JEAN SHY & THE SHY GUYS
The Blues Got Soul
King Edward Records 77711

www.jeanshy.com
www.kingedwardmusic.com

Jean moved to Germany from her native Chicago in 1980 and has established a strong reputation around Europe since that time. That should not surprise56 anyone, as she already was well-known, having signed for Chess Records at the age of 12 and recorded for Brunswick Records later. Her strong – very strong - gospel based vocals are well-represented on this largely live CD, recorded mostly at an open air concert in Duisburg, Germany. She sings the blues beautifully on items such as 'One Day' and the wonderfully soul-drenched 'Never Loved A Man'. Fans of the heavier side of the music should go for the ten minutes long 'Rock Me', whilst 'Old Time Rock 'n' Roll' is just that, a chugging, boogying rabble rouser,  a couple of other tracks recall the driving sound of eighties classic rock. The accompanying musicians are a very talented bunch and there are also examples of soul and funk, so that overall the album betrays a fine modern approach, with Jean not afraid to reach out top those who may feel a little trepidation at tackling an out-and-out blues set.

There is plenty too for those who do want just that though. And the closing 'Amazing Grace' proves that Jean's gospel roots are certainly not neglected.

---- Norman Darwen

DAVE PLAEHN
Crazy Man
(Own label)
www.PlaehnMusic.com

Oregon-based Dave is a singer and multi-instrumentalist, though it seems as though harmonica is his main instrument. He has a warm, slightly smooth singing voice which suits his material very well. He is not an out-and-out blues artist, and though much of his material is blues-based, he tends equally towards vintage rhythm & blues (try 'My Conviction'), Cajun ('What's This Love Thing?' is a er, lovely performance, with some fine fiddle from George Penk),'Shugum Boom' has a vaguely African sound, and there is an intense piano-driven ballad in 'Ghosts'. However, the majority of the dozen tracks seem to be very strongly influenced by the sound of early seventies West Coast rock.
Sometimes Dave's harp lines betray the fact he has listened to Rice 'Sonny Boy Williamson II' Miller (hear the country-ish 'Hug Me When I Come Home, Kiss Me When I Leave'). There's a Sonny Terry sound to his introduction to the otherwise country-rock inflected 'We're Gonna Make The Best Of It'. A nice album then, but certainly not one for blues purists. Harmonica players may find some of Dave's ideas rather more imaginative than on a standard blues album though.

----- Norman Darwen

BLUEBONE
"DEVIL KEEP CHEWIN"

Other than a few personnel coming and going, BLUEBONE hasn't changed much since I reviewed their last CD back in `05.  As I recall, inventiveness was one of the things that impressed me most about this band back then, and that trait is once again quite evident on "DEVIL KEEP CHEWIN".  The band calls this, their fourth disc, "a compilation of the struggles of life - the good, the bad, the temptation, the triumph and of course, the humor." 

The heart and soul of BLUEBONE are JAY BETHEL on guitars, lead vocals, background vocals, & Hammond organ and VAN BURRISS on bass, lead vocals, background vocals & percussion.  Together, they are also the authors of the discs eleven original tracks.  Also featured are THOMAS "TEE-JAY" JEFFERSON, ED ZATZARINY & PAT MARTUCCI, all on drums, THE KETEL ONE SINGERS, on background vocals & handclaps, and special guest GEORGE MESTERHAZY on piano.

The disc opens with the title track, "DEVIL KEEP CHEWIN".  This fast paced swinger - similar to a term made popular by a very famous horse race - was the fastest three minutes in music.  After several listens, I still found myself shaking my head at the end.  Reason being, I wanted so much more I thought I missed some.  The guitar work is amazing, and the rhythm - with PAT leading the way on this one - is scorching.  You'll be pressed to believe you were only listening to three pieces.

This track could easily describe an era from my past life - "40 YEARS IN BARS".  Man, time does fly when you're having a good time.  It's a cleverly written track about JAYS longevity as a member of a working bar band.  As the lyrics state, "I've seen everything that there is to see, 40 years in bars has been good to me."  Sounds to me like a book or a movie could be next.  Where do I go for casting?  Great vocal harmony, piano playing and a tight groove led by "TEE-JAY" highlight another excellent track.  You'll be wanting to sing-a-long with this one.

Musically, the best track on the disc may very well be the only cover - a Sonny Boy Williamson song called "EARLY IN THE MORNING".  It's a slow bluesy number with VAN and ED in a slow, smooth groove on rhythm and a mind blowing 2 minute guitar lead by JAY.

"HAPPY DAMN BIRTHDAY" is another clever and very humorous  track that will also have you wanting to sing-a-long.  However, when you do, you may just be tempted to sing it as "Happy Damn Birthday, Yee Haw".  This is good ol' honky tonk blues right here.

Listening to this song will make you one "HAPPY CAT".  It's another fast and furious smoker that will get you rockin' & rollin'.  This time it's ED on drums and he VAN provide some of the discs best rhythm.  Definitely one for the replay button.

If you're looking to "PARTY TONIGHT", or any other night for that matter, put this track on, turn up the volume and watch the dance floor fill up. This is the kind of stuff that "DEVIL KEEP CHEWIN" is all about.  It's been stifling trying not to sound redundant, but on most of these tracks, BLUEBONE is a power trio and that means constant serious rhythm, hot guitar licks and good vocals.  What ya hear is what ya get.

Other tracks on "DEVIL KEEP CHEWIN" include: "SOME BUDDY LIKE YOU", "KIDDIEVILLE", "DROWNIN", "357", "NO IS THE ANSWER" and "SWEET BLUE LADY". 

If you've got any blues in your bones - and I know you do, click on over to www.bluebone.net and check out BLUEBONE.  Please make sure to tell them Blewzzman sent you, and his regards.

----- Peter "Blewzzman" Lauro

ADRIAN DUKE
Adriatica
Moon Glow Entertainment (no issue number)
www.moonglowentertainment.com

The first few notes of this set leave the listener in no doubt that this is a New Orleans set - a Professor Longhair styled piano opens, a cooking rhythm section enters, a gritty vocalist intones the lyrics and a backing vocalist adds some gospel wailing. There's a cooking percussion break, some ghostly creole shouts, and heavy guitar work. Very nice indeed!

Pianist/ organist Adrian Duke has a voice that owes a lot to Doctor John and a fair amount to Ray Charles, and his music is the same - thoughtful, nicely jazzy in places, with more than a hint of grit and all shot through with the blues and with a solid gospel underpin. 'Will It Go Round In Circles' is a worthy and very funky tribute to the late Billy Preston, 'Kid Charlemagne' is a cover of a number by rock-band Steely Dan, and the standard 'That Lucky Old Sun' is very Ray Charles, though the majority of the numbers are originals. For this set, the best reference point is largely Doctor John in his seventies New Orleans incarnation (especially those albums he made with The Meters). Very interesting indeed....

----- Norman Darwen 

SLEEPY JOHN ESTES with Hammie Nixon
On 80 Highway
Delmark DE 797
www.delmark.com

This long-standing Chicago-based label continues to regale us with true gems! Recorded in 1974 just prior to Sleepy John and his long-time regular harmonica player Hammie Nixon's first trip to Japan - also the first trip by any country blues artists to that country - this album consists of material that is previously unissued, though not, as far as I can hear, for any musical reasons. John may have started recording in 1929 but his distinctive voice is just fine and his guitar playing, whilst functional and perhaps lacking in the technique of many flashier players, is also steeped in the essence of the blues; Hammie's voice (he sings on 8 tracks) is also strong and it is good to hear his rural harmonica playing again. Maybe the repertoire was the reason this set was originally unissued - many of these numbers were recorded elsewhere, but these are fine versions; try 'I'll Be Glad When You're Dead' with its jiving between the two men, Hammie's kazoo playing adding to the freewheeling jug-band feel. Truly wonderful... Far more serious are the two takes of 'President Kennedy', an excellent topical political blues - and both are quite different.

Of course, anyone who loves the real blues can't afford to be without this album; Delmark and Sleepy John do seem to have enjoyed a special relationship. Of course it is very highly recommended!

----- Norman Darwen

THE SOUL OF JOHN BLACK
Black John
Eclecto Groove EGR CD 504
www.eclectogroove.com

John JB Brigham a.k.a. The Soul Of John Black makes a truly contemporary sound out of a whole host of musics. The guitar and harmonies opening the title track initially made me think of some venerable spiritual, before it leads into a tough edged funk with a soulful vocal and a blues guitar solo from Brgiham near the end, with lyrics of defiance that brought to mind the movie 'Sweet Sweetback's Badassss Song' - and that, I repeat, is just the first number! 'Betty Jean' recalls Prince and seventies soul, again with some bluesy guitar work and a very slight reggae tinge. 'Ever Changin' Emotions' opens like a straight, modern blues number before seguing into an early seventies styled soul number with a hint of funk and a dash of hip-hop in the vocals. 'Last Forever' begins with a Delta styled slide guitar, has a heavy riff drawing from Bob Marley, a sweet soul chorus, and some Hendrix styled electric guitar licks.

So, you may have gathered by now that The Soul Of John Black is no ordinary artist, but don't get the impression that he is some kind of musical magpie; working with styles from the whole history of recorded Black music, he skilfully integrates all the seemingly disparate elements into a coherent whole. Elsewhere he might draw on jazz - not surprisingly as he has worked with Miles Davis - or work traces of ska into the mix (he's played that too in the past!). There is plenty of blues for those prepared to listen carefully - for example, the melody and style of lyrics of 'I Knew A Lady' recalls Leadbelly, even if musically the number is based on hip-hop and soul, and the guitar break is blues-rock styled - though some acoustic slide comes to the fore at one point.

Each track bears repeated listening, and each listen reveals new delights. The Soul Of John Black may not be to everyone's taste, but those with an interest will find it repays their attention with a good rate of interest!

----- Norman Darwen

BOBBY JONES
Comin’ Back Hard
Delta Groove DGPCD129
www.deltagroovemusic.com

Singer Bobby Jones began his career in Chicago back in the fifties,  consolidating his position in the following decade, when he also made his recording debut – not on a small blues 45 label though, but as part of The Chicago Blues Union, alongside Charlie Musselwhite, Mike Bloomfield and others. In the eighties and nineties he worked in the southern soul market, and achieved a measure of fame as 'Bobby Jonz'. In 2007 he was hanging out with Leon Blue, a member of the Mannish Boys – though as the notes point out, Bobby's membershp of the group was not a foregone conclusion.

Luckily for us he did join though. He has appeared on the last two albums by the acclaimed group, and now he steps right out front, and this set is a real winner. Bobby can sound very like a young BB King and uses that to maximum effect here (try 'How Long Will It Last'); he can also handle both a Muddy Waters styled blues and proves on several tracks that he excels on West side material.

Of course, the band helps – The Mannish Boys are one of the few outfits able to handle this kind of material, and here they draw on many of their floating membership – guitarists Kirk Eli Fletcher, Kid Ramos, Paris Slim and Junior Watson all lend two hands and six strings each, and other well-known and well-respected sidemen include harmonica men Al Blake, Lynwood Slim and label-boss Randy Chortkoff, pianist Fred Kaplan and many others; another fine vocalist, Finis Tasby also helps out on Junior Parker's 'Mystery Train'.

The material is noteworthy too. There are some classic borrowings – someone definitely knows their stuff - and even an original such as bassist Tom Leavey's 'Come In Out Of The Rain' gives Bobby the opportunity to reference Junior Wells' 'Come On In This House' (which in turns reminds us of Bobby's stint with The Aces).

Once again, Delta Groove deliver a real winner. This was an inspired idea, and the end product is an inspiring release of classic Chicago styled blues.

----- Norman Darwen

Artist: Dave Fields
Title: All Wound Up
Label: FMI Records 801901000034 (U.S. Catalogue no.)

For more information go to:
www.davefields.com or
www.fieldsmusic.com

This is the third album from Dave and it reeks of sheer unadulterated passion and professionalism; the ferocious playing displayed here has an East coast sensibility; that delivers a ‘take no prisoners’philosiphy, a full-on twelve number mover and groover. The emphasis throughout is firmly embedded within the blues-rock genre; the relentless surging, urging and whirling swirling guitar and B3 organ flurries are played at an almost ‘blitzkrieg’ pace. When the sharp, baiting harmonica sound is utilised for support, it insistently barks and rasps at you for your immediate attention.  A brash tenacious brass section solidly backs the insistent, enthusiastically driven good-time music that seems to pour out of from the speakers like a high pressure water-cannon.

Whether it is classic or modern blues you cannot avoid being caught up in the highly infectious beat and immediately start to toe-tap the music.

One of the more pleasant and interesting takes, is the electrifying of the more traditional Jump’n’ Jive, it certainly makes you sit-up and take notice and starts you shuffling those legs in the air.

Although all the music here is very much on the rocky side it is nonetheless engaging, exciting and most certainly of great value to the wider spectrum of the blues.

Slowburner, groover or simply, straight ahead heads down boogie this is an album you should hear!

----- Brian Harman

Artist: Various Artists
Title: A Tribute to James “Yank” Rachell
Label: Yanksville Records yr012708

For more information go to:
www.yankrachell.com
or mrbmando@sbcglobal.net

Tribute albums can be a fanfare of an excuse for the meeting of artists who find themselves on the other side of Fame Mountain and wish to merely add to their pension fund; some are well intentioned glorious failures whilst that very small minority achieve their aim of highlighting the career of a truly great artist who for one reason or another has faded not necessarily into obscurity but their light no longer shines as bright as it once perhaps did.

This album I believe easily slots into the latter category, for, these twenty one numbers ooze respect, love, passion and gusto. I don’t really know what it is about the combination of mandolin and fiddle accompanied by a forlorn emotion rich voice that moves one so sweetly from tears of despair to tears of happiness; but you nevertheless always seem to immediately have the feeling of a warming hot drink cupped in your hands whilst sitting cosy and safe, in front of raging coal fire in the middle of winter.

Throughout his seventy-seven year career “Yank” has played with people such as; “Hambone” Willie Newbern, “Sleepy” John Estes, Hammie Nixon and the first John Lee “Sonny Boy Williamson, who, are now recognised as masters of their craft and revered by many across the world.

Fifteen of the twenty-one numbers are “Yank” originals and all the numbers performed here certainly do not suffer any lack of quality or conviction. Ones body and feet are twitching and tapping throughout, accepting the highly enjoyable musical twists and turns that cause you to involuntarily shout and holler in time with the music.  Some of the performers are; John Sebastian, Mike Seeger, David Grisman, Tim O’Brien, Andrea Faye and Rich DelGrosso to name just a few.

One number in particular that makes you sit up and take notice is; “Cigarette Blues,” which is a seriously rousing footapping Cajun influenced piece which combines happy goodtime music with a dark and sombre tale, which recounts the story of  a loved ones imminent death from cancer.

This is a very moving and heart-warming album also, a timely reminder of a greatly missed talent.

Sadly, “Yank’s” granddaughter Sheena, who has played bass for many years for her grandfather, has recently been diagnosed with a rare lung disease Wegner’s Granulomatosis. So, all proceeds from this album will used to help Sheena to combat this debilitating illness.

----- Brian Harman

Artist: Ricky Gene Hall and The Goods
Title: Bam!
Label: Yard Dawg Records

For more information go to: www.rghgoods.com

It is two years since Ricky’s debut album which was an interesting collection of differing styles and types under the general influences of blues and rock.   With this album it appears now that Ricky; vocals, guitars and harmonica and the ‘Goods,’ who are; Tom Martin; bass and Rocky Evans; drums and percussion have now become more focused upon one particular area of music, that being the claustrophobic and heavy clinging swamp sound of the deep south.

The considerable benefits of choosing this particular style display the very much improved qualities of sound and performance from the trio. Their tightness of playing is extremely well suited to the cramped, crunchy and almost sickly sweet atmosphere of Southern Swamp music.

Ricky’s funky guitarwork and satisfying solos have an enjoyably crisp compactness about them, which in turn certainly enhances their delivery and overall enjoyment to the listener. The backing is ‘spot on’ following Ricky closer than a shadow in the midday sun.

The twelve numbers are extremely accessible, laced with a sparkling lyrical content that lures the listener to the replay button.

This is a very fine second album release which greatly displays the bands ample potential. Whether you are footapping to bar-room rockers or slowburning blues you will not fail to be pleasantly surprised.

Well worth a listen!

----- Brian Harman

Artist: David Egan
Title: You Don’t Know Your Mind
Label: Out of the Past Records/Rhonda Sue Records TP0004

For more information go to: www.myspace.com/davidegan
or www.davidegan.net

David was born and bred in Shreveport, Louisiana and is as thoroughly soaked in the music ‘as a dog in the rain’ by its cultural and musical heritage. All the numbers here are firmly imbued with his knowledge skills and most importantly his feelings for the music he so plainly loves.

From the first to the last of the highly original eleven numbers the quality never lessens. All are composed by David (with the exception of the title track which was co-written with his long time friend Buddy Flett who is also featured here on guitar).

Each time you listen to the album the more seriously relaxed and entwined in the music you become. The whole piece treats you to a never-ending supply of quality New Orleans inspired mixture of foot-tapping music, ranging from professor Longhair / Dr. John inflected tinkling to Fats’ Dominos’ joyous pounding, backed with an infectiously inviting funky second line strut closely trailed by a very loosening and mellow trombone.

David is more recognised as a Grammy winning writer for Irma Thomas, Etta James and nominated writer for Marcia Ball, Solomon Burke, Percy Sledge and John Mayall than as a bona-fide performer.

I would suggest, that it has to be recognised and stated now that whether he is playing a highly enjoyable piano led New Orleans romp or a laconic sombre blues slowburner, his passion seeps not only through his erudite and knowing lyrics but also his controlled emotion fuelled and  pleasingly, croaky whisky-marinated voice.

Most certainly worth a listen or three!

----- Brian Harman

SAFFIRE – THE UPPITY BLUES WOMEN
Havin’ The Last Word
Alligator ALCD 4927

www.alligator.com   www.uppityblueswomen.com

After a quarter of a century, the trio known as Saffire – The Uppity Blues Women really are having the last word. Since they made their Alligator debut in 1990 (and stirred up something of a hornet’s nest among the critics), they have gathered and consolidated a strong and loyal following for their feisty, outspoken, acoustic, bawdy, bluesy music – and in the case of ‘Bald Headed Blues’ poignant, irreverent, triumphant, and painfully funny - strongly rooted in the tradition but also instantly recognisable, and with a strong woman’s perspective (and yes, that’s deliberately ambiguous). This is the group’s first set since 2001’s ‘Ain’t Gonna Hush!’, though there have of course been solo albums. For this swansong though, there are plenty of original songs from the pens of pianist and guitarist Ann Rabson, guitarist and harmonica player Gaye Adegbalola, and mandolinist, fiddler and bassist Andra Faye (the newest member; she has only been with the group for 16 years!), and of course all three sing – and how! As a celebration of a group who preferred to rewrite rather than stick to the rules, this will do nicely.
Thanks Bruce, but especially thanks Ann, Gaye and Andra.

----- Norman Darwen

PHILIPPE LEJEUNE
Night Mist Blues
Black & Blue BB 701.2

www.philippelejeune.com

I first encountered French pianist Philippe LeJeune’s name many years ago when he shared an album with blues great Memphis Slim in 1980. Philippe has learned the lessons of the older man well, and this set is extremely entertaining and also individual. There is a strong jazz influence, with tracks from the likes of Duke Ellington, Ahmad Jamal, Ray Bryant, Horace Silver, Billy Taylor and even Stevie Wonder alongside more expected straight blues and boogie-woogie material – Charles ‘Cow Cow‘ Davenport’s ‘Cow Cow Blues’ is given a suitably rowdy rendering, and many of Philippe’s originals are certainly clearly within the tradition.
The support of the little trio of guitarist Dominique Lambrey and Americans Herman Hampton on bass and Stanley Swann on drums enhances the jazzy feel (check out the lovely parade drumming which complements the New Orleans feel of ‘Just A Closer Walk With Thee’) though the blues certainly underpins the entire set. In short, this is a fine piano CD, particularly for those who like a dash of jazz alongside their blues.

----- Norman Darwen

JOHN LEE HOOKER
The Healer
SPV/Blue 95992CD

Mr. Lucky
SPV/ Blue 49202 CD

(http://www.spv.de)

‘The Healer’ was first released in 1989, and was the album that ensured John of yet another comeback and an active old age. It enjoyed huge success for a blues album and certainly helped to pave the way for the current blues revival. Although at the time of its original issue I felt that it was too heavily weighed down with special guests - Santana (whose opening collaboration with The Boogie Man is about as far from the blues as he ever got – though that’s not too far), Bonnie Raitt, George Thorogood, Charlie Musselwhite, Los Lobos, Canned Heat, and the then young upstart Robert Cray - all they really do is graft themselves onto John’s unique approach. His voice is as rich as ever and the three solo items are a real bonus too – and were viewed almost with incredulity at the time.

John Lee always knew not to change a winning formula and the follow-up ‘Mr. Lucky’, issued two years later and dedicated to Stevie Ray Vaughn, is in the same format. Guests include Johnny Winter, Albert Collins, Ry Cooder, Robert Cray, Nick Lowe, old friends Van Morrison and John Hammond, the ace pianist Johnnie Johnson, Carlos Santana and Keith Richards. Several strong songs are resurrected from earlier phases of John’s lengthy career and some excellent, sympathetic performances from all concerned make this a set I would recommend purchasing before you buy its more illustrious and profitable predecessor.

----- Norman Darwen

MEMO GONZALEZ AND THE BLUESCASTERS
Dynomite
Crosscut ccd 11099

www.crosscut.de

Singer (and on this evidence, sadly now only occasional harmonica blower) Memo has been based in Germany now for a good few years, leading his international band and building a solid – or rather far more than solid – reputation. This excellent CD will only increase his renown still further.

Memo's style is raw and gritty, though with more of a tendency towards old-style rhythm & blues and rock and roll rather than the blues pure and simple – for the latter though, do lend an ear to the slow, moody, George Smith flavoured 'What's In A Name', with appropriate chromatic harmonica playing. Most of the remainder hits a powerful groove, with jagged, spiky guitar playing by Kai Strauss. Many tracks sound like they have come from early sixties 45s (try especially 'One Day, One Kiss, One Night', written by Strauss,  or the bouncy cover of Tiny Kennedy's 'Strange Kind Of Feeling'). There is a lovely southern soul performance with 'Slip Away' (a big hit for Clarence Carter), a boogying 'Mary Lynn' with some fine Jimmy Reed styled harp, and a rollicking instrumental closer in 'Fat Boy'.

This excellent CD proves that Memo is one of the more talented of the American expatriates active in Europe. Recommended of course!


----- Norman Darwen

MAGDA PISKORCZYK
Blues Travelling
MTJ CD 10363

www.magdapiskorczyk.com

This Polish female singer and guitarist caused quite a stir with her well-received live recording released in 2008. This CD is the predecessor of that set, and it is equally satisfying. There is a jazzy edge to Magda’s singing and arrangements here; the Polish-born, long-time American resident jazz violinist Michal Urbaniak makes a hefty and individual contribution to this set, and saxophonist Arkadiusz Osenkowski also supplies some meaty playing to the refreshingly different and thoughtful line-ups The material ranges from the classic vaudeville blues, Delta blues (Tommy Johnson’s ‘Canned Heat’) and traditional guitar evangelist numbers to compositions by Quincy Jones, Doc Pomus (‘Lonely Avenue’, one of Ray Charles’ hits), Eric Bibb and Sonny Boy Williamson – but Magda has the kind of voice and musical imagination that makes this CD coherent and very listenable


----- Norman Darwen

B J ALLEN & BLUE VOODOO
"HEARTLESS"
PURE AIR MUSIC

Our regular readers will certainly recognize this bands name.  "HEARTLESS", by BLUE VOODOO, is the bands third release to make it to these pages.  With all of the original players in place, the only noticeable change is the play on the bands name.  Just as bands once known as the Supremes and the Four Seasons came to be called Diana Ross and the Supremes and Frankie Valli and the Four Seasons, BLUE VOODOO is now calling themselves B J ALLEN & BLUE VOODOO.  Rightfully so!

Speaking of those players, they are:  B J ALLEN on lead & background vocals, JERRY FULLER on guitar & keyboards, J P HURD on bass & harp, DAVID DANIELS on drums and DEREK DANIELS on percussion.

On the opening track, B J offers some of the best advice I've ever heard.....You just "DON'T KNOW WHAT YOU'RE MISSIN" till you sit down and listen to the blues.  I've always felt that there are a lot more people out there who actually like the blues - they just don't know it.  The problem is that while they're listening, they just don't realize they're listening to the blues.  On the lyrics alone, this one rates song of the year consideration.  On top of that, B J never sounded better than she does right here.  The band just locks themselves into a great groove and lets her do her thing - belting out the blues in an oh so sass-soul-sultry way.

"RADIO SONG" starts off with a killer 30 second harp intro and features J P getting in a lot more licks throughout.  With this one being one of the real blues burners, you can bet that JERRY'S right there with him on guitar as well.   In the meantime, B J and the rhythm guys are doing their usual inspiring stuff.  I can't believe I've been listening to this disc for about 40 minutes now and I'm still on the second track.  This is the kind of stuff replay buttons were invented for.

 If you don't agree with me that this track just reeks of emotion and intensity, then you are absolutely "HEARTLESS".  On this, the title track, B J just pours it all out, and then some.  This is the kind of song that during a live performance no one in the audience is making a peep.....and if they are, the person next to them needs to slap them upside the head.  This one defines the term "Blues with a feeling".

On this next track, BLUE VOODOO seem to be a little funk-strated.  While lyrically letting us know that they are frustrated with the worlds problems and pronounce that it's time we "DO SOMETHING", they're also in one hell of a funky groove.  JERRY, J P and DAVID - on organ, bass and drums - supply the heat on this smoker.

If you're musical taste includes enjoying songs sung by Dinah, Sarah, Lena and Ella (no last names necessary), then you are going to absolutely enjoy listening to B J sing "SUNDAY KIND OF LOVE".  She absolutely shines on this one.  As a matter of fact, right here in the middle of the review, I'm going to suggest that B J ALLEN & BLUE VOODOO put out a disc of some of the beautiful standards sung by the ladies mentioned.  What do you say, guys?

Other tracks on  "HEARTLESS" include: "BORDERLINE", "TAKE OUT SOME INSURANCE", "IT'S ALL ABOUT YOU", "TRYIN' TO FIND THE GROOVE", "IRON CITY" and "GET IT WHILE YOU CAN".

You can check out B J and the guys at www.bluevoodooblues.com. From there you'll be directed to their Sonicbids page.  That's where you're going to contact them, tell them the Blewzzman sent ya, and buy a copy of "HEARTLESS".

----- Peter "Blewzzman" Lauro