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JOHN PRIMER & BOB CORRITORE
Crawlin’ Kingsnake
SWMAF / VizzTone – SWMAF 27
Over the past decade, bluesmen John Primer and Bob Corritore have constructed up one of many most interesting duo discographies in modern blues. Their newest tandem launch, Crawlin’ Kingsnake, provides one other notch to the win column. Twelve tracks of crackling, meaty musical may, that is the type of album that reminds listeners why they fell in love with the blues within the first place.
Primer is in magnificent voice right here, one second belting like an old-school blues shouter on the tons-of-fun Hiding Place, the subsequent packing the burden of the doomstruck world into his supply of Bow Down on Your Knees. His guitar work is each bit as electrifying. The Willie Dixon basic Down within the Backside finds Primer mixing up a savory swamp sludge alongside guitarist Jimi “Primetime” Smith. Then, he brings shimmering, late-hour magnificence to the mid-tempo B.B. King cooker Chains and Issues.
Locked into a snug groove alongside Primer, Corritore leans into his harmonica with every little thing he’s bought. He sears the air with pealing excessive notes and volcanic rips on Rosalee Blues (written by Primer’s outdated boss Muddy Waters), and This Little Voice finds his tone totally filling the room. His clipped notes nip at Primer’s vocals like viper bites on the John Lee Hooker–penned title lower, and he brings an arresting mix of style and power to the Spanish-tinged You’re the One.
Primer and Corritore have assembled a crew of jackhammer-heavy hitters to accompany them on Crawlin’ Kingsnake. The aforementioned Smith supplies peerless rhythmic help all through the recording, interlacing with Primer’s ax in a formidable fortress of sound. Veteran bassist Bob Stroger forges the bedrock with unshakeable assurance, and he spreads a little bit of soul over the undercurrent of Take a Message. Wes Starr’s drums are a essential element to the vibe, because the steady-rolling Waters tune Stuff You Gotta Watch makes clear. And Anthony Geraci cuts unfastened just like the barrelhouse pianist from hell, his thrives a great seasoning for Gravel Street’s ramblin’-man stew.
Crawlin’ Kingsnake closes with the album’s third Waters composition, the aptly titled Really feel Like Going Residence. Certainly, it’s like a visit again to that storied Land The place the Blues Started: relentless rhythm, virtuosic solos, simply sufficient tenderness to ease the lyrics’ ache. If this had been a live performance, proper about right here is the place the group would get away the lighters. Primer and Corritore absolutely warrant this ecstatic salute. Lengthy might they burn.
—Matt R. Lohr
EDDIE COTTON
The Mirror
Malaco – MCD7562
Mississippi guitarist and singer Eddie Cotton strikes by way of a rating of musical landscapes—soul, gospel, blues, jazz—on his spacious new album, The Mirror.
The Mirror kicks off with the scorching Lady Happy, a strutting blues fueled by jaunty electrical piano runs and Cotton’s personal piercing guitar notes. Crunchy riffs lead into the Memphis soul stew of Your Specialty, whereas the slow-burning title monitor options Cotton’s heat, intimate crystalline guitar stylings backing his haunting vocals. Flowing orchestral piano notes and chords open the swaying 12-bar blues No Crime No Time; the music unfolds languorously, constructing to an instrumental bridge that floats on Cotton’s crisp, stinging lead runs. On the shimmering soul jazz of I Need You, Cotton delivers {smooth} vocals that channel the excessive vary sexual squealing of Al Inexperienced, whereas the southern soul of Leaning In the direction of Leaving rides alongside shiny, gospel-inflected layers of piano and vivid lead traces floating below Cotton’s craving vocals. Double Down on a 9 blends a fervent soar blues thematic line with some straight-ahead roadhouse rocking, propelled by keys, bass, and guitar. Gimme What I Paid For slides and glides alongside a funked-up groove, whereas the tender Candy Science of Love rides alongside a heat, soulful vibe with a sonic structure that mixes the sounds of Bobby “Blue” Bland, Wilson Pickett, and Clarence Carter.
The Mirror showcases Eddie Cotton’s beneficiant and intimate guitar work, his joyous and heat vocals, and his natural strategy to songwriting.
—Henry L. Carrigan Jr.
ALEX HARRIS
Again to Us
Shanachie Leisure – SH 5858
Vocalist Alex Harris strikes to move of the category for retro-soul music with Again to Us. Harris is a strong, emotive singer who has a deal with on the fashion and sound of Sixties soul music. The 11 tracks on this album—9 originals and two covers—might simply be slipped on a Stax Data compilation, and most listeners wouldn’t have the ability to inform that they had been recorded over 50 years after the demise of the unique Soulsville, USA.
The opening monitor, Millionaire, units the tone as a gospel-influenced piano is joined by the purr of a B3 organ and a strummed acoustic guitar to offer a cushion for Harris, whose slow-burn vocal calls Percy Sledge to thoughts. The music slowly builds in depth and when the background vocals and horns kick in on the refrain, Harris actually cuts unfastened. On One thing Gotta Change, drummer Dez Davis delivers a patented Al Jackson backbeat and JoJo Streater’s horn enjoying and association channel the Memphis Horns, driving the singer on an up-tempo rocker. Harris exhibits off his vary with some Aaron Neville–fashion higher register singing on Falling for You. He exhibits he can get down with the blues as he injects some Bobby “Blue” Bland grit into Don’t Disguise. The Monophonics be part of Harris on a Stax-style rave-up Lose My Faith. Harris will get to spar vocally with Chantel Hampton on the title monitor and Ruby Amanfu (together with husband Sam Ashworth of acoustic guitar) on Approach Up.
The 2 cowl tunes make it clear that Harris is making a bid for recognition within the custom of nice soul singers. It takes numerous self-confidence to sort out tunes by Otis Redding and Solomon Burke, and Harris is greater than as much as the duty with the previous’s I’ve Received Desires to Keep in mind and the latter’s Cry to Me. Again to Us is important for followers of Sixties southern soul music, and it seems to be like Alex Harris has discovered fertile floor for his creativity to develop that custom.
—Robert H. Cataliotti
LEYLA MCCALLA
Solar With out the Warmth
Anti- Data – 88034
It’s arduous to think about that it’s been ten years for the reason that 2014 launch of Leyla McCalla’s debut album, Vari-Coloured Songs: A Tribute to Langston Hughes. Her metamorphosis from a classically educated cellist to a singer-songwriter, guitarist, banjo participant, and bandleader has been fairly exceptional to watch, and the discharge of her sixth album, Solar With out the Warmth, testifies to her dedication to inventive development and increasing her sonic and stylistic palette. One facet of her artistry that is still fixed as she explores musical approaches and traditions with every new launch is the voice. It’s fairly particular, possessing each a jaunty, life-affirming lilt and a young vulnerability that at occasions evokes the nice Billie Vacation.
McCalla has indicated that the fabric for Solar With out the Warmth was impressed by Black feminist writers like Alexis Pauline Gumbs, Octavia Butler, and adrienne maree brown; ideas of Afro-futurism; the oratory of Frederick Douglass; and pan-diasporic rhythms from Haitian twoubadou, Brazilian tropicalisimo, Afrobeat, Ethiopian folks music, and the New Orleans second-line rhythms of her adopted hometown. That’s fairly the heady combine, and McCalla says that a lot of the framework for the music was developed within the studio together with her band, guitarist Nahum Zdybel, bassist Pete Olynciw, drummer Shawn Myers, and producer and synthesizer/organ participant Maryam Qudus. The performances do exhibit an exploratory, live-in-the-studio looseness.
The lyrics are sometimes easy and repetitive, however they’re clearly formed by the ideas McCalla dropped at the studio. Scaled to Survive rides on a twoubadou groove and addresses the connections between people and fogeys. The band actually locks right into a booming second-line funk groove on Tower. Two of the tracks—Love We Had and Take Me Away—are infused with the galloping Ethiopian rhythms. Tree begins off as a mild fable of a lady overlooking the ocean who doubts she may be beloved and turns herself right into a tree, however slightly over two and a half minutes in, it morphs right into a jagged-edged, distorted swirl that’s fairly jarring. Regardless of the intention may be, it does present a marked distinction to the following pretty, merely strummed acoustic guitar title monitor, which is essentially constructed from traces from considered one of Douglass’ abolitionist speeches. Two different acoustic numbers are additionally standouts, the encouraging Give Your self a Break, which encompasses a dancing countermelody from Olynciw’s bass, and I Wish to Consider, a closing benediction duet that options Olynciw on piano and McCalla on cello.
—Robert H. Cataliotti
DASHAWN HICKMAN
Drums, Roots & Metal
Little Village Basis – LVF 1049
DaShawn Hickman is a brand new identify on the scene, bringing some contemporary interpretations of some basic gospel songs out of his Keith Dominion Home of God church in Mount Ethereal, North Carolina. His debut album, Drums, Roots & Metal, will definitely flip heads in his course, as his vibrato-laden lap metal guitar enjoying brings the gospel church fashion to the forefront. The instrumentation is pretty stripped down, creating a pleasing, uncluttered sonic panorama of slide guitar and bass (carried out by Charlie Hunter) that sits comfortably on a heat mattress of conventional African drums and different assorted percussion, led by Atiba Rorie and Brevan Hampden.
The disc opens with the normal New Orleans piece, merely referred to as Saints, a hip, stripped-down model of When the Saints Go Marching In. Right here, it’s set in a minor key versus the joyous main key listeners are so accustomed to listening to. Heavy syncopated percussion creates a rhythmic wave within the background as Rorie and Hampden accompany the silk metal barrage.
Only a Nearer Stroll With Thee is a languid, minor blues melody with an elongated intro. Hickman presents a laid-back groove that merely states the melody and instantly offers technique to the one-chord vamp that then permits him to stretch out. Hidden contained in the groove is a slickly inserted direct quote of Wade within the Water. This piece prominently options the percussion ensemble of cabasa, congas, tambourine, and cowbell.
Shout is an applicable title for the subsequent groove—a hand-clapping tune that options the vocal prowess of DaShawn’s spouse, Wendy Hickman, chanting, “Lord, I simply wanna thanks” over a conventional, medium-tempo blues chord development. Issues decelerate with the pensive piece Don’t Let the Satan Trip, with DaShawn’s male vocal presence delivered upfront—solely to modify later to a special rhythmic groove with extra galloping tempo as Wendy’s vocals take the wheel, serving a way more sensual fashion.
Morning Practice has a little bit of a funk groove (paying homage to Sly Stone’s Thank You for Talkin’ to Me, Africa from the 1971 album There’s a Riot Goin’ On), with Wendy singing “the night prepare may be too late,” earlier than DaShawn states the melody clear and plain, then tosses it again over to the percussionist and bassist Charlie Hunter. He holds off on the single-note lap metal guitar discourse till later within the tune, when he makes use of the wah-wah pedal to nice impact mixed along with his depraved vibrato—it’s undoubtedly one of the best solo on the album.
The timeless staple Treasured Lord makes an look with a mid-tempo 3/4 time really feel, as Hickman takes his time to articulate the melody. The album closes with a quick model of Wade within the Water (merely hinted at within the earlier Stroll with Thee solo). This time, nonetheless, the bass is eschewed for a direct duo between metal guitar and percussion. The conga solo stretches out and takes the lead for the ultimate declaration.
Although this album doesn’t purport to be both your typical blues or gospel album, it deceptively holds not solely the weather of groove-oriented blues and gospel, but in addition the added substances of soul, R&B, and funk. Recorded at Earthtones Studio in Greensboro, North Carolina, these seven rigorously chosen items land on acquainted territory, but provide contemporary interpretations for the uninitiated.
For DaShawn, there might be apparent comparisons to different slide guitarists (assume both conventional sacred metal Robert Randolph of the Randolph Household Band, or the prolific guitarist Derek Vans whose perfected slide fashion is undeniably based mostly on the sacred metal custom). Nonetheless, Hickman appears as much as the problem of carving out a path of his personal. Produced by none aside from the prolific eight-string guitar wizard Charlie Hunter, DaShawn’s debut album is bound to warrant a follow-up album with even larger rewards in retailer. Certainly, the native drums lead the regular march because the metal strings drone over the melodies and chords that characterize the very essence of the roots discovered within the gospel custom.
—Wayne Goins
SUE FOLEY
One Guitar Lady: A Tribute to the Feminine Pioneers of Guitar
Stony Plain Data – SPCD1486
Earlier than Spanish comic and actress Charo shot to fame on the power of her over-the-top appearances on Sixties and ’70s TV exhibits like Chortle-In and The Tonight Present Starring Johnny Carson whereas enthusiastically repeating her suggestive catchphrase “cuchi cuchi” in her heavy Spanish accent, she was acknowledged as an expertly expert flamenco guitarist.
She was additionally the primary lady {that a} younger Sue Foley ever noticed play the guitar. Within the course of, she laid the muse for a profession that has earned the Canadian-born Foley awards and accolades as considered one of at this time’s most completed and fiery electrical blues artists. Charo’s underrated guitar talents served as an impetus for Foley to start the 30-year journey to honor feminine guitar greats that spawned the discharge of the distinctive One Guitar Lady: A Tribute to the Feminine Pioneers of Guitar.
Along with Charo, Foley honors eight pioneering feminine guitarists accompanied solely by the flamenco Blanca nylon-string acoustic guitar made by acclaimed Mexican luthier Salvador Castillo that she bought in 2022. Working with producer Mike Flanigin, Foley rigorously chosen 11 songs that resonated personally together with her—many pertaining to themes of loss, remorse, and life on the highway—by guitarists whose contributions to the instrument have been forgotten or ignored.
One Guitar Lady is an extension of a quest to study and honor feminine guitarists that dates again to 1991 with Foley’s launch of the continuing “Guitar Lady” music historical past analysis challenge. The truth is, Foley will quickly full work for a PhD in music arts.
However Foley doesn’t simply cowl these songs; she faithfully performs them utilizing the types and methods employed by the originators, whereas inhabiting them together with her personal clear and highly effective voice.
On Elizabeth Cotten’s Oh Babe It Ain’t No Lie and Freight Practice, Foley digs into the intricate phrasing and chordal placements of Cotten’s Piedmont fingerpicking fashion. The acoustic strategy on Chicago electrical blues pioneer Memphis Minne’s In My Girlish Days and Nothing in Rambling offers the songs a melancholy poignance.
Foley explores the nation blues fashion and flatpicking prowess of Maybelle Carter, the matriarch of the legendary Carter Household, on Lonesome Homesick Blues and tackles the deceptively complicated “Carter Scratch” approach on the Foley unique Maybelle’s Guitar, a tribute to Carter’s well-known 1928 Gibson L-5 guitar.
The gospel music My Journey to the Sky captures the ability and charm of Sister Rosetta Tharpe, often called the “Godmother of Rock ’n’ Roll.” Motherless Little one Blues and Final Sort Phrases Blues mines the soulful blues of the mysterious Twenties-era duo of Elvie Thomas and Geeshie Wiley. Foley sings verses in Spanish and English on revered Tejano guitarist Lydia Mendoza’s mournful Mal Hombre.
French classical guitar prodigy Ida Presti’s uncanny dexterity, heat, and emotional depth shines on the instrumental Romance in A Minor. Foley closes the album with Charo’s blazing classical/flamenco instrumental La Maleguena.
No dusty historic artifact, One Guitar Lady is a lush, brilliantly carried out salute to ladies who helped forge the historical past of the guitar.
—Rod Evans
JAMES HARMAN
Didn’t We Have Some Enjoyable Someday
Electro-Fi Data – 3465
James Harman’s posthumously launched CD Didn’t We Have Some Enjoyable Someday is one other reminder of what an incredible artist we misplaced a pair years again. Andrew Galloway of Electro-Fi Data put this launch out at the side of Nathan James (who each produced and performed brilliantly on the CD) and it deserves boatloads of reward. Harman is simply tops in his writing and performances right here, adopted exquisitely by his longtime band of guitarist Nathan James, drummer Marty Dodson, upright bassist Troy Sandow, and percussionist Mike Tempo. Each Carl Sonny Leyland and Gene Taylor make appearances on keys this as nicely. They catch every little thing he throws at them and the outcomes are hilarious and thrilling.
James Harman’s singing and blues harmonica fashion had been very a lot merchandise of his Alabama upbringing in each the Nineteen Fifties Memphis Solar blues sound and his rural blues roots. The file bounces backwards and forwards between acoustic duos and trios with James and bassist Sandow, and electrical quartet tracks with a rough-and-ready old-style drive. James steals the present on numerous these as top-of-the-line blues gamers of his era on each acoustic nation blues and string-bending electrical blues—masking the gamut from Robert Johnson to T-Bone Walker types.
The 12 songs on this disc are a mixture of a pair pandemic livestreams for eight choices and 4 studio recordings from Nathan James’ Sacred Cat Studios. The pandemic looms giant on a pair songs right here, primarily on A Hand Shake, which describes the solitary handwashing, lack of interplay, and paranoia of the pandemic in actual time. On Who’s Received the Geetus James laments “alternative knocked however I used to be out” and “I’m excellent in my discipline whereas standing in my yard.” Solely Harman might come up titles like A Rut and a Groove whereas describing each graves, holes, and musical beats. Thoughts’s Eye Makes the Name has the nice line about whether or not you really noticed Superman in a cellphone sales space with an excellent badass shuffle by band and depraved Lonnie Johnson / Robert Lockwood Jr.–styled guitar by James.
Taking It on the Lam has the nice line about how he feels so pointless, which, coming from Harman, expresses excessive vulnerability. It makes it a heartbreaking music from an artist of his caliber who was shunned by the powers that be within the final 20 years of his inventive life, when he was nonetheless such a significant power musically.
The ultimate choice, the title monitor, is an ideal goodbye for the album—a ballad with Harman’s longtime cohort Gene Taylor, who died two months earlier than Harman in Austin in 2021. Didn’t We Have Some Enjoyable Someday is a kind of reminisce of James’ life that remembers good occasions and dangerous as a part of life’s deal for us all. Each music here’s a winner.
—Mark Hummel
ERIC BIBB
Dwell on the Scala Theatre
Stony Plain – SPCD 1487
With a profession that spans over 40 albums and three Grammy nominations, Eric Bibb has earned a status as one of many blues’ nice storytellers and philosophers. His heat, intimate vocals and incisive songwriting are accompanied by a deft contact on guitar. Raised in a household that was immersed in each the Civil Rights Motion and the Greenwich Village folks music scene, Bibb rapidly developed a love of music and a eager consciousness of historical past and social points. Dwell on the Scala Theatre, recorded in Stockholm in 2022, showcases his capacity to mesmerize an viewers along with his ardour and musicianship.
Bibb’s honey-smooth voice and delicate fingerpicking take heart stage on a studying of the normal Goin’ Down the Street Feelin’ Unhealthy. Greger Andersson’s harp and Johan Lindström’s pedal metal guitar present lovely accompaniment. A 3-piece string part organized by Erik Arvinder and David Davidson provides depth. The mild, melodic Alongside the Approach offers listeners a glimpse at Bibb’s philosophical facet. As he sings, “Take the time to bless those who’ve finished you flawed / what gained’t kill you makes you robust,” Lindstrom’s pedal metal serves as an ideal musical foil. A lowdown tackle Walter Vinson’s Issues Is ’Bout Comin’ My Approach demonstrates Bibb’s ability with conventional blues. Ollie Linder’s acoustic bass anchors the association, and pedal metal and strings mix to create a novel blues sound.
Rosewood is among the album’s most memorable tracks. The music is a harrowing account of the 1923 bloodbath of the African American neighborhood of Rosewood, Florida. Bibb believes that telling the story in music “encourages us to face and study from our previous.” As Bibb performs the heart-wrenching vocals, the string part is in prime type. Entire World’s Received the Blues is one other tune that doesn’t draw back from social commentary. Andersson’s chromatic harmonica riffs and electrical guitar work from Lindstrom completely complement the anguish in Bibb’s voice. The joyful Mole within the Floor is an ideal closing monitor. Bibb offers every band member beneficiant solo area, and the monitor culminates in a spirited sing-along.
Dwell on the Scala Theatre permits listeners to really feel as in the event that they had been within the viewers when this set was recorded. That’s the best reward a reviewer may give to a stay album.
—Jon Kleinman
RICK ESTRIN AND THE NIGHTCATS
THE HITS KEEP COMING
Alligator Data – ALCD 5019
Bay Metropolis native Rick Estrin and his longtime backing band, the Nightcats (consisting of multi-instrumentalist / musical director / producer Christoffer “Child” Andersen, keyboardist/bassist Lorenzo Farrell, and drummer Derrick “D’Mar” Martin), excel at a sound that is still true to the blues however retains a sure self-effacing fashion that successfully tempers an in any other case tempestuous strategy.
Estrin has ample expertise in that space. His performing profession stretches again to the Seventies and now, along with his band’s sixth album for Alligator below their collective belt, he and his collaborators proceed to create a cohesive sound that’s taut, tight, however nonetheless unfastened sufficient across the edges to permit for additional sizzle and spontaneity. Estrin’s influences are by no means removed from the floor—be it the early inspiration offered by Ray Charles, Jimmy Reed, Champion Jack Dupree, Mose Allison, and Nina Simone, or his later infatuation with Lowell Fulson, Sonny Boy Williamson II, Little Walter, Percy Mayfield, and Detroit bluesman Child Boy Warren. He performs harp within the most interesting blues custom, whether or not various tone and timbre to suit the temper or just laying down a riff that finds him in sync with Andersen whereas gravitating in direction of their groove.
That stated, the tempos fluctuate, from the determined drive that defines Someplace Else and The Circus Is Nonetheless in City (The Monkey Track), to the shuffled pacing of Diamonds at Your Ft, Sack O’ Kools, and 911, the gradual saunter of Everyone Is aware of, and the sprawling, soulful sound of the title monitor.
Estrin’s certainly a person of many skills, whether or not as a bandleader, a soloist on the fore, or an expressive soulful singer. He manages to show the turgid blues of I Lastly Hit the Backside and the gradual, seductive strains of No matter Occurred to Dobie Unusual? into nothing lower than a tour-de-force, every absolutely engaged with emotive intent. The result’s a collection of songs that change in supply however stay cohesive by way of drive and willpower.
In that regard, The Hits Maintain Coming not solely stays true to its title, but in addition presents purpose to imagine these hits can proceed nicely into the foreseeable future.
—Lee Zimmerman
STEVE HOWELL & THE MIGHTY MEN
99 ½ Received’t Do
Out of the Previous Music – 00TP 0019
Each launch by Texas guitarist/singer Steve Howell feels just like the welcome return of an outdated pal because of his uncanny capacity to make each hits and obscure gems from bygone eras really feel as contemporary as a brand new set of strings.
An enormous a part of Howell’s success stems from the cautious thought he places into deciding on the songs that he and his backing band, the Mighty Males—Chris Michaels (electrical guitar), Jason Weinheimer (bass and keys), and Dave Hoffpauir (drums)—work their stripped-down magic on. Like a music historical past professor who doubles as a guitarist with unmatched style and impeccable tone to go together with a soothing and dependable baritone, he digs deep to study the historical past and backstory of the songs and artists earlier than he units foot within the studio.
On 99 ½ Received’t Do, Howell and firm ship exact, but relaxed renditions of ten tunes beforehand recorded by a diverse group of artists that features Betty James, Sister Rosetta Tharpe, Charley Patton, Little Willie John, and Charlie Wealthy. This outing, although, they flip up the amps a bit and dial in tasty guitar reverb and atmospheric thrives that deliver the songs absolutely into the twenty first century.
Track sequencing is one other a part of Howell’s secret sauce, and kicking issues off with James’ I’m a Little Combined Up is an excellent selection. The swinging vibe, heat organ and shimmering guitars is an ideal desk setter for what’s to come back. The title monitor, a gospel music famously recorded by Tharpe in 1949, will get a smoky, bluesy contact augmented by tasteful electrical guitar that embraces the measured, distorted, countryish tone that Dire Straits’ Mark Knopfler perfected within the ’80s.
The immediately recognizable melody and unmistakable chord dynamics of Scott McKenzie’s 1967 counterculture hit San Francisco (Be Positive to Put on Flowers in Your Hair) mix for a peaceable, soothing, nearly reverential, instrumental take. One other instrumental, Don’t Let Me Be Misunderstood, initially recorded by Nina Simone in 1964 and made well-known by the Animals in 1965, options marvelous interaction between electrical and acoustic guitars.
Little Willie John’s Discuss to Me, Discuss to Me, retains a lot of its mid-Nineteen Fifties slow-dance jukebox really feel. Howell’s defiant, testifying vocals on God’s Gonna Minimize You Down offers the gospel conventional the heft it deserves, as he sings, “Inform the gambler, rambler, again biter / Inform ’em God almighty’s gonna lower ’em down.”
The band’s gritty cowl of Charley Patton’s Stone Pony Blues simmers with an inside warmth cooked up by ghostly guitars and an pressing groove. The languid strategy on the instrumental Apache offers technique to a surf rock taste that’s each sudden and creative.
Whereas Howell stays dedicated to providing conventional acoustic blues and requirements in an especially honest and genuine method, 99 ½ exhibits he and the Mighty Males aren’t averse to mixing in unconventional covers and serving each music with trendy accents and preparations.
—Rod Evans
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