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25+ YEARS STRONG

MIKE ZITO

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4 ISSUE 160 : BLUESMATTERS.COM

ELCOME

Marilyn Stringer- MIKE ZITO

LISTEN

TO THIS

INTERVIEW

ELECTRIC swamp

FUNKIN’ BLUES

There’s a moment in every artist’s journey when imitation gives way to identity,

when influences evolve into something unmistakably personal. For Florida bluesman

Selwyn Birchwood, that moment has fully arrived with his latest album,

Electric Swamp Funkin’ Blues.

Colin Campbell

Jayne Drooger

“This is my sound.” Selwyn Birchwood says it plainly

when describing his latest album, Electric Swamp Funkin’

Blues. We caught up with him at home in Florida just days

before he headed back out on tour to talk about the road

that led him here, the evolution of his songwriting, and

the blend of styles that defines his music.

Home, the road and the stage

Fresh off a run of shows and preparing for another

stretch on the road, Birchwood is enjoying a rare pause.

“Being home is cool,” he says, “but I get anxious. I’m ready

to get back out there and play again.”

His return begins with a familiar stop, the Clearwater

Blues Festival. “It just feels like home,” he explains. “We

play a lot of clubs around Florida in the winter, so getting

on a festival stage here is special.”

For Birchwood, the road remains central to who he is

as an artist. Live performance is where the music fully

comes to life.

From Hendrix to the blues

Birchwood’s musical awakening came early. “I was trying

to play stuff off the radio and got bored with it pretty

quickly,” he recalls.

Everything changed when a friend handed him a Jimi

Hendrix record. “It felt like I was listening to alien music.”

That moment led him back through the roots of the music

to artists like Muddy Waters.

The defining experience came when he saw Buddy Guy

perform live. “I bought a ticket blindly and went to the

show,” Birchwood says. “I was completely floored. I said,

whatever this is, that’s what I want to do.”

Years later he would share a stage with Guy himself, one

of those moments that confirms a musician is on the right

path.

Finding his own sound

Over the years Birchwood worked with producer Tom

Hambridge, gradually shaping his approach in the studio.

But Electric Swamp Funkin’ Blues represents a new level

of independence.

“I’ve always been steering the ship,” he says. “But this

time it’s just been me from top to bottom.”

Released through Alligator Records, the album is built

entirely from Birchwood’s own material, continuing a

pattern he considers important.

Electric swamp funkin’ blues

Birchwood once described his music with the phrase

“electric swamp funkin’ blues”, and it stuck. The name

captures the blend at the centre of his sound: traditional

blues foundations fused with funk grooves, gospel textures

and a modern edge.

“This album is the culmination of the sound I’ve been

chasing all along,” he says.

ISSUE 160 : BLUESMATTERS.COM 9

Rather than recreating the past, Birchwood sees his role

as expanding the blues while keeping its emotional core

intact.

Writing modern blues

Birchwood’s songwriting process is instinctive.

“Lyrics, instrumentation and chords tend to come

together,” he says.

The song The Church of Electric Swamp

Funkin’ Blues started as a joke while touring.

“I was thinking about why churches don’t pay

taxes,” he laughs. “Then it turned into more of

a mission statement about what we do, travelling

from town to town spreading the gospel

of our music.”

He also believes modern blues should reflect

modern lives. “It doesn’t have to be about

picking cotton on a farm,” he says. “That’s not

where I come from.”

That honesty appears in Damaged Goods, inspired

by guitarist Chris Cain joking onstage that

he was “damaged goods”. Birchwood recognised

the sentiment immediately. “Nobody’s perfect,” he

says. “We’ve all fallen short.”

Blues in the

digital age

One of the album’s most unusual tracks is All Hail the

Algorithm, which blends blues with commentary on the

digital world.

The idea came from the sound of an old dial-up modem.

“I always liked that sound,” Birchwood says. “Some of the

younger guys in my band didn’t even know what it was.”

The track reflects how technology shapes modern life.

“I’m trying to make blues that’s relevant to 2026 instead

of 1926,” he explains.

Expanding the sound

Another standout, Labour of Love, features something

Birchwood had never used before in the studio: a full

string section.

“I’ve got almost an orchestra of strings on that song,” he

says with a grin. “This album really has the full spectrum

of sound.”

The result adds a cinematic feel, something Birchwood

deliberately wanted to bring into the music.

The road as a testing ground

Touring remains an essential part of Birchwood’s process.

“We were playing these songs live while the album

was coming together,” he explains. “So when we go out on

tour you’re going to hear most of the record.”


“I try to make every

show different”

EXPLORE

He also avoids repeating the

same show night after night. “I

try to make every show different,”

he says. “Otherwise I feel like I’m

cheating the audience.”

Looking ahead

Birchwood remains optimistic about

the future of the blues, especially

among younger artists.

“There’s a ton of talent out there,”

he says, pointing to names like

Christone ‘Kingfish’ Ingram, Marquise

Knox and Jontavious Willis.

“These are headliner-level artists.”

For Birchwood, success is simple.

“Success for me is being able to

write and perform my music the

way I want to,” he says.

After all, the blues has always been

about personal experience. “We all

live different lives,” he says. “Why

wouldn’t you bring your own voice

into it?”

With Electric Swamp Funkin’ Blues,

Selwyn Birchwood does exactly

that.

For further information see

website: selwynbirchwood.com


RICK VITO

SLIDEMASTER

Few guitarists carry the quiet authority of Rick Vito. Whether stepping into the

spotlight as a solo artist or lending his unmistakable touch to bands like Fleetwood

Mac, Vito has built a career defined not by flash, but by feel. His playing—

steeped in blues tradition yet shaped by decades of real-world experience—

speaks with a kind of emotional clarity that can’t be taught.

Colin Campbell

Travis Goodin & Hub Wilson

Over the years, Vito has moved seamlessly between

roles: sideman, songwriter, and frontman, always serving

the music first. It’s this humility, paired with a deep-rooted

passion for the blues, which has earned him respect

across generations of musicians and fans alike. In this

conversation with Blues Matters, Vito reflects on his

journey through the industry, and talks about the new

release, Slidemaster.

FINDING PEACE IN LEIPER’S FORK

When Rick Vito picks up the phone, he isn’t calling from

a backstage dressing room or a bustling studio in Los Angeles.

Instead, he’s speaking from the rolling countryside

of Leiper’s Fork, just outside Nashville, a place he’s called

home for nearly three decades.

“I wanted to live somewhere green,” he says, reflecting

on his decision to leave Los Angeles after 25 years. “Out

here it’s peaceful, you learn to appreciate nature more.

It’s less stressful and I think you can be very creative

without all the distractions.”

That slower pace has shaped his creative life. While Vito

spends plenty of time practicing guitar, inspiration often

arrives in the most ordinary setting.

“I’ve written more songs in my dining room than anywhere

else, just sitting there with a small amp and a

guitar, it works.”

For a musician, whose career has included arena tours

and sessions with some of rock’s biggest names, the

simplicity of that routine reflects a philosophy that has

guided him throughout his life: creativity doesn’t require

spectacle, just honesty and space to listen.

The First Spark: Rock and Roll Awakening

Like many musicians of his generation, Vito’s musical

awakening came from a mixture of family influence

and the irresistible pull of early rock and roll.

“My mother played lap steel when she was younger.

One day my grandfather brought her old guitar over,

and around the same time Elvis Presley and Ricky

Nelson were on TV. That was it, I was hooked.”

Growing up near Philadelphia meant he had a

front-row seat to rock’s earliest television moments.

Legendary host Dick Clark regularly showcased

emerging stars.

“You’d see Chuck Berry, Eddie Cochran, these

incredible artists. It made a huge impression on

me.” Another weekly inspiration came from the

television sitcom The Adventures of Ozzie and

Harriet, where Ricky Nelson performed with

guitarist James Burton. “That band was cool,

and I was called Ricky too, so it felt personal.”

It was the kind of spark that can change a

young life overnight.

TEENAGE DREAMS AND FIRST GIGS

By the time he reached his early teens, Vito was

already performing publicly, though the experience

was nerve-wracking.

“My first time on stage was in ninth grade with a doowop

group,” he says. “Five guys in leather coats with

slicked-back hair. I just played guitar and I was terrified.”

Soon he was forming bands of his own, learning instrumentals

inspired by players like Duane Eddy. By sixteen,

he was already performing in clubs around Philadelphia,

even though he was technically underage.


LISTEN

TO THIS

INTERVIEW

“It was kind of heaven; I was the young kid in these

bars playing guitar. Everyone else was older, musicians,

dancers, the whole scene.”

His parents helped open another door. They ran a

club in Wildwood, New Jersey, where Vito and his

brother sometimes played short sets between the

headlining acts.

“We’d do songs by The Rolling Stones or James

Brown, whatever was popular. It gave us a taste of

the real thing.” Those early experiences planted

the seeds for a lifelong career.

THE BREAK THAT CHANGED EVERYTHING

During college, Vito discovered the electrifying

blend of rock, gospel, and rhythm & blues created

by Delaney and Bonnie. “I loved that sound;

it was soulful but still had the energy of rock.”

When the band came through town, he grabbed an

opportunity.

“I got backstage and played them some tapes. I kept going

back, and eventually they invited me to sit in. I got up there

and played, and it worked. After that they encouraged me

to move to Los Angeles and they hired me. I went out on

the road with them. That was my big break. When your

chance comes, you’ve got to be ready.”

LESSONS FROM THE ROAD

Touring with established musicians was an intense education,

not just musically, but personally. “I learned you have

to be ready; opportunity can come at any time.”

He also gained a realistic perspective on the music busi-


ness. “You realise pretty quickly that all that glitters isn’t

gold. The people you look up to; they’re just people.”

The era was known for its excess, something Vito witnessed

firsthand. “There was a lot of drugs and drinking

around me,” he says. “I made a decision not to go too far

with any of that. I think that’s one reason I’ve stayed in

the business as long as I have.”

A SURREAL STUDIO MOMENT

After leaving Delaney & Bonnie, another opportunity

arrived through Bobby Whitlock of Derek and the

Dominos. Whitlock invited Vito to play guitar on a demo

session produced by Jimmy Miller. “I was scared to death;

there were long sections where I could really stretch

out and solo. As we were listening back, the studio door

opened and Mick Jagger and Keith Richards walked

in.” The Rolling Stones legends listened quietly before

asking a simple question. “They said, ‘Who’s the guitar

player?’ I raised my hand. They gave me the thumbs up.”

Vito laughs at the memory. “At that point I felt like I could

retire.” He was only twenty-two!

LOS ANGELES AND THE SESSION CIRCUIT

Relocating to Los Angeles placed Vito at the centre of the

music world. “It was hand-to-mouth,” he says, “but I was

meeting people and getting work.”

He performed with artists including Little Richard

and Dobie Gray, and session opportunities

continued to appear. One connection

through bassist Larry Taylor, eventually led

to an audition with blues pioneer John

Mayall.

JOINING THE JOHN

MAYALL TRADITION

Playing with Mayall

carried enormous

significance.

After all, the

band had previously

launched the careers of guitarists such as Eric Clapton,

Peter Green, and Mick Taylor. “That was about as

great a compliment as I could hope for,” Vito says. Touring

internationally and recording multiple albums, he gained

invaluable experience. “I wish we’d played more straight

blues,” he reflects. “John was experimenting with bluesrock

and other styles.” Still, the time with Mayall left a

lasting impression, and decades later it would connect

him to one of the most meaningful projects of his career.

HONOURING PETER GREEN

In 2020, Vito took part in a major tribute concert celebrating

the music of Peter Green. The project was organised

by Mick Fleetwood. “I got a call on Christmas Day,”

Vito remembers. “Mick said, ‘You know this music better

than anyone, I have to have you there.’”

After weeks of rehearsal in Maui and London, the concert

brought together an extraordinary lineup. “It was

monumental, one of the greatest nights of my musical

life.” Although plans for a tour were cancelled due to the

pandemic, the experience remains unforgettable.

THE FLEETWOOD MAC CHAPTER

Perhaps the most visible period of Vito’s career came

when he joined Fleetwood Mac. “This wasn’t

just a gig; it was one of the greatest

bands ever.”

The connection began

through guitarist Billy Burnette.

During a recording

session that included Mick

Fleetwood, the possibility

of joining the band started to

emerge. When Lindsey Buckingham

departed, Vito was asked to learn a

number of songs for auditions. “I had

to learn Stevie’s songs and Christine’s,”

he says.

Adapting to the band’s diverse catalogue required

flexibility. “Christine’s songs felt very

“You don’t always want

to hear your own voice”


natural to me,” he explains. After months of rehearsals,

he joined the band on tour and remained with Fleetwood

Mac for four years.

“It was a great experience, I loved it.”

FROM SIDEMAN TO SOLO ARTIST

While still a member of Fleetwood Mac, Vito began developing

his own solo material. “Stevie Nicks encouraged

me,” he says. “We wrote some songs together and she

played demos for Doug Morris at Atlantic Records.” That

connection eventually led to a recording deal. Like many

band environments, however, not every song made the

group’s albums. “Those songs became the foundation of

my solo records,” Vito explains.

THE BIRTH OF SLIDEMASTER

Now, decades later, Vito is preparing to release a project

he has long envisioned: Slidemaster. “I’ve always wanted

to make an instrumental album,” he says. “Every record

I’ve done had a couple of instrumentals, but this time I

wanted the slide guitar to be the main voice.” He drew

from a pool of about twenty-five recordings, some new,

some older and gradually shaped them into a cohesive

album. “It took a couple of months experimenting, but I

found twelve songs that worked together.”

INSPIRED BY THE BLUES MASTERS

The idea was partly inspired by classic instrumental blues

record. “There was a Freddie King album with Hideaway

and Stumble that always stayed with me,” Vito says.

There was another reason too. “You don’t always want to

hear your own voice,” he laughs. “It’s good to take a break

and do something different.”

SPEAKING THROUGH THE GUITAR

Vito’s connection with slide guitar dates back to his

early years. “A friend taught me Walkin’ Blues, by

Son House,” he recalls. “After that I never put it

down.” The discovery opened a doorway into

the deeper roots of the blues, Son House,

Robert Johnson, Muddy Waters. “It became

part of my playing from that point on.”

Across Slidemaster, that influence is clear.

His goal is simple but challenging: to make

the guitar sing. “I try to make the slide guitar sound like a

human voice.”

THE HEART OF THE BLUES

Ask Vito what defines the blues and his answer is immediate.

“It’s all about the feel,” he says. While many younger

players possess remarkable technique, he believes the

true spirit of the music comes from emotional depth.

“It’s deceptively simple music,” he explains. “People hear

B.B. King and think it’s easy, but the phrasing, the tone,

the emotion… that’s the real thing.”

LESSONS FROM A LIFETIME

After more than fifty years as a professional musician,

Vito has seen every side of the industry. His advice to

younger artists is straightforward. “Stick with it. Don’t

give up.” Criticism and rejection are unavoidable.

“You’ll hear ‘no’ plenty of times,” he says. “But if you love

the music, you keep going.”

A PURPLE JUMPSUIT AND LITTLE RICHARD

Long careers inevitably produce unforgettable stories.

One early highlight involved stepping in as a guitarist

for Little Richard during an appearance on The Midnight

Special. “I thought I’d wear my black velvet suit from

Carnaby Street,” Vito laughs. But the flamboyant rock

pioneer had other ideas.

“He said, ‘No suit, no show.” Instead, Vito was handed a

brightly coloured jumpsuit.

“I was humiliated, but I needed the money, so I did it. “The

performance still circulates online today. “So yeah,” he

grins, “it’s still out there.”

STILL PLAYING, STILL FEELING

These days Vito focuses primarily on writing and recording

from his Tennessee home. Touring isn’t a priority he

admits he’s not fond of flying, but he hasn’t ruled out

occasional performances closer to home. “I’ve got a lot

of music I want to release,” he says. As long as the blues

continues to move him, he’ll keep playing; for Rick Vito,

music isn’t simply a career, it’s a lifeline.

“I couldn’t imagine life without the guitar; it still thrills my

heart and soul.”

For further information see website: https://www.rickvito.com/

EXPLORE


SINNERS

Laura Carbone

by the artists

THE NIGHT THE BLUES

SHOOK THE OSCARS


From Mississippi to the Dolby Theatre, a

film that carries the soul of the blues to

the world stage...

There are moments when the blues steps beyond the juke

joint, beyond the festival stage, and lands squarely in the

global spotlight. This was the blues, raw, ancestral, deeply

American, stepping onto one of the biggest stages in the

world, the Academy Awards. And at the heart of that

moment stood Sinners.

Directed by Ryan Coogler, with a score by Ludwig

Göransson, Sinners was never conceived as just another

film. It was conceived to be massive, a cinematic excavation

of the blues, of Black culture, and the racial divide

set in the brutal landscape of the Jim Crow South. A story

where music is not decoration, but DNA.

The film made history with 16 Academy Award nominations,

the most ever, and delivered four major wins. It

earned the Best Actor Oscar for Michael B. Jordan’s dual

performance of the twins, Smoke and Stack. Filmmaker

Ryan Coogler (of Black Panther and Creed fame) took

home his first Oscar, winning Best Original Screenplay.

Best Cinematography went to Autumn Durald Arkapaw,

the first woman and person of color to claim that honor.

Yet for those of us rooted in this music, the defining

victory came with Göransson’s Oscar for Best Original

Score. The Oscar nominated song “I Lied to You” was one

of only two musical performances of the entire night. it

wasn’t just a nod—it was the spotlight for blues and history,

alive and commanding the Oscar stage.

At the heart of Sinners is inheritance. For Ryan Coogler,

the blues was personal, passed down through his Mississippi-born

family and shaped by time spent listening to

blues records with his Uncle James. For Ludwig Göransson,

it came through his Swedish father, a guitar teacher

who was deeply influenced by the American blues tours

in Sweden and had a love for Albert King.

“Blues wasn’t forced on us like that religion.

Nah, son, we brought this with us from

home. It’s magic, what we do. It’s sacred,

and big.” – Delta Slim, Sinners

In preparation for the film, they went into the South to

dig deep, discover history, honor the music, and learn the

background story. That journey led them to Memphis,

where they connected with Lawrence Boo Mitchell of

Royal Studios, the Grammy-winning producer and keeper

of the Memphis soul tradition. He put them in a van and

took them on the road deep into the Delta, to Clarksdale,

Dockery Plantation, Holly Springs, and Indianola, walking

the same ground where the music was born. They stood

in cotton fields, under pecan trees, visited juke joints, saw

divided towns and poverty, Blues Trail sites, and visited

the B.B. King Museum. In Indianola, they met with Robert

Terrell, the director of the B.B. King Museum. He took

them to the historic Club Ebony, where he handed B.B.

King’s legendary Lucille guitar #01 to Ludwig and his

father to play. This was immersion.

Lawrence Boo Mitchell had this to say about Coogler:

“Working with Ryan was magical. When he spoke to the

musicians, you could feel his passion and reverence for

the music and the people who created it. He radiates

brilliance yet remains down to earth and humble, a gentle

giant in every sense of the word.”

Unlike most films, where filming comes first and the

songs and soundtrack folow, Sinners built its sonic world

first. They asked Lawrence Boo Mitchell to assemble a

collective of musicians who could bring authenticity, with

“delta dirt” in their DNA, to the project. Boo selected a

cross-generational blues summit of musicians, among

them Bobby Rush, Alvin Youngblood Hart, Cedric Burnside,

Eric Gales, Christone “Kingfish” Ingram, Tierinii

Jackson, Sharde Thomas-Mallory, Charles Hodges,

Luther Dickinson, James “Super Chikan” Johnson, as well

as others rooted in the living tradition. They met at Royal

Studios in Memphis, and what followed was less of a recording

session and more a creative ritual, with musicians

pairing up, days of collaboration, rewriting, and reshaping

songs until something true emerged.


Tierinii Jackson described it as a kind of spiritual reckoning—sitting

in a circle, like kindergarten kids, listening

as Coogler laid out his vision: a blues story that collided

with the supernatural. She recognized her own life in the

narrative—growing up as a preacher’s kid and the tension

between gospel roots and the pull of secular music. The

blues calling that chooses you, rather than the other way

around. She recalls being thrust into the world of vampires,

unprotected, as a bright-eyed girl who didn’t have a

lot of experience in the real world, but now being able to

sing her truth. “In the church, you sing about God’s goodness,”

she reflected. “But in the blues, you tell the whole

truth—the good and the bad—and you can dance to it.”

“There is a legitimate argument to be made

that Delta blues is America’s most important

contribution to global popular culture…

it just might be America’s most important

artistic contribution to all of humanity.”

– Ryan Coogler

Several key musical contributions emerged from these

sessions. “Travelin’,” written by Alvin Youngblood Hart,

is performed in the film by Miles Caton and later by

Buddy Guy in his role as the elder Sammie Moore. The

three-time Blues Grammy winner, Bobby Rush, contributed

both musically by writing two of the songs for the

film, and as a coach to Delroy Lindo, who played the

character Delta Slim. Rush, at the age of 92, is the oldest

active bluesman in music and knows firsthand what it

was like being a Black blues singer in the southern United

States. Bobby’s coaching was impactful, and Delroy Lindo

received an Oscar nomination for Best Supporting Actor.

The Little Walter song “Juke” in the movie features Bobby

Rush playing harmonica off-screen while Delroy Lindo

watched and mimicked his moves for the camera. Rush

also suggested replacing a line in the script that ended up

in the film. The line, “That’s as funky as a Mississippi donkey,”

is also a lyric from a Bobby Rush song, “Funk O De

Funk,” from his Grammy-winning album Porcupine Meat.

Eric Gales’ guitar work surges through the score, particularly

in “Elijah” and the climactic “Grand Closin’,” while

Kingfish’s playing is woven throughout the film’s musical

fabric. Layla McCalla appears in the film playing banjo

and portraying Memphis Minnie. Tierinii Jackson paired

up with the lineage that is Cedric Burnside for two songs

on the soundtrack, one they wrote together, “Can’t Win

for Losin’,” as well as providing vocals along with Sharde

Thomas-Mallory for Howlin’ Wolf’s “Wang Dang Doodle.”

Of interest, “Wang Dang Doodle” was an initial inspiration

for the film. Ryan Coogler heard it while washing

dishes—a song about a cast of colorful characters throwing

an all-night rager party that turns dangerous.

Sinners emerged as one of the most celebrated and

culturally significant films of the year, earning more Oscar

nominations than any film in history while also collecting

two Golden Globe wins and widespread recognition from

critics’ associations, amassing hundreds of accolades. It

was named Best Movie of the Year by Rotten Tomatoes,

reflecting both critical and audience enthusiasm. Commercially,

the film proved equally powerful, grossing approximately

$368 million worldwide and standing as one

of the highest-grossing original films in the past 15 years.

“I’m thankful for this moment. Today, we are

back in the light—our own light.”

— Bobby Rush

Jeff DeLia (72 Music Mgmt), manager for Bobby Rush,

reflected on the Oscars, “It felt like a next-level moment

for everyone involved. You could feel the weight of history—an

iconic film, live blues musicians, dancers, actors


stepping onto the stage in front of nearly 18 million viewers.

If there’s one word that captured the experience, it

was gratitude. You could hear that word echoing through

the halls, literally and figuratively.” Eric Gales echoed

that sentiment, calling it “a huge honor to be part of an

amazing representation of music and art for this film…

on one of the grandest stages of them all. Will be forever

sketched on my soul. I’m still in awe—simply wow.”

Bobby Rush looked back at history, at the making of the

movie Sinners, and at the Oscar performance, and had

this to say: “Sinners shines a light on Black music, Black

entertainers, and Black direction. For so long, Black music

has been the heartbeat of culture, but often celebrated

only after others, white or European musicians, put it

in the spotlight. Sinners changed that. This time, Black

artists told their own story, played their own music, and

stood proudly in their own light. That’s history being

made. My friend Buddy Guy, who I love dearly, is a great

example. He became recognized largely after white

listeners embraced his sound. The same goes for Muddy

Waters and Howlin’ Wolf. But now, through Sinners and

its Black promoters, writers, and visionaries, Mississippi

artists and Black artists everywhere are thriving again.

We’re finally seen in our own light, on our own terms.

I’m thankful for this moment. Today, we are back in the

light—our own light.”

The process began earlier in the week with rehearsals,

revisions, and choreography built around Raphael

Saadiq’s composed song “I Lied to You.” Serena Göransson,

Ludwig’s wife and creative collaborator, played a

pivotal role in shaping the film’s musical identity and led

the orchestration of the Oscars live performance. By

Sunday morning, the production had become a tightly

controlled operation, with artists arriving early for the

final rehearsal and remaining on site for five hours within

a security perimeter that transformed the Dolby Theatre

into something closer to a fortress.

That environment created moments of intimacy. Just

before taking the stage, several artists gathered in Buddy

Guy’s dressing room. Buddy began singing and teaching

the country singer/rapper Shaboozey “Hoochie Coochie

Man”—Buddy sang a line, Shaboozey repeated it

back. Buddy sang more lyrics, and Shaboozey sang them

back. It was a rare, unplanned exchange—a living legend

passing down one of the genre’s most iconic songs to

the next rising star. Moments later, Shaboozey led the

group in prayer, honoring Muddy Waters, Howlin’ Wolf,

B.B. King, and those who came before. It was a powerful

convergence—seven artists, different generations, united

in purpose just before stepping onto one of the biggest

stages of their careers.

When Miles Caton and Raphael Saadiq took the stage

with their Academy Award–nominated song “I Lied to

You,” the performance unfolded like a living piece of

musical history. The set became a crossroads, echoing the

film’s juke joint intensity while expanding into something

larger, blending blues, gospel, dance, and cinematic scale.

Joined by period dressed dancers. musicians, American

Ballet Theatre principal dancer Misty Copeland, Brittany

Howard of Alabama Shakes, country rapper Shaboozey,

and DJ D-Nice behind the turntables, the performance

reflected Sinners’ genre-defying vision. But at its core

was the blues—embodied by Bobby Rush, Eric Gales,

Christone “Kingfish” Ingram, and Buddy Guy—artists who

carried both the weight of tradition and the fire of its

future.

Together, they delivered a moment that transcended

performance, blending blues in all its depth and lineage

with movement and Black history in a single expression—

and bringing the audience at the Dolby Theatre, as well as

viewers around the world, to their feet.

That’s history being made.


MARCH BROUGHT A HEAVY

TOLL FOR THE BLUES...

March was a month to remember mostly for all the wrong reasons. Blues music lost four

of its most significant players and movers in the space of a few short weeks.

Perhaps the truly most significant figure to go was the

UK’s own Mike Vernon. Mike, apart from being a lovely

guy, was a great friend of Blues Matters Magazine and

a leading music entrepreneur and musician. Over the

decades, Vernon produced albums for the likes of John

Mayall, Eric Clapton, our own Dani Wilde, and Fleetwood

Mac. Starting with a Fanzine, R&B Monthly, he created

Blue Horizon Records, a leading light in blues music globally,

as it turned out, mush to his personal surprise. Peter

Green turned to Mike for his initial solo explorations

following his departure from John Mayall’s Blues Breakers

before Clapton took his place, and his huge hit single,

Albatross was largely down to Vernon.

In later years, he fronted a number of bands, the most

recent being his Mighty Combo, always performing with

a powerful, passionate delivery and a remarkable knowledge

of the blues scene. He passed on March 2nd, aged

81.

Another huge, towering great was the legendary John

Hammond, who passed on February 28th, age 83. Initially

influenced by Jimmy Reed, Hammond went on to work

with Jimi Hemdrix, Eric Clapton, Levon Helm, Dr John,

Mike Bloomfield and Duane Allman, among countless

others.

With over thirty albums under his belt, Hammond was

a Grammy winner for his performance on the ‘Blues

Explosion’ release in 1985. In addition, he worked Bob

Dylan and created the soundtrack for the Dustin Hoffman

movie, Little Big Man. His harp and resonator guitar

skills were absolutely amazing, with sweat-drenched

Hammond generally working flat-out at live gigs, picking

his vintage National Steel guitar while hollering and

singing with his harp always attached. Although, generally

viewed as an acoustic picker, Hammond was known

to turn his hand to the Fender strat at times, and many

performances in the 1980s featured his electric playing.

With numerous Blues Foundation awards behind him,

Hammond was a true blues great with a history that few

can match.

March 3rd saw the loss of acoustic picker and wonderful

raconteur, Roy Book Binder, a great friend of us here at

Blues Matters. Roy started out as a picker learning guitar

from the legendary master bluesman, Rev Gary Davies.

A pal of Pink Anderson (part of the Pink Floyd nametag),

Book Binder had a laconic but sharp wit and his live

acts always included countless quips and jokes together

with superlative showmanship and guitar-picking skill.

During a six-decade career, he played with Bonnie Raitt,

fiddler Fats Kaplin, BB King, Sonny Terry, Doc Watson,

Ray Charles, Brownie McGhee and for a few years even

courted success as a guitar-toting, big-hat wearing hillbilly

bluesman on shows like Nashville Now in the USA. His

1992 release, ‘ Hillbilly Blues Cats’ was named one of the

ten most essentiual acoustic albums of the year – other

artists with similar ratings that year included Clapton’s

‘Unplugged’ and Neil Young’s ‘Harvest Moon’, so the competition

and peer-group was significant.

Apart from his many albums, Book Binder also played

most major US festivals, booked blues acts for my own

personal favourite US festival, Merlefest in North Carolins,

and taught aspirants on a regular basis at Jorma

Kaukonen’s annual Fur Peace Ranch guitar camp. Roy

was aged 83 when he passed.

Lastly, March 14th saw legendary 12-string guitar

master, Paul Geremia leave the blues world. Following a

severe stroke some years earlier, Geremia retired from

the road and remained at home in latter years in Rhode

Island. During a long career, starting in the folk-revival

boom 1960s, he recorded around a dozen albums and his

cover of Fred McDowell’s ‘Get Right Church’ earned him

a Grammy nomination in 2002. Two albums, ‘Gamblin’

Woman Blues’ and ‘Self Portrait in Blues’ were both WC

Handy award nominees and he was an inductee of the

Rhode Island Music Hall of Fame in 2013...

Another acoustic bluesman who worked with many

talents, he was a great, close personal friend of Roy Book

Binder, and for me personally, (though I knew him fairly

well) there seemed a certain symmetry when he passed,

age 81, a matter of days following the death of his closest

blues-buddy, Roy Book Binder.

IAIN PATIENCE


LIVE REVIEW:

Michael Messer & Chaz Jankel -

Music at Manley 7th March 2026

What a great show! The guitar synergy between Michael

Messer and Chaz Jankel was an excellent fusion. There

were times where the sweetness and exquisitely modulated

pitch of the slide work was brilliantly offset by

the rhythm and brisk chord changes that Chaz deployed

to the structure and counterpoint the slide work. In

particular, during “Bloodline”, there was a relaxed fluency

to Chaz’s play, where the sense of detailed rhythm

graded more towards a ‘jazz influenced’ phrasing, that

was absolutely astonishingly good in conjunction with

the sublime slide work. I can hear some of the sweetness

of the Indian influences now seamlessly embedded into

Michael’s musical expression that reflected either many

hours of playing together and shared musical genius, or

perhaps both of the above and more that is beyond my

ability to appreciate. Michael Messer and Chaz Jankel

should both be very proud; I hope they are. I could have

just said it was very good, but they deserved better - it

was excellence.

Gary Taylor

Tom Davies & The Bluebirds

Out

10th April

2026

Album Release Show

Friday 10th April 2026

Boogaloo Promotions, Church Crookham,

Fleet, Hampshire.

Tickets: www.boogaloopromotions.com

Digital, CDs or special vinyl LP

Available at the show & via our website

www.tomdaviesthebluebirds.com

www.tomdaviesthebluebirds.com


DEBBIE BOND HONOURED WITH

ALABAMA ARTS IMPACT AWARD

On May 14, 2026, renowned Alabama blues musician

Debbie Bond is to be awarded the Alabama Arts Impact

award by the Alabama State Council on the Arts (ASCA).

Every other year, ASCA shines a spotlight on exceptional

Alabamians and their contribution to arts and creativity

in the state, across the nation and around the world. The

program highlights appreciation for artistry and creativity

and the people who make it possible through their

tireless dedication, and remarkable achievements playing

a significant role in shaping Alabama’s cultural landscape.

A blues singer, songwriter, and guitar player, Debbie has

worked over the past 47 years performing, educating,

promoting and archiving the rich blues heritage of Alabama

in the US and Europe.

She began her career sharing her band with legendary

bluesman Johnny Shines, and went on to tour the US and

Europe with many other Alabama bluesman, most notably

the late, great Willie King. While working as a performing

musician, she also dedicated herself to promote

and preserve the state’s rich blues heritage through the

Alabama Blues Project (ABP), a non-profit arts organization

which she founded. As well as presenting many Alabama

blues showcases, the ABP also presented hundreds

of school blues education programs, created a touring

blues history exhibitions, and developed a unique blues

archive to support research and preservation work.

Over the years, Debbie has consulted on many films and

books and most recently assisted with artifacts and information

for the only exhibition in the world on Alabama

blues, at the Maison Du Blues Museum in France. She

has been a tireless ambassador for the state’s rich blues

heritage!

Her work has garnered numerous awards, including

a presidential Coming Up Taller Award for her blues

education programs working with at-risk children, and a

Keeping the Blues Alive Award from the Blues Foundation.

The Alabama Music Hall of Fame named her a “Blues

Achiever,” and she has been inducted into the international

Blues Hall of Fame.

More recently, she was nominated in 2023 for “Best

International Blues Act” by the UK Blues Federation. Her

latest release, Live at the Song

Theater, was chosen by the EU Jazz and Blues Federation

in their top 10 releases for 2025. Debbie continues to

perform and tour internationally, including a 2025 tour

with Alabama blues woman Carroline Shines, the daughter

of Johnny Shines, and she continues to passionately

educate and inform about all things Alabama blues.

Iain Patience


JUDITH OWEN

Suit Yourself

NewAlbum, Out 24thApril

Album Includes: Joe Bonamassa,Davell Crawford & The J.O. Big Band

CD&Digital Pre-OrderVinyl Now

Listen

Here

www.judithowen.net

Live: Mon 1st. June, Bush Hall, London, 7.15pm

AVAILABLE IN DIGITAL, CD, AND VINYL FORMATS

www.nola-blue.com

EQ @nolabluerecords nolablue.bandcamp.com

A YOUNG MAN

WITH THE BLUES

TOM DAVIES

There’s something about the blues that keeps drawing in gifted young musicians

to continue sustaining its presence as a vital part of culture decade after

decade. One of the latest young guns to embrace the blues and the mythology

that’s surrounds it is Tom Davies.

Steve Yourglivch

Mark Stones Photography

Still only 22 years old, Tom has been leading his band

The Bluebirds onstage since 2019, finding his ideal travel

companions Gary Lyons and Si Davis in 2022. Over the

last year or so the band have made quite an impression

across the UK and in Ireland at various venues and festivals

leading to nominations as Emerging Blues Act and

Young Blues Artist twice. Tom and the band have taken

time and care to put together their debut full length

album, which is about to hit the streets. Angel On The

Mississippi shows a maturity in Toms writing and playing

way beyond his years and is sure to introduce the band to

a wider audience and open up new doors.

I thought this was the perfect time to talk to Tom about

how he’s arrived at this point, and one thing I really wanted

to know was how did this young man get the blues?

‘It’s a good question. If I’m totally honest, I don’t remember

the exact moment. Blues is such a huge genre but my

first love of it came from the British Invasion, the 60’s

stuff. My favourite Guitar players still are Peter Green,

Cream era Clapton and obviously Jeff Beck, who evolved

musically so much. There’s a huge difference between the

first Jeff Beck Band album Truth and say Beck-Ola which

is another great album with Spanish Boots and all that

kind of stuff, which has been a big influence on me. Other

albums like Disraeli Gears by Cream and Peter Green

on Fleetwood Macs Mr Wonderful are huge musically

speaking but when I really got into it Truth was big, tracks

like Blues Deluxe. Then I got into later albums like Blow

By Blow and Wired. A huge discovery for me was Live At

Ronnie Scotts, the first track I heard and it blew me away

was Angel Footsteps. There’s a video on You Tube where

he takes the slide off his finger and puts it on the strings

and does all those crazy harmonic things, that’s amazing.

As influences Jeff Beck and Peter Green are the biggest.

I still listen to those early Mac albums, I think Then Play

On is my favourite.’

Having listened to Angel On The Mississippi there are

clear indications that Peter Green was a big influence,

plus Tom has recorded a track entitled Blues For Greeny.

‘I’m happy you can sense that. I remember seeing an

interview that Warren Haynes did where he said your

influences are in your playing even if you aren’t consciously

aware of it. I think he was referring to jazz like

John Coltrane with Blue Train that influenced Warren.

He was saying that music really inspired him, almost

internally influenced him without him realising it. I think

that happened to me when I put in hours transcribing

Peter Green stuff, but also just the vibe of the music and

the arrangements.’

There are a couple of covers on the album, You’re Gonna

Wreck My Life originally recorded by Howlin’ Wolf, and

I’ve Got A Mind To Give Up Livin’ which was a BB King

track also covered by Peter Green. It’s refreshing that

Tom has avoided covering the obvious and dug deeper

into the catalogues.

‘I remember Joe Bonamassa talk about that when he did

Live At The Greek, a tribute to the three Kings, Albert,

Freddie and BB. He said it was important to not just do



LISTEN

TO THIS

INTERVIEW

“I wanted to find a kinda

Led Zeppelin arrangement”


sea. That was the beginning of the track Alone On The

Delta. So I guess the whole Delta thing was meant to be.

The first song I had for it was Angel On The Mississippi.’

What strikes me about the album is the maturity of the

songwriting. Lots of young, gifted axe slingers can easily

forget how important the songs are and can turn each

track into a vehicle designed to show off their playing and

long solos.

the big hits, the obvious choices, but to shine a light on

some of the lesser well-known tracks. I knew The Thrill

Is Gone, Hideaway, The Stumble and tracks like that but

I found hearing other tracks eye opening. So it’s very satisfying

for me to play some of those type of songs in our

set, like Breaking Up Someone’s Home, I’ll Play The Blues

For You. On the album we had Ray Drury playing keys

with us, and he joins us live sometimes and that helps us

perform those tracks. Definitely, when I hear the lesser

known tracks, I feel the need to go and do some more

research.

With You’re Gonna Wreck My Life, our version isn’t like

the original. You have to pull it apart and then go, ok,

what’s the general flavour of the song. Obviously, it’s a

great song to begin with but a straight copy is a bit of a

cop out. I wanted to find a kinda Led Zeppelin arrangement

similar to how they played on Led Zeppelin 1. I love

how raw that album is, it captures the blues on scale ten.

So, I started by learning the track and then throwing in

the Zeppelin playbook. I think we gave it a Heartbreaker

feel.’

Tom’s guitar player influences are clearly recognisable on

the album, but what is interesting too is the lyrics. Often,

they are inspired by the timeless mythology and imagery

of the delta. This young man really has the blues.

‘To me, I feel it’s about the sound creating the images.

Take the track Alone On The Delta, it’s very much

steeped in that style. I don’t remember making a conscious

decision about the lyrics, I do know that when we

started writing the album I wanted something with all my

influences on it. So for me that meant resonator guitar,

slide and the different tunings on the guitar and things

like that, and they started back in the Delta with Robert

Johnson and Sonny Boy Williamson. I’m also a big fan

of Ry Cooder and Derek Trucks slide playing, it’s a very

distinctive sound that conjures up that sort of mythology

and takes your mind into that space and scenery. As

we’ve been talking about it I’m reminded that when we

were first talking about putting an album together and

started to write the songs, Si was with me in room and I

began playing some basic stuff on resonator and asked

him to give me an idea of something you picture in your

mind if I play this riff or whatever. I distinctly remember

him saying the rain coming down and going back to the

‘It’s an easy trap to fall into and hand on heart there were

a few of those moments. I think you need a bit of both,

the song with the vocals and then a window of however

many bars to play guitar. You have to serve both masters.

For me songwriting it’s often having the title first because

that gives me a theme. On the track Looking For An Alibi

some of my other influences come into play. I’ve always

been a lover of JJ Cale. I discovered tracks like Magnolia

and Cajun Moon through Clapton when he did a tribute

album.

What was it like taking the songs into the studio and

starting to create an album?

‘I was terrified about recording the album. We recorded

an EP a couple of years ago and I wasn’t proud of it at all.

We’ve rearranged and reworked a couple of those songs

onto the album because we weren’t happy with them. My

playing has changed and I wanted to do them justice now.

But I really didn’t take to recording to begin with. Maybe

that’s unusual because you hear people say how great it

is, like having a huge canvas you can paint on, but I really

found it hard. I think the thing I wrestled with is I pride

myself on trying to be a big improviser playing live, that’s

what I try to do. So the idea of having a final take you have

to live with was difficult. My mindset has changed now,

I’m good with the way it sounds, I like the way it sounds,

this is the studio version, this isn’t me playing live. I’ve

also come to realise that as well as striving to become

better as a musician is understanding what makes a great

drummer or a great bass player. Having Ray Drury in the

studio playing keys was brilliant, we were so lucky to have

him. He’s very intuitive and plays the right part at exactly

the right time. I’m still learning as I go along.’

My advice is go and discover Tom Davies & The Bluebirds.

Either performing live, on the album or preferably both.

The album is released on April 10th, and you can find

dates or order the album from www.tomdaviesthebluebirds.com

EXPLORE


SUIT YOURSELF

JUDITH OWEN

Asked who she would most love to record with, Owen does not hesitate. Stevie

Wonder. For her, he represents a kind of musical divinity, not only because of his

writing and musicianship, but because every note he sings, or Finding joy in the

face of adversity

Stephen Harrison

Rick Guest and Steve Rapport

Judith Owen sounds exactly like her records feel: warm,

quick, funny, and utterly alive to music in all its forms.

Speaking to Blues Matters just after returning from New

Orleans, she is still carrying that city’s energy with her. It

runs right through Suite Yourself, an album that blends

jazz, blues, gospel, and soul with a freedom that feels

both joyful and deeply rooted.

At its heart, the record is about one thing above all else:

finding joy in the face of adversity. That phrase comes up

more than once in conversation, and it explains not only

the album but also the life she has built between London

and New Orleans, and the musical world she inhabits so

naturally.

A WELSH VOICE AND A MUSICAL UPBRINGING

Owen was born into music. Her family is from South

Wales, and she speaks with real affection about the

sound of Welsh voices. “I’m blessed to have that soft,

throaty, rich voice, and I absolutely put that down to

being Welsh,” she says. In America, she is often asked

whether everybody in Wales sings. As she tells it, in her

family at least, they did.

Her father was an opera singer with the Royal Opera

House at Covent Garden, and music dominated daily life.

The day would often begin with scales. Then came rehearsals,

performances, touring, and weekend trips to the

opera house for dress rehearsals. She was only five the

first time she went, and from then on, it became a regular

part of childhood.

Yet the house was never limited to classical music. Her

mother loved big band music, while her father had a

remarkable collection of jazz, blues, soul, and black

American music. Owen remembers Puccini, Beethoven,

and Rachmaninoff sitting alongside 45s by Nellie Lutcher,

Julia Lee, Aretha Franklin, Nina Simone, Motown artists,

Oscar Peterson, and Erroll Garner. For her, there was

no contradiction in any of it. It was all part of the same

vocabulary.

“I never saw any difference between classical and any

other kind of music,” she says. “It was all just a different

dialect.”

DISCOVERING FEARLESS WOMEN AT THE PIANO

Among the records that stayed with her the most were

the performances of Nellie Lutcher and Julia Lee. Even

as a child, Owen recognised something powerful in them.

These were funny, fearless women at the piano, full of

character, attitude, and wit. Their songs were loaded with

double meanings, their delivery stylish and bold.

She speaks about them with something close to awe,

and it is easy to hear their influence in her own work, not


LISTEN

TO THIS

INTERVIEW

“This is not a one-way

conversation”


through imitation, but in the confidence and personality she

brings to a song. They were part of the “gumbo”, as she puts it,

that made up her early listening. And gumbo is the word she

keeps returning to.

WHY NEW ORLEANS FELT LIKE HOME

That musical gumbo is one reason New Orleans made such

an immediate impact on her. She first went there in the late

1990s and knew almost at once that it was where she belonged.

Although she had moved to America to be with her

husband on the West Coast, New Orleans was the place that

felt like home.

“It’s alive and fresh, and it’s not a museum,” she says. “It’s a

living, really vital place where the music scene is so alive.”

What she loves most is that music is not presented there

as heritage under glass. It is lived. The streets are full of it.

Even an ordinary morning might bring the sight of a musician

cycling home with a tuba on his back after an all-night session.

Turn a corner, and there may be a second line coming down

the street. Walk down Frenchmen Street, and music spills out

of every doorway.

For Owen, nowhere else matches the city’s combination of

beauty, hardship, celebration, and resilience. It is also why

she wanted one of the first videos from the new album to be

filmed during Carnival. Not because it was picturesque, but

because that is what New Orleans really looks and feels like

at that time of year. It is not staged. It is simply life there.

MUSIC, CHURCH, AND BEING LIFTED UP

One of the strongest themes in conversation is the connection

between music and uplift. Owen talks passionately about

gospel music and the experience of being in a church, whether

or not you are religious. What matters is the feeling.

“You feel like you’ve touched the divine,” she says.

That same spirit informs Suite Yourself. On the final track,

Inside Out, she brought in her friend Tanya Boyd-Cannon to

assemble a choir, precisely because she wanted that Baptist

choir feeling, that sense of being lifted out of

yourself. For Owen, this is not about doctrine. It is

about humanity at its best. It is about finding joy

when life is hard, which she sees as one of the core

lessons of New Orleans itself.

“Nowhere understands finding joy in the face of

adversity like New Orleans,” she says. “That’s what

church is about, too.”

MAKING SUIT YOURSELF

The album grew out of the same impulse that drove her 2022

release Come On Get It. During COVID, she wanted to make

a record that would help people feel good, dance, and find joy

at a time when anxiety and depression seemed to be everywhere.

With Suite Yourself, she wanted to go further and

bring together all the different strands of what she does.


“You feel like

you’ve touched

the divine”


“It’s about the

sharing of that

pleasure”


There are reinterpretations of classic songs, her own

compositions, blues, jazz, gospel, and swing influences,

and the sound of New Orleans running through

it all. Owen is clear that she is, at heart, a songwriter,

and this record feels like the fullest expression yet of

everything she loves. “I wanted every song to make you

feel good,” she says. “Even if it’s about loss, I wanted it

to leave you feeling uplifted.”

That comes partly from the songs themselves, but also

from the musicians she works with. She is adamant that

New Orleans players bring something special. “No one

plays like New Orleans musicians,” she says. “They play

with a smile on their face and in their hearts. You can

hear it.”

RECORDING LIVE, KEEPING THE TRUTH

If there is one thing Owen feels strongly about, it is

how the record should be made. She has no interest in

assembling songs piece by piece with endless overdubs

and polished perfection. Everything is recorded live in

the studio. No separation, no building it later. If someone

makes a mistake, they either do it again or keep it if

the feeling is right.

She believes that by the third take, songs can start to

lose their spark, becoming overthought rather than

felt. That is why so much of Suite Yourself has the immediacy

of a live show. It breathes. It moves. It leaves

the edges intact.

The track Today I Sing the Blues is a perfect example.

Owen says it was essentially one take, before the engineers

had properly set everything up. Yet that urgency

is exactly what gives it life. The same is true of Since I

Fell For You, which she recorded at the end of a long

day when her voice was frayed and rough. Instead of

seeing that as a problem, she embraced it. The worn,

cracked edge suited the heartbreak in the lyric.

Joe Bonamassa, Devel Crawford, and the guests

One of the album’s standout moments features Joe

Bonamassa, a musician Owen admires not just for his

skill but for his willingness to say yes when he likes

something. She appreciates that he is not precious

about his reputation or brand. He simply loves to play.

She first saw the opportunity after meeting him in

New Orleans, where one of her close friends sings in

his band. Her husband, Harry Shearer, had already

involved him in a Derek Smalls track, so Owen took the

chance and asked him to play on I’d Rather Go Blind.

He agreed, and his contribution, as she happily notes,

is a “monster solo”. Elsewhere, Devel Crawford makes

a huge impression on Today I Sing the Blues, bringing

exactly the church-infused intensity she wanted. Tanya

Boyd-Cannon’s choir on Inside Out adds another layer

of uplift and communal feeling. Owen talks about these

contributions less as celebrity additions and more as

moments of shared spirit.



WHY THE ALBUM FEELS SO ALIVE

Owen sees music as a conversation, not a performance

delivered in one direction. That is why she

is so eager to get this material on stage. She wants

the audience to feel the same joy she feels, and then

send it back. “This is not a one-way conversation,” she

says. “It’s about the sharing of that pleasure.”

That attitude explains why Suite Yourself lands with

such force. It is not trying to be perfect. It is trying to

connect. And in doing so, it captures something many

records miss: that sense of six people in a room with

one brain, all moving together.

Dream collaborations and Stevie Wonder

She calls Songs in the Key of Life one of the greatest

albums ever made, and speaks with obvious excitement

about the fact that her co-producer John

Fischbach worked on it. That kind of connection

clearly means a lot to her. Wonder’s music, she says,

lifts people up. That is exactly what she wants her

own music to do.

THE ROAD AHEAD

Plenty is coming up. Dates in Paris, Switzerland, and

Milan are followed by US shows, New Orleans Jazz

Fest, more touring, and then a major UK return. June

brings a London show at Bush Hall and a date at the

Millennium Centre in Cardiff. Later in the summer,

she appears in a musical about J. Edgar Hoover

written by her husband and his collaborator, before

heading back out for a full European and UK tour in

October and November. She is particularly excited

about opening for Elvis Costello at Umbria Jazz

Festival, and she speaks with obvious pleasure about

the prospect of bringing her New Orleans band to

the UK.

A RECORD THAT LEAVES YOU FEELING BETTER

What makes Suite Yourself so effective is not just the

quality of the songs or the brilliance of the playing. It

is the clarity of intent behind it. Judith Owen wanted

to make a record that helps people feel better, feel

lifted, and feel joy in spite of everything.

She has succeeded. The album carries all the richness

of her upbringing, the spirit of New Orleans, the

fearlessness of the women she grew up listening to,

and the emotional honesty of recording live without

a net. Most of all, it feels human.

EXPLORE


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LEGACY

REWIND

CURTIS SALGADO

Curtis Salgado does not sound like a man interested in nostalgia for its own

sake. Yet Legacy Rewind, his new live album, is built on a simple, bold idea:

pull songs back into the light that have been missing from the set for decades

and capture them in real time. No studio polish. No safety net. Just a band, a

room, and the pressure of a performance you cannot redo.

Colin Campbell

Ross Hamilton

Speaking to Blues Matters after a few technical hiccups,

Salgado is holding the finished record in his hand, talking

through how the project came together and why it

matters. The headline, as he puts it, is that this one was

financed by a fan, recorded across two shows in one

day in Seattle, and designed to feel like the stage, not a

spreadsheet.

A fan-funded idea,

a one-day plan

The spark came from a meeting with a supporter and

patron of the arts called Randy Magg, a “big fan” who

stepped in to finance the recording. From there, Salgado

decided to make it an event. The album was cut in Seattle,

Washington, using two shows on the same Saturday, one

matinee and one evening performance.

The structure was direct. Play the full album in the first

90-minute set. Clear the room, bring in a new crowd,

and do it again. Salgado says some people from the first

show stayed on, meaning the second set carried its own

extra energy. Two shows, two 90-minute sets, and a lot of

music laid down in one long day.

Songs you have not

heard in years

Legacy Rewind is built around material Salgado has not

played on stage for 20 years or more, songs that dropped

out as new records demanded the spotlight. He is blunt

about how this works now. Put out a record and you must

play those songs live. That is what moves people to the

merch table. Touring musicians, he says, have become

“rolling record stores.”

This album flips that logic. Instead of chasing the newest

set list, it brings older tracks forward again. Salgado talks

about opening the show with Sing My Song because the

message is clear and simple. He is there to sing his song

for you. From that point, the set runs hard, one song after

another, until the album is done.

Vinyl choices and what

did not fit

There is a practical detail that shapes this release. Salgado

explains that the vinyl edition could not hold the full

programme, so a couple of songs had to be removed. The

LP runs with four songs on side one and five songs on side

two, which means the CD includes extra tracks that are

missing from the vinyl.

He mentions The Count of Three as a song that does not

appear on the album but does appear on the CD. Another

key point is Wiggle Out Of This which he says can be seen

online as a live performance and will be on the CD but not

on the vinyl.

Wiggle Outta This

One of the joys of this kind of project is watching Salgado

talk through the people behind the songs. This. connects

him to pianist Peter Boe, a long-time friend and a player


Salgado describes as a great jazz pianist, songwriter, and

all-round musician. Salgado is generous and wry about

credit, noting that Boe wrote the song and he gets “a little

bit of credit” because he was there.

The bigger point is why it made the cut. He has not performed

it on stage in around 20 years. Not because he

stopped liking it, but because other songs took its place

and the live show tends to follow the present. Legacy Rewind

is his way of making room again for songs that have

been crowded out.

20 Years of B.B. King” and

how a song gets built

Asked about 20 Years of B.B. King, Salgado traces it back

to his songwriting partnership with David Duncan. Their

method is familiar to anyone who has written with a

trusted collaborator: ideas tossed back and forth, hooks

arriving first, and structure built later. Duncan produced

the hook. They wrote the song over the phone, then met

in Nashville to tighten the form. Salgado is clear about

what he means by “form,” not the arrangement in full

instrumentation, but the song’s bones: chords, shape,

lyric and core idea. Once that is solid, you take it to the

band. In his case, which means musicians who understand

the studio as its own kind of instrument. He also shares

the lyric concept that makes the song a salute rather than

a generic tribute: they reference B.B. King songs inside

the lyrics, building a chain of nods that blues listeners can

spot and enjoy.

Studio discipline,

live feel

Salgado’s view of recording is refreshingly practical. You

hire the right people, players who know when to hold

back and when to leave space. You cut it live with the

rhythm section to keep the feel. Then, if you need it, you

add sweetening afterwards. He is also firm about not

grinding performances into the ground. Beyond a couple

of takes, he says, you can lose the energy. His example

is 20 Years of B.B. King, which he suggests took around

three runs, with pauses to fix details. Scratch vocals can

come later, but the heartbeat of the track must stay alive.

Mike Finnigan, the “baddest

man in the room”

The conversation moves naturally to Mike Finnigan,

because 20 Years of B.B. King appears in a version on

Finnigan’s posthumous release. Salgado speaks about

Finnigan with obvious affection and respect, calling him

“the baddest man in the room” and praising his voice

and Hammond B3 playing. He also touches on the larger

story: producer JJ Blair had been trying to persuade Finnigan

to make a record for years, and when it finally came

together, illness intervened. Salgado does not labour the

point, but his feeling is clear. He misses Finnigan, calls him

a hero, and frames the collaboration as an honour.

A 15-piece live

production

Legacy Rewind is not a small-band club document. Salgado

says there were around 15 people involved on stage.

He hired Portland musicians, including a “killer keyboard

player” called Brady Goss, and he split the day into two

different band set-ups.

For part one, he built a line-up aimed at contemporary

R&B, funk, and soul, drawing on a Portland outfit called

Soul Vaccination, a band that covers everything from

classic funk through to big groove R&B. The horns are

central, as they are on his records more generally.

For part two, Salgado swapped the bass player and

drummer and brought in his own band’s rhythm section

to anchor songs he plays more regularly, including “20

Years of B.B. King”. He mentions I Don’t Want To Discuss

It, tying it back to Little Richard and to Larry Williams

and Johnny “Guitar” Watson, and noting that Delaney &

Bonnie also covered it.

Is there a theme or is the

theme simply live

Salgado laughs at the idea that every album needs a neat

conceptual thread. He understands why critics ask the

question, and he does think about pacing and sequencing.

But he does not want to pretend it is something it is not.

For him, the tie that binds are straightforward: these are

songs he has not played in years, captured as a live show.

He likes songs, not grand statements. His personal listening

taste is wide enough to make the point, moving from

Hank Williams to Buckethead, Sam Cooke to Billie Eilish.

A record can simply be a collection of great performances,

played with intent. He also admits the truth of the day

itself. At the start, he did not know if the recording would

be great or terrible. He was nervous. The band was loud.

He learned lessons about stage layout, including where

to place background singers to avoid microphone bleed.

That honesty is part of what gives Legacy Rewind its

character.

Rhythm and blues, not a

narrow blues label

Salgado makes an important distinction about genre. He

says it is not necessarily a “blues record,” but it is rhythm

and blues in the fullest sense: funk, soul, rock and roll, and

blues as a root, rather than a strict category. He points

out that contemporary “R&B” as an industry label can

mean Beyoncé, hip hop, and pop crossovers, which is not

what he is doing here. His record, he says, is a solid, funky

rhythm and blues record.

Europe, Scotland, and

the players who have

got it now

Looking ahead, Salgado sounds genuinely excited about

Europe. He mentions the Netherlands dates and the role

of key people who helped him build momentum there, including

French drummer Fabrice Bessouat, who he credits

with opening doors when, in his words, he “couldn’t get

arrested” in Europe. He also gives a warm nod to Giles


Robson, who has “come into my life” and who Salgado

describes as smart and soulful. He talks about working

with strong European bands, especially in Italy, and how

easy it now is to share material and have players turn

up prepared. Then he offers a simple verdict: European

blues, R&B and soul players have the feel now. He recalls

the old complaint that European drummers could not

play a proper shuffle with the right nuance. He does not

believe that is true anymore. “They got it,” he says, and he

finishes with a cheerful message: thumbs up, Europe.

EXPLORE

Release date and

Salgado’s closing pitch

Salgado keeps his closing message direct and funny. Legacy

Rewind is produced and directed by him, recorded live

“blood, sweat and tears,” and it is not AI. He asks people

to pick it up, then jokes about becoming rich and famous

enough to Learjet to Scotland.

Legacy Rewind is released April 17.

For further information see website: curtissalgado.com

“THUMBS UP,

EUROPE”


SUPPORT LIVE MUSIC NEAR YOU

BLUES IN A

STATE OF MIND


SHARP-DRESSED MAN BILLY GIBBONS

LIGHTS UP NEW YORK CITY

For over five decades, the well-dressed man known as Billy Gibbons has frequented New York

and the surrounding Tri-State area venues; first with his psychedelic blues band The Moving

Sidewalks (1969), which opened for The Jimmy Hendrix Experience; then and now as vocalist

and lead guitarist of ZZ Top and solo as Billy Gibbons & The BFG.

Abbe Sparks

Arnie Goodman

The ZZ Top frontman and legendary guitarist brought

his flash, flair and talent along with The BFG to NYC

and New Jersey recently with five February gigs plus a

March appearance at the 10 year anniversary of LOVE

ROCK S NYC. The six gigs in total hit favorite venues:

The Borgata in Atlantic City, NJ; The Patchogue Theater

in Long Island, NY; Tarrytown Theater in Westchester,

NY, City Winery and The Beacon Theater in NYC

proper.

We caught up with Billy Gibbons & The BFG on the second

night of his two-night stint at NYC’s City Winery,

where there were three well-dressed men playing it

loud and proud!, Rock and Roll Hall of Fame inductee

Chris “Whipper” Layton (Stevie Ray Vaughan & Double

Trouble) on drums and Austin legend Mike “The Drifter”

Flanigin on Hammond organ, bass and backing vocals.

The threesome closed out their February Tour in

the City with a fiery burst of showmanship and rock’n

music that roused the fans to get up and dance and sing

along several times. Tunes included a mix of covers and

fan favorites from ZZ Top like “Sharpl-Dressed Man”,

“Cheap Sunglasses,” “Give Me All Your Lovin,” “Rattlesnake

Shake” and, of course, “La Grange.”

It’s clear that the Texas-native enjoys playing the Big

Apple. Over the decades, many important firsts and

memorable moments for Billy and ZZ Top have happened

here in this City.

I asked Billy to comment on some of those memorable

NYC moments, here’s what he had to say.

TELL US ABOUT YOUR FIRST TIME PLAYING IN NYC,

I BELIEVE IT WAS EARLY 1970S WITH THE MOVING

SIDEWALKS

BFG: A point in fact! Time moved forward with ZZ appearing

in and around the NY zone going the way back.

The many venues throughout the eons included the Louis

Armstrong Stadium in Queens (aka Sing-A-Long Stadium)

on the bill just prior to making it in Manhattan. One

very memorable performance took place in August of ‘73

playing alongslde with John Mayall’s Blues Breakers. That

initial date followed directly at the same venue sharing the

stage with a host of great acts.

NYC HAD MANY MORE BLUES AND ROCK CLUBS

BACK IN THE 70S AND 80S THAT ARE LONG GONE

NOW. WHAT ARE YOUR RECOLLECTIONS OF PLAY-

ING AT THOSE VENUES AND CLUBS LIKE THE FELT

FORUM?

BFG: As noted, our initial performing forays unfolded inside

the Academy of Music (later re-named The Paladium, now

closed) and then it grew up at Madison Square Garden way

back in 1974. At the time, ZZ T enjoyed the record label

alliance with New York-based London Records, where the

energy stepped it up and turned the city into something like

a huge party. Whoa yeah... the club scene ruled. And, the

words “New York, New York” continue to ring true.

WHAT ARE YOUR FEELINGS ON THE FIRST TIME ZZ

TOP PLAYED THE GARDEN IN 1974, OPENING UP

FOR LEGENDARY BAND 10 YEARS AFTER? MANY

SAY THE GAME CHANGER FOR ZZ TOP -- AT LEAST

WITH WINNING OVER THE NYC CROWD -- WAS AT

THAT MOMENT WHEN DJ SCOTT MUNI OF NEW

YORK’S BIGGEST ROCK STATION WNEW-FM FIRST

SAW YOU LIVE, FLIPPED OVER THE BAND, AND

STARTED PLAYING YOUR MUSIC REPEATEDLY.

BFG: Our new found DJ-turned-friend, Scott Muni, gave us

the first spins over at WNEW-FM and the vapors coalesced.

The “Little Ol’ Band from Texas” got to hanging around the

New York scene and a rock solid affair with NYC and ZZT


continues to this day.

TRUE OR FALSE? ONE CAN SAY YOU

HAVE FALLEN IN LOVE WITH NYC OVER

THE DECADES -- AS AN ARTIST AND AS

A TOURIST/FAN OF NYC. IT’S CLEAR YOU

ARE SOMEONE WHO APPRECIATES ALL

NYC HAS TO OFFER. FOR EXAMPLE: ON

THIS RECENT TRIP, YOU POSTED VIDEOS

OF YOURSELF AND YOUR BANDMATES

ON THE FERRY FROM NEW JERSEY TO

THE CITY SHOWING THE WEIRDLY

RARE, ICED-OVER HUDSON RIVER, THEN

ANOTHER POST AT THE MUSEUM OF

MODERN ART (MoMA).

BFG: Yes, the logistics is that enjoyable novelty

called, unpredictable. The safe bet remains

aiming toward New Jersey’s West side of the

Hudson (lodging). Then, it’s the range of decisions

getting into the city by whatever means

might be at hand, hence the water taxi. Once

in Manhattan, we’re stridently about partaking

in all that’s the groove in New York: Chinese

foot massage, pizza-by-the slice, African art,

MoMA, you name it! We’re always down to

play The Apple.

FLASHBACK TO 1984 AND MTV’S IM-

PACT ON BILLY & ZZ TOP. HOW DID YOU

FEEL HEADLINING THE FIRST MTV VMAS

AT RADIO CITY MUSIC HALL, WHERE

THEY HANDED OUT STICKS WITH

BEARDS & SUNGLASSES TO ALL ATTEND-

EES.

BFG: Yes, indeed. Another great moment spent

in the historically famed NY venue. The entire

house joined into the act with a full “beard up”

for the set in a big way. A night to remember!

CAN YOU COMMENT ON YOUR SUP-

PORT FOR ‘LOVE ROCKS NYC’ AND

NYC’S BELOVED CHARITY ‘GOD’S LOVE

WE DELIVER’? YOU HAVE MADE MANY

APPEARANCES OVER THE YEARS AT

THIS BENEFIT CONCERT AT THE BEA-

CON THEATER, INCLUDING YOUR

RECENT PERFORMANCE IN MARCH AT

THE BEACON FOR ITS 10 YEAR ANNI-

VERSARY.

BFG: ‘Love Rocks NYC’ celebrates a great cause

- one we’re delighted to support. Feeding the

hungry is one of the most basic acts of charity

and we’re genuinely glad to pitch in.

WHAT ARE YOUR THOUGHTS REGARD-

ING THE FUTURE GENERATIONS OF

BLUES PLAYERS --IN SPECIFIC KINGFISH

– SINCE YOU HAVE SHARED THE STAGE

WITH THE YOUNG BLUES GUITARIST

SENSATION AS RECENTLY AS LAST

MONTH AT LOVE ROCKS NYC?

BFG: Kingfish has become a real friend. He

joined us at this past December’s annual BFG

birthday bash at The Troubadour in West Hollywood.

Kingfish owns a presence along with

some tantalizing mad skills with that inimitable

“thang” felt from Mississippi.. a bluesman’s

bluesman.

SPEAKING OF BLUES GUITARIST SENSA-

TIONS, WHAT IMPACT DID RORY GAL-

LAGHER HAVE ON YOU?

BFG: In a large way, Rory’s tasty delivery

provided a smooth perspective balanced on

the other hand with an aggressive playing and

undeniable delivery . Rory’s determination is

always remembered.

HOW DO YOU FEEL ABOUT PERFORM-

NG FOR THE FIRST TIME AT THE RORY

GALLAGHER BALLYSHANNON TRIBUTE

FESTIVAL LATER THIS SPRING?

BFG: Nothing short of a great honor in memory

of one of the all-time greats.

Billy Gibbons and The BFG have since completed

their February 2026 Tour and now,

Billy and ZZ Top just embarked on their

Worldwide “The Big One!” Tour 2026, as

well as select U.S. dates with Dwight Yokum

as “The Dos Amigos Tour.” Billy Gibbons

& The BFG will perform at The 22nd Rory

Gallagher International Tribute Festival

on May 30th in Ballyshannon, Ireland. We

know that he brings a whole lotta Texas

and a little bit of that NYC vibe with him.

Visit the ZZ TOP website for complete tour

dates and more.

WOMEN OF THE BLUES IN A NEW YORK

STATE OF MIND

March was Women’s International Month

and to celebrate, we mention here the

women of the blues that came through the

New York City area last month. The legendary

Mavis Staples performed twice within

one week at The Beacon Theater; once

with Rhiannon Giddons and solo at Love

Rocks NYC. Also in town performing at

City Winery were Bettye Lavette and Bette

Smith and ZZ Ward, Susan Tedeschi with

Tedeschi Trucks at their March residency at

The Beacon, and Joanne Shaw Taylor at The

Vogel at Count Basie Center For The Arts in

New Jersey.



CHANCE WORTH TAKING

MARC BROUSSARD

Marc Broussard is speaking from home in Carencro, Louisiana, relaxed but clearly

energised. His new album, Chance Worth Taking, arrives with serious weight behind

it. Built from long friendships, fast writing, and a band most artists would envy, it feels

like a statement record. Broussard does not oversell it, but he knows what he has

made. And he sounds proud of it.

Stephen Harrison

Jeff Fasano

FROM SOS TO ORIGINALS

A few years ago, Broussard teamed up with Joe Bonamassa

for SOS 4 Blues for the Soul, a covers project they

both enjoyed. The chemistry was strong enough that

conversations began about doing something else together,

this time an original record.

At the centre of that push was Calvin Turner, Bonamassa’s

bass player and one of Broussard’s closest

friends. They have known each other for 24 years and

speak almost daily. Turner was determined that they

should get back in with Joe and make an original album.

So they did what songwriters do. Turner spent three days

building demos and arrangements. Broussard received

the folder and moved fast. “I think I wrote something like

13 songs in three days,” he says. It was not forced. Turner’s

instincts and clarity helped accelerate everything.

On songs like Sweet Love, Turner had a clear direction in

mind, giving Broussard a heading to run toward.

The result is an album that feels cohesive but never

boxed in. It moves through soul, funk, blues, and bayou

grooves without sounding scattered. Broussard credits

Turner’s arrangements for the way the genres blend so

naturally.

BACK TO OCEAN WAY

The recording took place at Ocean Way in Nashville, a


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studio that held personal history for Broussard. Early in

his career, he tracked an album there that never saw the

light of day. It felt like unfinished business.

Returning to Ocean Way with what he calls “one of the

best bands on planet earth” was a moment of closure.

Bonamassa’s touring band handled the sessions. Reese

Wynans on keys, Lamar Carter on drums, Josh Smith

on guitar, and Turner anchoring it all. Broussard already

knew most of them through years of overlapping circles.

Having Turner there, his best friend, immediately set a

relaxed tone.

Comfort matters in the studio. Broussard says walking

into a room full of strangers would feel strange. Familiar

faces allow space to focus on performance rather than atmosphere.

The songs themselves had been written about

a year before recording, so he arrived itching to cut them.

His wife’s reaction to the demos kept his confidence high.

She would listen to them on repeat and tell him they were

the best songs he had written. That belief carries through

the record.

SOUL FIRST, BLUES LATER

Broussard’s background is often described as bayou soul

with blues edges. He is clear that blues has always been in

his wheelhouse, but not necessarily his primary language.

Growing up, he listened to 90s R and B singers like Brian

McKnight and Boyz II Men. Stevie Wonder was always

present, and around 19, he discovered Donny Hathaway,

who remains his favourite singer of all time.

That lineage explains the richness in his phrasing and the

emotional control in his delivery. The blues influence has

deepened more recently, and on Chance Worth Taking, it

sits comfortably alongside the soul and funk that shaped

him first.

When the project began, Bonamassa questioned whether

the material would qualify as a straight blues record for

awards purposes. That led to three more direct blues

tracks being written in the studio, including You’ll Be Sorry

and Let Me Take You Out Tonight. They sit alongside

the broader material without feeling like concessions.

SWEET LOVE AND THE SOFTER SIDE

Sweet Love stands out immediately. It reveals a softer,

gentler side to Broussard. He laughs that his wife’s

friends describe it as “belly rubbing music”, a phrase he

seems amused by but does not reject. It is a reminder

that this record is not just about grit and groove. It allows

space for intimacy.

INFLUENCE AND AMBITION

Broussard does not pretend he can match Bonamassa’s

guitar chops. “I can’t play nearly as well as that guy

and I never will,” he says. But he does insist Bonamassa is

an underrated singer, praising his voice as much as

his playing.

Looking further back, the moment he knew he wanted

to sing came early. At five years old, his father put him

on stage. In grade school, he was entering talent shows

singing Soul Provider by Michael Bolton. At 13, on the

way to buy his first CD, he heard One Last Cry by Brian

McKnight on the radio. That was it. He was hooked.

He sang it so often that he earned the nickname Brian

McWhite at school.

He knew early that he could sing. Being on stage before

he even understood social anxiety gave him confidence

that never really left.

TOURING, GROWTH, AND NEW GROUND

Touring now looks different for Broussard. His wife

travels with him, selling merchandise and joining the

walks through European cities that he loves. European

audiences, he says, are bigger than in the States, particularly

in the Netherlands and the UK. London has always

treated him well, and this time he adds Manchester to the

itinerary.

He recalls a sold-out show at Koko in London as one of his

favourite gigs. When asked about dream venues, he mentions

The Gorge in Washington state, a stage set against

a vast natural backdrop, and admits that the Royal Albert

Hall would not hurt either.

After the European dates, he returns home for a short

break before launching into a six-week US run. The album

drops in April, and the rest of the year will be spent supporting

it.

A CONTENDER

Chance Worth Taking feels like an artist stepping fully

into his voice. It carries the polish of Nashville, the depth

of Louisiana soul, and the muscle of a world-class band.

More importantly, it sounds confident. Not comfortable,

but assured.

For an artist who once left blood on the floor at Ocean

Way, this record feels like redemption. If there is such a

thing as unfinished business in music, Marc Broussard

just settled his account.

Marc Broussard’s new album “Chance Worth Taking” is

released by KTBA Records on April 17th. The album is

available to pre-order from – https://shop.ktbarecords.

com/collections/marc-broussard

EXPLORE


“The result is an

album that feels

cohesive but

never boxed in”


“I love seeing

people’s faces”

- Mike Zito



OUTSIDE OR

THE EASTSIDE

Few artists embody the grit, soul, and hard-won authenticity of modern blues-rock

quite like Mike Zito. With a career shaped as much by personal redemption as musical

evolution, Zito has carved out a reputation for searing guitar work, heartfelt songwriting,

and an unflinching honesty that resonates far beyond the stage.

Colin Campbell

Marilyn Stringer

From his early days grinding it out in Texas clubs to

becoming a driving force behind the contemporary blues

scene, his journey is one of resilience, reinvention, and

relentless passion, making him not just a compelling musician,

but a storyteller whose life and music are inseparable.

Rediscovering the Joy of the Blues

There’s something refreshingly unguarded about Mike

Zito. After decades on the road, countless albums, and

collaborations with some of the biggest names in blues,

he speaks with the ease of someone who has nothing left

to prove, only music left to play. When Blues Matters

caught up with him, he was doing something increasingly

rare: sitting still! “I’m at home,” he says with a laugh.

“Which is not always usual.”

That pause between tours, after a hugely successful

European run, offers a perfect window into where Zito

is now; reflective, re-energised, and ready to release a

new album that reconnects him with the raw spirit of his

musical beginnings.

A Tour to Remember

Fresh from a sweeping European tour that took in

Norway, Denmark, Germany, Belgium, France, and the

Netherlands, Zito is visibly buoyed by the experience.

“It was honestly one of the best tours I’ve ever had,” he

says. “The crowds were incredible; they really engaged

and were really enthusiastic.” For an artist who has spent

years building his audience on both sides of the Atlantic,

the connection with European fans still carries a certain

magic. Early in his career, Zito recalls arriving in Europe

to rooms full of curious listeners who didn’t know his

name, only that he was “a blues guitarist from America.

That was enough,” he smiles. “A hundred people would

show up in Belgium just for that.” Today, the gap between

audiences in Europe and the United States has narrowed,

but Zito acknowledges that European crowds still bring a

particular intensity. “They really get into it,” he says. “You

can feel it.”

Small Rooms, Big Connection

Despite the lure of large festival stages, Zito’s heart lies in

more intimate settings.

“I love seeing people’s faces,” he explains. “Being able

to interact, maybe even speak to someone directly, it’s

a different kind of connection.” For Zito, the blues has

always been about communication. In a small venue, that

exchange becomes immediate and personal, something

no festival crowd, however large, can quite replicate.

From Brewery Dreams to

Guitar Obsession

Zito’s journey into music wasn’t born from a grand plan

it was, in many ways, an escape. Growing up in St. Louis,

he was surrounded by the steady, predictable world of

his father’s job at the Anheuser-Busch brewery. It was a

life he knew he didn’t want. “I just thought, I’m not doing

that,” he says plainly. Instead, he gravitated towards

entertainment. As a child, he danced, sang, and acted,

anything that put him in front of people. The guitar came

later, but once it did, it took hold completely.

“I started working in a music store and saw these guys

whose job was playing gigs every week,” he recalls. “I

thought, okay, that’s what I’m going to do.”

Finding the Blues

Like many players of his generation, Zito didn’t start with

the blues, he found his way there through the rock genre.


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Early influences included Van Halen, Led Zeppelin,

and Jimi Hendrix, artists whose music carried blues

DNA beneath layers of distortion and swagger. But

the turning point came with Gary Moore’s Still Got

the Blues album. “That record was perfect for me,”

Zito explains. “It had the blues, but it also had that

guitar playing I loved.” From there, the path opened

up: Albert King, B.B. King, Albert Collins, the giants

who shaped the genre became essential listening.

Outside Or The East Side: Back to

the Beginning

Zito’s new album, Outside Or The East Side, marks a

deliberate shift away from the polished, highly produced

sound of his previous release. This time, Zito

wanted something looser, something that felt alive.

“I thought, let’s go back to what we used to do,” he

says. “Just play. Keep it loose, improvised, fun.”

Recorded at Shock City Studios in St. Louis, just

minutes from where he grew up, the album carries

an intense sense of place. Its title and headline track

comes from a phrase etched into Zito’s memory

from his early gigging days. “When bars in St. Louis

closed at 3 a.m., the night didn’t end, it moved

across the Mississippi River to East St. Louis, where

music and partying continued until dawn. They’d

yell, ‘Outside or the East Side!’” Zito recalls. “It

meant you don’t have to go home, but you can’t stay

here.” That energy: raw, chaotic, and full of possibility

runs through the album.

“It’s harder to

write a good

blues song

than people

think”

Writing in the Moment

Unlike his more narrative-driven records, Outside

Or The East Side was largely in the moment in

production. “We’d get into the studio, start playing

something, and see what happened,” Zito explains.

Song ideas often begin as fragments; titles stored in

his phone, phrases overheard, fleeting impressions.

But in the studio, those fragments take shape organically.

“It’s exciting,” he says. “I don’t know what

we’re going to write about. Let’s find out.” Tracks

like Downtown at Midnight draw on lived experience,

the thrill and eventual darkness of late-night

escapades, while others lean into groove and feel,

rather than a storytelling precision. “It’s harder to

write a good blues song than people think,” Zito

admits. “Easy to write a bad one.”

Playing for the Stage

More than anything, this new record was made with

live performance in mind.

“I wanted songs that would be fun to play,” he says.

“Fun for me, and fun for the audience.” That philosophy

echoes the words of blues legends like B.B.

King and Koko Taylor, who both believed the blues

should ultimately lift the listener. “I don’t want to

stand there all night singing sad songs,” Zito says.

“Sometimes it should just be a good time.” Judging




by early reactions on tour, that approach

is working. New songs like the title track

Do I Move You, popularised by Nina

Simone, are already evolving into live staples,

stretching out into improvisational

showcases.

Lessons from the Road

Over the years, Zito has gathered wisdom

from fellow musicians who’ve walked the

same path. One piece of advice stands

above the rest, courtesy of Walter Trout:

“Don’t stop it’s not over until you stop,”

Trout told him, a message that has stayed

with Zito through the lean years. Another

guiding voice came from Anders Osborne,

who encouraged him to stay true to his

own musical identity. “Don’t chase trends,”

Zito says. “Do what you do. People will

find you.” It’s a philosophy he’s embraced

fully rejecting the idea of tailoring his

sound for popularity in favour of authenticity.

On Stage and Still Searching

Even now, after years of touring, Zito

approaches each performance with a

sense of curiosity. “What’s the audience

bringing tonight?” he asks. “What’s going

to happen?” Though each show may look

similar from the outside, he insists the

experience is always different shaped by

mood, energy, and the subtle interplay between

performer and crowd. “That’s what

I love,” he says. “Being in the moment.”

An Unexpected Bandmate

One of the more surreal chapters in Zito’s

career involves Bill Murray. What began

as a charity performance turned into an

ongoing collaboration, with Murray joining

Zito’s band for a series of shows.

“It was like two kids,” Zito laughs. “I said,

‘You should join the band,’ and he said,

‘Yeah, I will.’” True to his word, Murray

followed up, showing up at gigs, rehearsing,

and eventually performing regularly

with the band. “It’s been great,” Zito says.

“Really fun.”

Balance and Perspective

In recent years, Zito has made a conscious

effort to slow down. After decades of

relentless touring and recording, he’s

prioritising time with family, particularly

his youngest daughter. “I worked a lot,” he

reflects. “Maybe too much.”

Now, with a more balanced schedule, he’s

found a renewed sense of clarity, not just

as a musician, but as a person. “I’m in a

really good place,” he says simply.

Looking Ahead

With Outside Or The East Side set for

release, Zito’s hopes are straightforward.

“I hope people like it,” he says and I hope it

leads to the next one.”

There’s talk of a UK tour in the near

future; something he’s keen to make happen,

alongside more shows with Bill Murray

and appearances on the Keeping the

Blues Alive at Sea Cruise. But beyond the

plans and schedules, the real goal remains

unchanged. “I just want to play,” Zito says.

“Have fun. See what happens.” In that

spirit; loose, honest, and rooted in the joy

of music, Mike Zito continues to carry the

blues forward, one night at a time.

For further information see website:

www.mikezito.com

EXPLORE


BIG BLUES

REVIEWS

MIKE ZITO

OUTSIDE OR

THE EASTSIDE

Gulf Coast Records

“A wonderful mix

of styles, rooted in

blues, just sublime”

Multiple Blues Music Awards winner

Mike Zito returns to his spiritual

and sonic birthplace with a record

that feels as personal as it is powerful.

Outside Or The Eastside, an

eleven-track set cut at Shock City

Studios, St Louis marks another

pivotal chapter in a career defined

by grit, redemption, and hard-won

truth. Zito’s homecoming to St. Louis

is more than symbolic, it’s deeply

reflective. These songs don’t just revisit

old ground; they wrestle with it.

The album reconnects him with the

streets that forged his voice, delivering

a collection steeped in lived experience,

resilience, and renewal. Now

anchored by family and purpose,

Zito sounds fully present, funnelling

the city’s restless energy into a set

that moves seamlessly between fiery

blues workouts like, Do I Move You

and deeply introspective storytelling.

Too Broke To Spend The Night

being an example and also a space

for his soloing guitar licks. There’s no

varnish on the songwriting. Down-

town At Midnight, confronts addiction

and broken trust with unflinching honesty,

while Grand Avenue captures the

poetry of survival; where struggle, wit,

and music intersect in everyday life.

The title track simmers with late-night

tension, tracing temptation and consequence

beneath neon-lit skies. True

to form, the sessions unfolded with a

loose, instinctive spirit. Zito describes

a process of simply stepping into the

room, playing, and letting the music

reveal itself. That spontaneity courses

through the album, giving it both

swagger and vulnerability. At its core,

this release is about getting another

chance and taking it, as an unguarded,

full-volume testament to embracing

life’s chaos with gratitude and fire.

A wonderful mix of styles, rooted in

blues, just sublime.

COLIN CAMPBELL

EXPLORE

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ALTERED FIVE

BLUES BAND

HAMMER & CHISEL

Blind Pig Records

Milwaukee’s Altered Five Blues

Band is closing in on a quarter-century

together, and their eighth

studio release, proves the group

still swings with grit and authority.

Multiple nominees at the Blues

Music Awards, the band has built a

reputation as one of modern blues’

most dependable hard-driving

outfits. Once again, producer Tom

Hambridge oversees the sessions,

his sixth consecutive collaboration

with the band, recorded in Nashville.

Guitarist and principal songwriter

Jeff Schroedl continues to steer the

band’s creative direction. Schroedl

remains one of four founding members

alongside powerhouse vocalist

Jeff Taylor, bassist Mark Solveson,

and drummer Alan Arber. Keyboardist

Steve Huebler steps in for the late

Raymond Tevich, to whom the album

60 BLUES MATTERS! ISSUE 160

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is dedicated. Harmonica virtuoso Jason

Ricci appears on three tracks, while horn

players Max Abrams and Julio Diaz add

punch to one. The record wastes no time

establishing its tone. I Got It Good bursts

open with horns, Arber’s driving groove,

and fiery interplay between Schroedl

and Huebler as Taylor delivers with

commanding confidence. The Schroedl/

Hambridge slow burner Dare Me to Do

It, channels the spirit of Willie Dixon,

while Ricci’s piercing harp cries through

the spaces. Who Can You Trust rides a

hypnotic boogie hook, reminiscent of

John Lee Hooker, blending swaggering

guitar, barrelhouse piano, and streetwise

lyricism. Lotta Love Left in Me,

leans into classic slow-blues resilience,

and the shuffling title track celebrates

independence with Taylor’s trademark

grit. The band returns to boogie form on

Can’t Shake It, bristling with piano runs,

muscular drumming, and Ricci’s harp

fireworks. Hell Or High Water and My

Love Ain’t A Lie, showcase Taylor’s soulful

conviction, while the final song, The

Will of Man, lands as a rousing anthem of

perseverance, proof that Altered Five’s

brand of blues remains both timeless

and fiercely alive.

COLIN CAMPBELL

BEN REEL

SPIRIT’S NOT BROKEN

Mars Label Group

If you are looking for an out-and-out

Blues album, then Spirit’s Not Broken is

not the album for you. However, if you

are looking for an album that is enriched

in and leans towards the Americana side

of the Blues, then this will be right up

your musical alley. The thing that immediately

struck me was the voice of Ben

Reel. He has that rare type of vocal delivery

that could suit any genre of music, in

this case, Americana. His voice is Soulful

whilst also containing a little rasp when

needed. Alongside the vocals, Reel is

also a consummate writer and musician.

There is an easy feel to the album, but

don’t mistake that for it lacking anything

of substance; it has substance in abundance.

There is nothing not to like about

Spirit’s Not Broken; indeed, there are

lots of things to admire. The delivery

of the tunes, the wonderful harmonies,

the production, and last but not least,

the lyrics. There are also a bunch of very

credible musicians on the album, most

notably, in my humble opinion, John

RICK VITO

SLIDEMASTER

MoMojo Records

At 76, Rick Vito proves he still has plenty to say;

this time without uttering a single lyric. His latest release, Slidemaster,

is a purely instrumental affair, a surprising move for a guitarist

whose soulful voice has long been a vital ingredient, from his own Cadillac

Man to his work alongside Mick Fleetwood in the Mick Fleetwood Blues

Band. Yet Vito’s slide guitar speaks so eloquently that vocals are hardly

missed. The album gathers a dozen finely crafted pieces, blending newly

recorded instrumentals with remixed gems from Vito’s catalogue. Among

them are two reverent nods to his hero, Peter Green. Green’s haunting

The Supernatural and the timeless, Albatross are handled with care. Vito

stays close to the original arrangements while weaving in expressive

bottleneck flourishes that feel both respectful and refreshingly personal.

Elsewhere, he turns his slide guitar into a surrogate vocalist. On, A Change

Is Gonna Come and the traditional hymn The Lord’s Prayer, Vito channels

the phrasing of a human voice, drawing out the melodies with deep

emotional resonance. The more upbeat moments reveal Vito’s playful

side. The opener, Vegas Jump bursts out of the gate, while The Big Beat,

rides a groove reminiscent of Bo Diddley. Tracks like, Steal Away and Red

Hot Baby, tip their hat to slide legend Elmore James. Another highlight

is, River of Blues, its resonator-like tone conjuring the misty banks of the

Mississippi Delta. It’s the kind of atmospheric moment that reminds listeners

just how evocative six strings can be in the right hands. This release

ultimately stands as another compelling chapter in Vito’s long career an

outstanding set of tunes.

WATCH

stands as another compelling

chapter in Vito’s long career

ON YOUTUBE

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ISSUE 160 BLUES MATTERS! 61

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McCullough on keyboards and piano.

He brings a gentle but overwhelming

reassurance to each of the tunes. He

adds a certain ambience that maybe you

would not expect. So, if you are a fan of

Americana you like great musicianship,

then I strongly suggest that you add this

to your collection.

STEPHEN HARRISON.

BOOK REVIEW: STREET

CORNER TALKING

THE AUTOBIOGRAPHY

OF KIM SIMMONDS

The Life and Music of the Founder and

Guitarist of Savoy Brown

Kim Simmonds and Savoy Brown. For

me, the man and the band are synonymous,

meaning I can’t really think of one

without recalling the other. Both were

integral parts of the second British Blues

Boom of the late 60s, when it seemed

that not only was anything musically

possible, but in actuality everything

was... Kim’s story is one of humble

origins, Welsh-born in 1947. Growing

up in the shadow of older brother (and

non-musician) Harry, Kim became a

self-taught, self-motivated guitar player.

He loved to tell the story of how he got

his first guitar by saving up some money

and sending away for it; upon its arrival,

he discovered he’d have to assemble it

himself! Kim was no luthier, but he put

it together and taught himself how to

play. And play he did. The blues held a

particular fascination for him as he discovered

men like Earl Hooker, John Lee

Hooker, and Lightnin’ Hopkins, among

many others. He began playing locally

and developed some real band-leading

skills, which led to forming the Savoy

Brown Blues Band in late 1965. Managed

by brother Harry, Kim met British

blues producer extraordinaire Mike

Vernon (who penned the book’s foreword),

who became an integral part of

developing the band’s sound, and the

debut LP “Shakedown” was released in

1967 in both mono and stereo (but not

released stateside). That first band didn’t

last long as the young Kim searched for

more and found it when Chris Youlden,

Lonesome Dave Peverett, Roger Earl,

and Tone Stevens joined Savoy Brown in

1968. The subsequent four albums they

recorded together were, in my opinion,

the Golden Age of the band. Raw Sienna,

Youlden’s swan song, is a particularly

good example of great songwriting, musical

collaboration, and Kim’s technical

blues (and Jazz) chops coming together

to create a classic album. Followed by

the Looking In and Street Corner Talking

LPs, which really boosted Savoy Brown’s

profile in America (of interest is that

Raw Sienna, Looking In, and Street Corner

Talking all had different lead singers,

with Dave Walker joining in 1971). Even

with ever-changing band personnel, Kim

and Savoy Brown had established themselves

as blues-rock linchpins who could

pretty much headline any gig anywhere

in America. As the 70s rolled on, however,

Savoy Browns’ fortunes dipped a bit,

and Kim found himself at a career/life

crossroads: what next? The answer was

the USA, and Kim packed up his stuff and

moved stateside to Ohio. And there truly

defined his ultimate legacy: Kim as the

master of re-invention. It was in Ohio

that he began his American journey,

starting a family and playing in a myriad

of bands, even straying briefly outside of

Savoy Brown, but never for long. Dave

Walker returned in the late 1980s for

the GNP/Crescendo years, and I’m happy

to say I got to work with the band during

that period. And Savoy Brown kept right

on going as Kim kept evolving, eventually

starting a new family with Debbie

and Eve and a new musical family with

Pat and Garnet. Amazing really that Kim

Simmonds, no matter what, could always

just pick himself up, dust himself off, and

refine his craft and redefine who he was,

right up until his passing in 2022. Small

wonder that Blues Matters, originally

called Shades of Savoy Brown, nicked

its title from the life of the one and only

Kim Simmonds...and yes, it was quite a

life well lived, thank you, Matey.

BROTHER JOHN

BLACK CROW

Independent

PAUL AARONSON

Brother John has two main members,

guitarist, dobro player and singer songwriter

Johnny Never and John Colgan

Davis on backing vocals and harmonica.

They are joined by numerous other musicians

for an album of mainly originals

that takes in acoustic blues, delta blues,

piedmont and Appalachian blues, but

also has room for jug band music, folk,

and hints of gospel. Although there is

nothing really new or original here, the

music is well played, and none of the



JUDITH OWEN

SUIT YOURSELF

Twanky Records

a remarkable testament to the

origins of traditional American

folk music

Judith Owen is a singer-songwriter born to Opera

singer Handel Owen. This could explain where her amazing vocal

range originates from. Far from Opera, Owen has followed her passion for

Blues, Jazz, and a smidgen of Gospel music. All three genres are in abundance

on Suit Yourself. The album contains songs from Aretha Franklin

and Etta James, and has a sprinkling of special guests, including Davell

Crawford, Tonya Boyd- Cannon Choir, and a certain Joe Bonamassa joins

the proceedings on guitar. From the opening chords on the piano on,

That’s Why I Love My Baby, I knew instantly that this was going to be

something of a musical treat. Indeed, I was not to be disappointed. Owen

has the kind of voice that Jazz/Blues artists seem to be born with, the likes

of Nina Simone, Billie Holiday, Ma Rainey, to name but a few. Her band,

The Gentleman Callers, deserves a mention for its superb playing, allowing

Owen to do what she does best, articulate in the finest tradition of music

from the deep south of America. New Orleans, Louisiana, these are the

places that resonate with Owen musically. Today I Sing Blues does exactly

what it says on the tin. A wonderful nod to Blues, with a pinch of Gospel.

Joe Bonamassa appears on the sublime, Mind Is On Vacation, producing

blistering guitar that sits so well with the voice of Judith Owen. Evil Gal

Blues (Aretha Franklin ) and Since I Fell For You (Etta James) highlight why

Suit Yourself is a monumental collection of songs. If you love Jazz, Blues,

and Gospel, I implore you to get yourself a copy of this. It is a remarkable

testament to the origins of traditional American folk music.

STEPHEN HARRISON

WATCH

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TOM DAVIES

& THE BLUEBIRDS

ANGEL ON THE MISSISSIPPI

Independent

Tom Davies is part of the upcoming young blues players who genuinely

feel the blues and are keeping it secure in safe hands. This is the bands

debut album and Tom is backed by an experienced rhythm section in Gary

Lyons(drums) and Si Davis(bass) joined in the studio on keys by highly rated

Ray Drury, who has played with Teed Up among others. He helps create

the evocative opening to Alone On The Delta, it has an ethereal ghostly

aura, the resonator and keys blending before Tom’s vocal knocks you

back. This is an authentic lived in blues voice but it’s coming out of a 22yr

old living in the South of England. The Delta atmospherics continue into

the title track, evoking the ghosts of Robert Johnson and Howlin’ Wolf,

an authentic lived in blues voice

but it’s coming out of a 22yr old

songs outstay their welcome, with the

pleasing vocals and storytelling taking

most of the musical heavy lifting. All the

songs are originals written by the duo,

except for Charley Patton’s Dirt Road

Blues, which is here delivered in a fairly

traditional fashion, with a haunting Harmonica

part underlying the guitars. The

album starts with Bread and Salt, which

features a four-part vocal harmony in

the chorus to good effect, and New Sovereign

Blues tips its hat towards Robert

Johnson and Big Bill Bronzy. No Place

Like Home is a lively dobro number with

a propulsive guitar figure, and highpitched

lead vocals. Old Man Mose is a

gentle gospel stomp, with a compelling

narrative, and Five Miles is a no-nonsense

song with a driving rhythm, and

some fine harmonica interjections. The

musicianship and recording quality are

of a uniformly high standard, and all of

the additional musicians add to the sonic

picture that Brother John paint so well.

BEN MACNAIR

the big sound creating cinematic images of dark open spaces with crossroads

guarded by the devil himself. Devils Highwater has a slightly more

Texas blues feel, slowing slightly mid-point before Tom wades in with a

burning solo. Holding On A Fool showcases more of Toms blues chops as it

twists and turns its way through your mind nailed down all the way by the

solid rhythm section. Looking For An Alibi is softer, but shows such great

songwriting maturity, I’m not looking for the Lord, I’m looking for an alibi.

Tom’s lyrics and delivery again belies his youth on what is a more Chicago

blues structure. I’m struck by the maturity of this album in every way, the

songwriting, the restraint of the playing when its needed but the power

of the delivery that hits home. If this is just the start of Tom’s journey I’m

excited to see where he might reach.

STEVE YOURGLIVCH

WATCH

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THEIR



ERNIE FREEMAN

JIVIN’ AROUND – THE

SINGLES AND ALBUMS

COLLECTION 1955-62

ACROBAT MUSIC

All musical genres are choc-full of

musicians, arrangers, producers, and

all-round ground breakers who shifted

music forward to where it eventually

arrived as a style, or genre. But Ernie

Freeman was far more than that.

His skills as a musician, arranger, and

producer, assisted in the shift from

big band and orchestral sounds of the

1950’s, through to the r ‘n ’b and blues

styles that followed. People who know

the basics of popular music will know his

work, if not his name – Ernie Freeman

won individual Grammys for his arrangements

of Sinatra’s Strangers In The

Night, and Simon And Garfunkel’s Bridge

Over Trouble Water. Enough reputation-ensuring

work right there, but this

collection gathers together Freeman’s

work as a pianist and arranger over a

wide variety of beat combo sides. His

inventiveness in taking the basic guitar

/ piano / bass / drums setup and using

it to such varied effect is the thread

running through this two-disc set. Cuts

like Rockin’ Around manage to elevate

the twelve-bar sound into a template

of rhythm and smooth sophistication.

And on the very next track, the wistful

blues of Lost Dreams highlights his piano

skills, as he takes a deceptively simple

riff and adds touches and frills to it in an

effortless manner that is the trademark

of all his playing and his arrangements.

His prolific work output during this period

is even more remarkable, given his

alcoholism, but as colleagues were keen

to acknowledge, his addiction never

once affected his work in the studio, as

arranger or musician. Ernie Freeman

never even made his sixtieth birthday;

he retired from music in the 1970’s and

was dead at fifty-eight. But this majestic

collection leaves us with the consistently

high quality of all his tracks, and should

lead us all to acknowledge the debt to

unsung heroes like Ernie, who contribute

so much to the music we all love. The

sleeve notes may well point you towards

other collections of Ernie’s work, and

this album makes an excellent place to

begin.

ANDY HUGHES

OMAR COLEMAN

& IGOR PRADO

OLD NEW FUNKY AND BLUE

Nola Blue Records

To be perfectly honest with you, these two guys are not familiar to me;

however, a short trip through the internet told me as much as I needed to

know before I relaxed and played the album. Eleven tracks of pure Funk,

Soul, and Blues that will have you shaking what your mamma gave you

from the get-go. The majority of the songs are composed by Coleman and

Prado, proving that not only can they play together, but they can also

write together, not always an easy thing to do. The album opens with, I’m

Leaving My No Good Woman, a full-on Funky, Soul track, that explains the

title of this collection of songs perfectly. All of the tunes put me in mind

of the early 70s New York-style groove, lots of Funk and expression. Cut

You Loose brings the Blues to the party, brilliant vocals from Omar Coleman,

and sublime Blues guitar courtesy of Igor Prado. I am beginning to

think that there must be something in the water in the early part of 2026,

a truly enjoyable experience

getting to know these guys

because the level of brilliance on most of the albums has helped to raise

the bar to another level. As well as Coleman and Prado, there are a host

of other guest musicians who play their part in making such great music,

mainly, the guys in the horn section. This really helps make everything

swing; it gives the groove a bit of a push. Blue Line Train Chicago ends

what has been a truly enjoyable experience getting to know these guys

a little better. Old New Funky & Blue is excellent. I can only imagine how

good they would be in a live setting.

WATCH

ON YOUTUBE

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ON SPOTIFY

STEPHEN HARRISON

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FARMHAND

LONG HOLLOW BLUES

Independent

I picked this up, expecting rural Blues,

maybe some gentle Americana/Roots.

Nah. Farmhand are a Blues/Rock outfit

of some talent. Comprising of Geoff

Newhall on bass, Jimi Fogelsong on

vocals & drums, Richard Fleming on vocals

& rhythm guitar & harmonica, they

hail from Nashville, but they definitely

aren’t Grand Ole Opry material – more

the Cow Palace on a Saturday night.

The album is a really good listen – it

is raw but the band sound as though

they have been making music for many

years. Newhall’s bass is what carries

the songs and Fogelsone’s drumming is

tight – no frills. Fleming’s rhythm guitar

is fine, but they have additional lead

from Dan Pierce and Michael Saint-Leon

which makes the songs stronger.

As to the songs themselves, they talk

about the everyday, actions rather than

emotions and activities that everyone

in their audience can relate to. Newhall

says on the music “We tried to come up

with songs that hit you where you live.

There’s an energy to the songs in the

way they evolved. They grew organically

from initial ideas to their final form

… like polishing a stone.” Musically,

they seem to hit many different genres

– they occasionally hit a West Coast

groove but add in some Pretty Things

vibes and a little bit of Sam The Sham

era rock and roll. The melodies stick in

your mind, and the lyrics are instantly

relatable, they seem like the kind of

band you really want on a Saturday

Night.

ANDY SNIPPER

FIGHT ON !

TRUE BLUES VOLUME 2

Yellow Dog Records

There’s no museum glass around what

Guy Davis, Corey Harris and Alvin

Youngblood Hart are doing here. This

isn’t preservation it’s the pulse. The

blues, in their hands, still breathes, still

sweats, still testifies. Reuniting after

first crossing paths at the Chicago

Blues Festival in 1996, the trio returns

to the well with Fight On! True Blues

Vol. 2, a record that feels less like a

follow-up and more like a conversation

picked back up mid-sentence. What

binds these three isn’t hype, but history:

shared miles, late-night talk, and

a deep-rooted understanding of what

this music carries. Across nine tracks,

the record walks a tightrope between

then and now, channelling the spirits

of Charley Patton and Rev. Gary Davis

while speaking plainly about modern

life. There’s no divide between tradition

and original song here, just one long,

unbroken line. It was recorded in isolation

across Virginia, Mississippi and

New York, the album nevertheless feels

unified, bound by intent and instinct.

Harris transforms a Jimmy Strother

banjo piece into Piedmont-style guitar

on the resolute Fight On. Davis channels

the ghost of Blind Willie McTell

in a striking reinterpretation of Elizabeth

Cotten’s Shake Sugaree, recast

as Everything I Got Is Done In Pawn.

Hart revisits his roots with Screamin’

LISTEN TO THE BLUES MATTERS

PODCAST

Listen to some amazing interviews with

the artists we’ve been lucky enough to speak

to for the magazine. NOW ON YOUTUBE!

LEILANI KILGORE

Nashville-based guitarist and singer Leilani Kilgore joins Blues

Matters’ Colin Campbell to talk about her debut album, her journey

from blues prodigy to fiery rock artist, and more...

HAYES CARLL

Blues Matters sits down with Nashville-based singer songwriter

Hayes Carll to talk origins, craft, and his deeply personal new

album We’re Only Human.

KINGFISH

Join Stephen Harrison from Blues Matters Magazine as he chats

with Grammy-winning blues sensation Christone “Kingfish”

Ingram.


READ THE ENTIRE BACK CATALOGUE

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WHOLE BACK CATALOGUE OF BLUES MATTERS FOR FREE

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GARY MOORE

LIVE AT BUSH HALL-2007

BMG

As live albums go, I would certainly put this very

close to the top of the pile. A bold statement, but Live At Bush Hall

makes a very bold impact. A couple of Blues standards are included in

the set, which, in my opinion, makes the event even more significant.

The opening track, If The Devil Made Whiskey, has long been one of my

favourite Gary Moore tunes; you can tell just from the title what kind of

song it’s going to be. This is swiftly followed by Thirty Days, an old Chuck

Berry tune, which Gary plays so eloquently. We all know that Gay is one

of the greatest Blues guitarists, B B King attested to this many years ago.

But what people tend to overlook is how good a singer he was. He had a

gravelly, raw vocal, something that fits these tunes so perfectly. Eyesight

To The Blind (Sonny Boy Williamson II). Once again, Moore proves, if proof

were ever needed, that he is a man of the Blues, first and foremost. As we

all know, Gary spent a few years with Thin Lizzy, another spectacular arm

to his ever-growing bow. My all-time favourite tune from Lizzy, Don’t Believe

A Word. Here, Moore starts the song from a slow Blues style, I swear

this is the finest version I’ve ever heard, then it slowly builds into the rock

anthem it became. A virtuoso performance, Gary Moore, take a bow. Still

Got The Blues, and The Blues Is Alright, simply leave me astounded at the

sheer brilliance of this man. God bless you, Gary Moore, a mighty fine live

collection of material.

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collection of material

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and Hollerin,’ the first Charley Patton

tune he ever learned. It still sounds like

a front-porch session. Harris retools

old forms into something urgent. Davis

reshapes tunes with a storyteller’s edge.

Hart digs back to his first lessons, letting

the past ring out without polish. No

gloss, no gimmicks, just truth. Within

that truth, the blues doesn’t look back. It

stands tall, right here, right now. A true

traditional blues recording an absolute

masterpiece, look forward to volume 3.

IKE WHITE

CHANGIN’ TIMES

Rhino Records

COLIN CAMPBELL

Originally released in 1976, this sixtrack

release stands as one of soul

music’s most remarkable lost-and-found

stories. Recorded while Ike White was

serving time in a California prison, the

album has long been surrounded by

an air of myth, part protest statement,

part psychedelic soul experiment, and

entirely singular. Its reissue for Record

Store Day offers a welcome opportunity

to rediscover a record that feels even

more poignant nearly five decades on.

From the opening moments of the title

track, the listener is pulled into a hazy,

echo-drenched soundscape. The immersive

textures that frame the intro and

outro create an atmosphere that feels

both intimate and expansive, drawing

you straight into White’s world. Vocally,

he delivers his lyrics with a natural,

almost conversational honesty; introspective,

reflective and quietly soulful.

Remarkably, much of the production was

achieved within the confines of the prison

system. Yet rather than sounding limited,

the recording carries a raw immediacy

that many polished studio efforts

of the era lacked. The stripped-back environment

lends the album an emotional

closeness that makes every groove feel

personal. The record’s best-known cut,

Love and Affection, has since become a

prized selection on rare groove compilations,

a genuine dancefloor igniter that

practically demands to be played at full

volume. Musically, Changin’ Times sits

comfortably alongside the adventurous

Bay Area funk of artists like Sly Stone

and Tower of Power, while echoing

the socially conscious spirit of Curtis

Mayfield. Psychedelic guitar flourishes,

gospel harmonies and breezy grooves

surface throughout. What makes this


THE BIG BLUES CHART

THE TOP 50 BLUES ALBUMS

APRIL2026 REVIEWS APRIL2026 REVIEWS APRIL2026 REVIEWS

POS ARTIST ALBUM LABEL

#1 TINSLEY ELLIS LABOR OF LOVE ALLIGATOR RECORDS

#2 TERESA JAMES & THE RHYTHM TRAMPS BAD AT BEING GOOD MOMOJO RECORDS

#3 OMAR COLEMAN & IGOR PRADO OLD NEW FUNKY & BLUE NOLA BLUE

#4 DUKE ROBILLARD BLAST OFF! NOLA BLUE

#5 LIL’ ED & THE BLUES IMPERIALS SLIDEWAYS ALLIGATOR RECORDS

#6 BUDDY GUY AIN’T DONE WITH THE BLUES SILVERTONE RCA

#7 ALTERED FIVE BLUES BAND HAMMER AND CHISEL BLIND PIG RECORDS

#8 KIM WILSON SLOW BURN M.C. RECORDS

#9 JOE BONAMASSA & FRIENDS B.B. KING’S BLUES SUMMIT 100 KTBA RECORDS

#10 BILLY THOMPSON THIS WORLD MOMOJO

#11 CHARLES TINER GOOD SOUL SR

#12 SEAN MCDONALD HAVE MERCY! LITTLE VILLAGE

#13 CRYSTAL SHAWANDA SING PRETTY BLUES NEW SUN RECORDS

#14 THE JAMES HUNTER SIX OFF THE FENCE EASY EYE SOUND

#15 ROOMFUL OF BLUES STEPPIN’ OUT ALLIGATOR RECORDS

#16 MISSISSIPPI HEAT DON’T LOOK BACK DELMARK

#17 ALEX LOPEZ AND THE XPRESS RETRO REVIVAL MAREMIL MUSIC

#18 ROBBIN KAPSALIS THE BLUES IS IN THE HOUSE BLUES HOUSE PRODUCTIONS

#19 ED ALSTROM THIS IDEA OF HUMANITY HAYWIRE RECORDS

#20 KYLE ROWLAND NOT HOLDING BACK LITTLE VILLAGE

#21 MUD MORGANFIELD DEEP MUD NOLA BLUE RECORDS

#22 CHARLIE BARATH ISSAQUENA GETAWAY SELF

#23 BILLY BRANCH & THE SONS OF BLUES THE BLUES IS MY BIOGRAPHY ROSA’S LOUNGE RECORDS

#24 DUWAYNE BURNSIDE RED ROOSTER LUCKY 13 RECORD COMPANY

#25 CANDICE IVORY NEW SOUTHERN VINTAGE NOLA BLUE

#26 CHRISTONE ‘KINGFISH’ INGRAM HARD ROAD RED ZERO

#27 SPENCER MACKENZIE EMPTY CHAIRS GYPSY SOUL RECORDS

#28 BOBBY RUSH + KENNY WAYNE SHEPHERD YOUNG FASHIONED WAYS DEEP RUSH

#29 KIRK FLETCHER KEEP ON PUSHING. VIZZTONE.

#30 MIKE BOURNE BAND KANSAS CITY O’CLOCK OVERTON

#31 D.K. HARRELL TALKIN’ HEAVY ALLIGATOR RECORDS

#32 CHARLIE MUSSELWHITE LOOK OUT HIGHWAY FORTY BELOW RECORDS

#33 MAVIS STAPLES SAD AND BEAUTIFUL WORLD ANTI EPITAPH

#34 LAURA CHAVEZ MY VOICE RUF RECORDS

#35 JIMMY BURNS & SOUL MESSAGE BAND FULL CIRCLE DELMARK RECORDS

#36 BLUE MOON MARQUEE & NORTHERN CREE GET YOUR FEATHERS READY SR

#37 THE LUCKY LOSERS ARRIVAL MOMOJO RECORDS

#38 DEVON ALLMAN THE BLUES SUMMIT RUF RECORDS

#39 TOMMY CASTRO & THE PAINKILLERS CLOSER TO THE BONE ALLIGATOR RECORDS

#40 ROBERT RANDOLPH PREACHER KIDS SUN RECORDS

#41 CHAMBERS DESLAURIERS OUR TIME TO RIDE FORTY BELOW RECORDS

#42 SAMANTHA FISH PAPER DOLL ROUNDER RECORDS

#43 JOHNNIE JOHNSON I’M JUST JOHNNIE MISSOURI MORNING RECORDS

#44 GREG NAGY JUST A LITTLE MORE TIME SELF-RELEASE

#45 AL BASILE BLUES IN HAND SWEETSPOT

#46 ERIC BIBB ONE MISSISSIPPI REPUTE RECORDS

#47 SOUTHERN AVENUE FAMILY ALLIGATOR RECORDS

#48 BROTHER JOHN BLACK CROW JOHNNY NEVER MUSIC

#49 RECKLESS AND BLUE SEVEN DEADLY GINS SELF RELEASE

#50 RYAN HARTT BE ABOUT IT! FAR-TONE


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APRIL2026 REVIEWS APRIL202

GARY MOORE

BAD FOR YOU BABY

Sanctuary Records

With Gary Moore’s premature death, the world

was robbed of one of the most distinctive guitarists in the blues, rock

and heavy metal genres. So this is a welcome re-release of his seventeenth

studio album Bad For You Baby. Although there is plenty of Moore’s

incendiary guitar playing, the most interesting tracks are the slower ones,

where his ethereal, Peter Green influenced tone can be heard to its best

advantage. With a striped back studio band of Moore on guitars, vocals,

and production, bassist Pete Rees, drummer Sam Kelly and Vic Martin

on Keyboards the eleven tracks span the full spectrum, from the spirited

opening title track to the bluesy proto metal of Umbrella Man. Holding On

is a slower melodic gospel piece with plenty of minimalist melodic guitar.

Walkin ‘thru The Park is jump jive, and I Love You More Than You’ll Ever

Know is a slow blues that shows the full range of Moore’s emotional guitar

The eleven tracks all show

the band in good form

style. Mojo Boogie by JB Lenoir takes it away from its Cajun origins, with a

swinging 12 bar structure, and plenty of slide guitar, with chunky chords,

and plenty of high octane playing above the neck of the guitar. The eleven

tracks all show the band in good form, with Moore’s guitar, and particularly

his vocals, especially during the final track, Trouble Ain’t For Behind

showing that even after 17 hours and hundreds of gigs he still had plenty

to say.

BEN MACNAIR

reissue so compelling isn’t just its rarity,

it’s the sense of hearing an artist reaching

outward from isolation. More than a

curiosity, this album remains a powerful

and deeply human document.

COLIN CAMPBELL

JOE HICKS

BEFORE IT GETS DARK

Independent

Joe Hick is a Soul, R&B, and Blues singer.

If that wasn’t enough, he is also a very

talented musician, playing Guitar, Bass,

and Percussion, and a fine songwriter.

Joining him on the album is a fine array

of guest musicians who certainly play

their part in making this a mighty fine

recording. This is not what you could call

a bonefida Blues album, far from it. What

it is is a collection of well-arranged tunes

with a smooth and easy feel that leans

towards the softer side of the street.

Time Is A Thief opens the proceedings,

and I get the sense that Joe Hicks is

in his comfort zone of delivering fine

material with a minimum of fuss. In fact,

that carries on all the way through. The

emphasis is on the lyrics and arrangement,

rather than the actual musicological

aspect. Going back into the legacy of

Hicks, he has also released an album on

the Stax Label, so we can consider this

guy to be very well thought of amongst

his peers. Before It Gets Dark is a predominantly

Soul and R&B album, but on

a couple of tunes, I did detect a hint of

Country. The type of Country music that

you might associate the late, great John

Denver with. All in all, I really connect

with this collection of material. A nice,

slow, and relaxing way to hear new

music. Bravo.

STEPHEN HARRISON

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JOHN CORABI

NEW DAY

Frontiers Music

After decades on the road, countless

bands, and more miles than most touring

vans would survive, John Corabi finally

steps out on his own with a record that

feels both overdue and completely

worth the wait. New Day is the kind of

album that reminds you how much a

seasoned voice still has left to say when

the shackles of band expectations fall



away. Free from those confines, Corabi

sounds looser, more expressive, and the

result is a record brimming with variety

and heart. Produced in Nashville during

the summer of 2025 by Marti Frederiksen,

this release draws deeply from the

well of ’70s rock, soul, and blues. The

supporting cast is equally impressive,

with contributions from Richard Fortus

of Guns N’ Roses, Paul Taylor formerly of

Winger, and Charlie Starr of Blackberry

Smoke. Together they craft an organic,

instrument-driven sound that leans on

real musicianship and soulful interplay.

The title track opens the record with a

sun-splashed ’70s rocker, brimming with

optimism and a message about embracing

life’s simple pleasures. That Memory

keeps the southern-tinged groove rolling,

the kind of laid-back road song made

for open highways. Then the slow-burning

blues of Faith, Hope and Love delivers

a moment of pure soul, showcasing

Corabi’s vocals at their finest. When

I Was Young, feels like a lost radio hit

from another era, while One More Shot,

slips into a funky blues strut. Midway

through, the swampy, Creedence Clearwater

Revival-flavoured, 1969 stands

tall as a highlight. The album closes with

a vibrant take on Everyday People by Sly

and the Family Stone; a joyful, heartfelt

finale. Long awaited and deeply satisfying,

New Day might just be Corabi’s

finest hour.

COLIN CAMPBELL

THE RIGHT

REVERENT CROW

DEMOKRACY BLUES

Floating World

Looking back now, it might seem strange

to realise that for much of the timespan

covered by the music on this double CD

retrospective (originally issued in 1994),

Johnny Winter was persona non grata to

the hard-core blues community. While

he was recording 45s for small southern

labels back in the 60s, he was something

of a mystery, but once he signed for

Columbia/ CBS for a then-unheard-of

advance of $300, 000 - and he not uncoincidentally

cranked up his amps - his

allure for this audience dissolved, even

as mass adulation beckoned. Hence the

album title; the set draws on Johnny’s

albums from the late 60s to the early

80s. Although the songs were generally

louder – some acoustic material is in-

Jackie Dorsey

GARY MOORE

OLD NEW BALLADS BLUES

& CLOSE AS YOU GET

Sanctuary

Oh Dear Oh Dear! Getting these two albums to review is like coming face

to face with the real quick passage of time. How is it possible that twenty

and nineteen years have passed respectively? It just can’t be true! However,

true it is, so I just have to suck it up and face it… I am getting old!

HOWEVER there is absolutely nothing old about listening to Gary and his

original music plus a fine selection of covers. Kicking off album one with

Elmore James’s Done Somebody Wrong and Willie Dixon’s You Know My

Love gets the juices flowing nicely. As you would expect all these cuts have

that recognisable playing style which made Gary such a legend. Whether

in full flight or, in more of a mellow mood on say Midnight Blues, Gary’s

vocals shine crisp, clear almost soaring achingly so on No Reason To Cry.

This is Blues of the highest quality. With a slightly grungier vocal sound

album two begins with the home grown If The Devil Made Whisky and

the overall effect is one of

pure joy as a listener

the slow burner Trouble At Home. Oh my, this is so good and that is before

Chuck Berry’s Thirty Days blows you off your feet. As you would expect

from a player of this quality he drew to his sessions some top-notch guys

and the overall effect is one of pure joy as a listener so I can only guess

at how great the vibes were in the studio. No matter what your personal

style choice is, Gary touches so many bases that I would fail to understand

were you to be unsatisfied. Two absolutely wonderful Blues albums, from

a master craftsman gone way too soon. Buy them both now.

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MARC BROUSSARD

CHANCE WORTH TAKING

KTBA RECORDS

Marc Broussard has been enjoying his solo career

for over twenty years, so he is by no means a new kid on the block in

the traditional sense. What this does mean is that he is just as fresh and

enthusiastic as he was at the beginning of his musical journey. Chance

Worth Taking incorporates many long-time friends and colleagues as

musicians, many of whom are part of the touring band of Joe Bonamassa,

who, incidentally, plays on two of the tracks. Trying To Do Right and, I’m

Going Home, are the two songs that feature Bonamassa on guitar, both

full of earthy and gutsy melodies and swing. Broussard is well-known for

his Bayou, Soul, and Blues background, and we are never very far away

from any of that during any part of the album. But don’t be misled into

thinking that he’s a one-trick pony; far from it. There are what you might

call tender love tunes contained within the array of tunes, albeit under the

guise of Jazz-style songs such as Let Me Take You Out Tonight, and the soft

and gentle, Sweet Love. Both of these highlight the songwriting capabilities

of Broussard, and not just his vocal prowess. As well as Soul and Blues,

Chance Worth Taking indulges in some really sweet Funk and Boogie. Basically,

there is so much to this collection of material, a listener’s dream if

you will. Iam aware that we are only into the third month of 2026, but this

must be a strong contender for album of the year. Do yourselves a favour,

grab a copy, you will not be disappointed.

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cluded - many of them were more or less

the same songs as before. Look at the

track listing and you find songs such as

Chuck Berry’s Johnny B. Goode making

a loud opening statement (and later a

cover of Chuck’s 30 Days), and R’n’B

singer Larry Williams’ hit Bony Maronie

given the heavy treatment, plus material

from Big Joe Turner, Little Richard,

B.B. King, Ray Charles, Jimmy Reed and

Robert Johnson. Yes, there is Rock And

Roll, Hoochie Koo originally written for

Johnny by Rick Derringer and a Bonafide

rock hit, but these days it hardly comes

across as undermining the blues. There

is also the closing live cover of Bob Dylan’s

Highway 61 Revisited, a particular

favourite of Johnny’s by all accounts,

given an extended, no-holds-barred

blues-rock treatment. That’s what was

really happening around this time –

Johnny was defining his own version of

what we now call blues-rock. After this

period of his career, he went on to the

Alligator label, which brought him back

into the fold – although I should perhaps

mention too that in the mid-70s, Johnny

reinvigorated the career of one Muddy

Waters, and clear evidence of that can

be heard here on Johnny’s duet with him

on Walking Thru The Park.

MATTEO MANCUSO

ROUTE 96

Artone Label Group

NORMAN DARWEN

There’s a quiet sense of arrival woven

into the opening moments of Solar Wind,

the track that sets the tone for Matteo

Mancuso’s ambitious second album. Featuring

a guest appearance from Steve

Vai, the piece feels less like a collaboration

and more like a passing of the torch.

Vai’s contribution, delivered swiftly

and with characteristic finesse, leans

into melody over flash; restrained,

expressive, and unmistakably

his own, elevating the track into

something quietly profound. What

separates Mancuso from the crowded

field of modern guitarists is his refusal

to be boxed in. His playing moves fluidly

across genres, and this album thrives

on that elasticity. L.A. Blues One,

pivots from fusion-tinged harmonies

in the spirit of Allan Holdsworth to

the twang and precision of Nashville,

echoing players like Brent Mason.

Elsewhere, Black Centurion delivers

a heavier edge, while Warm Sunset,



channels a sun-soaked Latin warmth,

just close your eyes and your there, a

very meditative track. The centrepiece,

however, is Fire And Harmony, a sprawling,

multi-sectioned composition that

pushes Mancuso’s arrangements into

orchestral territory. Built from a single

improvisational spark, it blossoms into a

dynamic showcase of electric, acoustic,

and classical textures, quite magnificent.

Collaborations continue to shape the

record’s identity. Antoine Boyer lends

a gypsy jazz flair to, Isla Feliz, while

Valeriy Stepanov injects fusion energy

into a reimagined take on, The Chicken.

Named for both Mancuso’s birth year

and a high-fidelity recording standard,

this album captures an artist stepping

confidently into his own expansive musical

world.

COLIN CAMPBELL

SELWYN BIRCHWOOD

ELECTRIC SWAMP

FUNKIN’ BLUES

Alligator Records

With Electric Swamp Funkin’ Blues, Selwyn Birchwood steps into a new

chapter, delivering his sixth release for Alligator Records and, notably,

his first self-produced effort. It’s a confident move that pays off across

ten originals, capturing an artist fully in command of his sonic identity.

Now in his forties, Birchwood leans into a fluid fusion of blues, funk, and

soul, shaping a sound that feels both seasoned and exploratory. The brief

opener, The Eagle Has Landed, serves as a punchy 90-second statement

of intent, it is almost audacious in its brevity; before the title track erupts

with swagger and groove, validating that bold introduction. Damaged

Goods, shifts the mood, wrapping introspection in warm, soulful textures

and layered backing vocals. Its lyrical focus on self-reflection and worth

something for every music

lover, a wonderful release

adds emotional depth. Meanwhile on, All Hail The Algorithm he injects

personality and wit, pairing nostalgic dial-up-era textures with a thick,

driving groove and biting guitar work. Birchwood shows his range on Labour

of Love, where acoustic tones, strings, and saxophone underscore a

heartfelt meditation on relationships and family life. The sentiment never

feels overplayed, grounded instead in authenticity. Energy surges again

with the lyrical, Should Never Gotten Out of Bed, a fiery blend of searing

guitar, urgent rhythms, and swirling organ. On the traditional end, What

I’ve Been Accused Of, highlights Birchwood’s slide guitar mastery, though

it’s rivalled by the emotional intensity of the track Soulmate, where his

playing cuts deepest, rooted firmly in the blues tradition. An eclectic gumbo

of styles, something for every music lover, a wonderful release.

COLIN CAMPBELL

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Jackie Dorsey



CURTIS SALGADO

LEGACY REWIND: LIVE IN ‘25

Nola Blue Records

On his newest release, Curtis Salgado delivers exactly what the title

promises, an unfiltered, deeply personal retrospective that crackles with

the electricity only a live setting can provide. Recorded at Seattle’s Triple

Door with a full, horn-driven ensemble, the album captures Salgado in full

command of his formidable powers, revisiting key moments from a career

steeped in soul, grit, and hard-won authenticity. From the opening bars of

Sing My Song, there’s a sense of occasion. The arrangements of songs are

richer, bolstered by four-part horns and three backing vocalists that add

both punch and gospel warmth. Yet nothing overshadows Salgado’s voice,

it is still a force of nature, weathered but resolute, capable of shifting from

a tender plea to a full-throated roar in a heartbeat. Wiggle Out Of This,

written for him by pianist Peter Boe in the late 1990s, regains all its vigour

here in a high-energy version driven by a band clearly enjoying itself. The

a release that reaffirms his status

as a modern blues master

setlist leans heavily on fan favourites drawn from across his catalogue,

including a highlight from Soul Shot, A Woman Or The Blues, from The

Beautiful Lowdown, My Girlfriend and more recent material, like the song

Precious Time. Rather than simple recreations, these performances feel

reimagined; songs stretched, reshaped, and infused with the spontaneity

of the stage. The interplay between band and frontman is intuitive,

almost conversational, giving the record a looseness that studio efforts

rarely achieve. What elevates this release beyond a standard live album

is its sense of narrative. The result is a release that reaffirms his status

as a modern blues master still pushing forward while honouring the road

behind him.

COLIN CAMPBELL

MATTHEW CURRY

ONE FOR THE RIDE

Ruf

Matthew Curry is not a musician I have

been aware of previously but after a

couple of minutes listening to this album

he is one I immediately feel connected

to. On the first couple of tracks, he plays

a fiery brand of Blues Rock but then he

can also slow things down with an acoustic

foray when the needs arise. He is a

very skilled guitar player, songwriter and

vocalist, who has a soulful edge to his

voice. The theme and inspiration for the

album is Matthew’s life on the road. The

song Rum Stumblin does not leave much

to the imagination and is played with

a real Lynyrd Skynyrd swagger. Other

tracks in a similar vein are The Ramblin

Kind and Born Behind The Wheel that

highlight the influence Southern Rock

has on Matthew, he even appeared in a

talking role as Ronnie van Zant in a USA

movie called Joe Dirt 2-Beautiful Loser

in 2015. Maintaining the connection

the only cover is a Lynyrd Skynyrd song

Whisky Rock A Roller. Of the softer material

Dancing In The Kitchen is a clear

highlight where Matthew demonstrates

his all-round skills, with some acoustic

Blues finger picking accompanied by a

sharp vocal. While a couple of the other

tracks have a sound more akin to Americana

although it is the earlier energy

driven tracks which really stand out.

Matthew is not a new artist, he has been

releasing albums on a regular basis since

2014, this experience has allowed him to

advance his musical skills, and his confidence

must be soaring with the quality

of this latest release which puts him at

the forefront of the Blues Rock field. He

is not just another “Guitar Slinger” but a

wide-ranging artist with a strong feel for

the Blues.

ADRIAN BLACKLEE

MISSISSIPI SHEIKS

SITTING ON TOP OF

THE WORLD – THE

COLLECTION 1930-35

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ACROBAT MUSIC

The band name comes from the adjective

‘sheik’, used to describe a smooth

lover and man about town in the 1930’s

in the Blues belt of the southern states.


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The band is a loose collective of artists,

built around the trio of Chatmon sons,

and a fluid assortment of associates, and

it’s unusual because it included guitar

and fiddle, which allowed a cross-over

into country and hillbilly music. Such

diversity is admirably covered in this

comprehensive round-up of anything

and everything the group issued on

record in the early 1930’s. Their claim

to fame is Sitting On Top Of The World,

the tune for which was borrowed for

You’ve Gotta Move, covered by a variety

of blues artists, including The Rolling

Stones. As you would expect for recordings

of this vintage, the quality is a little

variable, but remarkably consistently

landing on the side of perfectly acceptable,

only occasional hissing and cracking

to be heard, which simply adds to the

sense of historical authenticity. This is

the time and place where Blues music

really began to be noticed and captured

for posterity. Given the genre’s longevity

and it’s endless diversity, it’s always

a pleasure to hear the stripped-back

original. Hearing the hissing and lo-fi recording

of Pop Skull Blues, including the

essential ‘Work up this mornin’….’ line reminds

the listener that this is a connection

to living history, a reach back into

the past when people simply learned to

sing and play to express their feelings

about hardship and love, quite often

both at the same time. Sixty-nine tracks

covering releases through four different

record labels speaks to the work ethic

matched with the simplistic playing and

recording methods used to cast these

songs in history. And for blues purists, or

even casual listeners, a valuable collection

gathered on a three-disc set is well

worth the time and investment. It’s your

past calling out to you.

ANDY HUGHES

MITCH RYDER

SONGS FROM THE ROAD

Ruf

This album was recorded live in March

2025 at Berlin’s Frannz Club and is full

of Funky Blues and Rock ‘N’ Roll music

performed by the USA legend Mitch

Ryder, who is now into his eighties but

shows no signs of letting up. The release

includes an additional DVD which was

a recording made a month earlier in

Thuringia, Germany. The set list is just

one song different to the live CD. Mitch

Jackie Dorsey

has pulled together a top-class supporting

band who between them provide a

lively and intense performance across

the thirteen songs, some of which are

extended workouts like the Door’s

Soul Kitchen which in my opinion is as

good if not better than the original. The

guitar led extended intro is sublime

as are Mitch’s gruff vocals which complement

the sparse nature of the song

perfectly. Another outstanding track is

The Thrill Of It All which highlights one

of Mitch’s more upbeat vocals which is

complemented by the band who pace

themselves well. There are no details

highlighting the originality of the songs

although I have heard some of them

before on other albums. The song Ain’t

Nobody White (can sing the Blues) is

certainly a firm favourite of Mitch’s and

is performed well on this release. The

final song, The Artist is a very sparse

arrangement with just a Piano accompanying

Mitch’s mournful vocal which is a

fitting end to the album as it highlights

the ‘emotions’ that Mitch’s vocals draw

out. This album is one of the best live

albums I have heard in a while with great

performances by Mitch and the Band.

The engineers should also take some

credit for a top-notch sound production.

Mitch is a showman who is still at the top

of his game, long may it continue.

ADRIAN BLACKLEE

PAUL GEMMELL & THE

BLACK MAGIC BLUES

BAND

WALKIN’ ON BROKEN

SOULS

Independent

This Glasgow band’s album is a record

that doesn’t just nod to the blues, it

grabs it by the collar and gives it a

modern, big-band shake. These thirteen

tracks find the band firing on all cylinders,

tapping deep into the genre’s rich

lineage while unleashing the full force

of their horn-driven, soul-soaked sound.

It’s bold, brassy, and brimming with

intent. At the centre of it all is Paul Gemmell,

whose gravel-edged vocals and

incisive guitar work cut through the mix

with authority. Around him, lush brass

arrangements and tight-knit harmonies

elevate the record beyond standard

blues fare, creating something that feels

both classic and freshly minted. Vocals

are shared throughout the release. The

opening salvo “Together We Are Strong”

bursts out of the gate with a driving,

heartland-rock energy, echoing the spirit

of Bob Seger but supercharged with the

band’s full-bodied ensemble punch. Elsewhere,

Can You Hear Me, lifts the mood

skyward with gospel-tinged warmth and

soaring harmonies, while the title track

digs into darker territory; moody, brooding,

and propelled by a locked-in rhythm

section that demands attention. There’s

no shortage of variety and music styles,

Treat You Right swings hard with a jumpjive

strut tailor-made for the dancefloor,

while Precious Time slows things down

into a smoky, late-night blues meditation.

Years in the making, this is more

than just an album, it’s a testament to

growth, grit, and musical conviction.

Rooted in tradition but delivered with

confidence and flair, it’s a powerful

reminder that the blues still has plenty

to say, and this band knows exactly how

to say it.

COLIN CAMPBELL

STACY MITCHHART

NO RHYME OR REASON

Dr Sam Records

Stacy Mitchhart has been plying his

trade for over 30 years now and this is

his 17th album release. He describes

his sound as a ‘Gumbo’ with Blues, R&B,

Jazz, Funk, Country and Soul all in the

mix, he even has some hip-hop in the

basket, This time around he is produced

by multiple Grammy winning Tom Hambridge,

and has guest appearances from

Charley Musselwhite, Kenny Neal and

Gretchen Wilson. The album is a fascinating

hotch-potch of different musical

genres. No weak tracks but there is no

defining sound; you feel as though this is

a sampler album for a label rather than

a single album by an artist. That said

though, I enjoyed the album intensely

and there are four or five numbers that

really stand out as top material. The title

track for example, a Shaft-like opening

leads into a heavy funk number with

gravelly vocals and then backing vocals

and horns that take you to the sleaziest

of bars, the whole thing redolent of the

Crescent City at its most humid. Or Bad

As You with an upbeat funk and lyrics

wrapped around by some superb guitar

work. Flip It To The Other Side (featuring


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Charlie Musselwhite) has some delightful

slide as well as a slow build, getting

grittier and hotter as the song progresses.

Sure Looks Good To Me has vocals

from Gretchen Wilson with some lovely

piano work from Kevin McKendree.

His band, Tom Hambridge on drums &

percussion, Kenny Greenberg on guitars,

Kevin McKendree on keys, Rob Cureton

& Tommy MacDonald on bass, Max

Abrams on sax & Julio Diaz on trumpet,

are superb, enabling Mitchhart to see his

musical pictures clearly. Track to track,

it is an excellent listen and there are few

albums I’ve heard this year that were as

enjoyable a listen.

TEDESCHI TRUCKS

FUTURE SOUL

Fantasy

ANDY SNIPPER

Formed in Jacksonville, Florida, in 2010,

Tedeschi Trucks Band has, in my opinion,

become the best Soul, Blues, and rock

band on the planet. Susan Tedeschi and

Derek Trucks front a group of musicians

that almost defy the rule book. Future

Soul is their sixth studio album. In this

relatively short period of time, the band

has firmly cemented itself within the

annals of the greatest bands of all time.

I do not say this lightly, but if you, as I

have, have had the pleasure of listening

to the previous releases, and more importantly,

seeing them performing live,

then I’m sure that you will be of the same

opinion. So, to Future Soul, eleven brand

new tracks, co-written by members of

the band, including Mike Mattison, Gabe

Dixon, and Tyler Greenwell. The opening

track, Crazy Cryin’, bursts through

with the unmistakable vocals of Susan

Tedeschi alongside the driving guitar of

Derek Trucks. One of the things that I

most admire about this band is their ability

to go from Soul to Rock, and to Blues

in almost a nanosecond. It would be so

easy to say that they are all about Susan

and Derek, but that would be so wrong.

This is a collective of seriously gifted

musicians and songwriters. Hero has a

rockier edge to it as opposed to the rest

of the songs, and inevitably, it has the

sublime guitar of Trucks driving straight

through it. To say that he is probably the

best slide guitarist around is an understatement.

Deil Be Gone and Ride On

are simply sensational; it beggars belief

how good every song is on here. Once

again, Tedeschi Trucks Band has produced

a musical masterpiece. I sincerely

hope that they tour the album in the UK

later this year. If not, console yourselves

with a copy of Future Soul.

THE ANIMALS

ANIMALISMS

Secret Records

STEPHEN HARRISON

Animalisms is the third and final album

from this band that was formed in the

north east of England in the early 60’s.

The mix of Blues, Soul, and R&B stayed

with them throughout their short but

hugely successful career. Having parted

company with Alan Price and drummer

John Steel, the band created one of

the 60s’ best, albeit most underrated,

musical collections of classics and selfpenned

tunes. Songs such as Maudie,

written and performed by John Lee

Hooker as a kind of apology to his wife

after they had been arguing, Eric Burdon’s

Bluesy vocals delivered with equal

amounts of grit and finesse, help the

band to record a superb adaptation of

one of Hookers greatest tunes. Among

this collection of songs are two that are

featured in the 500 best songs of all

time according to Rolling Stone magazine,

Sweet Little Sixteen (Chuck Berry)

and, I Put A Spell On You (Screamin’

Jay Hawkins). It’s easy to see why both

of these made the list. There are also a

couple of swinging Soul tunes that would

have the dance floors filled by Mods,

Squeeze Her-Tease Her, and Outcast.

However, for me, the finest rendition on

here is also one of my all-time favourite

Blues songs, Gin House Blues. Originally

recorded by Bessie Smith in the 1920s, it

tells a tale of a sad decline, no hope, and

a melancholy existence. A masterpiece,

and a wonderful example of just how

good a band The Animals were.

THE DIBS

JUST FOR YOU

NAKED - Donor Productions BV

STEPHEN HARRISON

March 13th this album hits the market

and if you like Blues with soul, funk,

jazzy, country, rock, gospel then you

need to buy this. From the frankly

BLUES MATTERS! ON


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brilliant and sexy album cover to the 11

tightly arranged and fiery soulful blues

tracks this is a feast. Recorded live, the

honey toned vocalist Peter Jacobs is

joined by Jeff Jr. Gijbels on drums, Bart

Billckens on Hammond & Piano and

Stanley Patty on guitars. Full of Catchy

songs that will remain in the memory,

compelling stories and not least humour

it’s hard to pick a standout favourite but

the seventies soul vibe of “Just For You”

and the heartbreaking soul blues ballad

“Like Lovers Do” are maybe just ahead of

the rest of the pack, but its close. If you

are looking for catchy songs that you

want to dance to, ballads to daydream to

or gospel to get you singing along.... Just

For You has it all.

JEAN KNAPPITT

THE GREIG TAYLOR BAND

TAKE A LEFT

Independent

On Take A Left, the Greig Taylor Band

lean into their strengths while subtly expanding

their musical horizons, blurring

the lines between blues, soul and roots

rock with a confidence that feels hardearned.

Where earlier releases dug deep

into smoky soul textures and personal

grit, this record broadens the palette,

then deliberately swerves away from

the expected. The opener, Ain’t Got You,

arrives with bite and urgency, setting a

relentless tone that carries across much

of the album. Elsewhere, None Of Us Are

Free taps into gospel-soaked soul, rich

and resonant, while Fast Women & Slow

Horses struts with a loose, barroom

swagger. A brooding, slow burn take

on Sally Can’t Dance adds weight and

atmosphere, reimagined with a darker,

more expansive edge. At the centre of

it all is Greig Taylor, whose voice remains

the band’s defining instrument;

weathered, expressive, and unflinchingly

real. He moves effortlessly between

restraint and power, grounding the

album even as the arrangements stretch

outward. There’s a dynamic push and

pull throughout: the simmering tension

of Consequences, contrasts with the

easy roll of Big Dawg Blues, while the

title track locks into a groove that feels

instinctive rather than constructed. Guitars

snarl, keys shimmer, and the rhythm

section drives everything forward with

muscular precision, just listen to I Don’t

Need No Doctor. Lyrically, Taylor shifts

the lens slightly; less inward reflection,

more forward momentum, while

still rooted in themes of resilience and

redemption. Take A Left doesn’t reinvent

the blues; it inhabits it with grit, soul,

and conviction. With every listen there is

something different in the sonics of the

album, play on repeat, this is a wonderful

collection, highly recommended, something

for every music lover.

COLIN CAMPBELL

THE RIGHT

REVEREND CROW

DEMOKRACY BLUES

Need To Know

Chicago born Alvino Bennett holds

down the drum stool here, and young

Sean “Mack” McDonald contributes

some fine lead guitar work. Yes, this is

the blues, but as with those two just

mentioned, that is rather oversimplifying

things – Alvino has done much

more than just play the blues, and Sean

is a lot more than a young guitarist. The

Right Reverend Crow made his first

appearance on Nathan Bell’s sessions for

2021’s release Red White And American

Blues (It Couldn’t Happen Here) – and

here he, or rather his material, demands

to be heard. Not that that is difficult.

You can’t really ignore the hard-hitting

opener, What Time It Is, or A Woman,

which challenges assumptions in no

uncertain terms (it has been suggested

this is a riposte to Free’s All Right Now),

or the critique of Tennessee’s “social

conservative” Governor Lee. How How

How shows an awareness of blues

history and heritage (spot the references),

and the instrumental Hot Tub Shark

leans towards powerhouse blues-rock,

but Nathan’s lyrics - or Right Reverend

Crow’s, if you prefer - reveal him

as anti-fascist and pro-justice with his

all-too relevant songs. Do take a listen

to It’s A Wonder (What People Will

Do), or to the closing You Say Nothing

(Demokracy Blues) with its hints of Jimi

Hendrix on a slow blues; Jimi is featured

on the front sleeve of the CD, along

with Tommie Smith and John Carlos,

do google them if you don’t know who

they are. As that last statement suggests

maybe, it’s the message that matters

most here, a message that is ever more

urgent in a confused and confusing

world. In the right hands, it is what the

blues can do oh so well, and Nathan’s are

most certainly the right hands. He’s not

necessarily telling you what to do, but he

is suggesting some alternative ways of

looking at things.

NORMAN DARWEN

THE STUMBLE

ALTAMONT CALLING

Independent

1969’s Altamont Free Concert signalled

the end of a musical era and is sadly

remembered for all the wrong reasons.

In contrast, Altamont Calling, The

Stumble’s latest album is destined to be

remembered for all the right reasons

as Preston’s finest blues band adopt a

rockier sound. As Hellfire commences

you may find yourself checking you’ve

not put AC/DC in your player. However,

with Paul Melville’s unique vocal tones

and Simon Anthony’s signature sax

masquerading as a third guitar those

thoughts are swiftly ‘blown to smithereens’

despite ‘Thunderstruck’ slipping

into the lyrics of the fast rocking opener.

Colin Black and recent convert from

drums Boyd Tonner trade guitar licks

whilst Luke Paget and Cameron Sweetnam

provide a solid foundation on drums

and bass respectively. Similarly Unnatural

commences with Status Quo vibes

before Melville’s energetic vocals and

Black’s explosive guitar lead us from that

path. Anthony’s saxophone is fully integrated

as part of The Stumble’s sound

defining the band as evidenced on Desensitised.

A definite feel of The Stones

to this glorious radio-friendly tune which

highlights Tonner’s creative genius as

sole songwriter. ‘Nothing impresses me

anymore’ – the opening of I Don’t Need

The Blues couldn’t be further from the

truth as The Stumble add a touch of

country to their repertoire aided by an

acoustic refrain from Tonner and beautifully

expressive Melville vocals. Modern

life’s pressures can ‘spray graffiti all over

your hopes’. Fill Me Up provides a welcome

release as it builds to an explosion

Jackie Dorsey


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of sound, Melville at his animated best

belting out Tonner’s lyrics. Enchanting

and mystical slide guitar encourages we

‘move it’ and groove on down to the bar

to forget life’s problems in the company

of a Shebeen Queen. Powerful Paget

drums open I’m To Let which sees The

Stumble reprise their more traditional

funked up blues sound meanwhile

Tonner exhibits his many talents during

Ruthless Sky, providing acoustic and

electric solos alongside backing vocals

whilst Melville excels throughout this

reflective epic. Built on a hefty dose of

slide and mean Sweetnam bass Dynamite

is as explosive as the title suggests

whilst the pacy Sleep It Off raises the

spirits as we party a little too much with

an old friend and a rocking band. Grab

those dancing shoes and move those

feet as Canned Heat brings The Stumble’s

finest album to a rocking close.

TONY O BLUES

FREE LIFE

Top Of The Blues Records

TAF ROCK

Chicago blues aficionado Tony O has

plied his guitar, vocal and harmonica

skills with the legends over the years.

Free Life, dedicated to harmonica great

James Cotton, largely revolves around

Muddy Waters’ band members and commences

with two Waters songs. Tony

retains the authenticity of 1946’s Hard

Day Blues whilst modernising it with

assistance from drummer Mike Severino,

bassist Angelo Olivieri and keyboardist

Mitch Marcus. Tony’s vocal and

harp alternate in a style similar to John

Mayall meanwhile 1965’s Rich Man’s

Woman slows things down, classy guitar

sharing the billing with another healthy

dose of gob iron. Rhythmic rock n roll

vibes resonate throughout the original

title track as we celebrate independence

and freedom from misery, Tony’s sweet

guitar taking centre stage. Tony croons

throughout Eddy Arnold’s, You Don’t

Know Me – previously covered by artists

as diverse as Van Morrison and Elvis

Presley – as his vocal tells the tale of a

lost opportunity to love. The band strips

back to a three piece for Brooks Benton’s

rockabilly-like Ooh before Luther

Johnson’s Lonesome In My Bedroom

sees the welcome return of the blues

harp as it takes the lead once again continuing

throughout Earl Hooker’s Blues

In D Natural, the instrumental jaunt of

the original trebles in length as the band

indulge in an extended jam. The words

‘I never place no one above you’ take on

a new meaning as Tony pays tribute to

Jimmy Reed, replicating Reed’s unique

high-pitched harmonica throughout

a fast-paced rocked-up rendition of

1957’s Honest I Do before an instantly

recognisable heavy riff signals the arrival

of a true blues classic – Robert Petway’s

Catfish Blues. The second of four original

songs, Miserable Woman, sees Tony’s

vocal prowess shine through as he delivers

his message clearly throughout a

very danceable far from miserable track

– ‘Leave me alone... Stay out of my life!!’.

The focus turns back to the harmonica

as Tony pays his respects to another

great, Little Walter’s instrumental Off

The Wall is delivered in impeccable style,

Severino’s impressive drum work stands

out whilst a third Waters track I Wanna

Go Home sees us bid farewell to harmonica

and vocals on a highpoint before

our album culminates with two original

instrumentals Tony O Guitar Boogie and

I’m Queens Bound. An impressive tribute

to the great players of our genre.

BOOK REVIEW: CHRIS

REA: SONG BY SONG

BY JAMIE `HAILSTONE

Pen & Sword Books

TAF ROCK

Jamie Hailstone is a name that many

Blues Matters readers will recognise.

One of our own writers and reviewers

for many years, Hailstone has subsequently

worked with many other music

titles from Country Music, Maverick,

`Classic Rock asnd even Forbes and the

Doctor Who Appreciation Society. He

has previously authored ‘Doctor Who

– the David Tennant Years’ in 2020 and

for the past few years immersed himself

in the work of the late Chris Rea. ‘Chris

Rea Song By Song’ is a delight, painstakingly

detailed, track by track covering

Rea’s remarkable career from his initial

faltering steps – including ill-fated work

with ‘pop’ producer, `Gus Dudgeon – to

his much-loved annual Xmas banger,

‘Driving Home For Christmas’ to his

1989 ‘The Road to Hell’ platimun award

winner. With album sales of over forty

million albums globally, Rea must be a

fertile hunting ground for anyone interested

in modern music and although

often described as rock musician – a title

the man himself less than admired – his

exploits also included blues music and a

love for passionate story-telling lyricism

blended with fiery, inspired guitar

fretwork. All of us with a passion for

good music should enjoy this fabulous

work, a tribute to both the subject, Chris

Rea, and the detailed, in-depth reporting

and chronicling of its creator and author,

Jamie Hailstone.

IAIN PATIENCE

THE BLUES KID COMBO

GASTON’S `GUITAR

Bluz Track Records

Here we have a French blues band with a

release that is genuinely unexpected and

engaging. The twelve tracks featured

range across the Chicago-sound with

some deft electric fretwork and a touch

like BB King at times appearing. Mostly

featuring the playing of French bluesman

Enzo Cappadona, many tracks are

penned by him, and Neil Black – no newcomer

to Blues `Matters readers, and

a French resident – with French blues

drummer and promoter, Pascal Delmas,

who many will know from his recent

work touring and playing with Chicago

bluesman, John Primer. Arnaud Fradin

both plays and produces on this one and

for any blues lovers looking for something

that is immediately enjoyable,

driving and rooted on old-school electric

blues music this is an offering that easily

captured the essence and spirit of the

genre. An excellent release without a

doubt and highly recommended.

IAIN PATIENCE


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The Illustrated Blues Of Brian Kramer

DEATH DON’T HAVE NO MERCY

Speaking of huge influences and absolute heroes of

the Blues, I’m revisiting Rev Gary Davis with another

tribute creation.

Everyone studied Davis back in the day, with probably

the most prolific and unique approach to ragtime fingerpicking

guitar and spirituals. Roy Book Binder, who

just sadly passed away, learned directly under the tutelage

of Davis, as well as personally transporting him to

many local Greenwich Village shows through the 60s.

Izzy Goodman Young, who had the Folklore Center

in the Village arranged many of those concerts and

was his friend. Izzy told me in an interview for Blues

Matters years ago that when the Rev would show up at

a house party, which mainly was crowded with college

students, Izzy would hold his breath when they asked

him to play something. “No one could kill the vibe at a

house party quicker than Davis. He would always do

Death Don’t Have No Mercy first and everyone would

just start to weep…”

My old mentor Larry Johnson also learned directly

from him and took his ragtime forms to another, personalized

level. One day before a duo gig with Larry in

NYC, he sat beside me and demonstrated Davis’s exact

style with flawless accuracy and mind-boggling precision.

A moment deeply burned into my reality.

“I could play all that Davis stuff like he showed me,

but that ain’t me, that’s him!” Dave Van Ronk, Woody

Mann, Jorma Kaukonin, Eric Bibb and many more

brought Davis’s unique stylings to new audiences.

Stefan Grossman wrote the book and laid it all out in

tabs for a generation of young pickers to study and decode,

before a time of videos and endless streaming.

As a young teen in Brooklyn in the 70s & 80s, I opted

for a 12 string guitar and dug deep into Rev Gary Davis’s

music. A huge but rewarding challenge that led me

to Larry Johnson’s door.

When I heard of both Roy Book Binder and John Paul

Hammond’s passing within days of each other recently,

I spontaneously started a show with Death Don’t Have

No Mercy, something I haven’t performed in many

years.


IBBA TOP 40

bluesbroadcasters.co.uk

INDEPENDENT BLUES

BROADCASTERS ASSOCIATION

Most Played Album Top 40 – February 2026

Collated from the playlists of the Independent Blues Broadcasters Association members

Position Artist Album

1 ELLES BAILEY CAN'T TAKE MY STORY AWAY

2 JOE BONAMASSA B.B. KING'S BLUES SUMMIT 100

3 KIM WILSON SLOW BURN

4 REBECCA DOWNES A STORM IS COMING

5 TINSLEY ELLIS LABOUR OF LOVE

6 THE BO'WEEVIL BROTHERS BLUES DONE DIFFERENT

7 BAD BOB BATES CAR TROUBLE

8 TOM DAVIES & THE BLUEBIRDS ANGEL ON THE MISSISSIPPI

9 SPENCER MACKENZIE EMPTY CHAIRS

10 FARMHAND LONG HOLLOW BLUES

11 SIX STRINGS & A PULSE STILL GOT A SENSE OF TUMOUR

12 ALICE ARMSTRONG FURY & EUPHORIA EP

13 VOODOO RAMBLE MADE IN THE UK

14 ANDY COHEN/ELEANOR ELLIS/WILLIAM LEE ELLIS WHISTLIN' PAST THE GRAVEYARD

15 BUDDY GUY AIN'T DONE WITH THE BLUES

16 WILL WILDE BLUES IS STILL ALIVE

17 BURNING ROPE BURNING ROPE

18 LIL' ED & THE BLUES IMPERIALS SLIDEWAYS

19 TERESA JAMES & THE RHYTHM TRAMPS BAD AT BEING GOOD

20 MICK CLARKE BLUES BEFORE SUNRISE

21 GREG COULSON LIVE AT PEGGY'S SKYLIGHT

22 BROOKS WILLIAMS & AARON CATLOW WORKING IN WOOD

23 STUDEBAKER JOHN & HIS MAXWELL STREET JUMPIN' FROM LIMB TO LIMB

KINGS

24 THE JAMES HUNTER SIX OFF THE FENCE

25 VAN MORRISON SOMEBODY TRIED TO SELL ME A BRIDGE

26 DAVE ARCARI STILL FRIENDS

27 ED ALSTROM THIS IDEA OF HUMANITY

28 BRAVE RIVAL 5 TO 4

29 DUKE ROBILLARD BLAST OFF!

30 SEAN TAYLOR FIRST LIGHT

31 MUDDY WHAT? NEON SOUL

32 LAURENCE JONES ON MY OWN

33 ERIC BIBB ONE MISSISSIPPI

34 CRYSTAL SHAWANDA SING PRETTY BLUES

35 CONNOR SELBY THE TRUTH COMES OUT EVENTUALLY

36 FRENCHIE MOE HI CLASS

37 CHARLIE BARATH ISSAQUENA GETAWAY

38 SAMANTHA FISH PAPER DOLL

39 ALLY VENABLE REAL GONE

40 ALEX LOPEZ RETRO REVIVAL

2026 COLLECTION

ONE LABEL PUSHING THE BLUES & BEYOND

GARRET T. WILLIE

BILL'S CAFE

GABE STILLMAN

WHAT HAPPENS NEXT?

MIKE ZITO

OUTSIDE OR THE EASTSIDE

JASON RICCI & THE BAD KIND

KELLI BAKER

13 HOURS MOTHER

ALBERT CASTIGLIA

GRITS & GLORY

KEVIN BURT

THIS TRIP

THE BONESHAKERS

PULL UP THE ROOTS

THE SHARPEEZ

AUTOMATIC MODE

PRE ORDER NOW AVAILABLE VIA

WWW.PROPERMUSIC.COM

WWW.PROPERMUSIC.COM

BM ISSUE 160 Apr 2026

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