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March 18, 2010 

© 2010 Blues Blast Magazine

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Hey Blues Fans,

Some weeks are better than others! We thought last week was a great Blues week because we were fortunate to hear 3 great Blues performers.  But this week we got to see even MORE Blues!  First we saw Shawn Kellerman play a couple sets last Thursday night. He is a great guitar player and man he rocked the place!

On Sunday we headed west to Galesburg, Illinois to check out a fairly new Blues club, Fat Fish Pub. They have been open for about a year but this was our first visit. It is a very nice Blues establishment and they have a great selection of microbrews.

This evening they had a Blues double header! Lady guitar slinger Debbie Davies was in town on tour to support her newest CD, Holding Court. And she had last years Blues Blast Music Award winner, Robin Rogers, with her singing and blowin some great harp . Man they TORE IT UP! If this double bill comes anywhere near you, DON'T MISS IT!!! Check out the Fat Fish Pub website to see their lineup of upcoming Blues shows.

OK, hearing three Blues performers is a great week to us but then the luck of the Irish kicked in when we headed to a CD release party on St Paddy's Day to hear Kilborn Alley Blues Band.

This show was the kickoff of their touring in support of their new CD Better Off Now that was released on Tuesday this week. The CD already hit #9 on the Blues & Roots charts last week before it's official release. Kilborn Alley won the Sean Costello Rising Star Award last October at the Blues Blast Music Awards so we are not surprised the CD broke out so strongly. Look for them and catch a show. We promise you will enjoy some fine Blues if you do!

We hope YOU have a GREAT Blues Week too!

In this issue - Blues Reviews and MORE!

James "Skyy Dobro" Walker reviews a new CD from The Bluesmasters featuring Mickey Thomas.  George "Blues Fin Tuna" Fish reviews a new CD by Joseph “UJ” Miller. Bruce Williams review of the new CD from Barry Big B Brenner. Chuck Gomez reviews a new CD by Mr. Keith Little. Mark Thompson reviews a new CD by Jack Edery & UltraSuede. All this and MORE! SCROLL DOWN!!!


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 Featured Blues Review 1 of 5

The Bluesmasters Featuring Mickey Thomas

The Bluesmasters Featuring Mickey Thomas

Direct Music Distribution

11 songs; 44:34 minutes; Splendid

Styles: Blues, Rock and Roll, R&B

For the $32,000 question: What song surprisingly hit #3 on the pop charts in 1976 for Bluesman-come-Southern Rocker Elvin Bishop?

And, now, for the $64,000 question, who sang lead vocals? Hint: it was not Elvin Bishop. The hit with its unforgettable lead voice was a sing-along favorite and still is even today as a golden oldie.

The song was “Fooled Around and Fell in Love” penned by Elvin Bishop and Mundo Earwood. The vocalist was John Michael Thomas, better known as “Mickey” Thomas.

Thomas’ vocals on “Fooled Around...” were far superior to the rougher hewn voice of Bishop. When I saw Bishop live in 2008 at the Blues on the Fox festival in Aurora IL, he sure enough included the hit in his set, but only as an instrumental. It was like saying, “No one will ever be able to sing this song as well as Mickey Thomas; so without him, we won’t even try!”

Now approaching age 60 and with his voice strong and soulful as ever, Thomas is lending his lead vocalist pipes to a project of classic Blues tunes for The Bluesmasters. Formed in 2007 by guitarist/producer Tim Tucker and pianist Sean Benjamin, this sextet with front man Thomas will tour in the U.S. and internationally in 2010.

Opening the CD is a mid tempo shuffle version of “Cherry Red” originally made famous by Big Joe Turner. Doug Lynn opens and solos with a plaintive harp while pianist Sean Benjamin displays his barrelhouse chops on the horse teeth. In just 2:51 minutes, Thomas swoops from a growl to his famous falsetto powered by the drumming of British bluesman Aynsley Dunbar and bassist Danny Miranda.
Thomas then takes the postwar blues standard, “Rock Me, Baby,” long identified with B.B. King, and pumps up the energy to a delivery that lets him empty out his lungs. Tucker wails on guitar in call and response with Thomas and shares solos with Lynn on harp as the entire band enthusiastically rock that baby.

Thomas and band, including organist Ric Ulsky, next do a nostalgic rendition of “Fooled Around and Fell In Love.” Demonstrating convincingly his ability to perform this fan favorite, Thomas has wonderful backing from singers Stephanie Calvert, Thomas’ colleague in Starship, and Darlene Gardner. The Bluesmasters take the original version to the grittier edge of its Blues roots in keeping with their overall set.

Studio Guest Magic Slim is on “Can’t Get No Grindin’” and the driving “Get Your Business Straight.” (The latter by Gwendolyn Collins is mistakenly credited as “Phil” Collins.) Muddy Waters’ “...Grindin’” is turned into a churning shuffle featuring a duet with Slim. They’ve combined Slim’s gruff with Thomas’ opposing timbre to great effect while Slim’s guitar solos sting like 151 proof rum.
Guest guitarist John Wedemeyer takes “Walkin’ Blues” back down home with an electric slide part married to Lynn’s harp as Thomas moans and shouts the blues over the hypnotic groove.

Another standout song befitting a confident singer, Thomas takes up singing the Etta James ballad “I’d Rather Go Blind.” Thomas simply nails the pain of lost love as Tucker and organist Ulsky recreate Memphis soul with aplomb.

The Bluesmasters have winning answers in this CD. Everything is solid, and fans of Mickey Thomas just struck Blues gold.

Reviewer James "Skyy Dobro" Walker is a noted Blues writer, DJ, Master of Ceremonies, and longtime Blues Blast Magazine contributor. His weekly radio show "Friends of the Blues" can be heard Saturdays 8 pm - Midnight on WKCC 91.1 FM and at in Kankakee, IL

To See James “Skyy Dobro” Walker's CD rating system, CLICK HERE 

For other reviews and interviews on our website CLICK HERE.

 Featured Blues Review 2 of 5

Joseph “UJ” Miller - Down Home Remedy

Self Produced

12 tracks Total time: 56:52

St. Louis, Missouri third-generation roots/blues singer-songwriter Joseph “UJ” Miller’s Down Home Remedy is an old-timey romp with a contemporary feel, evoking not only the classic acoustic blues and country of the 1930s and 1940s, but also the folk music revival of the early 1960s and the early acoustic/electric folk-rock of the 1960s and 1970s. Down Home Remedy will take older listeners back to those halcyon days of folk coffeehouses and small-stage performances that got lost in the onslaught of commercial rock. It is “UJ’’s second self-produced CD, and of its 12 tracks, ten are Joseph Miller originals, with track 6, “Baby, Baby, Don’t Do That Anymore,” co-written with his son Jake Miller. Track 2, “Irene, Goodnight,” is Miller’s well-done adaptation of the Leadbelly Staple, “Goodnight, Irene,” famously recorded by the Weavers in 1950, who had it as a hit record (just before its members were blacklisted as “Communists”), and recorded by many others, including Odetta. “UJ” Miller does it here as an up-tempo guitar shuffle, and with a verse not included in the standard versions. He also gives the songwriting credits to Gussie Lord Davis, who penned it in 1886.

That said, it must be admitted that Down Home Remedy is a very uneven CD, with its significant strengths undermined by substantive flaws. Among these flaws is Joseph “UJ” Miller’s vocal style—Miller, blessed with a melodious voice, and with a delivery that, while quite presentable, lacks emotional depth and resonance—doesn’t so much sing the blues as croon them. A jarring experience, rather akin to hearing Perry Como sing the blues!

Another flaw is that many of the songs are overlong, with too much repetition of verses and refrains, sometimes too many verses, and too many guitar solo breaks. Unfortunately, this flaw occurs on five tracks in a row, from track 3, “Personal Blues,” (five minutes, 55 seconds) through track 4, “Steppin’ Out Tonight,” (four minutes, 25 seconds), track 5, “Wish I Was A Chicken Hawk,” (four minutes, 56 seconds), track 6, “Baby, Baby, Don’t Do That Anymore,” (four minutes, 47 seconds), all the way through track 7, “40-64 Blues” (five minutes, seven seconds). Interestingly enough, all five of these tracks are among the longest on this 12-track CD that runs to nearly an hour, and where the shortest track, “Irene, Goodnight,” is almost four minutes in length. Indeed, three of the tracks extend over five minutes, with “Personal Blues” almost six minutes in length. These above-mentioned overlong tracks could’ve used some judicious editing, which would’ve shortened the CD’s length by about 10-15 minutes, making it much more listenable.

Also, while most of the songs on Down Home Remedy are good though derivative, some are clearly also-rans. “Personal Blues,” “Steppin’ Out Tonight,” and “Baby, Baby, Don’t Do That Anymore” are all also-rans, and “I Wish I Was A Chicken Hawk” barely misses being relegated to the also-ran category because it is a good song overall on the traditional theme of yearning for freedom, but simply has too many verses and too much repetition of the refrain. Joseph “UJ” Miller’s songwriting simply pans that stream of tradition too much, and while he has found a few golden nuggets, he’s also mining a stream that’s been much mined by too many artists and recordings who’ve already done it as good or better.

Now to the strengths of Down Home Remedy. One of them is, in fact, Miller’s songwriting, which does shine on six tracks. The best of his songs is the title song, “Down Home Remedy,” done in two different versions on the CD: on the opening track as a blues-rocker, with acoustic and electric guitars, piano and drums, and as an acoustic number with rhythm and lead guitars on track 11. Track 8, “Rough Groove,” is a melancholy instrumental with rhythm and lead guitars, piano accent and drums that nicely evoke the song’s title; track 10 is another track of melancholy, but this time with the expectation of returning where one belongs, “I’m Coming Home;” “Poor Boy Blues” is positively built around the riff/hesitation of Muddy Water’s classic “Hoochie Coochie Man,” while the ending track, “An Angel To Me,” is loosely built around the opening guitar lines of the Animal’s “House Of The Rising Son.” “40-64 Blues” is an urban original, a song of traffic jams and a closed highway in his home of St. Louis, and “An Angel To Me,” another of many songs of appreciation for a good woman, has the substantive saving grace of straightforward expression that doesn’t descend into bathos and sentimentality.

But the real strength of Down Home Remedy lies in the instrumentation, which is all first-rate. Joseph “UJ” Miller’s guitar playing is solid throughout, whether on chording riff accompaniment, or, as on “Wish I Was A Chicken Hawk” and “An Angel To Me,” where he does single-string picking. Substantive backing various tracks is provided by Kurt Jackson, piano, organ, bass guitar and drums, and drums and percussion by Rick Nenninger. Tim Berg adds tasty solo harmonica as well, along with elegant slide guitar lead solos and accompaniment. Lead acoustic and electric guitar is provided well by both Ron “Hitman” Hendricks, and especially by Melissa Neels. Hendricks’s playing is a solid meal of meat and potatoes; but Neels’s playing is a fancy dinner of a perfectly-cooked rare New York strip with a baked potato loaded with sour cream and chives, and a vegetable of steamed fresh broccoli! .

Reviewer George "Blues Fin Tuna" Fish hails from Indianapolis, Indiana, home of blues legends Yank Rachell and Leroy Carr. He has written a regular music column for several years. He wrote the liner notes for Yank Rachell’s Delmark album, Chicago Style. He has been a blues and pop music contributor for the left-wing press as well, and has appeared in Against the Current and Socialism and Democracy.

For other reviews and interviews on our website CLICK HERE.

 Featured Blues Review 3 of 5

Barry Big B Brenner - Old School Blues


If you dig acoustic blues and folk music and if you like songs that tell a story, you’ll dig Barry Big B Brenner. His deep blues roots are revealed in his guitar technique, and he’s adept at finger picking, flat picking and slide. His new album, “Old School Blues” is a trip back in time, and like the picture on the album cover of a school room history class, a lesson in old acoustic blues.

Unlike Dave Van Ronk, who is clearly a folk musician, Barry Big B is a blues guy who knows folk music. Blues is folk music, after all, but there’s always been a line of distinction between ‘folk-blues’ and say the down home variety of Mississippi delta blues. From my perspective a ‘folk’ interpretation of an old Muddy Waters tune might seem a bit tame when compared to a version offered by someone who knows the real blues and even perhaps has the blues. An interesting example of this is track 10, ‘Hard Pushin’ Papa’ (Blind Blake), which features a pretty standard folk style finger-picking but is contrasted with Barry Big B’s vocal phrasing, which is definitely delivered in the manner of a veteran bluesman.

The first track of the album, ‘You Don’t Know My Mind’ (Leadbelly), displays many of the little things that make this album such a pleasure. Things like the way the artist accompanies himself with little guitar bits that mirror the song melody behind his voice. He throws in a little guitar harmonic, he adds little flourishes here and there and drives the song forward with his strong finger-pickin’. As he sings the line, “baby, you don’t know, you don’t know my mind…” the listener can feel the anguish and irony and is convinced the story is real, especially with the guitar helping to emphasize the notes. This sincere and passionate vocal style coupled with Barry Bib B’s interesting guitar arrangements make this entire album a great listen.

I find myself humming track#3 lately, ‘Bye Bye Baby Blues’ (Little Hat Jones), a catchy little number about a guy saying goodbye for good to his woman. ‘Cat Pause’ (a Barry Big B original), is a cool instrumental different from all the other songs and acts as a sorbet at a gourmet meal, cleansing the palate for the next course. ‘Mister Ticket Agent’ (Lil’ Son Jackson), is another of the songs that show off his blues upbringing and is thoroughly enjoyable. ‘Step It Up And Go’ (Blind Boy Fuller) has that infectious bluegrass timing on the turnaround and is a real energetic romp! ‘Silver Street Blues’ (Benjamin Brenner) makes me think that maybe Barry Big B and Taj Mahal went to the same blues school somewhere in time. If you keep the title in mind as you listen to the instrumental, ‘Grand Canyon Mules’ (another great original by Barry Big B), it’s easy to picture a pack train traversing the canyons in a scenic wonderland. The album closes with ‘I’m Worried’ (Elmore James) , and is a fitting ending to Barry Big B’s history lesson.

Barry Big B uses several acoustic guitars on this album, including two different Nationals, a 12 string and a six string. I also discovered that he names his guitars, which tells you something about the man. My favorite is ‘Stella Blue’, his name for his Dell’Arte 12 string.

I enjoyed every track on this album, no exception, and I’m already looking forward to listening to it again. If you love folk music I know you’ll dig this album, but if you’re a blues lover it’s a ‘must have’. I guess Barry Big B isn’t a ‘folk-blues’ guy, but a ‘blues-folk’ guy!

Reviewer Bruce Williams is seasoned Blues musician (Junior Wells, Lefty Dizz and The Chicago Fire, Jimmy “Fast Fingers” Dawkins, Mark Hannon Blues Band). He  learned the blues from some of Chicago’s masters and has shared the stage with legends such as Willie Dixon, Jimmy Rogers, Sammy Lawhorn, Hound Dog Taylor and Jimmy Johnson. His band appears at clubs and festivals throughout the Midwest. He hosts a weekly radio program on WRLR FM Public Radio and produces music out of his home based Highland Lake Records Studio.

For other reviews and interviews on our website CLICK HERE.

Have YOUR Music Considered For Nomination

Last year we had quite a few inquiries from Blues artists around the globe wondering how to get their recordings considered for nomination in the annual Blues Blast Music Awards.  This year we are including a process for those interested to send in their recordings for consideration by our nominators. We have 30 nominators and you can send in copies of your CD to be considered. Eligibility for specific recording releases is from May 1, 2009 to April 30, 2010. For complete details about the awards and the new process CLICK HERE

The 2010 nomination process starts March 1st when we begin accepting submissions from labels and artists. Artist do not necessarily have to submit their releases to be considered but any that do will have their recordings screened by the nominators.  Read all the details at the link above for a complete list of options to have your CD release considered now.

CDs for the 2010 nominations are the ones the nominators have heard. We have a diverse group of 30 nominators and they hear many CDs but if an artist or label really wants a CD to be considered by all the nominators they can send in copies of their CDs beginning March 1. CDs received will be sent to the nominators. A minimum of 30 copies are required so that all nominators get to listen to them. There is no charge for this in 2010 but we reserve the right to change this financial policy in future years. Complete information on sending in your CD is HERE

Nominators begin their initial nomination phase on May 1st and final nominations will be announced after May 31st, 2010. Voting Begins in July.  The 2010 Blues Blast Music Awards will be held on Thursday October 28th, 2010 at Buddy Guy's Legends in Chicago, IL.

 Blues Society News

 Send your Blues Society's BIG news or Press Release to:  

You can submit a maximum of 175 words or less in a Text or MS Word document format.

Great Northern Blues Society  - Wausau. WI

The Great Northern Blues Society is proud to announce the CD release party for Bake Sale Volume Five. This is a compilation of Wisconsin bands that play Blues orientated music. The CD features nineteen bands and twenty songs. The CD release party will be at the Blues Cafe' on March 27th . After that it can be purchased on line at the GNBS Shop.

Columbia College - Chicago, IL

Free Blues Camp Audition - Thursday, April 8 5:00 – 7:00 PM, Buddy Guy’s Legends, 754 S. Wabash, Chicago. This is an opportunity to audition for this great youth Blues Camp held at Columbia College July 4 – 9, 2010 by Artistic Director, Fernando Jones.

Other audition dates are Saturday, May 22, 10:00 AM - Noon, Columbia College Chicago Music Center, 1014 S. Michigan Avenue, Chicago and Thursday, June 3, 6:00 – 8:00 PM, at Guitar Center, 4271 West 167th Street, Country Club Hills, IL. Go to for more details. RSVP Online at

The Blues, Jazz & Folk Music Society - Marietta, Ohio

The Blues, Jazz & Folk Music Society presents their annual “River City Blues Festival”  Friday, March 19th and Saturday, March 20, 2010 at the Lafayette Hotel, on the river in downtown Marietta. On Friday the lineup includes Shaun Booker and The Kinsey Report. On Saturday the show features
the BITS Band/”High Schools That Rock”, the 2010 BJFMS Blues Competition Winners, Tokyo Tramps, Lionel Young, Zac Harmon Band, The Teeny Tucker Band and Kenny “Blues Boss” Wayne.

For more information visit or  contact Steve Wells at  or (304) 295-4323

The Friends Of The Blues - Watseka, IL

Spring 2010 Friends of the Blues shows- April 13 - Perry Weber & DeVilles, 7 pm , Kankakee Elks Country Club, April 17 - Joel Paterson Trio, Kankakee Valley Boat Club (“Rockin’ the River”), April 20 - Too Slim and the Taildraggers, 7 pm , Bradley Bourbonnais Sportsmen’s Club, June 22 - Al Stone, 7 pm , River Bend Bar & Grill. For more info see: 

Illinois Central Blues Club - Springfield, IL

BLUE MONDAY SHOWS - Held at the Alamo 115 N 5th St, Springfield, IL (217) 523-1455 every Monday 8:30pm $3 cover. March 22 - Big Jeff Chapman, March 29 - The Kilborn Alley Blues Band - CD Release Party, April 5 - Motor City Josh, April 12 - Perry Weber and the Devilles,  April 19 - Too Slim & the Taildraggers

River City Blues Society - Peoria, IL

The River City Blues Society has started booking more of their weekly Blues shows. The shows start at 7:00pm at Good Fellas Pizza and Pub, 1414 N 8TH St Pekin, IL. Admission for all shows is $4 or $3 for RCBS members. Shows currently scheduled are:  Thursday April 1st - Motor City Josh.

 Featured Blues Review 4 of 5

Mr. Keith Little - Take It Off And Get Loose With It

Blue Skunk Music

Mr. Keith Little is known as "The Cincinnati Blues Man, King of the Blues" and with good reason, this latest CD further strengthens his Royal designation. “Stand My Ground” starts the way I like a tune to start, EXPLOSIVE! Stacks O Horns, huge lead guitar by Marcos Sastre, the mystic sound of that organ in and out of the verse, wife, Cheryl Renee Little, followed by the King himself on lead vocals, always, Mr. Keith Little. He has that dark smooth honey kind of a voice, strong, deep sexxxxxy. Driving drum pops. Do ya want it? Hes got it!

After just half way through this first tune I was ready to say ‘sold’ I’ve got to have this CD. “Copper Tops” starts with an old school styled piano, Ricky Nye. Its sweet talking keys at their tastiest. Could this Keith Little be the man to take the place of the great Joe Williams? Sure reminds me of Basie and Williams on their best days except all pure Blues. Talk some of the verse, say it down low, and once again mark it ‘sold’, Now I'm telling you straight - this is one fine listening CD.

“Get Loose With It” has Keith open with his bass lick followed with a mirror image as the horn section blows that same riff. Thank you Mr. Gary Winters, great horn arrangements and now sprinkle in just the right amount of organ. Sweet. And then all of a sudden all these vocals start an inter-active fugue type feel. Killer good. Great energy. My kind of stuff and then there's that smoking guitar coming at you from out of nowhere. Power, pure Blues power.

Now I have to stop myself from going on and on or Ill end up with a ten page review so lets just skip down a bit. Here I am landing on tune number 11, “New Shoes” bingo all over again. That smooth groove thang, take your time take your time take your time, soft shuffle, crying guitar and man is Keith doing it.

Now the next tune, whats this now? “Mr. Kochca” has a strong late 60s blues rock sound thing going on and filled out with that modern cut ya guitar sound. And what’s Keith doing on this tune, tone talking that low stuff. Very tasty, talking a little bit of trash and he likes that!

The last tune, which comes way too soon is “Rainy Night In Georgia” the only tune not written by Mr. Little, this one done justice by Tony Joe White. If you need a mental image of this song think Barry White. This song is Soul Blues, slow close dancing soulful blues and leading the way the singing sexy sax of Mr. Marcus Griswom. Not too much sax and not to little, just the right amount.

This CD was thoroughly thought through, is an excellent production and recorded superbly. Not once during my listening did I think anything at all was out of balance. One of my pet peeves. Just excellent from top to bottom. Keith Little's Take It Off” Lets Get Loose With It is long on those soulful blues & as a public service here is the web site address:  Tell him I sent you!

EDITORS NOTE: This CD was previously released and reviewed as an Independent release. The CD was re-released by Blue Skunk Music in February 2010

Reviewer Chuck Gomez worked out of Chicago’s Mayor’s Office of Special Events for over a decade back at the start of the Chicago Blues Fest, plays sax and tours with many leading Blues musicians/Chicago style. He is Columbia College’s special events producer and owns/produces/promotes the Watseka Theatre, Iroquois Performing Arts Center. The Watseka Theatre Blues, BBQ & Arts Fest is the last Saturday of each May, this year May 29th, 2010. Go to: for more information.

For other reviews and interviews on our website CLICK HERE.

 Featured Blues Review 5 of 5

Jack Edery & UltraSuede - Fried Chicken & Whiskey

Independent release

11 tracks/49:26

Hailing from Beaumont, TX, guitarist Jack Edery fronts a band that mixes a variety of musical influences into a coherent and entertaining package of original music. Edery handles most of the vocals with his dark, edgy voice. He spent some time in Chicago and played with some of the city’s veteran blues musicians, including a stretch in the band of Jimmy Dawkins. At times, Edery’s guitar picking captures the same level of emotional intensity that Dawkins is capable of generating. Susan Pierce handles the keyboards and has several opportunities to feature her outstanding vocal talents. The rhythm section of Jason McCollum on bass and Robert Smith on drums is solid throughout the disc. Jimbo Mathus, who adds backing vocals, guitar and keyboards on several of the cuts, produced the disc.

UltraSuede comes at you with a roadhouse attitude that one might expect from a band out of Texas. They rip through the traditional tune “Throw a Boogie Woogie” with an energy level bordering on maniacal. Shifting gears, the band shows it can handle the Louisiana swamp pop style on “Cajun Queenie” with Eric Carlson on keyboards. Edery’s guitar is featured the acoustic run-through of “Turn Me Loose in Your Kitchen”, with lyrics full of sexual innuendo. Pierce and Edery do a duet on “Good at Being Bad” and Pierce dominates the proceedings with her powerful, sassy voice.

Equally impressive is her lead vocal on “Blind Woman with a Gun”, her own composition. She convincingly tells the tale of a mistreated woman and her promise of revenge. The title track shows the group can get funky, with Carlson on organ and Edery laying down some rapid-fire guitar lines. “Blues Outside My Window” is a tough rocker with Edery shouting out the lyrics over Pierce’s stormin’ piano. Another highlight is the haunting “Mr. Earvin” with one Edery’s strongest vocal performances. The instrumental “Knucklebuster” provides Edery and Pierce with the space to showcase their skill on their respective instruments. The brooding “Ballad of Yvonne & Angel” misses the mark because Edery’s voice can’t quite handle the demands of the song.

For their first release, Edery and company have put together a solid package that would suggest that they can generate plenty of excitement during their live performances. It certainly helps to have a veteran like Jimbo Mathus directing the project and keeping the band focused. Edery delivers an appealing batch of tunes and the band fleshes out each one in appealing fashion. The project might have benefited if Pierce had a few more spots to showcase her vocal talent. Otherwise, UltraSuede can be proud of the way this one turned out.

Reviewer  Mark Thompson is president of the Crossroads Blues Society in Rockford, IL.

For other reviews and interviews on our website CLICK HERE.

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