Don Covay & The Jefferson Lemon Band - "If There's A Will There's A Way" (3:36)
Harvey Mandel - "Baby Batter" (3:40)
Review: Climactic, psychedelic soul and blues brilliance by Don Covay, co-written by Donny Hathaway and backed by a proto-Balearic sweetmeat on the B, Harvey Mandel's 'Baby Batter'. The A-side was originally released one year after (1972) the B-side (1971) on the American Janus label, and the tracks provide a palpable contrast, drawing on the same idiom yet approaching it with remarkable difference. Covay's lyrics are, thematically, overflowing with determination, despite the psychic conflict at the track's heart. Is there any resolution? "The sweeter you, look, mama... the bitterer you treat me..."
Review: This wonderful album delivers a tight, vibing collection of traditional old-time Appalachian music. Featuring Liam Grant on guitar, Grayson McGuire on fiddle and Devon Flaherty on banjo and guitar, this debut recording brims with raw, authentic talent. It was recorded straight to cassette with no overdubs and despite the carefree atmosphere, the trio expertly channels the spirit of old-time music. Tracks like 'Dry and Dusty' and 'Taner's Farm' reflect their playful yet poignant approach by blending upbeat melodies with deeper themes of rural life and hard times. This one is a real charmer.
Review: Theodore 'Hound Dog' Taylor was born in Natchez, Mississippi, and worked as a sharecropper by day and played delta jukes by night. Fleeing the South in 1942 after a run-in with the KKK, he relocated to Chicago where he juggled a day job and performances in blues clubs. By the late 50s he became a full-time musician, honing his raw vocal style and searing slide guitar technique on a Teisco Del Rey guitar with a Sears amp. This record is testament to his skills and includes his rare 1960s singles and two bonus tracks featuring Homesick James.
Review: Ohio-based instrumental organ trio Parlor Greens, known for their blend of soul, funk and blues, return with a new 7" that follows their acclaimed debut from 2024. Side-1 features 'Driptorch', which is driven by crunchy drums from Tim Carman, funky guitar riffs by Jimmy James and Adam Scone's expressive Hammond organ. The track delivers a high-energy, groove-filled adventure. On Side-2 ,'200 Dollar Blues', introduces a fresh, mid-tempo instrumental. This blues shuffle highlights James' searing Stratocaster solos, complemented perfectly by Scone's soulful organ work. Their interplay exudes a raw, electrifying energy, while Carman's steady, dynamic drumming grounds the track, making this one for fans of deep soul and blues.
Review: Boz Scaggs' 1969 album, blending Southern rock, blues and r&b, wasn't a commercial success but it set the stage for his future successes. Recorded at Muscle Shoals with co-producer Jann Wenner, the album captures the raw energy and magic of a remarkable collaboration. Scaggs' smooth, mellow vocals blend seamlessly with the legendary Muscle Shoals rhythm section, led by Duane Allman's iconic guitar work. The album spans multiple genresifrom country-tinged 'Waiting for a Train' to the sultry blues of 'Loan Me a Dime'. The latter, in particular, became a standout, with its extended, fiery guitar solos and a signature groove that captured the imagination of FM rock stations. The album's charm lies in its organic, unpretentious feel, as Scaggs and the musicians create something truly magical over six days of spontaneous recording. It's a celebration of Southern soul with a West Coast twist and it remains a fascinating glimpse into an artist finding his voice in the heart of Muscle Shoals.
Review: Esteemed rock guitarist Andy Fairweather Low first came to prominence in 1967 with a cover version of 'Gin House Blues', Bessie Smith's 1928 original. He then went on to front the psychedelic rock band Amen Corner, marking a surprising shift in genre ambit. With the latter move rendering Low's early bluings relatively obscure, The Last Music Company gladly announce the early blues treads of this master musician's all-pervading influence on music, here with this new selected hits compilation. There are many collaborating musicians indebted to Low, and who yet owe him more than one drink: BB King, Van Morrison, Pete Townsend, Jimi Hendrix, Chris Rea and Kate Bush, to name a few. A longtime sideman in Eric Clapton's band, hence the title, it not only highlights his mastery of blues guitar, but also his under-recognition as a hidden, arch-musician, pillaring the notoriety of others.
Review: Released on Impulse! Records in 1966, this collection by John Lee Hooker offers a mix of both new compositions and reworkings of tunes that Hooker had previously recorded. Including a cover of Barrett Strong's 1959 Motown hit 'Money (That's What I Want)' - following in the musical footsteps of The Beatles, who recorded it three years earlier - this vindictively titled record is a fitting fusion of grievous Delta and raw blues; filled with schadenfreude and passion; transience and regret; vitality and poise; it's some of the best John Lee Hooker material you're likely to come across in this decade.
Review: Jazz vocalist Helen Humes is not as well known as some of her peers, but that isn't for lack of talent. This was her second album on Contemporary Records and it came in 1961 as a fully realised exhibition of her vocal versatility and charm. Conducted by Marty Paich, the record features an all-star lineup including saxman Art Pepper, bass from Leroy Vinnegar, drums by Shelly Manne and guitar from Barney Kessel. This reissue has been meticulously crafted with AAA lacquers cut from the original master tapes by Bernie Grundman so is an authentic representation of the original magical sound with unmatched fidelity.
I Got Some Outside Help (I Don't Really Need) (6:10)
Thrill Is Gone (7:26)
I Need My Baby (7:19)
Sweet Sixteen (3:29)
Closer (3:55)
To Know You Is To Love You (4:57)
When I'm Wrong (5:11)
Have Faith (5:29)
Outro (1:40)
Review: This Record Store Day special for 2024 is an unreleased live recording of the legendary BB King, captured by the French Radio and Television Office on October 7, 1977. It is a full-length concert with an electric vibe that allows a superb glimpse into the great blues singer-guitarist's powerful working band of the era. If you think you know the man's sound, this might well open your ears to some new perspectives. Released by Zev Feldman's Deep Digs label it comes with a set of rare photos by Thierry Trombert, Val Wilmer, and Jan Persson, plus some excellent liner notes by French author Jean Buzeline.
Review: Denise LaSalle's remarkable debut album first landed on Westbound Records in 1971, and soon launched her onto the global stage and established her as a powerhouse in soulful blues. Now, more than 50 years later, the album is reissued with remastering by Dave Gardner. Fusing her Chicago blues roots with soulful, modern arrangements, the record produced major hits highlighting her impeccable songwriting and commanding voice. An enduring classic of the genre, this album continues to woo audiences and is poised to attract a new generation of blues and soul enthusiasts as well as reaffirming LaSalle's legacy as one of the greats.
Review: With their fourth album, the celebrated rock group from northern Mali, take a bold step forward, evolving their signature "desert blues" style into a more acoustic, introspective sound. Recorded in Bamako with producer Paul Chandler, the album blends the band's gritty, electrifying energy with traditional Malian influences, incorporating instruments and melodies from various ethnic traditions. The result is a vibrant, collaborative work that features contributions from renowned artists like Afel Bocoum, Rokia Kone and Neba Solo. Tracks like 'Issa', which translates to 'river', demonstrate the group's deeper exploration of acoustic textures and storytelling, drawing on the power of nature and migration. The song's early delta blues-inspired guitar riffs complement the band's passionate vocals. The band's ability to honour their cultural roots while embracing new musical horizons really shows well here. The album is both a celebration of their heritage and a bold look towards the future, marking another remarkable chapter in Songhoy Blues' already impressive catalogue.
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