe in gasoline.” The instrumental “Chuck and Willie” adds organ riffs to fierce guitar and soaring harp. It’s a gem of a blues track.

“Coconut Curry Dance” is a rollicking upbeat track, as tasty as its title. “Gold Tooth” is another slow boogie with Hundt on mandolin and introducing a line that contains the album title, “damn the rent.” “Blanco Boogaloo” is another instrumental, featuring a snaky harp by Shellist. “Red-Tailed Hawks” is an open-road song, driving hard on a “cold hard road and them red-tailed hawks.” The vintage sound of a raspy kazoo resonates in a snaky tribute to the “Old Dog.”

The final two cuts are very different. Recording at a different studio as the The Dig 3 BIG, a quintet without Shellist adds backup singer Lauren Dukes, bassist Aaron Whittier and drummer Rick King. Hundt plays guitar and organ. “Southern Fantasy,” from their debut album, has a thumping bass and a funky counterpoint to all that’s gone before. “All the Love That I Got” is a smooth soulful take by Duncanson, again in a different vein, but still stemming from the same musical roots.

How to best say it? “Damn the Rent” is a damn fine album. If you’ve never heard The Dig 3, you need to. If you have, do it again. Dig it.

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Minor partially related digression:

The name of The Dig 3 got me to thinking (no snark, please): It reminded me of the Big Three Trio, the group that in 1946 launched the career of the legendary Willie Dixon (The three were Dixon plus pianist Leonard “Baby Doo” Caston and guitarist Bernardo Dennis (later replaced by Ollie Crawford).

A quick search of the interwebs also revealed that in 1962, Cass Elliot, Tim Rose and James Hendricks formed a group called The Big Three and began playing clubs and coffeehouses in New York City. That led to, among other things, the Mugwumps, and later, the Mamas and Papas.

Aren’t you glad you read this far?

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“Big Water” from the album:

Tracklist:

1. Take A Ride
2. All The Love That I Got
3. Big Water
4. Dip My Toe
5. Chuck & Willie
6. Coconut Curry Dance
7. Gold Tooth
8. Blanco Boogaloo
9. Red Tailed Hawks
10. Old Dogs
11. Southern Fantasy
12. All The Love That I Got

Sue Foley — “Live in Austin Vol. 1 — Stony Plain Records

“Blues is the soul of music. Period.”

That’s how Sue Foley described the music in 1993, in a brief video remembrance of her attraction to the blues and her arrival in Austin, Texas, from Canada a few years earlier (watch the video here).

Since then, Foley has made her mark on the blues world with fiery guitar work, tough vocals, plus a sensitivity and passion for the blues and roots music that livens every note.

Foley is a multiple award-winning singer/songwriter/guitarist who’s been featured on dozens of her own and other albums and tours extensively, but also writes about the blues, teaches guitar, and brings to her music an understanding of its rich history.

All of that has led to her latest album, “Live in Austin Vol. 1,” as she pulls together eleven original songs and covers in a sparkling live performance that illustrates the bright arc of her musical career. Recorded live at Austin’s Continental Club last May, Foley gives us some first-ever live recordings of early hits, plus some sharp covers.

Foley’s band here is made up of her usual mates, Corey Keller on drums and Jon Penner on bass, with the stellar addition of Austin guitarist Derek O’Brien, who coproduced Foley’s first two albums.

For the session opener, Foley reaches back into her 2006 alubum of the same name for the auto-erotic, hard-driving “New Used Car,” with typically tough solos, followed by another original, the equally ferocious “Walkin’ Home.”

“Highwayside” has a country-rock twang, but Foley’s sensuous take on Howlin’ Wolf’s “Howlin For My Darlin'” puts her squarely back into a historic blues vein as she calls out a fiery solo by guitarist Derek O’Brien. Her “Queen Bee” is a smoothly honeyed version of the Sim Harpo swamp classic, “King Bee.”

The instrumental “Hooked on Love (Lucky Lou)” lets Foley stretch out on a guitar showcase rich with tone and notes wound tightly for maximum pleasure. Her version of Bob Dylan’s “Positively 4th Street” replaces his sharp-edged vocals with a slightly softer lyrical take and elegant guitar solo.

Foley moves back into deep blues history with another cover — the Memphis Minnie chestnut, “Me and My Chauffeur Blues,” which could easily have been paired with the attitude of the opener, “New Used Car” as its driving wheel. The sultry shuffle of Foley’s original “Better” is another sensual take — “I will love you better than your other girls can…”

The set closer is a strong cover of Cheap Trick’s ’70s rocker, “High Roller,” as Foley leaves us breathless with its furious pacing.

This terrific live album is a capsule version of Sue Foley’s wide-ranging talents that have brought her to her current spot — just sittin’ on top of the world of blues music. Let’s hope volume two isn’t far behind.

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Sue Foley video bio from 1993:

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“New Used Car” from the album:

Tracklist and credits:

1: Introduction by Steve Wertheimer (00:29)
2: New Used Car (3:47) (Sue Foley, Mechanicsville Music SOCAN/ASCAP)
3: Walkin’ Home (3:22) (Sue Foley, Robert Grant, Mechanicsville Music SOCAN/ASCAP)
4: Highwayside (4:03) (Sue Foley, Mechanicsville Music SOCAN/ASCAP)
5: Howlin For My Darlin (4:59) (Willie Dixon, Chester Burnett, Hoochie Coochie Music, Arc Music BMI)
6: Queen Bee (4:19) (James Moore, Embassy Music Corp, BMI)
7: Hooked On Love (aka Lucky Lou) (4:07) (Jodi Williams, ARC Music, BMI)
8: Positively 4th Street (5:25) (Bob Dylan, Sony Music Entertainment)
9: Me and My Chauffeur Blues (4:27) (Ernest Lawler, Songs of Universal Inc., Wabash Music Company, BMI)
10: Better (4:52) (Sue Foley, Mechanicsville Music, SOCAN/ASCAP)
11: High Roller (5:01) (Richard Alan Nielsen, Tom Petersson, Robin W Zander, Adult Music, Screen Gems-EMI Music Inc., BMI, SESAC)
Recorded Live at The Continental Club, Austin, TX, May 19, 2023
Produced by Mike Flanigin
Featuring:
Sue Foley – Guitar, Vocals
Jon Penner – Bass
Corey Keller – Drums
Derek O’Brien – Guitar
Angela Miller – Background Vocals, Tambourine
Lauren Cervantes – Background Vocals

1: Introduction by Steve Wertheimer (00:29)

2: New Used Car (3:47)
(Sue Foley, Mechanicsville Music SOCAN/ASCAP)

3: Walkin’ Home (3:22)
(Sue Foley, Robert Grant, Mechanicsville Music SOCAN/ASCAP)

4: Highwayside (4:03)
(Sue Foley, Mechanicsville Music SOCAN/ASCAP)

5: Howlin For My Darlin (4:59)
(Willie Dixon, Chester Burnett, Hoochie Coochie Music, Arc Music BMI)

6: Queen Bee (4:19)
(James Moore, Embassy Music Corp, BMI)

7: Hooked On Love (aka Lucky Lou) (4:07)
(Jodi Williams, ARC Music, BMI)

8: Positively 4th Street (5:25)
(Bob Dylan, Sony Music Entertainment)

9: Me and My Chauffeur Blues (4:27)
(Ernest Lawler, Songs of Universal Inc., Wabash Music Company, BMI)

10: Better (4:52)
(Sue Foley, Mechanicsville Music, SOCAN/ASCAP)

11: High Roller (5:01)
(Richard Alan Nielsen, Tom Petersson, Robin W Zander, Adult Music, Screen Gems-EMI Music Inc., BMI, SESAC)

Recorded Live at The Continental Club, Austin, TX, May 19, 2023

Produced by Mike Flanigin
Featuring:
Sue Foley – Guitar, Vocals
Jon Penner – Bass
Corey Keller – Drums
Derek O’Brien – Guitar
Angela Miller – Background Vocals, Tambourine
Lauren Cervantes – Background Vocals