#328 : Reverend Freakchild -Dial It In

2018 – Treated and Released Records

By Phillip Smith; April 7, 2018

Dial It In, the third album from the good Reverend Freakchild is absolutely fabulous.  Most often with a National steel guitar in hand, his brand of blues and blues-rock is incredibly unique, outstanding, and at times a bit psychedelic.  For this album, Freakchild enlists drummer Chris Parker (Bob Dylan, Joe Cocker, Paul Butterfield) and guitarist Hugh Pool who also recorded and mixed the album.

The record softly cracks open with a mostly instrumental, backwoods, swampy blues track “Opus Earth”.  Accented with backwards guitar, a hypnotic beat, and spiritual chants, this amazing track lets the listener know they are in for a unique listening experience.  Freakchild delectably covers Depeche Mode with a nice and greasy blues-soaked arrangement of “Personal Jesus (on the Mainline)”. With Pool blowing harp, and Freakchild providing the suave velvety vocals and twang, this version totally demolishes the original.  Guitarist Mark Karan and bassist Robin Sylvester, both from Ratdog guest on “Hippie Bluesman Blues”. They instill a delightful deadhead vibe into this country-blues original.

The soulful rhythm in “Dial It In” coupled with Freakchild’s fast-paced prose draws me in with a firm grasp.  Spirited backing vocals from the lovely Hazel Miller join with Garrett Dutton’s (G Love and Special Sauce) for a rejoicing funky good time.  With Jay Collins boldly belting it out on saxophone, Freakchild fearlessly takes on Dylan’s “It’s Alright, Ma (I’m Only Bleeding)” in a marvelous no-holds barred performance. A wonderful tribute to Blind Willie Johnson is exhibited in a “Soul of Man”, before the good Rev takes us home with the cosmic closer “Opus Space” for a grand finale.  And to this, I say “Amen Brother, Amen!”.            

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Click below to read the PhillyCheeze review of  : Reverend Freakchild - Illogical Optimism

https://phillycheezeblues.blogspot.com/2016/06/reverend-freakchild-illogical-optimism.html

      

#327 : Tyler Morris Band - Next in Line

2018 – Vizztone

By Phillip Smith; March 31, 2018

Next in Line, the third album from Tyler Morris continues to break new ground for the nineteen year old guitar prodigy.  Chock-full of blues-soaked rocking originals, this record, produced by Grammy Award winner Paul Nelson (Johnny Winter), stands tall.  While Morris holds the fort down on guitar, the rest of the band is comprised of vocalist Morten Fredheim, bassist Scott Spray, drummer Tyger MacNeal and keyboardist Mike Dimeo.    

Morris lays down the blues in a tantalizing jam with the fabulous Uptown Horns in the instrumental “Choppin’”.   His performance in “Thunder” rides the rails of a funky dirty groove and is downright amazing.  The great Joe Louis Walker teams up with the band to belt out the classic SRV barnburner “Willie the Wimp”.  The swirling sounds of Dimeo on organ coupled with MacNeal’s tremendous beats and Spray’s standout bassline set a perfect stage for Morris’s searing licks.    

“Down On My Luck” is unbelievably good.  Morris fills this stunning song to the brim with an intoxicating blues riff which keeps the energy flowing while Fredheim’s powerful vocals evoke a spectacular fierceness. If this is any indication of what’s in store from the band in the future, I can’t wait to hear their next album already.

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#326 : Ten Second Pistol - You Have No Power Over Me

2018 – Zeven Music Entertainment

By Phillip Smith; March 24, 2018

Ten Second Pistol packs a hard-hitting punch with their delightful and raw debut album, You Have No Power Over Me.  Benny Chang, front man of this up-and-coming blues-rock band out of El Paso, Texas connects with the listener using attention-grabbing guitar riffs and suave smoky vocals.  Alongside Chang is his rhythm section composed of bassist Davis Alexander and drummer Manny Ayala.  They’re a tight outfit indeed.  

Fueled by searing guitar licks and a dire mood, Chang spotlights the slow-baked break-up blues ballad “Get To Steppin’” with a fabulous heart-wrenching performance reminiscent of Tom Waits.  Elegantly played and thought provoking, “Like A Bird” takes a cold hard look at the world today.  It’s quite outstanding.  A buttery electric groove forges the way for a captivating hypnotic listen in “Hold On”.  Riding atop a steady pounding beat, Chang breaks out his slide for the swampy and deliciously ominous “Got No Love”.  This leads right into the powerful blues ballad, “She Left Me”, which splendidly brings the album to its end.  Beautifully played and with no accompaniment, Chang invokes a retro juke-joint vibe with this wonderful blues-soaked track.

When I’ve listened to You Have No Power Over Me, I feel like I’ve actually listened to something with substance.  This is what the Blues is all about.    

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#325 : Tinsley Ellis / Wooden Nickel Lottery live @ The Redstone Room

Tinsley Ellis w/ opening act Wooden Nickel Lottery

Live @ The Redstone Room      

March 16, 2018

Davenport, Iowa

By Phillip Smith; Mar. 17, 2018

Tinsley Ellis blessed a full house at the Redstone Room in Davenport, Iowa with an amazing night of guitar blues, this past Friday, March 16^th.  Performing with Ellis as his rhythm section was new touring bassist Kevan McCann and drummer Erik “Jazzy Skins” Kaszynski. 

Eastern Iowa blues-rockers Wooden Nickel Lottery opened for Tinsley with a powerful forty-five minute set.  WNL is comprised of lead singer Rick Gallo, lead guitarist Rich Toomsen, bassist Jess Toomsen, and drummer Delayne Stallman.  WNL kicked their set off with “Morning Heartbreak” off their 2015 debut album On My Way and proceeded to play through favorites from their latest album Down The Line, such as “Can’t Be Wrong”, “No Second Chances”, “Bad Gone Good” and “Nickels and Dimes”.  They closed out with a tight delivery of Sam Cooke’s “Change is Gonna Come”.  Gallo’s vocals were on the mark and the band’s performance was magnificent.

Tinsley did what Tinsley does best… and that’s play the Blues with his amazing arsenal of guitars.  He covered tons of favorites right from the get-go, hitting on “Saving Grace”, “Cut You Loose”, “To the Devil For a Dime”, and “Quitter Never Wins”.

My favorite moments occurred with Tinsley's Dobro in hand.  Before playing “Can’t Be Satisfied”, Tinsley explained Bob Margolin taught the song to him, and Muddy Waters had taught Margolin the song.   It was spectacular. He spoke about meeting many of the blues masters as a youth, and then tore into a breathtaking “Little Red Rooster”.

    

Before the evening was over, Tinsley let loose on “Highway Man”, “The Last Song”, and “Pawnbroker”.  It definitely was a marvelous night for music. 

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all photos by Phillip Smith

Wooden Nickel Lottery

Wooden Nickel Lottery

Delayne Stallman, Jess Toomsen, Rick Gallo

Rick Gallo

Rich Toomsen, Delayne Stallman, Jess Toomsen

Delayne Stallman, Jess Toomsen

Rich Toomsen

Delayne Stallman

Rick Gallo

Rich Toomsen, Jess Toomsen

Rich Toomsen, Delayne Stallman

Tinsley Ellis

Kevan McCann, Tinsley Ellis

Kevan McCann

 Erik “Jazzy Skins” Kaszynski.

Kevan McCann

Tinsley Ellis

Tinsley Ellis

Tinsley Ellis

Kevan McCann, Tinsley Ellis , Erik "Jazzy Skins" Kaszynski

 Erik “Jazzy Skins” Kaszynski.

Kevan McCann, Tinsley Ellis

Tinsley Ellis

 Erik “Jazzy Skins” Kaszynski.

Tinsley Ellis

Tinsley Ellis

Tinsley Ellis

Tinsley Ellis

Kevan McCann, Tinsley Ellis

 Erik “Jazzy Skins” Kaszynski.

Kevan McCann

Tinsley Ellis, Kevan McCann

Tinsley Ellis

all photos by Phillip Smith

#324 : Myles Goodwyn And Friends of the Blues

2017 – Linus Entertainment

By Phillip Smith; March 17, 2018

April Wine front-man Myles Goodwyn has had a passion for the blues since the Sixties, when the greats like Howlin’ Wolf, Muddy Waters, and BB King were in their heyday.  Over the years, Goodwyn set his blues songs aside for future use and never put them to wax for an April Wine album.  The future is finally here, and a dozen of those delectable songs have been recorded for this spectacular record, Myles Goodwyn and Friends of the Blues.  Goodwyn takes the lead on vocals, guitars, and keyboards, while Mike Carrol and Blair Mackay appear on drums.  Bass players consist of Richard Fallus, Alex Fraser, Russal Jackson, and Bruce Dixon.  The list of friends which join Goodwyn in the studio are Jack de Keyzer, Garret Mason, David Wilcox, Amos Garret, Kenny “Blues Boss” Wayne, Joe Murphy, Frank Marino, Shaun Verreault, Bill Stevenson, and Rick Derringer.

I love the way the album rolls in with the high energy electric blues on “I Hate to See you Go (But I Love to Watch You Walk Away)”.  This captivating opener is nicely topped off with a sweet sax and horn arrangement from Eric Khayat.  Goodwyn takes an amazingly deep dive into the cold well of bitterness in “I’ll Hate You (Til Death Do Us Part)”.  This stellar performance features the great Frank Marino on guitar and piano great Kenny “Blues Boss” Wayne.  I could listen to Rick Derringer play guitar all day.  His searing guitar in blues-rocker “Last Time I’ll Ever Sing the Blues” is downright tantalizing.

Myles Goodwyn and Friends of the Blues brilliantly shows another side of Goodwyn as he masters the Blues.  I certainly hope to hear more recordings like this in the future him.

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Also reviewed on Phillycheeze’s Rock & Blues Reviews

Blue Öyster Cult & April Wine - Live @ Riverside Casino, May 14, 2016

https://phillycheezeblues.blogspot.com/2016/05/blue-oyster-cult-april-wine-live.html

#323 : Mick Kolassa - Double Standards

2017 – Swing Suit Records

By Phillip Smith; March 10, 2018

One can feel the heart and soul poured into the latest release from “Michissippi” Mick Kolassa.  Double Standards, a wonderful thirteen track album, celebrates some of the greatest blues songs to have been recorded.  Backing Kolassa in the studio is guitarist Jeff Jensen, bassist Bill Ruffino, drummer James Cunningham, and organist Chris Stephenson.   For this venture, Kolassa also enlists the participation of several notable musicians, who today are busy carving their own unique path to present the Blues.  These artists are Tullie Brae, Erica Brown, Annika Chambers, Heather Crosse, Tas Cru, Gracie Curran, David Dunavent, Alice Hasan, Eric Hughes, Colin John, Jeremy Powell, Patti Parks, Sugaray Rayford, and Victor Wainwright.

A big gracious nod goes out to the legendary bluesman Willie Dixon.  Performing as a duet with Kolassa, Erica Brown holds back nothing as she pours her soulful vocals into the classic “Spoonful”.  I love Jenson’s guitar performance and Stephenson’s organ arrangement on this track.  The lovely Heather Crosse joins in on “I Just Want to Make Love To You”.  Memphis’ Eric Hughes lays a heaping helping of luscious harmonica on this track.  It sounds great.  The dynamic duo of Kolassa and Sugaray Rayford double the ante on “300 Pounds of Heavenly Joy”, originally recorded by Howlin Wolf, to bring a grand total of “600 Pounds of Heavenly Joy” to the table.  Fortified with the guitar prowess of both Colin John, and Mike Kolassa, this track is a big bowlful of fun.

Victor Wainwright splendidly takes the vocal reins on Tampa Red’s 1928 hokum “It’s Tight Like That”, with Hughes icing the song with harmonica and Alice Hasan accompanying on violin.  Tas Cru lends his definitive voice to the Jimmy Cox penned standard, “Nobody Knows You When You’re Down and Out”.  This timeless classic is beautifully accompanied by Hason on violin and Jeremy Powell on piano.  Eric Hughes gives a smooth performance Big Bill Broonzy’s “Key to the Highway”.  It’s very nice indeed. 

Double Standards comes to a joyful conclusion in a full-fledged jamboree.  Each singer takes a turn on “Ain’t Nobody’s Business”, spinning their own off-the-cuff lyrics.  It’s a great track to close the album with, as the energy of the whole collective is funneled into this closing song. 

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All Proceeds from Mick Kolassa’s albums will go to support two of these important programs: The HART Fund and Generation Blues.

THE HART FUND (Handy Artists Relief Trust) is for Blues musicians and their families in financial need due to a broad range of health concerns. The Fund provides for acute, chronic and preventive medical and dental care as well as funeral and burial expenses. 

GENERATION BLUES provides scholarship to artists under the age of 21 to study at reputable camps, seminars and workshop programs such as Port Townsend Acoustic Blues Festival, Augusta Heritage Center and Fernando Jones’ Columbia College Blues Camp.

Also reviewed on Phillycheeze’s Rock & Blues Reviews

Victor Wainwright and the WildRoots – Boom Town

https://phillycheezeblues.blogspot.com/2015/07/victor-wainwright-and-wildroots-boom.html

Tas Cru - Simmered & Stewed

https://phillycheezeblues.blogspot.com/2017/01/tas-cru-simmered-stewed.html

Heather Crosse - Groovin’ at the Crosse Roads

https://phillycheezeblues.blogspot.com/2016/01/heather-crosse-groovin-at-crosse-roads.html

#322 : Victor Wainwright and the Train - (self-titled)

2018 – Ruf Records

By Phillip Smith; March 2, 2018

Victor Wainwright, one of my favorite keyboardists playing the Blues today, has released a spectacular new album with his new backing band, The Train.  Making up The Train is drummer Billy Dean, bassist Terrence Grayson, and guitarist Pat Harrington. This album features a dozen original songs from Wainwright which ranges from barrelhouse blues to boogie-woogie.  No matter what he’s playing, it’s performed with precision and soul. 

Wainwright’s lush keys and ominous lyrics stand tall on “Wilshire Grave” as it sinks its claws in.  A seductive hook, the growling trumpet of Doug Woolverton, and the backing vocals of Reba Russell make this song the embodiment of cool.  With a bluesy Randy Newman vibe, “Dull Your Shine” emits a message of positivity as it reinforces the characteristic of individuality.  There hasn’t been a better song about debt collection than “Money”.  Wainwright’s piano prowess is quite amazing and Harrington’s guitar performance is terrific.  “Thank You Lucille” is a wonderful homage to the great B.B. King.  In a fitting tribute, guitarist Monster Mike Welch seemingly channels the man himself.  A slow-burn start on “Sunshine” breaks into a rejoicing Phish-phriendly jam with tiny nods to the great Frank Zappa.  Harrington’s smokin’ guitar performance coupled with Billy Dean’s amazing drum fills put a gigantic smile on my face.

Victor Wainwright and the Train is one stellar record, and certainly deserves to be heard.

   

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Also reviewed on Phillycheeze’s Rock & Blues Reviews

Click below to read PhillyCheeze's review of  :Victor Wainwright and the WildRoots – Boom Town

https://phillycheezeblues.blogspot.com/2015/07/victor-wainwright-and-wildroots-boom.html

#321 : Rockin’ Johnny Burgin - Neoprene Fedora

2017 – West Tone Records

By Phillip Smith; Feb. 24, 2018

Rockin’ Johnny Burgin has been putting out righteous blues music for at least twenty years, and his latest release Neoprene Fedora is no exception.  On this sixteen track record, Burgin further explores the blues, taps into some California surf guitar, and steps into the world of zydeco for a few songs.  Again, recording at the Greaseland Studios in San Jose, California, Burgin enlists a super group of notable musicians to join him: Kid Andersen (guitar/bass/piano), Aki Kumar (harp/percussion/vocals), Bob Welsh (guitar/piano), Alabama Mike (vocals), Vance Ehlers (bass), June Core (drums/percussion), Stephen Dougherty (drums), Nancy Wright (sax.), Steve Willis (accordion), Billy Wilson (rub board), and Chris Matheos (bass).

Title track, Neoprene Fedora is one smokin’ cool tune.  This is California surf at its best.  With Nancy Wright on sax, and Kid Andersen joining in on guitar, the song pretty much soars skyward with its over seven minute instrumental jam.  I love how Burgin’s cover of “Give Me an Hour in Your Garden” drips with authenticity.  Originally recorded by Papa John Creech on his 1972 album Filthy, Burgin wails this one with heart and soul as Anderson joins in on piano.  Alabama Mike steps in on vocals and Aki Kumar on harp, as Burgin breaks the funk out on “Smoke and Mirrors”. This juicy track is soaked in the raw grit of the mid-Seventies, and I dig every bit of it.  Burgin connects right in to the essence of the average blue-collar worker in “I Ain’t Gonna Be a Working Man No More”.  Featuring a driving rhythm from Ehlers and Dougherty and the guitar prowess of the great Bob Welsh, the song buries in deep.  With a Smokestack Lightnin riff, Burgin bids a personal adieu to the Windy City in “Goodbye Chicago” and sets his scope on the Sunkist State, where he now resides.  It’s a wonderful homage.      

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#320 : Jane Lee Hooker - Spiritus

2017 – Ruf Records

By Phillip Smith; Feb. 17, 2018

There is no other band quite like New York City’s Jane Lee Hooker.  Much like the Rolling Stones, this rockin’ quintet, comprised of Dana “Danger” Athens on lead vocals/keys, guitarists Tracy “High Top” Almazan and Tina “T-Bone” Gorin, drummer Melissa “Cool Whip” Houston, and bassist “Hail Mary” Zadroga, has deep roots in the Blues.  Spiritus, their sophomore album is a ten-song mix of high-voltage rock and roll and blues deliciously delivered with a captivating and unbridled approach.  

An energetic shout-out to the famous Knucklehead Saloon in Kansas City nicely kicks things off in a southern rocker fashion for the opener “How Ya Doin’?”  “Gimme That” sweetly follows.  The swagger in Athens’ vocals is undeniable and that Stonesy riff sounds so good.  Living life to its fullest, taking charge and taking chances takes precedence in the passionately sung “Mama Said”. The dual guitars are terrific.   

Cool Whip and Hail Mary take no prisoners as they forge a raw and intense groove on Big Mama Thornton’s “Black Rat”.  This one is best served loud.  The energy of the band radiates through their ripping performance on Bobby ‘Blue’ Bland’s 1961 jewel “Turn On Your Love Light”.  It is a pure delight indeed.  To wrap things up, Jane Lee Hooker beautifully winds Spiritus down with a wonderful ten minute dose of relaxing slow-cooked blues in “The Breeze” which certainly hits the spot.  I love every bit of it.

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In September of 2017, I caught Jane Lee Hooker at the Bowlful of Blues Festival in Newton, Iowa.  It was a terrific show.  The lineup was The Norman Jackson Band, Rob Lumbard, Dwayne Dopsie and the Zydeco Hellraisers, Mato Nanji & Indiginous, with Jane Lee Hooker headlining.  I am so glad I took my camera and captured the event for my blog.  Here’s a link to the photos I took that day …  

 https://phillycheezeblues.blogspot.com/2017/09/25th-annual-bowlful-of-blues-sep-3-2017.html

#319 : Jim Shaneberger Band - Above and Below

2017 – Jim Shaneberger

By Phillip Smith; Feb. 10, 2018

Above and Below, the second release from the Jim Shaneberger Band is an immensely invigorating blues-rock album.  This West Michigan trio comprised of Shaneberger on lead guitar and vocals, bassist Jeffrey Baldus, and drummer Steve Harris are a powerhouse band with deep Zeppelin and Hendrix roots.     

In a flash, they instantly tear out the gate with the magnificent “My Way”.  Shaneberger pulls me tightly in with his massive funky riffs and psychedelic guitar licks.  On the thought-provoking rocker “Indifference” a song inspired by the 2016 shootings of Philandro Castile and Alton Sterling, Shaneberger sings “How many lives must be lost before we set things right?”.  Shaneberger’s guitar mastery is duly noted as Harris tears off a tremendous performance on drums sending this edgy rocker of a track past ten, and right to eleven. The momentum only grows as adrenalin continues to freely flow through the veins of Texas-style blues rocker “Above and Below”. 

I love the slow-paced Black Crowes/Aerosmith vibe running through the beautifully played “Bright Side”.  Shaneberger’s vocals are smooth and cool.  With a SRV influence at its epicenter and a downright funky groove, “I Can’t Sleep” brings a big smile to my face.  I’m also a huge fan of the funky instrumental jam “Just Sayin’ Bro”.  Baldus’ bass is simply amazing on this.

It’s impossible to avoid the trance-inducing hill country blues rhythm threaded through “Way Down South”.  It holds the door open quite nicely for Shaneberger’s shredding guitar solo. It’s plumb terrific.

From start to finish, Jim Shaneberger Band is tight as a drum and solid as titanium.  It doesn’t get much better than Above and Below for fans of blues-rock.  

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#318 : Muddy Gurdy

Muddy Gurdy

2017 – Vizztone

Release Date : 2/2/18

By Phillip Smith; Feb. 3, 2018

Muddy Gurdy is absolutely one of the most interesting blues albums I’ve heard in recent years.  Hypnotic Wheels, a trio of French musicians, Tia Gouttebel (guitar/vocals) Gilles Chabenat (hurdy-gurdy) and Marc Glomeau (percussion) embarked on a journey to the hills of North Mississippi to record with local blues artists who are tightly connected to the fabulous music of their elders.  The recordings were made using a hurdy-gurdy as a second guitar and captured with an eight-microphone preamp and computer in someone’s house, porch, front yard, or historic landmark such as Dockery Farms or B.B. King’s Club Ebony.  From Mississippi, the contributing artists are Cedric Burnside, Shardé Thomas, Cameron Kimbrough, and Pat Thomas.

I love the homage to R.L Burnside, with the wonderfully hypnotic cover of “Goin’ Down South” and the driving beat of “See My Jumper Hanging on the Line”.  It’s in these two tracks that the wonder of the hurdy-gurdy is revealed.  Its swampy slide-like sound magically lends itself to trance blues music in a very fitting fashion.  Cedric Burnside, grandson to R.L appears with acoustic guitar in hand and mic for a beautiful performance.  He pays a wonderful tribute to his late brother Cody Burnside on “That Girl is Bad”, and hangs around for a tantalizing cover of Muddy Waters’ “Rollin’ and Tumblin’”.

Muddy Gurdy explores fife and drum music with Shardé Thomas.  Thomas gives a delicate vocal and fife performance on “Station Blues”, a song by her grandfather and fife-master Otha Thomas.  Her delivery of the traditional “Glory Glory Hallelujah” is stunning.   

It’s a real treat to hear Cameron Kimbrough, tearing it up on guitar while singing his grandfather Junior’s “Leave Her Alone”.  The rolling rhythm pulls me right in to its vortex of sound.  Cameron inherently keeps the swirling melodic framework in place for his own original tune, “Gonna Love You”.  Pat Thomas’ “Dream” is downright extraordinary.  Sung and strummed by the son of James “Son” Thomas at the Highway 61 Museum in Leland, Mississippi, this folk-country blues song is a prime example of the inner-beauty of music.

         

At Dockery Farms, Gouttebel takes the vocal reins on Hypnotic Wheels’ rendition of Mississippi Fred McDowell’s classic “Shake ‘em on Down” which is followed up with a mesmerizing cover of Charles Singleton’s “Help the Poor”, first recorded by B.B King in 1964.   

I highly recommend this album, especially for fans of the North Mississippi Hill Country Blues. 

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#317 : Hamilton Loomis - Basics

2017 – Ham-Bone Music

By Phillip Smith; Jan. 28, 2018

Listening to Hamilton Loomis always puts me in a fantastic mood.  His latest release, Basics, is no exception.  Ditching the double-entendres he’s been known for in the past, Loomis states he wants to get back to the basics on this album, taking on more direct and personal lyrics with more stripped down instrumentation and simpler melodies.  With that being said, this album is jam-packed with a truckload full of bluesy guitar riffs and rich funky grooves.  Joined in the studio by Armando Aussenac on drums, Fabian Hernandez on saxophone, and Sabrina LaField on bass, Loomis takes on just about everything else instrumentally on this thirteen track album: guitars, bass, harmonica, and keys. 

From the beginning, Loomis has me bouncing off the walls with the highly infectious rhythm on “Sugar Baby”.  LaField sings this with a lot of soul, as Loomis’ sweet guitar riffs are nicely topped with dabs of blues harmonica.  Loomis dedicated this track to Congenital Hyperinsulinism International, an organization whose purpose is researching and supporting families affected by this rare disease his three year old son was diagnosed with.  

The groove keeps going strong through “If I Would’ve” as Loomis reflects upon his past decisions with second thoughts.  “Candles and Wine” has a bit of Stevie Wonder influence.  Its rich R&B melody and Loomis’ silky smooth vocals stand out front.  The funk that pumps through “Cloudy Day” instantly puts a smile on my face.  It is counter-balanced by the pining lyrics of long-distance love.  Hernandez kicks it into high gear on sax.  I love every bit of it.  Welcome to the roadhouse when Chris Eger steps in with slide guitar on the monster blues-rocker “Ain’t What it Ain’t”.  It sounds great alongside Loomis’ wailing harmonica.

Loomis certainly achieved what he was trying to do with this album, bringing things back to the basics.  I like this new direction a lot.   

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In 2012, I reviewed Hamilton Loomis' DVD Live at the Hub for Blues Review Magazine's online presence BluesWax, which no longer exists.  In 2015,  I archived the review on my blog.  You can read that review by clicking on the following link. 

https://phillycheezeblues.blogspot.com/2015/01/hamilton-loomis-band-live-at-hub-dvd.html