Blues CD Reviews 106
Brandon Santini
Which Way Do We Go?
MoMojo Records
Release Date: May 9, 2025
Peter "Blewzzman" Lauro © Apr 2025
The first time I recall ever hearing Brandon Santini play harp could very well be over twenty years ago - long before he released his first recording or made his first tour. It was at the Rum Boogie Cafe during one of those afternoon shows that take place during Blues Music Awards week. Billy Gibson was putting on one of his high energy shows and in between songs, Brandon popped in the front door to just to wave "Hi" to Billy. Of course, Billy quickly invited him up, and after killing a song together, Brandon went out the door as quickly as he came in. I immediately jumped out of my seat, followed him outside and introduced myself. After that, there was no looking back, I've been a fan, and we've been good friends since.
Fast forward a lot of years; a bunch of CD releases; a whole lot of touring all over the world; seven Blues Music Award nominations; and a successful back surgery; and Brandon Santini is back on tour and promoting his fifth release - Which Way Do We Go?. As a matter of fact, before this even goes to press, I'll have seen him on one of his current Florida gigs.
Recorded in his former hometown of Memphis, and produced by his long-time friend and homie - Jeff Jensen - Which Way Do We Go? features eleven all original tracks. For the project, Brandon - on lead vocals, harmonica, rhythm guitar and hand claps - is joined by: Timo Arthur on electric and acoustic guitar, and hand claps; Jeff Jensen on electric and acoustic guitar, backing vocals, and hand claps; Cliff Moore on bass and hand claps; Ron James on drums, percussion, and hand claps; and Jesse James Davis on backing vocals.
The title track has Brandon, like so many others all over the world, wondering "Which Way Do We Go?". The "Hate's going steady, it's all around, divided we stand, together we'll all fall down" line pretty much sums it all up. The song's uplifting chorus line of "Clap your hands for the one's you love, clap your hands for the one's above; Clap your hands for the one's you love, clap your hands for the one's above"; sung while Brandon offers some spiritual advice, definitely gives the song a hymnal quality.
Continuing along those same lines, on the cutting edge "The War Ain't Over", the repeating of "Brothers and sisters, the war ain't over. brothers and sisters, the fight is on", Brandon and the background vocalists create a very appropriate protest chant. With a profound bass and drum intro from Cliff and Ron that carry on throughout the track, and the stinging harmonica and guitar leads from Brandon and Timo, the music's as intense as the song's lyrics.
During his show at The Center Bar in Bonita Springs last week, as Brandon introduced a couple of songs, he made mention of them being featured on TV shows. That said, this one has the feel for a soundtrack of a show about a drifter roaming "Mile After Mile" as he travels from town to town. Maybe a modern day western fashioned after the hit Netflix show called "Reacher". I can even picture the opening scene - It shows the town folk gathering and whispering, as a weary and worn looking stranger, on the back of a slow walking horse, makes his mysterious arrival into their town. The laid-back rhythm and harmonica highlights definitely have that 'get a-long little doggie' vibe.
At under three minutes long, "Working On A Mystery" is a fast and furious rocker. Brandon's playing harp like he has three lungs; Cliff and Ron, on unrelentless rhythm are giving him an unneeded extra push; and Timo and Jeff are in a slugfest on the electric guitar. Phew!
To say the level of play on "Blues So Bad" is intense, would surely be an understatement. As Brandon sings about being followed and tortured by the blues, the sincerity in his vocals, along with the powerful, harrowing and downright edgy chords he's blowin' on the harp, are indeed a testament to his pain.
On the closing track titled "She Got The Way", with lines like "I'm looking in the mirror combing my hair, she comes up dancing in her underwear", Brandon's quite open to getting a little personal. He also wants the world to know, that his "Baby is finer than the finest Van Gogh". Musically, like his lady, this one's a smoker. It's another one that features the nucleus of the band with Cliff and Ron powering the rhythm; Timo tearing it up on a mid-song killer guitar solo; and Brandon blowin' that harp like he just saw something exciting in the mirror.
Other tracks on this very different and very dynamite release from Brandon Santini are: "See That Pony"; "Ain't Turning Back"; "Do What Comes Naturally"; "Trouble Stay Away"; and "Baby's Got Soul".
To find out more about Brandon Santini, just visit his website at - www.brandonsantini.com- and should you have not yet received your copy of Which Way Do We Go?, contact Michelle Castiglia at - macradiopromo@gmail.com. As usual, whomever you contact, please tell them their friend the Blewzzman sent you.
Alison Joy Williams and I go back a bit. We first met - as I meet so many other artists for the first time - through Mary4Music.com. In the summer of 2011, the same summer our website received the "Keeping The Blues Alive Award", Alison submitted her second release - Love All Of Me - for review. After that, there was no looking back. In 2012, and then again in 2014, we featured songs of Alison's on Volumes One and Four of our nine-disc compilation series titled "Mary4Music Presents: Keeping The Blues Alive". As a matter of fact, in 2012 we got to meet at the Blues Music Awards in Memphis, and that's when our relationship became a friendship. Unfortunately, life and geography don't allow us much hang time, but it's rare that we don't touch base every few weeks, and she is one of a very short list of people I can talk with for an hour or more on the phone. Alison, you're the best! I hope this new release propels you to where you belong - in the upper echelon of women in blues.
When Alison Joy Williams refers to herself as being an artist, a songwriter and an author, she likes to say "I'm a little bit of everything". Although I won't disagree with that, I think she may be selling herself 'a little bit' short. Take it from me, as I sit here listening to her latest release, there is 'whole lot' going on.
On How You Look At Things, Alison - on lead and harmony vocals, is joined by: Bart Walker on lead guitar; Mike Durham on lead and rhythm guitar; Daniel (Goose) Gossett on lead and rhythm guitar, and harmony vocals; Pat Lassiter and Ralph Friedrichson on bass; Eric Robert and Gene Rabbia on keys and B-3; Williams Ellis on drums; Max Abrams on saxophone; Joel Astley on harmonica; and Jonathan Well on harmony vocals. All of the disc's twelve tracks are Alison Joy Williams originals and/or collaborations.
Everyone knows that it was Don Corleone who was notorious for making an offer that couldn't be refused, but as I sit here listening to Alison boldly and provocatively shout "Make Love To Me Now", that offer has to be right up there with the Godfather's. C'mon, how do you say no to that? Interestingly, this song is about a heated argument and her way of attempting to end it by promising him she'll give him a whole other reason to shout. Hot damn, girl! Already hot, the fiery rhythm coming from Pat and Williams - on the bass and drums - along with fervent B3 runs by Eric; and the absolutely scorching guitar leads of Bart's; really turn up the heat on this one. In the meantime, the boss lady is just being herself and belting the hell out of the blues.
On the title track, Alison offers some advice on attitude and optimism. As she sees it, so much can change just from "How You Look At Things". During my review of her Love All Of Me CD I noted that "She's got power and range, and knows how to use them", and this is just one of many tracks that will testify to that. Musically, led by another brilliant guitar performance from Bart, this world class band is again masterful.
"Mayday Mayday Mayday", said so fast and so urgently as if it were one word, are never good words to hear - or even worse, words you have to say. In this particular situation, thankfully not a true life and death matter, it's a catastrophic relationship Alison needs to be rescued from. Put this one in the hands of Taylor Swift, Gwen Stefani, Adele, or Lady Gaga and it's a guaranteed chart topper in any genre. Everything about this song has smash hit written all over it.
On the intro to "When Love Comes To Hold Me", it took Eric's soothing piano notes and organ chords all of fifteen seconds to put a smile on my face. In that time, he told me I was about to be hearing a slow and bluesy ballad. Then Alison started singing and it was game on. I love ladies who can belt the hell out of the blues, rock the hell out of smoker, and take me to church with a Gospel song, but in my book, if you can't give me the chills with a ballad, your resume is incomplete. Box checked, Alison! This one is about finding a love that holds you for a lifetime and her performance here leaves no doubt that she's found it.
Of course she wasn't thinking this at the time, or maybe she was, but on "Love Ain't Good Enough" I imagined Alison walking into the studio and saying, 'Give me the damn mic I am ready to sing!" If there were a vocal class on singing like your life depended on it, this one would be mandatory listening. Wow!
"Leave Me To Cry" is the disc's dance floor filler. It's a rhythm fueled smoker with some of the disc's best B3 organ work coming from the hands of Eric. Lyrically, the chorus line of "Leave me to cry", done in harmony, makes it a sing-along as well. As much as this will appear to sound like an oxymoron, the rhythm section is at disc's best on this one.
Although "I know you don't understand the way I think. That's okay, 'cause on any given day I don't have a clue what I might do or say" sounds like something the Blewzzlady might say, it is actually the opening line to "You Like Me That Way". It's a whimsical number about not only accepting but liking the quirky ways of one's mate. On most reviews I do, I like to mention 50 - 75% of the songs. Occasionally, like right now, I have a hard time deciding which ones not to include. That said, with Joel Astley blowin' some outstanding harp, there's no way this one was landing on the cutting room floor.
The disc closes with "Live With The Storm". It is a seven minute, steadily rising, slowly peaking number that starts...key word there, starts...to climax about mid song, and by the end it had me shaking my head in awe. Yes, I know I said it, but some things deserve to be resaid and emphasized - Alison Joy Williams' range and power is right up there with some of the best I've ever heard.
Other tracks on this very impressive release are: "I Ain't Easy To Love"; "Edge Of The Blues"; "Weakness"; and "Wish I Did".
Before I close, I've got to give kudos to everyone involved with this project. From the disc's lyrics; to the way they were so flawlessly sung; to the musicians who masterfully performed the music; to the mixing, mastering and producing; this is unquestionably one of the best overall products I've had the pleasure to work with. Thank you all for making my job easy and very enjoyable.
To find out more about Alison Joy Williams, just visit her website at - www.alisonjoywilliams.com - and should you have not yet received your copy of How You Look At Things, contact Gina Hughes at gina@thegalaxieagency.com. As usual, whomever you contact, please tell them their friend the Blewzzman sent you.
As we all know, things seem to often get tougher rather than easier for people in the music business. With that said, it's always great receiving new music from old clients. Besides the fact that they are happy to once again have me work with their work, I'm also happy to know that they are still doing what they love - writing good songs and making good music.
It was back in July of 2021 when I first reviewed Shake and Shimmy, the Amy Ryan Band's debut release that reached #29 on the Roots Music Reports Blues Chart and remained on the chart for over three months. From what I'm listening to, history could very well repeat itself with the band's newest release, Brighter And Brighter, achieving similar success.
Impressively, these four years later, with the addition of about a half dozen additional players, the nucleus of the band is still intact. Returning to accompany Amy on the lead vocals are: Richard Green on guitar and lead vocals; Ed Stein on keyboards; Dave Imbarrato on bass; and Mark McKay on drums. Additionally, James Alanson Kirk (bass) and Finn Green (drums) join in on several tracks, with guest musicians Mark Tolstrup on slide guitar; Chris Ferrone on sax; and The Hancock Horns who are Jeff Stevens on sax, Kris Jensen on trumpet, and Peter McEachern on trombone and horn arrangements. Good move, Amy. Ya can't go wrong when you add some horns.
The first of the disc's eleven, all original tracks is titled "Hear That Train". It's a gutsy blues ballad that features Amy working her usual vocal magic. Like that train, her voice is as powerful and her range is as vast. Musically, the slow and yet profound rhythm that Dave and Mark are laying down is the perfect accompaniment for the surreal slide work that Mark Tolstrup brought to the table.
I know you've heard me say it many times and I promise you'll hear me say it many more. When it comes to female vocalists with stunning and commanding voices, belting out slow, soulful and sultry blues, I'd be more than happy to listen to it all day long. As good as Amy is throughout the track....wait a minute, make that throughout the disc...what she did during the last minute-and-a-half on the last verse of this song completely took my breath away. Then there's the music! Along with the rhythm being kicked up a few notches with masterful piano and organ work from Ed; some hot and also sultry sax work by Chris Ferone; there's Richard being all over a monster blues guitar solo that had me thinking of "I'd Rather Go Blind". By the way, the name of this track is "Won't You Tell Me", and it has me wanting to tell you that seeing this band live has just become a top priority.
"Outta My Life" is a smokin' rhythm driven shuffle on which Amy, if I may, is quite pissed off. Just hearing her say "I want you outta my life, I gotta put you down" pretty much makes my point - and deservedly so. With no job and no money for gas, Amy's flat-out tired of giving him cash to save his ass. Once again - from the hands of Ed (keys) and the mouths of the Hancock Horns - the rhythm is spot on.
Apparently, dumping that chump was just what the doctor ordered. On the title track, before she even says it, you can tell from the happiness and excitement in her voice that she's already feeling "Brighter And Brighter". Good for her. Musically, The Hancock horns, with stunning sax leads by Kris, just take this one and run with it. Again, you can't go wrong with horns.
"You Don't Get To", as in "You don't get to tell me what to do anymore", is obviously aimed at another of Amy's exes. The one sheet explained that the song was one of Amy's solo efforts that has been reworked. Hearing her flawless and range roaming vocals here, now has me wanting to hear the solo version. That said, this one is done solely with the nucleus of the band and there's nothing like the dynamics associated with a band whose members know each other's every move. Nice job guys!
As a kid, I grew up listening to my father spinning LPs of Ella, Dinah, Sarah, Nina, et al. That love for female jazz singers was instilled in me at a very young age, and just about seventy years later, nothing has changed. On her presentation of "Love Is A Fools Game", Amy transported me to Sonny's Place in Seaford, New York, where as a young adult I spent many a night listening to other ladies of song performing many of the standards from their predecessors. Apparently, she's listened to some of this stuff as well, thanks for the wonderful flashback, Amy. Of course, the slow and relaxing rhythm from James (bass) and Finn (drums) and the super silky piano work by Ed, were the perfect accompaniment for the song.
Other tracks on this very well done project include: "I Got Eyes"; "Hold My Heart"; "Digging Myself Out Of The Hole"; "How Dumb Do You Think I Am?"; and "Take It Or Leave It".
To find out more about The Amy Ryan Band you can go to their website - www.amyryanband.com - and check them out on FB at - www.facebook.com/AmyRyanBand/. Of course, should you have not yet received your copy of Brighter And Brighter for airplay, just contact Richard Green at richardgreen@fairpoint.net. Wherever you go and whomever you talk to, please tell them that the Blewzzman sent you.
After over twenty years of fronting various bands - most notably, the Kilborn Alley Blues Band; and most recently, Dig 3 - Andrew Duncanson is about to release California Trap, his first album under his own name. Of the disc's thirteen tracks, nine are Andrew's creations.
Joining Andrew Duncanson, on vocals and guitar are: co- producer Kid Andersen on guitar, Fender bass, clavinet, Farfisa organ, Theremin, mini-moog, waterphone, and Background vocals; co-producer Michael Peloquin on tenor and baritone saxophones, diatonic and chromatic harmonicas, horn arrangements, and background vocals; Jerry Jemmott on Fender bass; Derrick "D'mar" Martin on drums and percussion; Jim Pugh on Hammond B3, piano, and Wurlitzer; Baxter Robertson on B3, Wurlitzer, and piano; Tia Carroll, Lisa Leuschner-Andersen, Lara Price, and Sons of the Soul Revivers (James, Dwayne & Walter Morgan) on background vocals; Paul Revelli on drums; Mike Rinta on trombone and horn arrangements; Mike Rose and Ed Morrison on trumpet; and Doug Rowan on baritone sax.
As soulful as he was/is with The Kilborn Alley Blues Band, since the band does have the style of music they play right in their name, it was obviously a stretch for Andrew to get a nomination in any of the "Soul Blues" categories. Additionally, back when that band was at its peak, I'm not sure if the "Instrumentalist - Vocals" category was a thing yet. That said, it's this listeners belief that California Trap could easily garner him nods in several of those categories at next year's various awards ceremonies.
"When I was a kid, I'd fall and scrape my knee.
Never scared to climb the highest tree.
I look back, what happened to that kid - and the fearless way he lived?".....
Is Andrew's way of addressing that once fearlessness he no longer seems to possess.
"I got old, got scared of everything.
Scared of heights, scared of a little rain.
So I'm gonna climb, maybe fall in the dirt - feeling it's okay to get a little hurt"...
Is his way of saying he intends to once again find that fearlessness by "Relearning To Climb".
This soulful ballad features Andrew doing what he does on every song he performs - singing his heart out.....right down to every "bop bop a la la la". Additionally, Tia, Lisa and Lara were fabulous on the background vocals; and the rhythm, keyboard and horn work were all masterful.
"Naw, Naw, Naw" is old school R&B as good as it gets. It immediately had me thinking Tyrone Davis. Vocally, Andrew and the ladies are again killing it; Kid, D'Mar, and Baxter are all over the intense rhythm on bass, drums and Hammond organ, respectively; the horn section of Mike Rose on trumpet, Mike Rinta on trombone, Doug Rowan on baritone sax, and Michael Peloquin on tenor sax, are absolutely stealing the show.
The title track, "California Trap", is a three-minute-long song that I easily listened to for twenty-four or more minutes. By now, most of you already know what I mean - it's the type of stuff I just can never get enough of, killer slow blues at its best. Right out of the gate, Kid's stinging blues guitar licks had me saying "oh yeah!' Then, Andrew started soulfully belting out those melancholic slow blues lyrics which put me in my favorite place - slow blues heaven. Of course, ya can't do this kind of stuff without a slow and tight rhythm and that's all being taken care of by Kid on the bass, D'mar on the drums and Baxter on the piano with level upping trombone and baritone sax support by Mike Ritna and Michael Peloquin. As the track comes to an end, someone joyfully shouts out what I was thinking all along - "That was good!"
Having hit a rough patch in his life, where things got rocky on the rollin' seas, Andrew is thankfully "Feelin' Better Now". Thanks to Michael, this one is smokin' harmonica blues at its best - damn that guy can blow. This dance floor filling shuffle also features Kid and D'mar in a roaring rhythm groove; Baxter on rollicking piano leads; and the boss himself, in addition to bellowing out the blues, rockin' on the guitar.
Lamenting over the sorrows this life has presented to him, this slow blues number has Andrew looking forward to the "Next Life". As he sees it, and I hope for his sake he's right, "the next life will be the best". Musically, Kid is providing Andrew with masterfully mournful guitar leads to accompany his painful vocals; Jerry and D'mar have just the right somber rhythm groove happening on the bass and drums; and along with the full horn section helping out, Jim's mesmerizing B3 work give the track somewhat of a hymnal vibe.
On "More Lows Than Highs", Andrew's attitude exemplifies why, as said above, he just can't wait for that next life. "Sure as shit - and houseflies, there's more lows - more lows than highs" pretty much sums it up for him. Musically, it's an up-tempo smoker with monster rhythm, scorching guitar, and blaring horns - led by some serious baritone sax blowin' by Doug Rowan.
Other tracks on this must have, and potential award-winning CD include: "Hold Me Back"; "Town Saint"; "Outer Space"; "What Kind Of Man" (Michael Peloquin); "This Land Is Your Land" (Woody Guthrie & TRO); "It's A Pleasure" (M. Schermer); and Better Off Now".
If you've not yet received a copy of California Trap for airplay, please contact Betsie Brown at - www.blindraccoon.com - and should like to find out more about Andrew Duncanson, just go to his website - www.andrewduncanson.com. Remember, wherever you go and whomever you speak with, please tell them their friend the Blewzzman sent you.
I don't generally do this, but when I saw this post on FB by Mark Nesmith a few days ago, I immediately knew it would be a great way to start off this review.....
"Holy guacamole Batman! Our little band from Beaumont, TX is on THE Billboard Blues Albums Chart at #15! No record label, no managers, and we haven't spent thousands of dollars on promotion. This has been a complete DIY grassroots effort. We owe this to lots of hard work and the incredible support of our friends and family. Thank you!".....
That is very cool indeed, and I hope that my input helps keep it there for a while longer.
BTW, should you be wondering how the name Melon Jelly came about - as I was - it involves Mark's favorite episode from one of his favorite TV shows. Here is a hint..... https://www.imdb.com/title/tt0694140/ .....
The Road To Memphis is a very appropriate title for Melon Jelly's debut release. With the band having performed as representatives of the Houston Blues Society in the International Blues Challenge just last month, and front man - Mark "Nessie" Nesmith - having won the right to perform the year before as the society's representative in the solo/duo category, these guys most certainly know how to musically navigate that road. Of course it's way to early to tell about next year, but with that kind of experience, they have to be the early line favorites.
Melon Jelly are: Stephen Droddy on drums and backing vocals; Jason McCollum on bass; Mark Nesmith on vocals, guitars and keyboards; with Haley Deaver Droddy on additional vocals. In their own words, the band claims they "dish out a foot stompin' musical gumbo of funky grooves, blues and retro rock served piping hot from Southeast Texas" and I'd be inclined to 100% agree with that. All of the disc's eleven tracks are Mark Nesmith originals.
Unlike one particular band who claimed that time is on their side, Mellon Jelly believes that "Time Is A Thief", and they have the proof. You see.....
"One day you're just a little kid, the next day you're dying.
It'll take everything you have, no matter how hard you fight.
Time is a thief, it will steal you blind".
Being closer to eighty than I am to seventy, I know exactly what the heck they mean. Vocally, the track's very well written and truthful lyrics become even more somber by the convincing presentation from Mark and Haley; and musically, when Mark's scorching guitar and organ leads are combined to the thunderous rhythm Stephen and Jason are pounding out, just the right amount of unnervingness is created as the song's perfect accompaniment.
This song that I'm sure is a tribute to Mrs. Nesmith is titled "Angel" - as in "I thank God every day, he had mercy on me and sent me an angel." Good for you Mark, not everyone is as lucky as us. Musically it's an up tempo, foot tappin', finger snappin', dance floor fillin' track.
Right from the opening sounds of a car engine being turned on and revved, this instrumental titled "Memphis Bound" is travelling music at its best. And at the pace it's moving along at, Melon Jelly will be arriving sooner than later. Simply said, although there's nothing simple about it, this one features the guy's on top of their game doing what they do best - making really good music.
When a relationship reaches the point where the question "Should I Stay Or Should I Go?" needs to be asked, I'm pretty sure the answer is it's time to go. At less than three minutes, it's a short shuffle that I could have taken a few more minutes of - especially during the minute long mid-song instrumental where the guys were locked into one of those signature funky grooves of theirs.
Although the opening line gives it away, as Mark describes the loneliness he's feeling while his lady is away, you might get the impression she's been gone for weeks - or even months. Actually, it's just been "Three Days". I guess calling it a love song pretty much hits the nail on the head. It's a heartfelt slow and bluesy number that features a relaxing rhythm being laid down by Stephen and Jason, while showcasing Mark's excellent guitar and vocal skills.
The disc closes with a track called "Old Habits". The melancholy lyrics refer to many of the things you did when you were a couple, that you just can't stop doing alone. Things like setting the table for two; turning the TV on to her favorite show; pulling into the driveway and seeing nothing but your own headlights; and other situations that indeed make coping a challenge. Vocally, Mark - with fabulous backup from Haley - seems to make his pain transferable; and musically, with Stephen and Jason at disc's best on the drums and bass; and the constant changes Mark's making on the guitar; this track personifies the band's musical mission statement.
Other tracks on this excellent debut release include: "So Many Years"; "Hold On To Me"; "Where Y'At?"; "This Life"; and "Prodigal Blues".
If you've not yet received a copy of The Road To Memphis for airplay, please email Mark at - melonjellyband@gmail.com, and should you like to find out more about Melon Jelly, check them out at - www.melonjellyband.com. While you're doing that, take a minute to read about Mark, who fills the bill as an artist in many different ways. As usual, when you contact him and the band, please tell them their new friend the Blewzzman sent you.
Nola Blue Records is proud to announce the release of Peace, an eleven-track compilation of the late Frank Bey's music. Marking five years since his passing, the album spotlights many of Frank's lesser-known works from earlier in his career.
Because of there being forty-plus performers it isn't feasible to list them all, but as I touch on certain songs, I'll do my best to give credit where it is due.
Having been a big fan of Frank's recordings with the Anthony Paule Soul Orchestra, it pleased me to see them featured together on the opening track. It's a cover of Milton Campbell's "That's What Love Will Make You Do", and it features" Frank on vocals; Loralee Christensen on background vocals; Anthony Paule on guitar; Tony Lufrano on organ and keyboards; Nancy Wright on tenor sax; Tom Poole on trumpet; Mike Rinta on trombone; Endre Tarczy on bass; and Paul Revelli on drums. Recorded ten years ago, during the Bey/Paule Band era, this is actually the first time it's being released. The track is a smokin' mix of soul, funk and blues that features that fabulous rhythm that the Soul Orchestra was famous for; killer guitar leads by that orchestra's leader, Mr. Anthony Paule; and those patented powerfully soulful vocals of Frank's. Hearing this outstanding performance for the first time, I now wonder how the heck this one ended up on the cutting room floor back then?
"Blues Comes Knockin'" (J. J. Monjack) is one of eight tracks that represent Frank's recorded work with his bandleader and friend of more than twenty-five years, Jeff Monjack, and the late Kevin Frieson. It features Frank on the vocals; Jeff on guitar; Kevin on bass; Jay Davidson on keyboards; Sark "On The Harp" Damirjian on harmonica; and Thomas Jefferson on drums. This one is a straight up smokin' shuffle with Frank offering his advice on what to do when the blues come calling. Most importantly, is to check the caller ID, put the phone on speaker, and - since he's better at this than we are - let him take it from there. Musically, with Kevin, Jay and Thomas in a powerful rhythm groove behind them, this one is highlighted by killer blues guitar and harp runs from Jeff and Sark.
Another of Jeffrey's originals is "Bed For My Soul". It's a duet that features him flawlessly pickin' at an acoustic guitar and Frank on the very spiritual and thought-provoking vocals like "I got a bed for my body, but I got no bed for my soul". Think about that for awhile.....then do something about it.
It's songs like this that make me doing a review take much longer than it should - I just can't get enough of them. This one is titled "If You Want Me" (F. Bey, K. Frieson & J. Monjack), and listening to this six-and-a-half-minute long song was by far the best thirty-plus minutes of my day. This is slow, soulful blues at its very, very best. Checking all the boxes are Frank, putting on a commanding soulful and emotional vocal performance; Jeff, playing some of the best damn slow and scorching blues guitar runs you ears could possibly have ever heard; Andrew Samuels, giving the slow blues groove that Kevin Frieson (bass) and Brian Wolfe (drums) are locked into, it's heartbeat on the organ; and the horn section of Bob Maxom on the sax and Reginald Watkins & David (Bubba) Scott on trombone, adding a solemn vibe.
"Blues In The Pocket" (K. Frieson) starts off with Frank taking us to church as he preaches about the blues. However, don't get too comfortable in those pews because once the band fires up the funk, you won't be able to get to the dance floor quick enough. Those responsible for you wanting to shake your money maker are: Jeff on guitar; Doug Travis on keyboards; Kenny Taylor on trumpet; Allen Weber, John Thompson and Jay Davidson on saxophones; Kevin on bass; Omar Hill on percussion; and Kevin Sullivan on drums.
When you try to think of those responsible for promoting peace in this world, it's hard to 'imagine' where to start. However, if you narrow that field down to songwriters, it just got a whole lot smaller, with one particular name shooting right out at you - John Lennon. With that being said, there could not have been a better song to close out Peace with than his "Imagine". This rendition, which I'll unapologetically say is the best I've ever heard is being done by: Frank on vocals; Kid Andersen on guitar; Jim Pugh on organ and piano; Lorenzo Farrell on piano; Nancy Wright (solo) and Jack Sanford on sax; John Halbleib on trumpet; Ric Feliciano on trombone; Jerry Jermott on bass; Derrick "D'mar" Martin on drums; and Mike Rinta on the horn arrangements. If you've not heard this version of this anthem, listening to Frank singing his heart out, and the superstars accompanying him all putting on a masterful nearly seven-minute performance, it alone will be - as the saying goes - worth the price of admission.
Other tracks on what I'll take the liberty of calling a tribute to Frank Bey, include: "One Thing Every Day" (M. H. Schermer); "Midnight And Day; (K. Frieson); "City Boy" (K. R. Moore, aka Keb Mo); "Walk With Me" (J. J. Monjack & A. Samuels); and "Change Is Gonna Come" (S. Cooke).
For more information about Peace, and the inspiration for the project, visit www.nola-blue.com/frankbey, and If you've not yet received a copy for airplay, please contact Nola Blue Records at www.music@nola-blue.com. Also, If you'd like to purchase a Peace CD, a limited edition will be available exclusively via Bandcamp while supplies last, with a portion of the proceeds benefitting Frank's widow, Toni Bey. As usual, please let whoever you come in contact with know that the Blewzzman sent you.
On my last trip to Nashville, I was fortunate enough to catch Crooked Eye Tommy's last show before he left for Croatia, the very next day. On that trip he played a few shows with Tomislav Goluban, which ultimately led to Nashville Road being recorded back in Nashville. As Tomislav states "When I first heard 'Hot Coffee And Pain', a beautiful song from Crooked Eye Tommy, I knew that I wanted to create something with this man." Here is that creation.
Nashville Road features: Tomislav "Little Pigeon" Goluban on vocals and harmonica; (Crooked Eye) Tommy Marsh on vocals, electric guitar, acoustic guitar and lap steel; Eric Robert on keys; Jasco Duende on guitar; Doug Seibert on bass; Alfonso Wesby on drums; Bill Gilliam on upright bass; and Grady Clark on slide guitar. The album contains nine original tracks from Tomislav, with lyrical assistance by Jay Sieleman, Eric Noden, Mojo Parker, Kelly Zirbes and Tommy Marsh.
The opening track is an instrumental that is fittingly titled "Hard Run". It's an all-out smoker that features Tomislav leading the way with some highly exuberant harmonica runs; Tommy keeping up with the frantic pace while tearing it up on the electric guitar; Doug and Alfonso hammering out a thunderous rhythm on the bass and drums respectively; with Eric adding high powered piano highlights to the mix.
"Up Is Down" is the first of two tracks where Tomislav showcases his gritty, raspy and growly vocal textures. It's another of what will be many hard driving, rhythm fueled, dance floor filling, smokers.
Although the title of this song - "Bad Choices Make Good Stories" - didn't make the list, it definitely belongs there with those other most famous proverbs. Musically, being one of the more toned-down tracks, it gets to feature dynamite harp, guitar and piano highlights by Tomi, Tommy and Eric, respectively.
"Hip Hop Shake" has nothing to do with what we've come to know as hip-hop music, but sure as all get out, it will make you shake. It's a hard rockin' instrumental similar to the opening track. The only difference is that what the guys were doing on that one, they're now doing it harder and faster on this one.
There is bread on his table and his glass is full of wine; he's got someone whose smile makes him feel real fine; there is music in his ears and the rhythm makes him move; his soul fills with pleasure when he sees his baby groove. These, and much more, are exactly why "Life Is Good" for Tommy. This uplifting and inspirational track features some of Eric's best piano playing, Tomi and Tommy working their usual magic on the harmonica and guitar, respectively; and lively rhythm from Doug (bass) and Alfonso (drums). As long as there continues to be music like this, life will always be good.
The disc closes with a track titled "There Is A Train". For well over six minutes, Crooked Eye Tommy will mesmerize you with a masterful vocal performance as he tells the heartfelt story of that figurative train and its two destinations, heaven or damnation. And, as we all should have learned long before boarding, ain't no amount of money gonna change your destination. Led by Bill's deep upright bass lines, the rhythm on this ballad is precise; the contrasting acoustic guitar of Crooked Eye Tommy and the slide guitar of Grady are dazzling; and the laid-back, drawn-out harp leads from Tomislav create that perfect slow-moving train ride.
Other tracks on this excellent release are: "Rock Dog"; "Hard Candy"; and "Keep On Moving On".
If you've not yet received a copy of Nashville Road for airplay, please contact Betsie Brown at - www.blindraccoon.com - and should like to find out more about: Tomislav Goluban, just go to - www.goluban.com; and Crooked Eye, Tommy just go to www.crookedeyetommy.com. Remember, wherever you go and whomever you speak with, please tell them their friend the Blewzzman sent you.
