Roadhouse Album Review: Buddy Guy still going strong with powerful “The Blues Don’t Lie”

Buddy Guy — “The Blues Don’t Lie” — RCA Records

What can you say about George “Buddy” Guy that hasn’t been said many times over? Even saying that he has a fine new album isn’t exactly big news. He’s created plenty, if you think 50 is plenty.

Except:

The living legend turned 86 this year, and he still sounds great at the peak of his blues powers. (Okay, the album was probably recorded when he was a mere 85 or so.)

An abbreviated list of his accomplishments: The recipient of the 2015 Grammy Lifetime achievement Award, Buddy Guy’s incredible career spans over 50 years with just as many albums released. Career highlights include 8 Grammy Awards, 38 Blues Music Awards, the most any artist has had, a Kennedy Center Honors, NARM Chairman’s Award for Sustained Creative Achievement, Billboard Music Awards’ Century Award for distinguished artistic development, Presidential National Medal of Arts, and induction into the Rock and Roll Hall of Fame, plus, more.

And that doesn’t include his status as a major influence; as one of the last of the great bluesmen still standing.

And also, this is a magnificent album of 16 songs (yes, that’s 16 — finally, someone fills a CD with great new music, thank you very much).

It all kicks off with the rich and powerful sound of “I Let My Guitar Do The Talking,” which probably sums up his entire career. Then the title track continues that thought with the philosophical “Blues Don’t Lie” (“Life is gonna happen, whether you’re ready or not….”). “The World Needs Love” follows, the only track written by Guy alone; it’s a scorcher with a wicked guitar solo and a heartfelt vocal pleading of his case.

The next tracks bring in some of the supporting cast assembled here. “We Go Back” is a haunting reminiscence featuring Mavis Staples; the churning rhythms of “Symptoms of Love” adds Elvis Costello and producer Tom Hambridge (much more on him later) on background vocals, and “Follow the Money” adds James Taylor in a sly critique of dollar daze.

The songs here seem to dig deeper into the blues as they move along. “Well Enough Alone” evokes the mojo hand and a black cat bone smothered in stinging guitar, and “What’s Wrong With That” brings in Bobby Rush for a playful look at their good old days: “I like my bacon crispy, my pancakes cooked up right….”

The music takes a topical turn with the plaintive “Gunsmoke Blues,” featuring Jason Isbell, in an anthem to a litany of shootings (“A million thoughts and prayers won’t bring back anyone….”). Then the mood shifts back to a rocking “House Party” with Wendy Moten joining in the vocals as the band shuffles into a traditional blues groove.

The album closes with a few covers and more tough blues. (“Sweet Thing” is classic B.B. King, “I’ve Got a Feeling” is a bluesy take on the Beatles chestnut, “Backdoor Scratchin’,” “Rabbitt Blood” and “Last Call” add even more down-home feel, until Buddy closes with a deep blue cover of the Slim Harpo classic, “King Bee.”

Put all of that together, and it makes for a truly excellent Buddy Guy outing. The original songs, mostly co-written by the ridiculously talented Tom Hambridge are sharp and incisive, contemporary and timeless, and just plain good blues. (Hambridge also plays some drums. Check the full credits below to get the complete picture.)

When the songs are topical, they’re not oppressive. When they are solid blues, they are the real deal. It’s hard enough to write this kind of music, it’s even harder to make it feel like it’s been dredged from the depths of the blues — and having Guy sing and play guitar doesn’t hurt either.

Sure, there are many, many fine Buddy Guy albums that you can listen to. But this is one of the finest — traditional and contemporary, surrounded by choice Buddy licks.

“The Blues Don’t Lie” is living proof that the blues still don’t lie.

Here’s the leadoff track:

TRACKLIST

  1. I Let My Guitar Do The Talking
  2. Blues Don’tLie
  3. The World Needs Love
  4. We Go Back (featuring Mavis Staples)
  5. Symptoms Of Love (featuring Elvis Costello)
  6. Follow The Money (featuring James Taylor)
  7. Well Enough Alone
  8. What’s Wrong With That (featuring Bobby Rush)
  9. Gunsmoke Blues (featuring Jason Isbell)
  10. House Party (featuring Wendy Moten)
  11. Sweet Thing
  12. Backdoor Scratchin’
  13. I’ve Got A Feeling
  14. Rabbit Blood
  15. Last Call
  16. King Bee

If you’re interested in the complete track credits, with all those crack musicians, down to which guitar Buddy played, here they are:

I LET MY GUITAR DO THE TALKING (4:27)
(Tom Hambridge, Buddy Guy)
Published by Tom Hambridge Tunes (ASCAP), Mic Shau Music/adm. By BUG Music (BMI)
Buddy Guy – BG Signature Blonde Strat, Vocals
Tom Hambridge – Drums
Reese Wynans – B3
Michael Rhodes – Bass
Rob McNelley – Electric Guitar
Max Abrams & Steve Patrick – Horns

BLUES DON’T LIE (3:54)
(Tom Hambridge)
Published by Tom Hambridge Tunes (ASCAP)
Buddy Guy – BG Signature Blonde Strat, BG Sunburst Strat, Vocals
Tom Hambridge – Drums, Tambourine, Background Vocals
Reese Wynans – B3
Michael Rhodes – Bass
Rob McNelley – Electric Guitar
Michael Saint-Leon – Low End Guitar
Mike Hicks – Background Vocals
Max Abrams & Steve Patrick – Horns

THE WORLD NEEDS LOVE (5:30)
(Buddy Guy)
Published by Mic Shau Music/adm. By BUG Music (BMI)
Buddy Guy – BG Blonde Strat, Vocals
Tom Hambridge – Drums
Glenn Worf – Bass
Kevin McKendree – Piano
Rob McNelley – Electric Guitar

WE GO BACK (featuring Mavis Staples) (4:40)
(Tom Hambridge, Richard Fleming)
Published by Tom Hambridge Tunes (ASCAP), Richard Fleming Music (BMI)
Buddy Guy – BG Blonde Strat, Vocals
Mavis Staples – Vocals
Tom Hambridge – Drums, Percussion
Glenn Worf – Bass
Kevin McKendree – Wurlitzer, B3
Rob McNelley – Electric Guitar

SYMPTOMS OF LOVE (featuring Elvis Costello) (3:37)

(Tom Hambridge, Richard Fleming)
Published by Tom Hambridge Tunes (ASCAP), Richard Fleming Music (BMI)
Buddy Guy – BG Blonde Strat, Vocals
Elvis Costello – Background Vocals
Tom Hambridge – Drums, Percussion, Background Vocals
Glenn Worf – Bass
Kevin McKendree – B3
Rob McNelley – Electric Guitar

FOLLOW THE MONEY (featuring James Taylor) (3:42)
(Tom Hambridge, Gary Nicholson)
Published by Tom Hambridge Tunes (ASCAP), Sony-ATV Cross Keys Publishing/Gary Nicholson Music (ASCAP)
Buddy Guy – Martin Acoustic Guitar, Gibson J-200 Acoustic Guitar, Vocals
James Taylor – Vocals
Tom Hambridge – Drums
Reese Wynans – Wurlitzer
Michael Rhodes – Bass
Rob McNelley – Electric Guitar

WELL ENOUGH ALONE (4:13)
(Tom Hambridge, Richard Fleming)
Published by Tom Hambridge Tunes (ASCAP), Richard Fleming Music (BMI)
Buddy Guy – BG Signature Blonde Strat, BG Signature Blue Polka Dot Strat, Vocals
Tom Hambridge – Drums, Background Vocals
Reese Wynans – B3
Michael Rhodes – Bass
Rob McNelley – Electric Guitar

WHAT’S WRONG WITH THAT? (featuring Bobby Rush) (5:26)
(Tom Hambridge, Richard Fleming)
Published by Tom Hambridge Tunes (ASCAP), Richard Fleming Music (BMI)
Buddy Guy – BG Blonde Strat, BG Signature Blue Polka Dot Strat
Bobby Rush – Vocals, Harmonica
Tom Hambridge – Drums, Tambourine
Reese Wynans – B3
Michael Rhodes – Bass
Rob McNelley – Electric Guitar

GUNSMOKE BLUES (featuring Jason Isbell) (3:09)
(Tom Hambridge, Richard Fleming)
Published by Tom Hambridge Tunes (ASCAP), Richard Fleming Music (BMI)
Buddy Guy – BG Signature Blonde Strat, BG Signature Blue Polka Dot Strat, Vocals
Jason Isbell – Vocals, Electric Guitar
Tom Hambridge – Drums
Reese Wynans – Piano, Wurlitzer
Michael Rhodes – Bass
Rob McNelley – Electric Guitar

HOUSE PARTY (featuring Wendy Moten) (3:00)
(Tom Hambridge, Richard Fleming)
Published by Tom Hambridge Tunes (ASCAP), Richard Fleming Music (BMI)
Buddy Guy – Guild Starfire, Vocals
Wendy Moten – Vocals
Tom Hambridge – Drums
Reese Wynans – B3
Michael Rhodes – Bass
Rob McNelley – Electric Guitar

SWEET THING (3:00)
(BB King, Joe Josea)
Published by Universal Music Careers (BMI)
Buddy Guy – BG Signature Blue Polka Dot Strat, Vocals
Tom Hambridge – Drums
Glenn Worf – Bass
Kevin McKendree – Piano
Rob McNelley – Electric Guitar

BACK DOOR SCRATCHIN’ (3:54)
(Tom Hambridge, Gary Nicholson)
Published by Tom Hambridge Tunes (ASCAP), Sony-ATV Cross Keys Publishing/Gary Nicholson Music (ASCAP)
Buddy Guy – BG Blonde Strat, Vocals
Tom Hambridge – Drums
Glenn Worf – Bass
Kevin McKendree – B3
Rob McNelley – Electric Guitar

I’VE GOT A FEELING (4:02)
(John Lennon, Paul McCartney)
Published by Sony/ATV LLC (ASCAP)
Buddy Guy – ’58 Sunburst Strat, Sitar Guitar, Vocals
Tom Hambridge – Drums, Percussion
Reese Wynans – Fender Rhodes
Michael Rhodes – Bass
Rob McNelley – Electric Guitar

RABBIT BLOOD (4:43)
(Tom Hambridge, Richard Fleming)
Published by Tom Hambridge Tunes (ASCAP), Richard Fleming Music (BMI)
Buddy Guy – BG Blonde Strat, Vocals
Tom Hambridge – Drums
Glenn Worf – Upright Bass
Kevin McKendree – Piano
Rob McNelley – Electric Guitar

LAST CALL (3:33)
(Tom Hambridge, Bill Sweeney)
Published by Tom Hambridge Tunes (ASCAP), Bill Sweens Music (ASCAP)
Buddy Guy – BG Blonde Strat, Vocals
Tom Hambridge – Drums
Glenn Worf – Upright Bass
Kevin McKendree – Piano, B3
Rob McNelley – Electric Guitar

I’M A KING BEE (2:44)
(James Moore)
Published by Embassy Music Corporation (BMI)
Buddy Guy – Martin Acoustic Guitar, Vocals

Roadhouse Album Review: “Acoustic Blues” is another gem from Doug MacLeod — fine acoustic blues, of course

Doug MacLeod — “Acoustic Blues” — Sledgehammer Blues

Doug MacLeod is, simply put, one of the best at what he does — a masterful storyteller and an elegant picker and singer of the blues.

This fine little album is just six songs long, but that’s a lot of blues storytelling from MacLeod, who writes all of his own material (with a minor exception on this session).

It also doesn’t seem to be available as a “real” album, but as a collection released Sept. 9 by the Sledgehammer Blues label, found on streaming services. I recently ran across it on my Amazon Prime Music Unlimited service, gave it a listen,

If you’re familiar with his work, these songs will be instantly recognizable. Doug’s style is uniquely and unmistakably his own — from the folksy drama of his lyrics to the eloquence of his acoustic guitar work.

The songs are: The deeply hopeful despair of “Mystery Woman,” and “Come to Find,” “Bring it On Home,” the slyly salacious “One Good Woman,” the wistful “Old Country Road,” and the loving memory-driven “Norfolk County Line.”

Digression: MacLeod’s cover of Willie Dixon’s “Bring It On Home,” is an exception here to his preference for his own songs. But it’s an excellent take on the old Sonny Boy Williamson II version. (Just for the record, and because it’s one of my blues pet peeves, Sonny Boy was actually born Aleck Miller, and later took the name of John Lee “Sonny Boy” Williamson as his own. I’ve always thought that this was deeply unfair to the real Williamson, as his harp work was prolific and influential.)

But no matter. This is a fine sampling of Doug MacLeod’s literate, painfully honest approach to music. For more, there are many other albums available, and he’ll be sailing and singing on the Legendary Rhythm & Blues cruise next January (#38). See you there.

Roadhouse Album Review: Bob Corritore plugs in talented friends for old-school “You Shocked Me”

Bob Corritore & Friends — “You Shocked Me” — VizzTone

Sometimes, when you want to hear some blues, you want to hear some blues.

That’s when musicians like harpmeister Bob Corritore and some of his old-school friends come in handy. Corritore has spent decades recording some of the best traditional blues artists, and often pulls those sides from his copious musical vaults to produce excellent albums.

For his latest release, “You Shocked Me,” Corritore put together the best of 12 recording sessions between 2018 and 2022, featuring 10 stalwart blues talents on 17 tracks (Yes, 17 songs on a CD! Too often, CDs don’t have much more music than two sides of an LP).

Those stalwart blues talents include vocalists Alabama Mike (with four songs), John Primer, Johnny Rawls, Bill “Howl-N-Madd” PerrySugaRay RayfordDiunna GreenleafJimi “Primetime” SmithOscar WilsonBob StrogerFrancine Reed, and Willie Buck.

Corritore underlines the music of all these fine artists with his considerable harp talents, blending magically into every song and style.

The album kicks off with John Primer’s tough “Hiding Place,” with fierce guitar and deep-blue vocals. That’s followed by another scorcher, “Squeeze Me Baby,” from Alabama Mike. The title track follows, a bluesy explosion from a supercharged vocal by Diunna Greanleaf.

Johhny Rawls offers a soulful take on the socially prescient “The World’s In A Bad Situation,” and a couple of softer blues offer a respite from the raw toughness on many tracks: “That Ain’t Enough” by Willie Buck and “Blue Blue Water,” a plaintive slow blues from Oscar Wilson a,re good examples.

One of my favorites is a lyrical play on the “down at the crossroads” and hellhound on my trail” themes: “Back to the Crossroads” from Bill “Howl-N-Madd” Perry turns it all around as he hunts for relief — “Goin’ back to the crossroads to try to reverse my deal, you can never be happy when hellhounds are on your heels….”

That’s just a handful of the fine tracks included here. There’s more of the same throughout. Gritty blues, soulful vocals, tough music-making all around.

The words “real deal” are overused to the point of being trite — but I think they apply here. If this isn’t a satisfying package of real-deal blues, I don’t know what is.

“The World’s in a bad Situation” by Johnny Rawls:

Tracklist:

1 Hiding Place (feat. John Primer)
2 Squeeze Me Baby (feat. Alabama Mike)
3 You Shocked Me (feat. Diunna Greenleaf)
4 The World’s In A Bad Situation (feat. Johnny Rawls)
6 Somebody Stole My Love From Me (feat. Alabama Mike)
7 Blinded (feat. Jimi “Primetime” Smith)
8 Josephine (feat. Sugaray Rayford)
9 Blue Blue Water (feat. Oscar Wilson)
10 Train Fare (feat. Bob Stroger)
11 Don’t Need Your Permission (feat. Francine Reed)
12 That Ain’t Enough (feat. Willie Buck)
13 Soul Food (feat. Jimi “Primetime” Smith)
14 Back To The Crossroads (feat. Bill “Howl-N-Madd” Perry”)
15 Work To Be Done (feat. Alabama Mike)
16 Sunny Day Friends (feat. Diunna Greenleaf)
17 Blues For Hippies (feat. Alabama Mike)

Roadhouse Album Review: Derrick Procell has it all working for him on “Hello Mojo!”

Derrick Procell — “Hello Mojo” — Catfood Records

I’m traveling back in time a couple of months again for another album I don’t want to overlook.

It’s from a veteran musician (singer, songwriter, harp and piano player) who spent decades creating music for others, and with the launch of his “Why I Choose to Sing the Blues” album in 2016, has returned to remind us of his special talents.

Procell is a soulful, big-voiced singer who knows his way around a lyric (he wrote or co-wrote all the original songs here), surrounded himself with excellent musicians, and turned over the producing pleasures to talented bluesman Zac Harmon, who also calls Catfood Records his musical home, and who contributes tough guitar work.

Not incidentally, Catfood owner and bassist Bob Trenchard wrote three of the songs with Purcell. Four were written with Grammy winner Terry Abrahamson, who’s known for his work with Muddy Waters, and has been Procell’s writing partner for the last 10 years.

The result of all this talent is a very tasty album, filled with exuberant music, even in its more tender moments (“Color of an Angel” and the passionate closer “Bittersweet Memory” are fine examples of that combination).

From the lyrically delicious up-tempo opener, “Skin in the Game,” through the sharp, horn-laced title track and the toughness of “The Contender,” the yearning of Procell-harp led “Broken Promises,” and the slyness of “A Tall Glass of You” (“I’ll have tall glass of you, and leave the bottle…”), this album offers a thoroughly satisfying session filled with soulful vocals, fine-tuned lyricism, and precise musical production that pulls it all together.

Give Derrick Procell a listen. You’ll be glad you did.

Here’s “Skin in the Game”:

Roadhouse Blues News: Here are the winners of the 2022 Blues Blast Magazine poll

More than 10,000 Blues Blast Magazine readers and blues fans voted in the 2022 Blues Blast Music Awards. The winners in the fan voting, with the nominees, are listed below.

Winners are shown in bold.

Contemporary Blues Album
Christone “Kingfish” Ingram – 662
Anthony Geraci – Blues Called My Name
Ronnie Earl and the Broadcasters – Mercy Me
Tommy Castro – A Bluesman Came To Town
Altered Five Blues Band – Holler If You Hear Me
Carolyn Wonderland – Tempting Fate
Dave Weld & The Imperial Flames – Nightwalk

Traditional Blues Album
Diunna Greenleaf – I Ain’t Playin’
Duke Robillard – They Called it Rhythm and Blues
Kenny Neal – Straight From The Heart
Sue Foley – Pinky’s Blues
Louisiana Red & Bob Corritore – Tell Me ‘Bout It
Bob Stroger & The Headcutters – That’s My Name

Soul Blues Album
Sugaray Rayford – In Too Deep
The Love Light Orchestra – Leave The Light On
Wee Willie Walker & Anthony Paule Soul Orchestra – Not In My Lifetime
Trudy Lynn – Golden Girl
Zac Harmon – Long As I Got My Guitar
Robbin Kapsalis and Vintage#18 – Soul Shaker

Rock Blues Album
Tinsley Ellis – Devil May Care
Beth Hart – A Tribute To Led Zeppelin
Eric Gales – Crown
Levee Town – Trying to Keep my Head Above Water
Big Al & the Heavyweights – Love One Another
Chickenbone Slim – Serve It To Me Hot

Acoustic Blues Album
Eric Bibb – Dear America
Corey Harris – The Insurrection Blues
Hector Anchondo – Let Loose Those Chains
Catfish Keith – Land of the Sky
Big Creek Slim & Rodrigo Mantovani- Stone In My Heart
Tas Cru – Broke Down Busted Up

Live Blues Recording
Rodd Bland and the Members Only Band – Live on Beale Street
Hurricane Ruth – Hurricane Ruth Live at 3rd and Lindsley
The BC Combo – The Garage Sessions
Ann Peebles and The Hi Rhythm Section – Live In Memphis
Peer Gynt – Live In Hell
The James Harman Band – Sparks Flying Live In 1992

Historical Or Vintage Recording
Mark Hummel Presents East Bay Blues Vaults 1976-1988
Paul Oscher – Rough Stuff
Lowell Fulson with Jeff Dale & The Blue Wave Band – Lowell Fulson Live!
Big Jack Johnson – Stripped Down in Memphis
Bob Corritore & Friends – Down Home Blues Revue
Dave Specter – Six String Soul

New Artist Debut Album
Hogtown Allstars – Hog Wild
Memphissippi Sounds – Welcome To The Land
Malcolm Wells and the Two Timers – Hollerin’ Out Loud
Horojo Trio – Set The Record
John Winkler – Juke’s Blues
Buckmiller Schwager Band – To Memphis and Back

Blues Band
The Love Light Orchestra
Tommy Castro & The Painkillers
Altered Five Blues Band
Wee Willie Walker & Anthony Paule Soul Orchestra
Kilborn Alley Blues Band

Male Blues Artist
Sugaray Rayford
John Németh
Eric Gales
Tommy Castro
Christone “Kingfish” Ingram
Tinsley Ellis

Female Blues Artist
Diunna Greenleeaf
Sue Foley
Carolyn Wonderland
Vaneese Thomas
Beth Hart
Trudy Lynn

Sean Costello Rising Star Award
Gabe Stillman
Ben Levin
Jose Ramirez
Memphissippi Sounds
Robbin Kapsalis and Vintage#18
Kat Riggins

Producer Of The Year
Tom Hambridge
Kid Andersen
Tony Braunagel
Mike Zito
Jim Gaines
Eric Corne

Electric Guitarist Of The Year
Eric Gales
Ronnie Earl
Duke Robillard
Christone “Kingfish” Ingram
Chris Cain
Albert Castiglia

Acoustic Guitarist Of The Year
Doug MacLeod
Eric Bibb
Guy Davis
Hector Anchondo
Catfish Keith
Corey Harris

Slide Guitarist Of The Year
Sonny Landreth
Derek Trucks
Gabe Stillman
Dave Weld
Michael van Merwyk
Catfish Keith

Bass Guitarist Of The Year
Bob Stroger
Rodrigo Mantovani
Danielle Nicole
Willie J. Campbell
Scot Sutherland
Jerry Jemmott

Keyboard Player Of The Year
Anthony Geraci
Kenny “Blues Boss Wayne
Ben Levin
Jim Pugh
Victor Wainwright
Kevin McKendree

Percussionist Of The Year
Derrick D’Mar Martin
Tom Hambridge
Tony Braunagel
Kenny Smith
Alan Arber
June Core
Cedric Burnside

Harmonica Player Of The Year
Bob Corritore
Jason Ricci
Dennis Gruenling
Kim Wilson
Billy Branch
Pierre Lacocque

Horn Player Of The Year
Jimmy Carpenter
Vanessa Collier
Marc Franklin
Vince Salerno
Doug Woolverton
Terry Hanck

Vocalist Of The Year
John Németh
Sugaray Rayford
Diunna Greenleaf
Beth Hart
Vanesse Thomas

Roadhouse Album Review: “May Be The Last Time” is a joyous session from John Németh and friends

John Németh — “May Be The Last Time” — Nola Blue Records (Sept. 16, 2022 release)

“I recorded this album before my jaw amputation surgery, which took place in late May. It’s called “May Be The Last Time” because I didn’t know then and I still don’t know, if I will ever sing or play again like I used to. I have to say the magic of this performance is beyond this world and maybe the greatest of my life.” — John Németh

John is correct. There is a magic about this album that you can feel in every track. In the passionate vocals, in the sparkling musicality — the joyous spirit of life that infuses the entire session.

It’s ironic that all this musical pleasure is rooted deep in the unfortunate circumstance of a medical condition known as ameloblastoma (a benign but aggressive tumor in the jaw) in John’s Jaw, as he’s whimsically called it in his GoFundMe campaign to help raise funds for treatment. But that’s typical of the blues — music that can turn bad luck into good times.

John makes the opening and title track, “The Last Time,” a personal statement. He reworks the classic gospel tune, already handily reworked by the Staple Singers and the Rolling Stones, as an enthusiastic counterpoint to the poignancy of his predicament.

Elvin Bishop is one of John’s guests here, and they combine on “Rock Bottom,” a Bishop song from 1972. “Sooner or Later” is a Németh original, from his “Memphis Grease” album, and the first taste here of his considerable songwriting skills. “Feeling Good” reaches back to 1966 and J.B. Lenoir with a tough bass line.

Bishop not only contributes another song, 1974’s “Stealin’ Watermelons,” but handles the vocals, perhaps to give John’s Jaw a little rest.  “I Found a Love” is a stunningly soulful duet with Willy Jordan and a splendid take on Wilson Pickett’s 1962 chestnut.

One of my favorite tracks, since it is one of my favorite songs from one of my favorite R&B groups, is the salaciously delicious “Sexy Ways,” from Hank Ballard and the Midnighters in 1954.

One of John’s earliest influences was Junior Wells, and his rendition of 1960’s “Come On in This House” is steamy and soulful, with magical harp work. “Elbows on the Wheel” is another John original from “Memphis Grease.” If you listen closely, there’s a throwback reference to “Junior’s Hoodoo Man.”

“Shake Your Hips” is vintage Slim Harpo from 1965, and John gives his voice and harp a workout.

Notice the trend here: John has picked older songs to cover with the classic feel that has been his musical trademark since he stormed out of Boise, Idaho, with his harp and a fine sense of older blues and soul that had been his sweet inspiration.

 The closer is “I’ll Be Glad,” another Bishop song with chunky rhythms and a raucous old-timey feel, and a message appropriate for the motivation behind this excellent album: “I’ll be glad when I get my groove back again.”

So yes, John is right. This is a great album. Filled with wonderful music, expertly done by John and the Kid Anderson (who also produced) studio band, plus friends. John’s vocals are their usual potent self, his harp work razor-sharp. If musicians can be loose and tight at the same time, here’s how. It’s also filled with the enthusiasm and spirit generated by fine music.

And yes, I love this album. You should, too. It just may be John’s greatest.


Read about John’s surgical journey here on the American Blues Scene.

Read about the Go Fund John’s Jaw effort here.


Here’s the title track:

Track list and credits:

As a sign of John’s sometimes whimsical approach to his surgery, here’s an illustration from the album cover. My only question is, “Where are the shades, man?