Jimmy Carpenter Is The Soul Doctor

First, a big thanks to Gulf Coast Records for the advance preview of this much anticipated release. This record label is going to be a go-to place for many of us looking for real music in a world increasingly hostile to it. Admittedly I come to this review a little wet behind the ears. I know that Jimmy Carpenter has spent the last 30 plus years in the blues music business in various bands, most recently touring with Mike Zito. The partnership between Carpenter and Zito is likely the reason we have "Soul Doctor". And Zito is committed to bringing a new level of quality to this music and his new record label.

For those of you nostalgic for the music of the 1950's, 60's and early 70's, these grooves will supply you with a healthy dose of just what the doctor ordered. At the forefront, is Carpenter, playing his saxophone and singing like a legend from an era gone by.

This is first and foremost a fun blues-rock album, drenched in horns and sung with true soul. The production is airy and clear, with an emphasis on making music that can be duplicated in a live show. Press play for track one and "Soul Doctor" fills your ears with soothing medicine. The interaction between guitars, bass, drums and horns is the way it ought to be. Nick Schnebelen guests on guitar and plays his butt off.

"When I Met You" is a classic mid-tempo horn infused 60's soul number. Jimmy's voice rings out clear, seasoned and confident. "Wild Streak" follows and tells a tale of a woman who has a self discipline problem. You might get taken in by the story line as the band puts forth some convincing soul oriented blues with a shade or two of roots and country. "Love It So Much" takes the party to the next level. This is the kind of music that just makes you feel good. The singing, playing and quality of material is all first rate. The horns hit you from all directions. You won't just hear this album, you'll feel it.

"Need Your Love So Bad" is a slow burning soul ballad showcasing the multi-talented Carpenter who croons convincingly, followed by a terrific jazzy saxophone solo. The more you listen to this album, the more you feel like you've time traveled to a better place. "Wanna Be Right" picks it back up featuring a very funky guitar and some tasty Hammond B-3 with blasts of horns and backing vocals. This would be the song I'd release to the masses as evidence that real music is still being made. Today's music is completely devoid of anything that even remotely resembles this homage to everything good and decent about music. But it might be a great ice breaker if you've got open minded co-workers. Who knows.

"One Mint Julep", the old Coasters tune, is modernized and handled with care, as Jimmy saxes his way into your heart. The extended jam on this is particularly satisfying. "Wrong Turn" is a departure in style, going instead to a harder blues rock direction featuring Trevor Johnson on slide guitar and Al Ek on a rather aggressive harmonica solo. This might be the song you take to rock stations who'd like to program some talent rather than the garbage they foist upon the masses.

"LoFi" is a bluesy instrumental that synthesizes all of the other great moments on this record into one song. "Yeah Man" closes the album with Carpenter telling a story we can all relate to. There is hope and optimism in these final moments. Soul Doctor is a celebration of great, perfectly executed rock and blues. It's a beacon of light on a mostly dark and dreary musical landscape. It will restore your faith in decent, honest music, played by dedicated, talented musicians. The Soul Doctor has got the cure for your musical maladies.

Head Honchos "Bring It On Home" Brings It Home and Back

What are the Head Honchos? Well besides a great name for a band they are a father-son guitar wrecking crew playing blues based rock and roll that might be described as a blitzkrieg of sound. If you were raised on the blues, southern rock or mid-western bar band boogie, this is all of the above. In fact it's darn near impossible to categorize.

Their latest effort, "Bring It On Home", blows the doors off of conventional descriptions or hip adjectives. This stuff will melt the wax out of your ears. The dual guitar assault of Rocco Calipari Sr. and his son Rocco Jr. harkens back to a time when the philosophy of more guitars the better was fashionable. Nowadays we're fortunate in a band if there is one person who can play moderately well.

"Not For Me" opens the set with ruthless intensity, with drummer Will Wyatt leading the charge. There's almost a native American thing going on, and of course the blues and southern rock. The guitar solo pierces and comes at you from both speakers, like a two pronged attack. "Old and Tired" calms things slightly combining rock and soul. Vocals are handled by Rocco Sr. and drummer Wyatt. "Soul Thing" is next and it truly is a soul thing, the band reeling off some great instrumentation between players while progressing into kind of a jam band rocker toward the middle part of the song. This is next level guitar playing so don't try this at home.

"Work" is a blue collar anthem probably written for the band's fan base; working class folks who are likely shakin' their heads around. Bassist Mike Boyle does a nice little solo and then the boys Rocco create more decibel madness toward the end of the song. "Come Strong" might be the most commercially viable song on the record, but it's one of many stand-out tracks. "Next To You" is another smooth blues rocker with some great slide guitar parts. There is so much great sound for your ears to devour on this 13 song journey.

"Mean Old World" is an impassioned blues-rocker that sounds a tad like Lenny Kravitz minus the production gimmickry and with far better guitar work. "Fire On The Bayou" is an apt song title for something that actually seems to have been birthed somewhere in a Louisiana forest. Another bold combination of blues, soul and swampy southern rock. "Lucky's Train" mixes a funky guitar riff with some blues harmonica, played by drummer Wyatt. This is a big, bold expression of the all of the above presentation. The guitars end up fighting their way into the meaty part of the song even though there is so much other ear candy going on.

"Whiskey Devil" is yet another style. A fast funky shuffle with horns and a cool vocal arrangement. The guitar solos are intense and fluent. If I were a radio programmer I'd pick this song as a single since it's like an all you can eat blues rock buffet. "That Drivin' Beat" retains the horn section and delivers a rockin' dance floor anthem. This far into the album you are probably rather astonished at how diverse things have been thus far. To say there are a few twists and turns would be an understatement. Team Rocco is killing it on every song, and the band is making about as much noise as humanly possible.

"99 1/2 Won't Do" is a plea for 100 percent devotion from a woman who doesn't understand the nature of what the Honchos need. A great horn chart and funky grooves on guitar, followed by another monumental solo. This album just won't quit! The band covers "Going Down" (the old blues standard) except they light it on fire and throw guitar gasoline on it. "Soul Free" is the cool down after all the partying and guitar fireworks. There are acoustic guitars! This is much like the cherry on the sundae of an incredible collection of blues based soul rockers. All driven by an amazing group of musicians obviously dedicated to making music the old fashioned way in an era where people lack the understanding to truly appreciate it.

The Head Honchos are some mighty fine musician Honchos indeed. Go out and find a copy of this and Bring It On Home!

J.P. Soars Hits New Heights On "Let Go Of The Reigns"

J.P. Soars has a huge advantage over everyone else. His voice is custom made for the blues. The swampy drawl is somewhere in the neighborhood of the late Dr. John or Dennis Locorriere from the 70's band Dr. Hook. The blues is far more believable if it's delivered by a voice like this.

On "Let Go Of The Reins", Mr. Soars has decided to put his homemade cigar box guitars to good use, employing some new twists and turns into his grizzled, contemporary blues rock sound. "Been Down So Long" is a made for jam band opener with lots of Hammond B and a lyric that sets the tone for the rest of the album. Soars covers the Ozark Mountain Daredevils' classic "If You Want To Want To Get To Heaven" with a swamped up reading delivered with fuzzy guitar tones and a blistering melodic solo.

"Freddy King Thing" is a homage that picks up where the first two tracks left off. The great Tab Benoit helped produce this album and the New Orleans vibe is wrapped into each groove. "Let Go of The Reins" has a darker rock feel but retains a funkiness that is present for the entire album. "Crows Nest" is a fun instrumental jam that highlights Soars ability to weave his guitar into all kinds of sonic shapes."Lonely Fire" takes a left turn with some well done acoustic guitar and a slight touch of Latin Jazz. A really nice surprise.

"Have Mercy On My Soul" returns us back to the swamp and features J.P.'s guitar speaking to us in classic familiar tones. "Let It Ride" takes another left turn with a nod to country and roots music but still compatible with the theme of this record. "Minor Blues" is another jazzy flavored instrumental with Soars painting a soothing picture with his band of blues renegades. "Time To Be Done" brings the party back into focus even though it's last call as it's theme. Definitely one of the more accessible tracks for radio formats who should be playing this Grammy contender.

The album concludes with "Old Silver Bridge", a song which showcases Soars' guitar work. Roots rock, blues and soul. This album is another higher step on J.P.'s climb on the musical ladder. For fans of a genre that is helping keep real music alive, this is a must have collection.

Stan Bush - The 80's "Single"

You really have to hand it to Stan Bush. He's been around since the 1980's and he's one of those artists who just missed main stream success. If you are a fan of The Transformers movie, you might remember The Touch, a tune that has been a cult favorite for years. Bush is one of those guys who understands the era and has never strayed from making music that revisits a better time for humanity.

The 80's is the latest offering from Stan. It borrows heavily from Def Leppard's Animal and at times feels like it should have been on a Survivor record. The keyboard parts all sound like they've been pillaged and plundered from Journey or Starship. Long live the 80's and thanks to Stan Bush we can be bold in our worship.

Moonshine Society's Sweet Thing Is Classic Soul In The Best Way

A blues band with groove. A blues band with a diva. A blues band with a guitar god. A blues band with a funky rhythm section. A blues band that has memorable melodies. A blues band that kicks it live. Welcome to the Moonshine Society. Four accomplished souls who've purposed to bring real music back to the world.

Their second musical gift is called "Sweet Thing". A perfect description of enigmatic lead vocalist Black Betty. The title song to this collection is a combination of swamp and pop blues with Betty laying claim to some big sista shoes as she elevates the art of teasy and greasy. Immediately you are in some fresh musical terrain. The sweet thing might be the production on this record, which is clean and bold and rather in your face. "Shake" follows as an almost surf-soul stomp with maybe a nod to Motown or the Stax catalog. At this point there might be a party already in progress as a full blown sax wails out from your woofers.

"Mama He Treats Your Daughter Mean" might be the funnest song about a dead beat loser. Betty's convictions are felt and not just crooned. A  honky-tonk piano and some big choruses only add to the party that is well under way. "Come On Home" is a slow burner very similar to Tedeschi Trucks. It's pure soul of the highest order with some compelling horns and sweet guitar licks from Joe Poppen. Joe's playing on this record is smooth, stealth and close to perfection. "Southern Road" is blues with a southern rock vibe, lots of harmonica and Betty belting out some tough love. The instrumental break on this tune could have gone on for 20 minutes and I wouldn't have gotten tired of it. "Biscuits, Bacon and The Blues" has a great gospel oriented intro followed by a coy frolic through a number of blues tinged styles. Poppen's guitar rattles off some ear pleasing notes while Betty opines about those three essentials.

The band tackles "Use Me" an underappreciated soul masterpiece from the 70's. Betty brings some strong sass to this track as Chris Brown answers the high calling on bass. Drummer Rodney Dunton is a force on the kit and makes a special contribution here. The song transitions to "Walk On Gilded Splinters", retaining the same structure but with new lyrics. The band seamlessly covers "I'd Rather Go Blind", again relying on Betty's authentic soul to drive the point home...and she does. "Deal The Devil Made" is a backroom torch number that moves toward late night jazz but still retains the Moonshine vibe.

"The One Who Got Away" is a larger than life blues and soul power ballad. A fine way to end this 10-track soul drenched masterwork. The Moonshine Society has a big, bright and long future ahead of them. The tangibles and the chemistry are there and Black Betty can sing with the best of them. In a different world with radio support, this would be an overnight sensation. An incredible album for fans of blues, rock and soul.

Rock And Blues Muse Is Not A Site I Can Recommend

I have seen a lot of strange things since beginning my musical journey. But never have I encountered anyone who didn't want free publicity. I had a list of hyperlinks to articles written by Rock and Blues Muse on the sidebar of this website. I was told by the owner of said site that this was illegal. Interesting because these are links and not the articles themselves. I was trying to direct traffic to their site because I liked the content and thought my fans might enjoy it as well. This person came at me with all kinds of legal arguments that made no sense at all. I was an honest broker, just directing music lovers to where they could find other great sources of information. I would be flattered if someone put links to my YouTube channel or my blog on their page. I was not trying to publish the content from their page as my own. I can't even believe I am saying this or having to explain this to people. I may even do a video on the topic. Maybe someone can set me straight. RSS feeds are designed so people can find links to articles faster and easier. Needless to say I've removed this content. I was thrown out of a Facebook Group I really enjoyed and even blocked on Twitter by this person. All for directing traffic to their site. Apparently the road to promoting good new blues rock is paved with suspicious intentions.

Shaw Davis - Tales From The West - Redefines Hard Rockin' Blues

Shaw Davis and his power trio known as the Black Ties are something of a musical anomaly. Yes their music is rooted in the blues and you can even hear bits and pieces of other guitar players, especially Robin Trower and Jimi Hendrix. This band has been making the rounds in South Florida to unanimous approval. The band's latest album Tales From The West, pours gasoline on an already large inferno. The energy level is on par with early Rush or the first incarnation of the James Gang. But still you have to turn it up a notch from there. Bassist Patrick Stevenson is much higher in the mix and really adds to the melody and structure of each composition. The unrestrained energy begins on track one.

"Take My Hand" is a blistering song that nods at psychedelic rock and is the perfect vehicle for an extended live jam. "Willie The Pimp" might be an updated version of a similar title by Stevie Ray Vaughan. The tale is actually a sad one but it's perfect for the blues. Except Davis takes it somewhere else with the grizzled chorus of vocals and a totally spaced out guitar break. The guitars explode back into the song with fire and fury. Drummer Bobby Van Stone is there to carry the heaviness one step further. "Tales From The West" is a more sparse track that again explodes into a big chorus and guitar with the words "You Ain't Welcome No More".

Three tracks in and you are thinking to yourself that this isn't formulaic. This isn't standard blues-rock. Depending on where you join the song, you might think you've stumbled on an old grunge band that can actually play their instruments. The problem is the soloing is too good to be grunge. The melodies are more subtle and take some time to understand. Which makes this a great multiple listen album. You seem to hear something new upon each new spin. "Mama Told Me" seems to be a continuation of the prior song with it's intro perfectly complimenting it's predecessor. There's a good portion of Hendrix within the chord structure of these notes with some delightful twists and turns. Like getting in a roller coaster blind folded.

"Fire Inside" is another three pronged attack on your senses. Shaw growls out some poignant lyrics, "You Can't Drown Out The Power of Soul" as some Cream-like harmony vocals careen the audio landscape. Don't attempt the guitar solo at home. It's as if it was trying to break through into the body of the song prior to it's entry. The song has a rebellious theme and the music more than augments that. "Know Where You Been" might be slightly more blues rock traditional, but the band still manages to create a big ruckus. "Atomic Groove" adds a layer of funk to the acid rock blues and it's a magical moment on the album. Meanwhile Shaw's solos continue to eviscerate sub-woofers everywhere. "I Gotta Try You Girl" lurches back to the progressive and at times psychedelic sonic wilderness with carefree recklessness. The album wraps with "My Friend", a real nod to Robin Trower. In fact I could hear a nice medley with "Bridge of Sighs" coming live in concert. The track builds to a climactic crescendo that pins the LED meters and is a fitting conclusion to one of the best hard rockin' blues albums in recent memory. It can't be stressed enough about how powerful these three guys are when they work together. Good loud rock and roll is one thing, but good loud, complicated and mostly very original rock and roll is another. If you love rock and the blues or even progressive hard rock, this could become your favorite album.

Karen Lawrence - One of The Finest Female Voices You'll Ever Hear!

Through a series of lucky breaks I have recently become acquainted with a vocalist who will completely blow your mind. Her name is Karen Lawrence. Her name should roll off the tongue like say, Bonnie Raitt or Melissa Etheridge or even Janis Joplin. Her vocals are rich with the kind of soul that elevates any song and can compete with any of the well known singers of our time. Her story actually dates back to the late 1960's when in high school her psychedelic blues band covered "Stone Free" and the torch was lit.

Karen's name was constantly appearing on best-of lists for industry insiders. Her talents have been utilized by Jeff Beck, Aerosmith and Cheap Trick to name just a few. But her brilliance is realized on one of the best live albums I've ever heard. 1997's "Live At The Lake" with her band Blue By Nature is a time capsule of raw blues-rock energy. Karen and her band roar through 13 amazing performances that harness a power that might be spiritual in nature. The only way this set doesn't stir your soul is if you don't have a pulse.

That album has been culled down to 8 remastered tracks and given to us again under the title of "Best of Live" with Karen's name at the top. From my mainstream perspective, this is like finding an alternative universe of greatness that runs parallel to all the music you are familiar with. And because many on this planet aren't familiar with Karen, it feels like the music industry owes her some recognition. Many blues rockers deserve accolades that never materialize. And Karen might be near the top of that list.

If you purchase one off-the-beaten track album this year, make it this new best of live collection. Life is short and not hearing this music would be a big omission to your bucket list.
Order Best of Live!

Diana Rein Makes The Blues Accessible For Everyone

Blues music is a broad term for a large subset of music coming from Chicago, New Orleans, Memphis, Mississippi and a host of other hamlets.This is a shape shifting genre that has plenty of room for the likes of Diana Rein who brings elements of pop and soul to the mix. Her voice is sweet, strong and confident. Her playing perfectly compliments her introspective lyrics birthed from painful experiences but brought to an accessible place for the listener. Ms. Rein's music, in a world where a true rock radio music format still existed, would be an overnight sensation. Her latest effort, Queen of My Castle is an exuberant celebration of the blues done Rein style.

"Yes I Sing The Blues" rocks on to your speakers with an airy bliss, featuring guitar licks that bite. The theme of self confidence and telling it straight, grip the grooves of this well produced record. "The Midnight Line" would be another pick hit on the radio, or at least indie radio. Diana's guitar effortlessly rings out tones that are creative and listenable. And while there are influences like Robert Cray and Stevie Ray Vaughan, Rein has got her own signature on this. The title track exemplifies the strength through pain motif followed by some molten lava flowing out of Diana's guitar. "I Can't Quit You" nods hard to Cream but makes good use of some unused chords, taking it in it's own direction. Rein's voice is strong, sweet and sexy throughout and makes the ride through the castle even more enjoyable.

A collection of 15 songs and there are a few more diamonds. "Pure Soul" has a unique riff that immediately creates musical curiosity that builds towards the song's crescendo. "My Love" takes a more jazzy-blues jam ballad approach. This gives Rein a chance to stretch out and she takes full advantage of it. "Get Down" has elements of pop, but with the same enthusiasm while instantly singable and fun. "Worth" is another themed cut that has a well defined guitar riff which then gives way to a fiery solo. And then there's the fuzzy "Heat" which snarls, blisters and burns. Your ears might be a little singed after that one...but overall...

This album takes the listener on an impressive sonic journey and comes off polished and contemporary. This is the kind of collection that you could give to a non-blues fan and have them bopping their head while playing air guitar. The bouncy, punchy production adds a higher level of listener enjoyment. This is a blues rising star for sure. The queen has built quite a castle indeed.

Odds Lane's Lost and Found Might Be It's Own Genre

Thanks to Gulf Coast Records for the advanced copy of Lost and Found by Odds Lane.

Every so often music comes along that doesn't fit neatly into a category. And with music formats beginning to all merge together, it's even harder to find original material that redefines what music can be.

Amazingly, a band called Odds Lane has done something truly unique and special on their third album entitled "Lost and Found". It begins on the opening rock and holler anthem "Don't Give It Away". These days guitar riffs with this much originality aren't easy to find. The track sets the stage for an album that borrows heavily from contemporary blues but takes generously from rock, pop, alternative, jazz and soul music. Guitar whiz Mike Zito handles the production which literally varies from song to song. "Seven States" picks up where "Don't Give" leaves off harnessing a big hook and more tasty guitar riffage.

The crazy thing, "Seven" could be a rockabilly song or a straight up blues number or with different tuning maybe swamp rock. But with the vocals and the melody being so prominent, it's accessible blues-rock with twists and turns. Zito posits his guitar generously on this project along with official band member Doug Byrkit. Byrkit and drummer Brian Zielle are Odds Lane. Just 2 guys creating all of this racket and they do it like no other band I've ever heard.

I was taken in by every track on this record with a big shout out to "Hard Rain" and the jazzy "Little Too Late". These guys can write songs that will occupy your musical consciousness long after the CD door pops open. The rest of the collection doesn't stay in one lane. And maybe that is the reason they are called Odds Lane. These two guys are a brain trust in a corporation that is breaking all of the musical rules. I dare anyone to put this in one category. You can't. And that's what makes "Lost and Found" a unique find in 2019. This is a very satisfying listen from start to finish with not one throwaway track.

Tony Campanella Takes It To The Street With Some Tasty Guitar Driven Blues

Tony Campanella is a guy who's paid his dues playing the blues. For decades he's played the music he learned as a young child. The blues scene in St. Louis has truly been blessed to have Tony as one of their standard bearers over the past two decades. Tony is an artist who can easily reach a larger audience. And thanks to his debut album via Gulf Coast Records, he's about to do just that.

The title track to the album, "Taking It To The Street", is the first song you'll encounter on this robust collection of blues rockers. The vocals and playing are reminiscent of Robin Trower, Walter Trout and even Stevie Ray Vaughan. "One Foot In The Blues" sets a dark powerful tone with deep, rich guitar fills that will jolt your speakers with fluent, melodic energy. This is an album that is for the fan of a more muscular blues sound. Again, if you had a rock format that valued this kind of music, Tony would be the perfect invader.

His soloing on "Pack It Up" will have you bobbing your head in approval. "Those Are The Times" keeps the mojo running with a slowed down burner ballad and another sweet guitar solo. Tony's band is up to the task without cluttering or obscuring what is some mighty satisfying guitar work. "Good Morning Little Schoolgirl" is one of the oldest blues songs in the traditional canon and has been covered by countless artists. Tony does some nice contemporary remodeling on the track and again scorches the strings and sings with swagger. "Texas Chainsaw" might be the most experimental track on this album. A greasy, swampy, and at times psychedelic showcase for Campanella's guitar canvas.

"Checking On My Baby" brings the set back to a more contemporary sound and certainly would be a great song to release as a single. "Mr. Cleanhead" is a comical tale of how Tony lost his hair. The song has some meat to it as the guitar work is stellar and gets more intense as the song rolls along. "My Motor's Running" is a sweet little number which fits perfectly on any blues rock playlist. "You Don't Know" has a great funky guitar riff that is augmented by these magical solo fills and then a big bold string bending rampage drenched with Walter Trout emotional intensity. Just awesome.

The collection ends as it started with a straight forward blues rocker called "Finger On The Trigger". Overall this is a nearly perfect blues record. It rocks. The playing is seasoned and confident. The vocals elevate the music and certainly compliment some of the finest guitar playing you will encounter on any record this year. Tony Campanella has broken through with one of the strongest blues records of 2019 thus far.

Billy Price's Next Level Soul Album "Dog Eat Dog"

Billy Price has been involved in music for decades. Most notably with legendary guitarist Roy Buchanan as well as The Keystone Rhythm Band. Price has avoided becoming a household name but not because he doesn't have that kind of talent. In recent years he's achieved success with his peers and was even nominated for a BMA for his last album "Reckoning".

His latest album "Dog Eat Dog" is another milestone in a career that is catching fire better late than never. Price is a soul singer who sings old school grooves that have gravitas and swagger. The instrumentation is the real deal with funky guitar riffs, big bold horn sections and talented, soulful background singers. "Working On Your Chain Gang" is a funky tale of spontaneous love sung over a groove straight from the vaults of the Stax catalog. If ever there was a hit single for a sane radio format, this would be it. "Lose My Number" is buoyed by some atmospheric keyboards and smooth guitar licks and a late night sax. Price croons the betrayal like a man truly scorned by a self important woman.

"We're In Love" kicks the party back into session. A big bold horn chart and Billy's master-of-ceremony vocals. "Dog Eat Dog" has a swampy, gritty feel. The title of the song and the theme of the album is one of trying to make ends meet. This is the blues and at times you need words to match up with the musical content. "My Love Will Never Die" departs from the funky soul grooves for a more traditional slow bluesy power ballad. Price shows some great range on this track and really stretches himself vocally. "All Night Long Cafe" is another rock and holler funky masterpiece. "Walk Back In" is another song that could be released as a single. These soul drenched tracks have elements of pop in them that make them truly accessible and singable.

"Toxicity" is another funky ode to toxic language and misinterpreted words. The beat on this will have you getting down and then back up again. A totally tight groove and one of my favorite tracks on Dog Eat Dog. "Remnants" definitely is a decade bending time warp to a funkier place. The arrangements are mostly very minimalist, which allows the listener to absorb all the different guitar and keyboard tones and sounds. The guitar solo on "Remnants" will certainly grab your attention. "Same Old Heartaches" is another hit single in the making. Great vocals both from Price and his cohorts. I can almost hear The Spinners in their prime belting this one out.

"More Than I Needed" has a slightly more modern spin, especially the keyboard sounds but retains a great pop-soul arrangement that will have you singing even if you don't know the words. "You Gotta Leave" wraps up this fine collection of songs with a more muscular bluesy approach to the arrangement. Price proves he's a vocal chameleon and is competent to deliver the goods. The guitar work on this final track will jump right out of your sound system.

My focus on this genre is relatively new. I am becoming more and more of a convert because of albums like Dog Eat Dog. They restore my faith in real musicians creating real music in a genre that deserves a national platform on terrestrial radio. Billy will likely get nominated again for best soul blues album. This gets better and better with every spin.