Blues Roadhouse

Lady J Huston — “Groove Me Baby” — Earwig Music / Unison Productions

Joyce Huston, or Lady J as she is known in the blues world, has been around the music world for a while.

She got her first taste of musical fame as a teenager, singing with Johnnie Johnson, Chuck Berry’s original pianist. And it didn’t hurt that her mother was Loyce (Pickens) Huston, a noted blues and jazz singer in St. Louis.

Then her musical training (including her trumpet playing skills) got her a spot as lead trumpeter touring with Albert King’s band in 1981. She was just 18. It wasn’t too long before she was King’s lead trumpeter, then his musical director.

That’s not a bad way to start your career.

After all that, “Groove Me Baby” is her first full-length studio album. And so this debut session begs the question: What took her so long?

The album overflows with the power of nine original songs (and three outstanding covers), written or co-written by Huston, backed by a lineup of razor-sharp musicians.

---

Here’s an excellent article by Bob Baugh on STLBlues.net that elaborates nicely on Lady J’s multifaceted career.

---

The session opener is the original “Your Call,” a tough old-school blues kicked into gear by a horn section that’s done to a crisp. The fierceness of Huston’s commanding vocals set the tone for everything that follows.

“Mean Stud Lover’s Blues” is another terrific, hard-charging blues with a message, and the message ain’t carpentry; On “I Want A Man Like That,” Huston reprises a big and bold jazzy blues sung by her mother in 1963 with the Chick Finney combo; “Tearing Me Apart” is a gorgeous smooth and soulful ballad.

That’s followed by Huston’s R&B-flavored version of the Albert King classic, “Born Under a Bad Sign;” her ode to the Covid pandemic is the sly uptempo “Corona, You Make Me Sick!;” On “Hide-Away,” Huston adds a strong vocal turn with the Jazz Edge Orchestra, who recorded the track with her in 2019 for a St. Louis Blues Society compilation.

“Groove Me Baby” is sophisticated soul; “Messin’ ‘Round On Da Bayou,” is laced with a funky New Orleans beat driven by Huston’s Las Vegas drummer, Jimmy Prima, nephew of the legendary Louis Prima; he hot swing number “500 Pounds Good Gizzay,” is an almost not-so-double entendre that updates a raucous little ditty from her mother’s repertoire.

Two bonus tracks close it all out: an instrumental take on “Mean Stud Lover’s Blues” so you sing along, and a stirring live version of “At Last,” the Etta James’ classic.

This is, simply put, an outstanding album in every respect. The musicians dramatically underline Huston’s commanding presence and keep her fierce vocals front and center while she storms through the set. Even the slower numbers are steamy enough to fog your soul.

It took long enough for Lady J to cook up this special musical feast; I’m ready for a second helping.

---

Official video of “Groove Me Baby”:

Tracklist:

01. Your Call
02. Mean Stud Lover’s Blues
03. I Want a Man Like That
04. Tearing Me Apart
05. Born Under a Bad Sign
06. Corona You Make Me Sick!
07. Hide-Away
08. Groove Me Baby
09. Messin’ Around on Da Bayou
10. 500 Pounds Good Gizzay
11. Mean Stud Lover’s Blues
12. At Last (Live)

Michael Jerome Browne — “Gettin’ Together” — Borealis Records

There’s nothing like a set of great old acoustic blues to remind us of some of the origins of this classic American music,.

That’s just what Michael Jerome Browne provides on his latest album, “Gettin’ Together,” which he does with a handful of artists who perform 14 songs that reach deep into blues obscurity for much of this session.

Born in Indiana, Browne has lived in Canada since he was nine, where he and his musical versatility became part of Montreal’s coffee-house scene by age 14. He’s since developed into a world-class singer, multi-instrumentalist and musicologist.

More recently, he’s been a three-time Canadian Folk Music Award winner (Traditional Singer, 2015; Solo Artist, 2012 & 2008), won the Blues With A Feeling Award at the 2020 Maple Blues Awards (with 35 nominations since 1999), five-time Juno Award Nominee in both the Roots/Traditional and Blues categories, and Kerrville (Texas) New Folk Finalist.

On this latest session, Browne “gets together” with Harrison Kennedy, J.J. Milteau, Eric Bibb, Mary Flower, John Sebastian, Colin Linden, Stephen Barry, Julian McColgan, Teilhard Frost, and Happy Traum. Browne sings and plays a resonator guitar, tremolo 12-string, or his gourd banjo with this talented group of pickers, harpists, fiddlers, and percussionists.

The result is plenty of fine music, and not incidentally, a history lesson rich in folk music and the blues.

Some of the musical sources here should be very familiar to folk-blues fans: Brownie McGhee, Mississippi John Hurt, Booker White and Mary Flower. But much of the music Browne has picked (literally) for this album includes songs from virtually unknown names, such as Black Boy Shine, Rube Lacy, Bayless Rose and Big Charlie Butler, that go back nearly a century into the 1920s and ’30s.

Browne’s begins this blues time-travel on Hurt’s easy-riding “Monday Morning Blues” from 1928 with his 12-string and Kennedy’s lyrical harmonica. Next, Bibb and Milteau help out on Booker White’s “Shake ‘Em On Down.” Mary Flowers adds lap slide on the instrumental “I’ve Got the Big River Blues” by the Delmore Brothers. Sebastian on harp and Flowers join in on Hurt’s chestnut, “Coffee Blues.”

Just a little historical digression: “Coffee Blues” is the song that provided the name for John Sebastian’s band, the Lovin’ Spoonful, since that phrase is repeated in the lyrics. And now Sebastian turns up here playing harp on “Coffee Blues.” Coincidence? I think not.

Next, Browne duets with Linden on “Ham Hound Crave,” s song by the almost literally unknown Rube Lacy; slide guitarist J.B. Hutto’s electric “Please Help” gets an acoustic makeover; Booker White’s “Fixin’ to Die Blues,” shows up with banjo and fiddle treatment; the instrumental “Reverend Strut” is named after the Rev. Gary Davis, with Browne playing Davis’s original banjo.

“Married Man Blues” is from the little known Houston pianist Harold Holiday, or Black Boy Shine, noting that the original title should have been “Married Woman Blues”; another pairing with Flower on a lap slide produces a plaintive “Black Dog Blues” by Bayless Rose; Flower follows on a 12-string with her own instrumental “Wisecrack.”

A somewhat less obscure William Buch (Peetie Wheatstraw, who also called himself the High Sheriff from Hell or the Devil’s Son-In-Law)) wrote “Six Weeks Old Blues,” followed by “Diamond Joe,” by Big Charlie Butler while in the Parchman Farm Prison in the 1930s. The closer is Brownie McGhee’s “Living with the Blues,” with Browne, Sebastian, McColgan, and Happy Traum join the finale.

That’s a lot of history and a lot of music — there’s much more information in the carefully notated booklet that come with the CD. When you put all that together, it’s a smartly crafted set of acoustic folk blues that goes down easy. Browne has gathered the music and the players and they’ve woven a magical tapestry of this music and its historic sources.

---

Here’s “Coffee Blues” by Michael Browne:

Tracklist:

1. Monday Morning Blues
2. Shake ‘Em On Down
3. I’ve Got the Big River Blues
4. Coffee Blues
5. Ham Hound Crave
6. Please Help
7. Fixin’ To Die Blues
8. Reverend Strut
9. Married Man Blues
10. Black Dog Blues
11. Six Weeks Old Blues
12. Wisecrack
13. Diamond Joe

Buddy Guy, Albert Castiglia and John Németh were big winners in the Blues Music Awards, held last night (May 11) in Memphis.

The evening’s top award winners were Buddy Guy, Albert Castiglia and John Németh, each earning two BMAs. Buddy Guy’s The Blues Don’t Lie picked up Album of the Year and Contemporary Blues Album. Albert Castiglia won Blues Rock Album as well as Blues Rock Artist, and John Németh’s May be the Last Time won Traditional Blues Album; Németh was also awarded instrumentalist Harmonica.

Here’s a complete list of the nominees and winners. Congratulations to everyone.

B.B. King entertainer of the year 

WINNER: Tommy Castro

Sugaray Rayford

Eric Gales

Bobby Rush

Mr. Sipp (Castro Coleman)

Band of the year 

Anthony Geraci & The Boton Blues Allstars

John Németh and the Blue Dreamers

Rick Estrin and the Nightcats

Southern Avenue

WINNER: Tedeschi Trucks Band

Song of the year

Altered Five Blues Band “Great Minds Drink Alike” (Jeff Schroedl)

WINNER: Buddy Guy “The Blues Don’t Lie” (Tom Hambridge)

Eric Gales “I Want My Crown” (Eric Gales, Joe Bonamassa)

John Németh “The Last Time” (John Németh)

Shemekia Copeland “Too Far to Be Gone” (John Hahn/Will Kimbrough)

Best emerging artist album

Blue Moon Marquee / Scream, Holler & Howl

DaShawn Hickman / Drums, Roots & Steel

WINNER: Dylan Triplett / Who Is He?

Jose Ramirez / Major League Blues

Yates McKendree / Buchanan Lane

Acoustic blues album

WINNER: Charlie Musselwhite / Mississippi Son

Corey Harris / The Insurrection Blues

Duwayne Burnside / Acoustic Burnside

Harrison Kennedy / Thanks for Tomorrow

Rory Block / Ain’t Nobody Worried

Blues rock album

WINNER: Albert Castiglia / I Got Love

Bernard Allison / Highs & Lows

Colin James / Open Road

Eric Gales / Crown

Tinsley Ellis / Devil May Care

Contemporary blues album

WINNER: Buddy Guy / The Blues Don’t Lie

Diunna Greenleaf / I Ain’t Playin’

Janiva Magness / Hard to Kill

Larry McCray / Blues Without You

Shemekia Copeland / Done Come Too Far

Soul blues album

Kat Riggins / Progeny

Kirk Fletcher / Heartache by the Pound

WINNER: Sugaray Rayford / In Too Deep

The Love Light Orchestra / Leave the Light On

Trudy Lynn / Golden Girl

Traditional blues album

Kenny Neal / Straight From the Heart

Bob Corritore / Bob Borritore & Friends: You Shocked Me

Duke Robillard / They Called it Rhythm & Blues

WINNER: John Németh / May Be the Last Time

John Primer / Hard Times

Acoustic blues artist

WINNER: Doug MacLeod

Guy Davis

Harrison Kennedy

Rhiannon Giddens

Rory Block

Blues rock artist

Walter Trout

WINNER: Albert Castiglia

Tommy Castro

Joanne Shaw Taylor

Tinsley Ellis

Contemporary blues female artist

WINNER: Ruthie Foster

Beth Hart

Janiva Magness

Teresa James

Vanessa Collier

Contemporary blues male artist

Selwyn Birchwood

Chris Cain

WINNER: Christone “Kingfish” Ingram

Ronnie Baker Brooks

Mr. Sipp (Castro Coleman)

Soul blues female artist

Annika Chambers

Trudy Lynn

WINNER: Thornetta Davis

Kat Riggins

Vaneese Thomas

Soul blues male artist

John Németh

Johnny Rawls

WINNER: Curtis Salgado

Don Bryant

Billy Price

Traditional blues female artist (Koko Taylor award)

Dietra Farr

Diunna Greenleaf

Rhiannon Giddens

Rory Block

WINNER: Sue Foley

Traditional blues male artist

Billy Branch

Duke Robillard

WINNER: John Primer

Johnny Burgin

Sugar Ray Norcia

Instrumentalist – bass

Bob Stronger

WINNER: Danielle Nicole

Larry Fulcher

Michael “Mudcat” Ward

Willie J. Campbell

Instrumentalist – drums

Chris Layton

Cody Dickinson

Derric D’Mar Martin

WINNER: Kenny “Beedy Eyes” Smith

Tony Braunagel

Instrumentalist – guitar

Chris Cain

Christoffer “Kid” Andersen

Joanna Connor

Kirk Fletcher

WINNER: Laura Chavez

Instrumentalist – harmonica

Billy Branch

Bob Corritore

Jason Ricci

WINNER: John Németh

Dennis Gruenling

Instrumentalist – horn

WINNER: Deanna Bogart

Gregg Piccolo

Jimmy Carpenter

Mark Kaz Kazanoff

Sax Gordon Beadle

Instrumentalist – piano (Pinetop Perkins piano player award)

WINNER: Anthony Geraci

Ben Levin

Dave Keyes

Jim Pugh

Kenny “Blues Boss” Wayne

Instrumentalist – vocals

Curtis Salgado

Danielle Nicole

Diunna Greenleaf

John Németh

WINNER: Shemekia Copeland

Jennifer Lyn & The Groove Revival — “Gypsy Soul” — J and R Collective

Just to make the rocking theme clear, Jennifer Lyn kicks off this fine little album with the title track, a bluesy rock ‘n’ roll song that would be right at home in any roadhouse worthy of the name. It’s filled with fierce guitar licks, some hot piano, and best of all, Lyn’s tough vocals.

I use the word “little” here not in a musical sense, since the music is actually quite large, but in the sense that this is a five-song EP, a throwback to those olden times when four songs on a 45 made up a mini-album called — an EP.

“Gypsy Soul” is a follow to the band’s Independent Blues Music Award nominated Best Blues Rock Album “Nothing
Holding Me Down.”

Lyn and fellow guitar-wielder Richard Torrance, who together wrote and produced, create a rich, rocking texture, very ably complemented by Jim Anderson (drums), Chris Addison (bass), and Barb Jiskra (keys).

Another rocker, “Low Down Dirty Shame” follows, with some fine harmony on the vocals and dance-floor-friendly beat. “Going Round in Circles” takes a soulful vocal turn wrapped in torchy blues guitar that stings in just the right places. “Give Me All of Your Lovin’” rocks hard again with Lyn’s vocal focused on a guy who might well be hanging at the jukebox in the corner.

The all-too-soon closer is “You Can Take It All,” shifting into sweet, sensuous harmonies and liquid guitar notes. A beautiful ending.

This is a fine “little” gem of an album. The music is a masterful blend of style, substance and songwriting. Lyn’s vocals come alive in front of these crackling musicians. They rock hard in and out of the blues and turn up the heat on the soulful end.

Maybe size doesn’t matter, but I wish there had been a lot more of what is truly a Groove Revival on this session. I guess I’ll just have to play it again.

---

Here’s a video of the album’s “Low Down Dirty Shame”:

Tracklist:

William Bell — “One Day Closer to Home” — Wilbe Records

William Bell is one of the original soul men. One of the last standing. Still creating that sweetly satisfying soul music — and more.

On his latest and 15th album, Bell turns loose his still-smooth 83-year-old pipes on a dozen finely crafted and perfectly executed songs that stretch the boundaries of soul music into a broader picture of American music.

Those varied skills are why, in 2017, Bell was awarded a Grammy for Best Americana Album for “This Is Where I Live.” He performed on the show as well, offering a reprise of his “Born Under a Bad Sign” (yes, I know it’s usually associated with Albert King, but Bell created it).

“One Day Closer to Home” offers a touch of all his creative powers. There are funky moments, R&B flavors, soulful interludes and even a little countrified honk.

“I Still Go To Parties” is the opener, slyly letting you know he’s still ready with a touch of funkiness, even if a bit subdued. “I Will Remember Tonight” is sweetly sexy and soulful, but with a lyrical fiddle echoing his vocals.

The magical soul continues through “In A Moment Of Weakness,” “Brag About You,” “Human Touch,” and “I’ve Got Feet,” all driving with echoes of the Stax/Volt sound, where Bell was a major contributor in the 1960s. “Let’s Make Loving Great Again” is simply a beautiful sentiment, gorgeously expressed. And that pretty much describes all the great tracks I haven’t even mentioned.

The closer, “Georgia Peach,” picks up the tempo, adds a touch of Otis Redding toughness, and leaves you wanting more of everything. So, play it again, and then dig deep into Bell’s recordings. Soul music doesn’t get much sweeter.

---

Learn more about William Bell and his vast musical experience at his web site bio.

---

Here’s “Let’s Make Loving Great Again”:

Tracklist:

01 – I Still Go To Parties
02 – I Will Remember Tonight
03 – In A Moment Of Weakness
04 – Brag About You
05 – Human Touch
06 – I’ve Got Feet
07 – Let’s Make Loving Great Again
08 – We Can Never Go Back
09 – One Day Closer To Home
10 – When I Stop Loving You
11 – Ain’t Gon’ Let It Bother Me
12 – Georgia Peach

Big Harp George — “Cut My Spirit Loose” — Blues Mountain Records

The San Francisco Bay Area’s Big Harp George (Bisharat) makes his chromatic harmonica sound like he belongs in a big band full of swinging jazz and blues — which of course, he does. And on his latest album, “Cut My Spirit Loose,” he is.

The band is an impressive group, including guitarist Kid Andersen, bassist Joe Kyle Jr., drummers June Core and Derrick D’Mar Martin, Chris Burns on keys, Jeff Lewis and Ed Morrison on trumpet, Michael Peloquin and Doug Rowan on sax, Mike Rinta on trombone and tuba, and Ben Torres on flute.

Add Lisa Leuchner Andersen, Lulu Bisharat, Loralee Christensen, and the Sons of the Soul Revivers (James Dwayne and Walter Morgan), and you’ve got a choir of backup singers.

That’s quite a list, but it’s worth mentioning in detail, since the music here romps easily behind Bisharat’s supersonic harp work and clever songwriting. Twelve sprightly Bisharat originals grace this session, along with a cover of the Lennon-McCartney song, “She’s a Woman.”

The album kicks off with a swinging “It’s Tuesday,” an ode to the memories of Covid lockdowns; “Pile Driving Sam” is a bouncy little ditty that doubles down on double-entendre; “Give Me The Dark” argues that the night time is indeed the right time with a bluesy little tune that made me feel like I could do a soft-shoe routine; “Bustin’ Out” is a New Orleans-themed instrumental that stretches out the harp work; “She’s a Woman” gets remade with Latinesque leanings; “My Dog Is Better Than You” unleashes more Bisharat wit, begging for more canine values in a cruel human world.

“Jump Abu Lula!” is another canine tribute to his dog that’s a rollicking jump blues instrumental (except for a chorus that periodically chants the title); “Prince Of Downward Mobility” exclaims a reverse success story; “Ranty Town,” with a fine harp intro, expresses rhythmic disdain for rants of conspiracy; “Behind The Eight Ball” is a slow and bluesy examination of a bluesman’s troubles; “Take A Knee” is a back-porch-flavored down home blues with a country feel tackling that controversial NFL issue with the Soul Revivers on the gospel-like call and response; a gorgeous little instrumental, “Sunrise Stroll,” features the melodic virtues of the chromatic harp; “Captain Jack” closes with the dirge-like account of the fate of Kintpuash, Captain Jack, the chief of the indigenous Modoc people.

“Cut My Spirit Loose” is a fine effort by Big Harp George and his multi-talented backers, smartly pulling together his skills as a singer, songwriter and chromatic harp master for this swinging session.

---

Here’s a great interview with George from the December, 2020, edition of Blues Blast Magazine.

---

Here’s “It’s Tuesday,” from “Cut My Spirit Loose”:

Tracks & Credits:

01. It’s Tuesday
02. Pile Driving Sam
03. Give Me the Dark
04. Bustin’ Out
05. She’s a Woman
06. My Dog Is Better Than You
07. Jump Abu Lula!
08. Prince of Downward Mobility
09. Rantytown
10. Behind the Eight Ball
11. Take a Knee
12. Sunrise Stroll
13. Captain Jack

Big Harp George: vocals, harmonics
June Core: drums, percussion
Derrick D’Mar Martin: drums, percussion
Joe Kyle, Jr.: bass
Jeff Lewis: trumpet
Ed Morrison: trumpet
Michael Peloquin: tenor and baritone sax
Mike Rinta: trombone, tuba
Doug Rowan: baritone sax
Ben Torres: flute
Lisa Leuchner Andersen, Lulu Bisharat, Loralee Christensen, Sons of the Soul Revivers (James Dwayne and Walter Morgan): backing vocals

Taj Mahal — “Savoy” — Stony Plain Records (April 28 release)

Since he released his first two albums in 1967-68, Henry St. Claire Fredericks Jr. has not only recorded roughly 50 more, he’s also helped to define the face of Americana and roots music, world music, and a huge amount of great blues music.

By then, Fredericks was already calling himself Taj Mahal, having left behind his animal husbandry, veterinary science and agronomy studies at the University of Massachusetts Amherst, where he also led an R&B band called Taj Mahal & The Elektras. The Elektras turned out to be the correct prescription.

(In October 2018, Taj returned to UMass Amherst for the 100th Anniversary of the Stockbridge School of Agriculture. In this video, he reminisces about his early life and career.)

A big leap in time, space and mood later, Taj and longtime friend and producer John Simon have put together a tribute to the music that worked its way into Taj’s consciousness as a child in his parents’ home.

That is essentially the music of “Savoy,” standards from the great American songbook, written by some of the great names in American music, a throwback to the sounds of the swing jazz big band era. “Savoy is just pure fun for me and a chance to display my jazz vocal chops,” Taj explains. And Harlem’s Savoy Ballroom is where his parents met during an Ella Fitzgerald show. Talk about predestination.

The “fun” that Taj mentions is a great description of the results here. The music swings easily but with an insistent groove from the fine band assembled for the occasion — a rhythm section of Danny Caron – guitar; Ruth Davies – bass; John Simon – piano; and Leon Joyce, Jr. – drums; with background vocals by Carla Holbrook, Leesa Humphrey and Charlotte McKinnon. Evan Price’s violin graces two cuts. There’s also a special group of horn players, including Erik Jekabson — trumpet; Mike Rinta — trombone; Sheldon Brown — clarinet, tenor sax; Charles McNeal — tenor sax; Andrew Stephens — trumpet; Kristen Strom — flute, tenor sax; Lincoln Adler — tenor sax.

All those players deserve special mention because the music they so effortlessly create moves the album into an irresistible groove that provides the perfect background for Mahal’s easy vocals that flow smoothly through his vintage, soon to be 81-year-old pipes, with a gruff elegance.

The classic songs? “Stompin’ At The Savoy” with a spoken intro on how his parents met; “I’m Just A Lucky So-And-So,” the fine and mellow “Gee Baby Ain’t I Good To You,” and easy-living “Summertime,” the classic Duke Ellington “Mood Indigo,” the bouncy “Is You Is Or Is You Ain’t My Baby,” the soulful alto sax intro on “Do Nothin’ Till You Hear From Me.”

Then there’s “Sweet Georgia Brown” with fiddle romping, a sensuous duet with Maria Muldaur on “Baby It’s Cold Outside,” the horn-powered opening to “Lady Be Good,” “Baby Won’t You Please Come Home” with sweet fiddle, a swinging “Caldonia,” “Killer Joe,” a mostly instrumental that’s a more recent tune, and the heartfelt eight minutes of “One For My Baby (And One More For The Road).”

This is a thoroughly enjoyable album, in which Taj Mahal stretches his many musical talents in yet another direction. The results sparkle with a fresh and swinging look at classic American music.

---

From the album, “Gee Baby, Ain’t I Good to You”:

Track List:

1. Stompin’ At The Savoy
2. I’m Just A Lucky So And So
3. Gee Baby, Ain’t I Good To You
4. Summertime
5. Mood Indigo
6. Is You Is Or Is You Ain’t My Baby
7. Do Nothin’ Till You Hear From Me
8. Sweet Georgia Brown
9. Baby It’s Cold Outside (duet with Maria Muldaur)
10. Lady Be Good
11. Baby Won’t You Please Come Home
12. Caldonia
13. Killer Joe
14. One For My Baby

Skylar Rogers — “Among the Insanity — Blue Heart Records

“Among the Insanity” is such a great name for a song, for an album, and for the thematic intensity that pervades this excellent musical session.

And it all works so well because it’s based on the vocal magic of Skylar Rogers on her third album, paired with the impressive emotional songwriting of Rogers and producer Terry Wilson on 12 new songs. In that vein, Rogers says that she “hopes the listener feels connected to the emotions that were put into these songs….”

The power of that emotional content begins with the opening cut, the sensuous “Love in the Left Lane,” as Rogers immediately takes charge with intense vocals and lyrics that define an independent woman’s perspective on love and life.

The pulsating “Among the Insanity” comes next, a hard-driving vocal on the R&B-laced philosophy of the broken relationship — “…ain’t no heroes here, we’re goin’ down in villainy….”

“One Last Kiss” is a beautifully sung, sadly gentle reminiscence of lost love. “Ride That Lightning” strikes with passion — “…ain’t no shelter from me baby, I’m as bad as they get…” Next, “Blame It On Rock & Roll” picks up the beat and rocks the lyric.

“When It’s Broken,” is a lyrical gem of romance over a lilting piano. “Step It Up” rocks hard again with a honky-tonk flavor and a tough message for a potential suitor. “Both Sides Of The Tale” means just what it says in life, and “Between Friends” is a soft lesson on a love triangle. “Femininity” proclaims a bluesy sensibility for its title, while the island-themed “The Water” provides an escape from all that’s gone before.

“Apology Not Accepted,” with just a stirring piano backing, is a fitting final dramatic statement of independence among the myriad insanities of life and love and the turmoil they bring.

The band that creates the framework here includes Bennett Salvay (keys), Billy Watts (guitar), Brannen Temple (percussion), Snuffy Walden (guitar), Darrell Leonard (horns), and Teresa James (background vocals).

This fine album is a life-affirming, soul-satisfying session rich with the imagery of life and love, powered by a sharp backing band, and brought to life by Rogers’ deeply soulful vocals. Her personal background, detailed in her bio, has brought this all into focus, but mainly, her music speaks eloquently for itself. An excellent album.

---

The title track, “Among the Insanity”:

Track List:

01. Love In The Left Lane
02. Among The Insanity
03. One Last Kiss
04. Ride That Lightning
05. Blame It On Rock & Roll
06. When It’s Broken
07. Step It Up
08. Both Sides Of The Tale
09. Between Friends
10. Femininity
11. The Water
12. Apology Not Accepted

Big Shoes — “Fresh Tracks — Qualified Records

Big Shoes is a band. I mention that mainly because, 1) it doesn’t sound like the name of a band, and 2) I had never heard them (my loss), and 3) you should definitely hear them.

Big Shoes describes itself as an “Americana Roots SuperGroup,” and it was formed as a tribute project to recreate the early music of that great American band, Little Feat. Big Shoes released its first album, “Shoes Blues” in 2015, and Step On It!” 2018. I’m not certain, but it’s worth assuming that the name “Big Shoes” may have been related to the “Little Feat” project. That would only be fitting.

The supergroup tag also turns out to be very fitting, as this criminally talented group of musicians creates a sparkling blend of country and blues, of Nashville and Memphis, of musicians eloquently in tune with their music.

Lead singer and guitarist Rick Huckaby gives smart, laid-back voice to songs that he’s mostly written or co-written, in front of a band that lopes along behind him, managing to make their crisp, tight backing sound effortless.

The rest of the Shoes include Mark T. Jordan on piano, B3 and background vocals; Will McFarlane on guitar and slide guitar; Kenne Cramer on guitar; Tom Szell on bass; Lynn Williams on drums; and Bryan Brock on percussion. Additional guests include: Shaun Murphy and Vickie Carrico on background vocals; Dana Robbins on horn arrangements and saxophones; and Quentin Ware on trumpet.

As a very, very brief example of their background: Big Shoes members have played and recorded with: Bonnie Raitt, Van Morrison, Delbert McClinton, Taj Mahal, Etta James, Bobby “Blue” Bland and more. Keyboardist Jordan played on Van Morrison’s classic “Tupelo Honey” album, and Bonnie Raitt’s “Road Tested.” Guitarist McFarlane has worked on albums by Levon Helm, Joss Stone, Bonnie Raitt and Bobby “Blue” Bland. He lives in Muscle Shoals, and works with the Muscle Shoals rhythm section, “The Swampers.” Huckaby is a session singer on Nashville’s Music Row.

The Shoes kick off the album with the relaxed rhythms of “I Got You Covered” carrying Huckaby’s expressive vocals; “Hole in the Sky” is a tightly driven bluesy shuffle that gently swings; “If the Blues Was Green” is clever wordplay with a country two-step feel.

“You Can’t Love Me Like That” turns the music soft and thoughtful; “Roses Are Blue” continues the mood with lovely background harmonies; “Permanent Midnight” is a gorgeous ode to lost love, with the title an elegant description of the subject; “I’ve Seen the Light” offers a rocking duet with former Little Feat vocalist Shaun Murphy; “There Ain’t Nothing You Can Do” is a percussive Latinesque playground.

“Drunk on Love” opens with a discordant barroom flavor that compliments the title; “Tell Me I’m Wrong” gives Huckaby a lilting melody to float above; “That’s What I Get (For Lovin’ You)” is more bluesy country with delicious backup vocals; “Dreaming Again” wraps it all up with a hopeful love song.

One of the best things about this album is the quality of the music, and the sheer musical pleasure that it generates. The band creates a groove that runs through the entire session, no matter what style or tempo. They create just the right feel for Huckaby’s considerable vocal skills.

It all makes for great music that gets better with each listening. Try on these Big Shoes. Walk a musical mile in them. You’ll feel better.

I really didn’t want to say that Big Shoes makes some sweet sole music, but I just couldn’t help myself.

---

Here’s “A Hole in the Sky” from the album:

Tracklist & Credits:

Cash Box Kings — “Oscar’s Motel” — Alligator Records

You want some tough, old-school-feel Chicago-style blues, but with a contemporary vibe?

Then you should check out the latest album from the Cash Box Kings, featuring the massive voice of Oscar Wilson, and the massive talents of everyone else involved.

Harp man, vocalist, songwriter and band founder Joe Nosek has brought together a razor-sharp ensemble of Wilson on lead vocals, Billy Flynn on lead and baritone guitar, Kenny “Beedy Eyes” Smith on drums, John W. Lauler on upright and electric bass, and Lee Kanehira on piano and organ. There is also a handful of special guests who add just the right amount of icing on the blues cake.

Special guests include vocalists Deitra Farr, Cameron Webb, and John Nemeth, guitarists Shoji Naito, Andrew Diehl, Xavier Lynn, and Jon McDonald, drummer Derek Hendrickson, and The C-Note Horns.

Most of the music on their eleventh album is original, with Wilson and Nosek sharing the writing and creating new blues in the same tough spirit as their spiritual predecessors. They also add rugged covers of a pair of blues chestnuts.

The session kicks off with the title track (imagine that, the title track comes first!), featuring Wilson’s gritty vocals, a little reminiscent of Howlin’ Wolf, in front of Nosek’s wicked harp, all shuffling in classic blues harmony. Next, “Down on the South Side” creates an image of a Chicago filled with the characters of the blues, plus one of the special guests, the C-Note horns, adding their own vivid color.

“Please Have Mercy” downshifts the mood, with a mournful harp intro fueling Wilson’s slow-burning vocal turn on the Muddy Waters song. “I Can’t Stand You” is a light-hearted pairing of the heavy-duty voices of Wilson and guest vocalist Deitra Farr. “Hot Little Mess” is pure Nosek, from the lyrics to the harp to the vocals.

The soulful Cameron Webb shares the vocals on the history lesson in “Nobody Called It the Blues,” and then Wilson relives the urgent driving rhythms of “Pontiac Blues,” the remaining cover track on the album (a footnote about the original below). “Trying So Hard” is another scorching slow blues, fueled by Nosek’s harp and Wilson’s potent pipes, with a stinging guitar adding fuel to the fire. “She Dropped The Axe On Me” is another solo Nosek effort. John Németh adds his considerable vocal chops and wry sensibilities to the envious “I Want What Chaz Has.”

The closer is a surprisingly out-of-season “Ride Santa Ride,” but a rocking good way to giftwrap the package.

“Oscar’s Motel” is the latest in a long run of outstanding music from the Cash Box Kings, who continue to create new music that remains faithful to its roots in style and substance. And it sounds great, too.

---

A “Pontiac Blues” footnote and a blues pet peeve: This song is credited here to “Williamson,” presumably meaning the man who wrote and recorded it, usually known as Sonny Boy Williamson II, but who was actually Alex or Aleck “Rice” Miller (or Ford, his mother’s name). In the early 1940s, a radio sponsor began referring to Miller as Sonny Boy Williamson to take advantage of the fame of the already well-known blues harpist, John Lee “Sonny Boy” Williamson, and the name stuck. For a long while, Miller was referred to as Sonny Boy Williamson II, but now even that small distinction seems to have become less used.

There’s no question that Miller had an extraordinary career as an artist. His talent was immense.

But so did John Lee Williamson, and I think it’s important that the blues record remembers that.

---

Here’s the album’s title track:

Track List:

1 Oscar’s Motel 2:46 (Wilson/Nosek, Eyeball Music, BMI)
2 Down On The South Side 3:41 (Nosek/Wilson, Eyeball Music, BMI)
3 Please Have Mercy 4:00 (Morganfield, Watertoons Music, BMI)
4 I Can’t Stand You 4:20 (Nosek/Wilson/Farr, Eyeball Music, BMI)
5 Hot Little Mess 3:29 (Nosek, Eyeball Music, BMI)
6 Nobody Called It The Blues 3:33 (Abrahamson/Procell/Nosek/Wilson, Throw Your Voice Music, Saw Rite Music, Eyeball Music, BMI)
7 Pontiac Blues 1:57 (Williamson, Arc Music, BMI)
8 Trying So Hard 5:17 (Flynn, Easy Baby Music, BMI)
9 She Dropped The Axe On Me 3:43 (Nosek, Eyeball Music, BMI)
10 I Want What Chaz Has 3:43 (Nosek/Wilson/Flynn, Eyeball Music, BMI)
11 Ride Santa Ride 3:15 (Nosek/Nosek/Wilson, Eyeball Music, BMI)

The Cash Box Kings are:

Joe Nosek: Harmonica, Vocals (5,9), Acoustic Guitar (9)
Oscar Wilson: Vocals
Billy Flynn: Lead Guitar, Baritone Guitar (5)
Kenny “Beedy Eyes” Smith: Drums (1,4,7,8)
John W. Lauler: Upright and Electric Bass
Lee Kanehira: Piano, Organ

With Special Guests:

Deitra Farr: Vocals (4)
John Nemeth: Vocals (10)
Shoji Naito: Rhythm Guitar (1,4,7,8), Kick Drum (3)
Andrew Diehl: Rhythm Guitar (5,6,9,10,11)
Derek Hendrickson: Drums (5,9,10,11)
Alex Hall: Drums (2,6)
Cameron Webb: Vocals (6)
Xavier Lynn: Rhythm Guitar (2)
Jon McDonald: Guitar (3)

The C-Note Horns:
Al Falaschi: Tenor and Baritone Saxophones (2,5)
Jim Doherty: Trumpet (2)