Joe Louis Walker: “The blues is consistent, it’s constant”

Legendary bluesman, Joe Louis Walker is a Grammy nominee who has won numerous Blues Music Awards and W.C. Handy Music Awards, and is in constant demand to perform across the United States and the world. NPR Music called him “a legendary boundary-pushing icon of modern blues.”

Photo: Marilyn Stringer

Born in California in 1949, Joe has had a lifetime in the blues, collaborating along the way with a diverse group of first-rate artists including James Cotton, Bonnie Raitt, Buddy Guy, Taj Mahal, and Clarence “Gatemouth” Brown.

With 26 albums to his name, his 2018 release, Journeys to the Heart of the Blues (Alligator Records) is something of a departure from his other records, which typically feature his blistering electric guitar, in a stirring mix of soul, rock, jazz, and gospel. Journeys to the Heart of the Blues is a stripped back collection of old blues songs, some by better known artists like Big Maceo Merriweather, Sunnyland Slim and Blind Willie McTell, others which revive songs from lesser known artists like Washboard Sam and Son Bonds. It’s been nominated for a Blues Music Award 2019 for Best Acoustic Album.

The songs were recorded by Joe along with US keyboard maestro, Bruce Katz and top-notch blues-harp player from the UK, Giles Robson. Along with Katz’s delightful boogie-woogie piano and Robson’s heart-rending harmonica, Walker’s vocal performance throughout is masterful, doing full justice to the gritty blues stories of the album’s songs.

Down at the Crossroads talked to Joe about the album:

DATC: Congratulations on the new album, Joe. It’s really excellent and had a lot of good reviews. It’s a very stripped-down approach to the blues – tell us about why you wanted to make an album like this.

Joe: Thank you. Well, the whole idea was – the harmonica player, Giles Robson, sat in with me one night – we were doing the same show in Amsterdam. And we had a good time, playing together. So he had an idea to do an acoustic thing with acoustic guitar and harmonica. And then we said, why don’t we add a piano to it, give a bit more percussive feel, and so I thought of Bruce Katz. So it turned our really good, because Giles came over from England and we rehearsed for a couple of days, and we recorded the whole thing in, I think, 3 or 4 days – record and mix and all that stuff – the whole record took maybe 6, 7 days to complete it. We did most everything live right there in the studio.

DATC: That seems pretty fast!

Joe: Yeah! In today’s world!

DATC: But then, you had three superb musicians working on it!

Joe: Yeah. Everybody communicated really good, when it came to the recording, when someone wanted to try something one way or a different way. Everybody communicated really well, which was really important.

DATC: Yes, and that comes across very much when you’re listening to the album. You’ve got that real good sense of understanding from the three of you playing together.

Now, these are pretty much all classic blues songs – you obviously still sense an appetite for this sort of material? What is the enduring power of the blues, and this more raw, stripped down blues that we get on this album?

Joe: Well I think that the tunes that this record presents are sort of…it goes back to a lot of topical blues where one particular song would be about one topic. And so here you have in detail about one topic like in Murderer’s Home, Murderer’s Home is basically murderer’s row when you go to prison, so this is describing murderer’s row. You have Hell Ain’t but a Mile and Quarter, obviously a mile and a quarter none of us want to go. So the song has gotta sound like that, gotta feel like that, you’ve gotta make that visual come across in your mind. When Giles brought some of these songs and we picked these songs, they seemed a little bit more obscure than a lot of other songs that have been done, and the artists who did them. People like Son Bonds, and others – a lot of people don’t know about them.

DATC: Yeah, it’s good to bring these artists to people’s attention. The sort of blues you’re talking about there – rooted in real life, in the nitty gritty of the difficulties of real people’s real lives – is that something in the blues that has an appeal, as opposed to the more ephemeral approach of a lot of modern music?

Joe: I think that is the one thing that differentiates blues for a lot of other genres of music. The blues is consistent, it’s constant, you know? It constantly speaks to the harder side of life, the things that we all go through, that might be uncomfortable to talk about, that we all think about, and then you find out that somebody else thinks about it the same way. Somebody else can put it in the form of a song, a poem, a book or whatever, then its cathartic. It’s a great purpose when it does that.

DATC: And is that why you gravitated towards the blues in your early days and why it’s continued to have such a strong pull for you over the years, Joe?

Photo: Joe Del Tufo

Joe: Well, I was like anybody else. I was a kid when I started playing music and you know, I just gravitated towards the music, period! Whether it was T-Bone Walker playing the guitar, or later on, whether it was the Animals – you know, I didn’t care, I just liked the music. And so, later on, when bands would put ads in papers for musicians, or in music stores or in different shops, I would answer some of those ads for a lead guitar player, when I was a teenager, and that helped me become a more well rounded guitar player. I played all kinds of stuff, you know, and the blues I played, it was blues, but it was also bluesy type of material. I just played all kind of stuff.

DATC: At one stage in your career, I understand you changed direction and spent a long time in a gospel group. Can you tell us about why you did that and then about moving back towards the blues again?

Joe: I started back to playing gospel music because that was basically where I started when I was a kid anyway. I’m a sort of a restless soul. There was a great group I was a part of, the Spiritual Corinthians, and so that was a great thing. But when I left the gospel group, I didn’t look at it as going back to playing blues. I looked at it as going forward, to playing something different. I get tired of playing the same thing! It just that musically I’m a restless person. So I wanted to do something different. I went back to trying to make my own stamp on a blues style music.

DATC: And you’ve done that to great effect over the year, Joe, fusing in various influences into your playing and your albums, but gospel has continued to be a theme in your music. I’m thinking of albums like Hellfire – the title track and Soldier for Jesus and the real gospel sound of Keep the Faith on Hornet’s Nest, for example.

Joe: Sure, yeah, and it gives me an excuse to sing with a lot of people who were heroes of mine, who do gospel stuff. I hired the Gospel Hummingbirds, The Spiritual Corinthians, I had The Jordanaires – God bless ‘em – I had the McCrary Sisters on a couple of things. A lot of different gospel people have sung on these records I’ve done. The new record I’m doing – it’s not the acoustic stuff, it’s my own record. I’m having a lot of people on that, I’m having several female singers, and one is Carla Cooke, that’s Sam Cooke’s daughter. And that’ll be out this coming year, with a lot of different ladies singing with me.

DATC: We’ll look forward to that. Just on this subject, On your website, you say talk about “my belief that the spiritual will carry you through when the physical can’t.” What do you mean by that?

Joe: Well, to put it into context, I think somebody asked me the question what was the difference between playing in church, playing gospel and playing in other styles. And I just said that the spiritual usually carry you through when other things won’t, you know. And there’s a lot of people that feel that way, there’s other people that don’t. So It think that when people have faith in whatever it is, it gives them another sort of strength in other areas of life.

DATC: Sure, sure. Now, you’ve kept a very fresh approach to the blues over the years, melding in other influences. As you look around today, are you encouraged by what you see in the blues? What younger players do you see that encourage you?

Joe: Yes, there are a lot of great young musicians that are doing a lot of great things. A lot of young people, like Selwyn Birchwood and Shemekia Copeland, a whole lot of people doing great things. Matt Schofield…everybody’s doing different kinds of things in their own way – more power to ‘em! Some are doing it a bit more jazzy, some are doing it a bit more country bluesier. But I see a lot of young people when I’m out touring at festivals and what have you. So I think music is in a good space.

DATC: Fantastic. Thank you, Joe. Much appreciated.

Chris Smither at the Black Box: 7 things we learned.

Chris Smither played the Black Box in Belfast as part of his UK and Ireland tour. The venue was packed with appreciative fans who hadn’t seen Chris play there for some years, although he has been a frequent visitor to Belfast over a long period. The veteran bluesman was in terrific form, playing a combination of oldies and songs from his new album, Call Me Lucky, in his own, inimitable style.

He was supported by the one-man band Matt Lorenz, who unpacked his percussion kit from an old suitcase, which then became his bass drum. The gerry-rigged pots and pans accompanied his overdriven cheap acoustic guitar to great effect in a set that was as surprising as it was immensely enjoyable.

1. Chris Smither has a unique guitar playing style. Make no mistake about it, he’s a terrific guitarist, with that rock steady, alternating thumb thing he has going and his clever licks on the top strings, but, like all great guitarists, he has an unmistakable style. You hear a few bars and you know you’re hearing a Chris Smither number. He even made his cover of Chuck Berry’s Maybelline sound like a Chris Smither song.

2. Then there’s that characteristic, miked up rhythmic foot tapping thing he does, beating like a metronome, both percussive and accentuating the throbbing bass of the guitar. You’d wonder if it would work right throughout his set, but, yes, it does, putting both Chris and the audience into a kind of trance as each song progresses.

3. Chris Smither’s repertoire extends far beyond the blues, but boy is he good at playing the blues. He told us he inhabited the music of Mississippi John Hurt, Lightnin’ Hopkins, Blind Willie McTell and the other country blues guys when he first started out playing – he says he wanted to be those guys. But all these years later, that solid legacy of acoustic blues guitar is what underpins his playing style. The man can play the blues – What It Might Have Been went down a storm, as did the barnstorming Statesboro Blues which rounded the evening off.

4. His new album, Call Me Lucky, is packed with songs laced with sharp lyrics and wry humour. Amongst other songs we were treated to Nobody Home, an amusing but slightly caustic look at the state of the world. The Belfast crowd loved the line about the “clown with the comb over, tweeting on his phone.”

5. He has plenty of classics and crowd favourites in his back catalogue. There were smiles on faces and people mouthing lyrics on numbers like Leave The Light On and No Love Today.

6. Song writing, apparently, does not come easily to a man who has been hailed as “one of the absolute best singer-songwriters in the world.” It is, he told us, an “illogical, incoherent process” which he can only do when the pressure of having to produce another album bears in on him. It’s the lyrics that get to him, it seems – and yet he’s produced so many gems over the years, with clever, amusing, poignant lyrics. Goes to show, if you’re gonna be good at something, it takes hard work…

7. Matt Lorenz, aka Suitcase Junket is a phenomenal talent, who blew us away with his guitar playing, home-spun percussion, brilliant songs and his jaw-dropping vocals. He’s perfected a kind of tone-shifting singing style where he can produce harmonics in a kind of extra accompaniment to his singing of the lyrics. He explained how he does it – I’m none the wiser – but it was mighty impressive. You know when you go to a gig and you kind of endure the support act, hoping he or she will finish quickly so you get to the main act? With Matt Lorenz you were hoping he’d play some more. Thankfully Mr. Smither invited him back later to accompany him with some tasteful slide guitar in a couple of songs later on. Let’s hope the young Suitcase Junket has all the success he deserves.

Catch our recent interview with Chris Smither here.

Best Americana Albums 2018

What a year it’s been for roots music. So much wonderful, high quality work by a host of artists in a diversity of styles – variously with country, blues or folk to the fore. That being the case, it’s hard to suggest a best of list. But here goes. We’ve grouped them into two sets of ten and then a group of six. Each set is in alphabetical order.

Here’s our Top 10

Amy Helm This Too Shall Light

In an album produced by Joe Henry, Amy Helm, daughter of late Band drummer Levon gives us ten songs tinged with soul and gospel, featuring uplifting lyrics and beautiful nuanced singing. A wonderful set of interesting, sometimes obscure covers and lovely originals.

 

 

Birds of Chicago: Love in Wartime

This is simply an outstanding album of classic Americana. JT Nero and Allison Russell’s vocals and rich harmonies, as usual, meld wondrously, and the song arrangements are innovative and imaginative while, at the same time, warm and inviting.

 

 

Eric Bibb: Global Griot

Double album of wonderful songs, brilliantly presented by the blues troubadour. As much world-music as Americana or blues, this is surely one of Bibb’s best accomplishments. There’s joy, love and hope inhabiting these songs, as well as a dose of righteous protest – whether it’s at the materialism of the age or the frightful tweeting of number 45.

 

 

Jayhawks: Back Roads and Abandoned Hotels

Reworking of some of the songs Gary Louris, has co-written with other artists, including the Dixie Chicks and two new songs. It’s a great Jayhawks album, with the band in great form over the course of 11 songs of magnificent alt-country.

 

 

John Hiatt: The Eclipse Sessions

In his first album in four years, Hiatt is in fine form, his crusty vocals accompanying a largely pared back band. This is an album that draws you in and enchants you the more you listen to it.

 

 

Larkin Poe: Venom and Faith

Quite simply this is an extraordinary album from the very talented Lovell sisters in their 4^th studio album. The two sisters play every instrument, aside from some wonderful slide guitar in one song by Tyler Bryant, creating a wonderful variety of sounds and textures. Classic but innovative, with traditional, primal sounds mixed with electronic beats.

 

 

Lori McKenna: The Tree

Lori McKenna is a brilliant song writer. Here she gives us 10 songs about family life and the tensions of everyday existence in a fabulous, understated record, produced by Dave Cobb. Outstanding.

 

 

Parker Millsap: Other Arrangements

Melodic and bluesy, rock and roll-ish outing from Oklahoma born singer, songwriter and bandleader, Parker Millsap. The depth and range in Millsaps vocals are terrific, across twelve rollicking, pulsating songs.

 

 

Paul Thorn: Don’t Let the Devil Ride

Unabashed album of gospel music, with Paul and his band, and a group of top notch collaborators including the Blind Boys of Alabama, the McCrary Sisters, Bonnie Bishop and New Orleans’ Preservation Hall Jazz Horns, all in scintillating form. Check out our interview with Paul Thorn here. 

 

 

Ry Cooder: The Prodigal Son

An album of wonderfully reinterpreted old gospel songs and hymns, from the guitar virtuoso. Cooder’s first album for six years has been hailed as “destined to become an instant classic” the produce of a “musical mastermind” and “completely fresh and contemporary.” These are songs that will speak to anyone, believer or unbeliever. There’s humanity, decency, inspiration, hope in these songs, that anyone can feel. You can find more comment on this album here: 

Here are our picks for 11-20, again in alphabetical order:

Ashley McBryde: Girl Going Nowhere

 

 

 

 

Brett Cobb: Providence Canyon

 

 

 

 

Brooks Williams: Lucky Star

Find our full review of Lucky Star here

 

 

 

Kacey Musgraves: Golden Hour

 

 

 

 

Mark Knopfler: Down the Road Wherever

 

 

 

 

Milk Carton: Kids Monterey

 

 

 

 

Pistol Annies: Interstate Gospel

 

 

 

 

Rosanne Cash: She Remembers Everything

 

 

 

 

Shemekia Copeland America’s Child

Check out our interview with Shemekia here 

 

 

Various Artists: Johnny Cash: Forever Words

And the rest of these excellent albums:

Brandi Carlile: By the Way, I Forgive You

 

 

 

 

Calexico: The Threads that Keeps Us

 

 

 

 

Don Flemons: Black Cowboy

 

 

 

 

I’m With Her: See You around

 

 

 

 

John Prine: The Tree of Forgiveness

 

 

 

 

Wood Brothers: One Drop of Truth

Best Blues Albums 2018

2018 has seen so many fabulous blues albums released – whether it’s acoustic blues, blues rock, gospel blues, funky blues, Chicago-style blues, Memphis-style blues…whatever, it’s been a remarkable year for the blues. Down at the Crossroads has chosen 30 albums that we’ve enjoyed listening to and that we consider exceptional. (Click on the links as you go through to find full reviews or interviews).

Here’s our Top 10

Ry Cooder: Prodigal Son
An album of wonderfully reinterpreted old gospel songs and hymns, from the guitar virtuoso. Cooder’s first album for six years has been hailed as “destined to become an instant classic” the produce of a “musical mastermind” and “completely fresh and contemporary.” These are songs that will speak to anyone, believer or unbeliever. There’s humanity, decency, inspiration, hope in these songs, that anyone can feel. If you are a person of faith, however, you’ll find an extra dimension of faith, encouragement and challenge here too. Further comment on the album here. 

Larkin Poe: Venom and Faith
Quite simply this is an extraordinary album from the very talented Lovell sisters in their 4^th studio album. The two sisters play every instrument, aside from some wonderful slide guitar in one song by Tyler Bryant, creating a wonderful variety of sounds and textures. Is it Americana or blues, or pop even? We’ll plump for a modern interpretation of traditional blues. Classic but innovative, with traditional, primal sounds mixed with electronic beats. It all works wonderfully well – not least in what is possibly the best version I’ve ever heard of Skip James’s Hard Time Killing Floor blues. More comment on the song here.

Joe Bonamassa/Beth Hart: Black Coffee
You really can’t go wrong with an album of music from guitar genius Joe Bonamassa and vocal tour de force Beth Hart. Individually brilliant. Together, they make magic.

 

 

Ana Popovic: Like it on Top
Ana Popovic, top-notch guitarist, singer and song-writer with her 11^th studio album. Recorded in Nashville, and produced by four-time Grammy winner Keb’ Mo’, it features guest appearances from Kenny Wayne Shepherd, Robben Ford and Keb’ Mo’. It’s a terrific piece of work, featuring some beautiful and truly exceptional guitar work, and funky, bluesy arrangements. It’s an important piece of work about the empowerment of women. Our interview with Ana is here.

Buddy Guy: The Blues is Alive and Well
15 tracks from the veteran bluesman, with Guy’s still formidable vocals and blistering guitar work aided and abetted by the McCrary sisters, Mick Jagger, James Bay, Jeff Beck and Keith Richards.

 

 

Paul Thorn: Don’t Let the Devil Ride
Unabashed album of gospel music, with Paul and his band, and a group of top notch collaborators including the Blind Boys of Alabama, the McCrary Sisters, Bonnie Bishop and New Orleans’ Preservation Hall Jazz Horns, all in scintillating form. Our interview with Paul is here.

 

 

Paul Cowley: Just What I Know
The Mississippi Delta via Birmingham, England and Morbihan in Brittany. They’re all in the mix in Paul Cowley’s wonderful album of classic-sounding acoustic blues, Just What I Know. Deft and delightful acoustic guitar work, including lovely, tasteful slide playing, along with Cowley’s nicely phrased vocals, make up a hugely satisfying selection of acoustic blues. See our full review here.

 

Ben Harper & Charlie Musselwhite: No Mercy in this Land
Vibrant collaboration of no-nonsense blues which delivers all you want from the blues – lament, joy, emotion – but never sounds dated. Musselwhite’s harmonica playing is exceptional throughout, complementing Harper’s versatile vocals and cool guitar work.

 

 

Various: Strange Angels: In Flight with Elmore James  
Top notch tribute album to Elmore James featuring Bettye LaVette, Keb’ Mo’, Warren Haynes, Shelby Lynne/Allison Moorer and others.

 

 

Dana Fuchs: Love Lives On
Fine album of bluesy American from the talented singer-songwriter, which features her utterly engaging, raspy vocals and a wonderful set of 13 songs, including a blues-soaked, stripped back version of Johnny Cash’s Ring of Fire.  “Love Lives On is about hope and perseverance…I hope in some way this album can give some of that back to you,” said Fuchs. See our interview with Dana here.

 

And here’s the next 10:

Shemekia Copeland: America’s Child
Shemekia Copeland has a stack of blues music awards to her name and several Grammy nominations. Her new album, America’s Child, produced by Nashville’s Will Kimbrough, is a compelling piece of work that sees Ms. Copeland branch out beyond the blues in which she’s made her name. To be sure there are great blues numbers here, but there’s rock and country too – overall it’s a great piece of Americana. Our interview with Shemekia is here.

Luke Winslow-King: Blue Mesa
Wonderfully upbeat, positive album of rocking blues. Luke Winslow-King is one very fine guitarist, singer, composer and songwriter. Formally trained in musical composition and an accomplished jazz guitarist, he is able to fuse blues, gospel, R&B, folk and jazz into a hugely entertaining and quite original rootsy style. Our interview with Luke is here.

 

Van Morrison The Prophet Speaks
Van the Man is in a rich vein of form with his 40^th release, giving us six new tracks of his own and blues classics from the likes of Willie Dixon and John Lee Hooker in a 14 song set. He continues his collaboration with multi-instrumentalist Joey DeFrancesco in some quite wonderful, jazzy blues, all with a classic, big band feel. “Change your thought and it will change your mind,” sings Van. The prophet speaks.

 

Chris Smither: Call Me Lucky
Double album of terrific acoustic songs from the gravel voiced and rhythmic guitar picker. As you’d expect on a Chris Smither album, the lyrics are sharp and laced with wry humour, without ever being cynical, the new songs demonstrating once again the importance of Chris Smither as a songwriter and artist. Our interview with Chris is here.

 

Janiva Magness: Love is an Army
Twelve hugely enjoyable songs which tap into a deep well of bluesy Americana and Memphis soul. Magness is joined by a number of guest luminaries, such as Charlie Musselwhite, Delbert McClinton, Texas singer-songwriter Bryan Stephens, Poco frontman Rusty Young, Mississippi hill-country blues artist Cedric Burnside, and bluegrass guitar and banjo virtuoso Courtney Hartman. These are stirring songs of protest, empowerment and hope which will capture your soul and move your feet. Our interview with Janiva is here.

 

Mark Harrison: The Panoramic View
Mark Harrison’s new album, The Panoramic View is an entertaining treat of modern acoustic blues, full of wondrous finger-picking and slide playing, and giving full vent to Harrison’s compelling story-telling and wry humour. Mark Harrison is a supremely accomplished song writer, guitarist and performer and The Panoramic View a satisfying feast of modern acoustic blues. Our full review is here.

Rory Block: A Woman’s Soul: A Tribute to Bessie Smith
Block turns her attention to the Empress of the Blues, after her set of 6 tribute albums to the founding fathers of the blues. Everything on the album is played by Rory Block, and as ever, the guitar picking and slide work are masterful. The songs, clearly, are very differently treated to the originals, but make for a fine and hugely enjoyable tribute to Bessie Smith.

 

Joe Bonamassa: Redemption
Rock blues guitar icon Bonamassa’s 13^th studio album delivers great song-writing, excellent vocal work and, of course, exceptional guitar work, accompanied by a hugely talented, veteran band. The title track, complete with heavenly choir and huge production, is an epic track to be savoured.

 

Keeshea Pratt Band: Believe
One very fine album of soul-soaked blues, featuring an outstanding 7-piece band and the wondrous Ms. Keeshea Pratt, whose soaring and thrilling vocals sparkle on each of the twelve tracks. Our full review is here.

 

 

Brooks Williams: Lucky Star
Brooks Williams, a jaw-droppingly good guitar player, has a sweet, but versatile voice, and is a great song-writer with a ready wit. Lucky Star is a terrific album of bluesy Americana, with twelve tracks and two additional bonus songs which feature Brooks along with blues maestro Hans Theessink. The combination of Williams’ tenor voice and Theessink’s gravelly bass works tremendously well. Our full review is here.

 

And our final set of 10:

Matty T Wall: Sidewinder
Make no mistake – Matty Wall is an extraordinary talent and deserves a massive amount of recognition for this terrific album. It’s blues rock, but it shimmers with passion, originality and top-notch musicianship. The combination of Wall’s artistry, his excellent band and legendary Grammy-winning producer-engineer, Bob Clearmountain, has resulted in one of the best blues rock albums of the year. Our full review is here.

 

Ian Siegal: All the Rage 
Ian Siegal rages against the poison in the veins of the world in a very fine album of blues rock. His trademark rasping vocals never felt so menacing and appropriate.

 

 

Joe Louis Walker & Bruce Katz & Giles Robson: Journeys To The Heart Of The Blues
Traditional stripped down blues featuring some sparkling boogie-woogie piano, lovely guitar work and wailing harmonica from three blues masters. Great versions of some blues standards in a thoroughly satisfying set.

 

 

Paul Oscher: Cool Cat
Oscher was member of Muddy Waters band, of whom Waters said “Paul Oscher plays the soul I feel,” This is an exceptional album of time-honoured, classic blues, from a man, whose life in the blues oozes from every musical phrase. According to Oscher, “The real gift of talent is not the ability to be able to play, it is the gift of the love you have for the music.” Our full review is here.

 

Billy F Gibbons: The Big Bad Blues
No surprises in this one; every phrase is characteristic Billy Gibbons. But what’s not to like? Four classic blues covers and seven new songs to get your toes tapping and your engine revving.

 

 

Elvin Bishop’s Big Fun Trio: Something Smells Funky Round Here
Worth it for the title track alone: “I’m not talkin’ ‘bout funky like a groove/Really funky…like pee-uuuuh!” The stench comes from the nation’s capital – “funky like some old politicians.” Great fun throughout, including the spoken “Lookin’ Good,” with its three stages to life: youth, middle age and “you’re looking good.”

 

 

Bryan Lee: Sanctuary
BMA Award winner and Grammy Nominee, Bryan Lee has had a lifetime in the blues. In his mid-seventies, the bluesman, who lost his sight at the age of 8, is still playing consistently and this very fine collection of unabashed gospel blues shows his vocal and guitar playing powers are still very much in evidence. It’s a top-notch blues album, well produced, recorded and mastered. Our interview with Bryan is here.

 

Victor Wainwright and the Train
Boogie woogie, as you might expect, but a lot more besides on this fine album, driven by Wainwright’s raw, powerful vocals and top notch piano playing. Watch out for the excellent BB King tribute, “Thank You Lucille.”

 

 

Danielle Nicole: Cry No More
Guitar work from guests Sonny Landreth, Walter Trout, Luther Dickenson and Kenny Wayne Shepherd sets off Nicole’s stirring, emotion-laden vocals.

 

 

 

Mike Zito: First Class Life
Rocking, honest 15th album from Zito who sings about his “second chance at a first class life,” charting his journey from addiction to sobriety to a life in music.