It is widely known that Ike Turner had a nose for discovering talent. Long before he became world-famous with Tina, Ike was already no stranger to the world of rhythm & blues. Countless artists were given the opportunity through Ike to make themselves heard musically by the outside world and to establish themselves. In addition, with his band The Kings Of Rhythm, he supported the recordings of many of his discoveries.
One of those discoveries was Billy Gayles, whom he also accompanied with his band. Gayles should not be underestimated. Although he did not always receive the attention he deserved—unjustly, by the way—he helped lay the foundation for rock and roll. This is abundantly evident from the 12 recordings written by Ike that Bear Family Records brought together on this album.
Gayles was born on October 19, 1931, in Sikeston, Missouri, and passed away on April 8, 1993. As a teenager, he became captivated by blues and jazz, and learned to play the drums. In that capacity, he played alongside greats such as Robert Nighthawk and Earl Hooker. In 1954, Gayles debuted with ‘Night Howler’, written by Ike Turner, which he recorded for Flair Records. Additionally, you get the songs that Billy released from 1956 onwards for Federal Records, still accompanied by Ike Turner’s King Of Rhythm. By that time, Billy had already joined The Kings Of Rhythm as a singer.
Opener ‘Just One More Time’ immediately indicates that Gayles and Ike Turner are more than a perfect match. Billy’s powerful vocal work benefits from Ike’s renownedly strong guitar playing. Guitar playing that is repeatedly characterized by the use of the whammy bar, which was revolutionary for that period. Ike creatively kicks off ‘Do Right Baby’, after which Billy, with his formidable and immensely powerful voice, sends the song to immense heights. If you are not yet convinced of Gayles’ powerful voice, just listen to the bluesy ‘I’m Hurting’, which bursts with intensity and dynamics. You can also feast on Ike’s guitar in the intro to ‘Willie King Peg Leg Woman’.
The first side of this album closes with the compelling, soulful ‘If I Never Had Known You’, delivered emotionally and heartbreakingly by Gayles, who once again pulls out all the stops vocally. He does the same in ‘I’m Tore Up’, which opens the second side.
And pay special attention to ‘Take Your Fine Frame Home’, which leans very close to rock and roll. Simply brilliant! With ‘Dreaming Of You’, the second side of this album also features a more than excellent soul song.
The album concludes with Gayles’ debut ‘Night Howler’.
Billy Gayles can certainly be regarded as one of the pioneers of rock and roll. After all, all tracks are situated in the period when rhythm & blues evolved into the new genre of rock 'n' roll. His powerful voice capable of handling a wide range, his empathy with the song, and Ike's high-quality compositions make this album a bullseye.
This tribute to Billy Gailes, released on 10-inch vinyl, is therefore a must-have for lovers of steaming rhythm & blues as well as impressive rock 'n' roll. A compliment certainly also goes to the downright fantastic, lively sound, which gives no indication whatsoever that these tracks were recorded in the middle of the last century. True to tradition, you receive a beautifully produced 10-page booklet.
Because this album is being released in a limited edition of only 500 copies worldwide, acting fast is more important than ever. After all, let's be honest, would you want to miss out on this superb album?

A long way to the top, finally reached!  Stone-cold certainty recommended!

Passion and raw emotion in the vocals are the key elements of the band. Compositions with a twist makes it gorgeous.

Energetic bluesrock with an emotional acoustic ending. Convincingly!

Eleven artists whose careers started in the basement of this legendary bluesclub pay tribute to Theresa’s Lounge.  Don’t forget it!

It’s a masterclass in the way jazz can slowly move and hold of you.

​Good musicianship is not enough to make a difference in the music world. What a pitty!

Strong album that invites you to attend a live performance.

A beautiful blend of styles; in a certain way eclectic with traditional elements.  Great album!

With ‘The Twirl’, we arrive at the penultimate release in the ‘Black Phantom Rockers’ series. This series needs no further introduction, so we can immediately focus on the 26 tracks.
Johnny Chef kicks things off with the pure and rocking rhythm & blues ‘Can’t Stop Moving’. Behind Chef is Johnny Acey, who recorded only this single as Johnny Chef.
Mack Simmons recorded under multiple names. Here, as Mac Sims, you get him with the rocking ‘Drivin’ Wheel’, which hints at Chuck Berry. As Little Mac, he also returns later with ‘I Need Love’.
Driftin’ Slim often performed as a ‘one-man band’. Here, as Elmon Mickle—his real name—you hear him with ‘Jackson Blues’.
For a pumping harmonica and an energetic, raw voice, Harmonica Fats is the right choice. His ‘Tore Up’ is a composition by twister Hank Ballard. The title track of this compilation is the dance ‘Twirl’. You get the instructions for a perfect performance from Little Luther, pseudonym for the blues singer Luther Johnson. ‘Twirl’ was the flip side of ‘Eenie Meenie Minie Moe’.
Jesse Thomas also recorded as Jesse ‘Babyface’ Thomas. As Mule Thomas, you get him here with ‘Blow My Baby Back Home’, a track that also features rockabilly influences and a fun harmonica. You can listen to authentic rockabilly in ‘Rock And Roll In The Groove’ by Leon & The Hi Tones. A knock on the door, which then opens with a squeak, are the first sounds of ‘Hello Miss Sims’ by Garland The Great, alias for rhythm & blues artist Willie Garland. The song unfolds as a rhythm & blues instrumental with the blues harp in ‘pole position’.
For a swinging number, you should skip to ‘I’ll Be On So Good’ by Velma Cross & Her High Steppers. The song was recorded for the Fine Art label, a label founded by Jack Lauderdale, no stranger to the music business.
The Dusters present a fine portion of doo-wop in ‘Teen Age Jamboree’. The link to a phantom rocker here is Tommy Tucker, a member of The Dusters. Under his own name, he would immortalize himself with the hit ‘Hi-Heel Sneakers’. Rufus Gordon delivers an extremely rare cover of Little Richard’s hit ‘Long Tall Sally’, complete with a fine sax solo. Another rocker of considerable stature is Eddie Clay and his ‘Lorain, Lorain’. Soulful rhythm & blues is the trademark of Charolette Cole and ‘Ain’t That Worth Something Baby’.
Backed by a doo-wop group, Bea Booker delivers an excellent rhythm & blues with ‘Comfort In My Heart’.
An early recording by Billy Boy Arnold, then still listed as Billy Boy, can be heard in ‘Prisoner’s Plea’. The guitarist on duty was Jody Williams.
Johnny ‘Guitar’ Watson was 19 years old when, as Young John Watson, he recorded the guitar instrumental ‘Space Guitar’ for Federal. He demonstrated extensively that he was already proficient on the instrument at that time.
Confusion arises with ‘Shotgun Rider’ by Bo Dudley. You would immediately associate both the artist's name and the song title with Bo Diddley. Not so!
The fourth volume in the ‘Black Phantom Rockers’ series is once again packed with musical gems and pay attention to the formidable illustrations that bring the fold-out digipack to life. They once again sprang from the drawing board of Dayvk Martins.
With the upcoming fifth volume, ‘Everybody Dance’, this outstanding series will come to its end.

British blues with a personal road-worn wisdom. 

An album not to be missed: so diverse you are obliged to use the repeat button and to discover the amazing details.  Very recommended!

Sometimes unique or peculiar but always very enjoyable listening.

Lovely theatrical folksongs from Eastern Europe,  with really extraordinary vocals!

Post-war blues from the American South was characterized by a raw sound. When blues artists left the South and moved to Chicago, the genre already underwent its first evolution. The rise of electric guitars made its entry into the blues, giving it an urban edge. But other genres also sought to approach the blues. New artists and guitarists in the sixties listened with an ‘open mind’, allowing genres such as soul, gospel, and sometimes even jazz to enrich the blues. Not only did the sound of the electric guitar evolve, but horn sections were also increasingly found in these songs.
The 28 tracks on this compilation all share something with the aforementioned genres, Although the blues invariably remains the foundation. Nowadays, many of these songs can be categorized as ‘popcorn’, or in other words, they are hugely danceable tracks that, due to the fusion of genres, are difficult to classify as blues, soul, gospel, or jazz.
On this album, you will find both vocal and instrumental tracks. Songs by well-known artists as well as songs by lesser-known and often unknown artists.
We start with Jimmy Toliver and ‘Who Do You Love’, an uptempo rhythm & blues with a very prominent horn section. One of the new and younger generation was B.B. King. He would influence many artists through his distinctive way of combining vocal and guitar. King demonstrates that he was already incredibly adept with the six strings in 1962 on the instrumental ‘Mashing The Popeye’, which also features some great saxophone work. The Poor Boys also serve up more instrumental work with a guitar in the spotlight, complemented by horns, in ‘Washboard Take 1’; the washboard is indeed present, and the guitar part can be credited to Lowman Pauling. Lowman was Steve Cropper’s favorite guitarist, and not everyone can say that. You get another instrumental highlight with ‘Rufus’ by Merced Blue Notes.
The versions of ‘Summertime’ have long since become too numerous to count on one hand. A cool and previously unheard instrumental version is on this album. It comes from Joey King as ‘Come Back Summertime’, but it is definitely ‘Summertime’. A pumping bass sets the instrumental ‘Moanin’ For Molasses’ by Jody Williams on track. A track in which the saxophone also plays a prominent role. As a guitarist, Jody was one of the most influential string players from Chicago in the 1950s. Jody collaborated with the greatest, including Bo Diddley, Howlin’ Wolf, and pianist Charles Brown.
New Orleans, on the other hand, resonates in the instrumental ‘Mudd’ by Roy Montrell. It comes as no surprise, as Montrell also collaborated with Fats Domino and Allen Toussaint, among others. You also get more New Orleans in the final track, ‘I Got A Feeling For You Baby’ by Hookie Boy. Who is responsible for the guitar work remains unclear. It could be either Walter ‘Papoose’ Nelson or Roy Montrell.
Because of his sharp, ice-cold guitar sound, Albert Collins was given the name ‘The Ice Man’, and because he always played a Fender Telecaster, he is also often called ‘Master Of The Telecaster’. You can see that the sharp, cold guitar sound surfaced as early as 1963 in the instrumental ‘Alberts Alley’. And a dynamic Little Joe Washington, blessed with a somewhat falsetto voice, moves through ‘I Feel Alright’, which evokes a James Brown feel. With ‘The Same Thing’ by Arthur Adams, we take a step back. A song that clearly has both blues and soul in its genes. Soul can certainly be found in Garlon Davis’s ‘Oh My Soul’, just as it is, incidentally, in Jimmy Dotson’s ‘Search No More’. Another ‘crossover’ between rhythm & blues and soul can be heard in Bobby Benneth’s ‘Never Gonna Let You Go’. Another artist who skillfully managed to inject soul into his blues was Jimmy Lewis. Listen to ‘Let Them Believe’ or, for example, Eddie Kirk’s ‘I Found A Brand New Love’ for this.
You also get phenomenal guitar work during ‘I’ve Got The Blues So Bad’ by Henry Artis & The Nitehawks. The guitar here is played by Bobby Parker. You also hear him under his own name on ‘Get Right’.
Besides B.B. King, there are those other Kings, namely Freddie King and Albert King. In 1983, Albert was responsible for one of the most remarkable recordings. That was when he recorded the magnificent album ‘In Session’ with Stevie Ray Vaughan. Here, Albert provides ‘Got To Be Some Changes Made’, a 1962 track and also the title track of this album, a magnificent slow blues.
Besides being a jazz guitarist, Reggie Boyd was also active as a teacher. He came into contact with, among others, Howlin’ Wolf, Willie Johnson, Fenton Robinson, Otis Rush, and Syl Johnson. Here you can hear Boyd in the instrumental and particularly impressive ‘Nothing But Good’.
After listening to this formidable album, it is clear that the emerging new generation of blues artists in the 60s did not renounce the blues. On the contrary, they looked to the future and fused the genre with soul, making it not only immortal but also a source of inspiration for future artists and guitarists.
‘Got To Be Some Changes Made – Soul Blues Guitar Aces’ has become an outstanding and inspiring album.

One of the best indie albums of the year!

An amazing journey from the rivers to the deserts of Mali, crossing the ocean to the Americas.  Recommended for the great female vocals and the virtuoso guitar playing.

Original mix of Latin music and rock without losing tradition. Strong!

Delta Generators are primarily a brilliant live band, but with full-length albums like ‘On & On’ they confirm their status as a top band. Unlike the previous record, which was more of a collection of great songs, this new release ‘On & On’ stands on its own as a completely cohesive work. Highly recommended!

With the third volume of the five-part ‘Black Phantom Rockers’ series, we dive once again into 26 tracks, in which well-known artists can be discovered within a hazy and often mysterious setting.
‘Hallelujah Rock And Roll’ kicks off immediately with a massive cracker: the delightful rocking blues à la Chuck Berry, ‘Hill Billy Blues’ by Clear Waters. This refers to Eddy ‘The Chief’ Clearwater. He was given the name Clear Waters, a reference to Muddy Waters, by drummer Jump Jackson in the 1950s. Another fun phantom rocker announces itself as Big Red McHouston and ‘I’m Tired’. McHouston is actually guitarist Mickey Baker, also known from the duo Mickey & Sylvia.
For a large part of his career, he used the name Smilin’ Joe, which you hear here in ‘Sleepwalkin Woman’. Later, he became Cousin Joe.
You can certainly rock out to ‘Big Jimmy, Little Jack And Nellie’ by Bobby Flare. As far as is known, it would be his only single. You can also rock out to ‘Nursery Rhyme Rock’ by Percy Welch and His House Rockers.
Both the song and the artist Guitar Junior are well-known, as is the widely known dance ‘The Crawl’. Moreover, this song was covered by quite a few artists, including The Fabulous Thunderbirds. Guitar Junior would later achieve worldwide fame as Lonnie Brooks.
As Eddie Kirkland, he recorded with John Lee Hooker and toured with Otis Redding. Here, as Eddie Kirk, you find him with the largely instrumental ‘The Hawg’. He is reportedly accompanied here by Booker T & The MG’s.
David Walker was active in the gospel genre but wanted to record raw and rousing rock ‘n’ roll. To avoid shocking the fans of his group The Mighty Clouds Of Joy, he did this as Bunker Hill in ‘The Girl Can’t Dance’. You can hear Link Wray on guitar. A song that, incidentally, in terms of style, is reminiscent of ‘the wild’ Little Richard.
The phantom rocker on Bobby Long’s ‘Jersey City’ is guitarist ‘Wild’ Jimmy Spruill. He is responsible for the masterful blazing guitar solo in the song. It is generally assumed that Jimmy Spruill is also the guitarist on ‘They Just Rockin’ And Rollin’’ by V. and B.B., although he was not listed on the musicians' roster.
Delmer Wilburn released the rocking ‘Kissin’ Cousin’ with The Mandals in the mid-20th century. Later, he made recordings as Del Delmon. Recordings that, however, did not achieve the hoped-for success.
As Little Mac Simmons, he had his own record label and, through his club, he gave young musicians a platform. You get the man here in ‘I’m Your Fool’ simply as Little Mac.
It often happened that artists who already enjoyed a certain level of fame were under contract with a specific label. As a result, they were often forced to record under a pseudonym. This also happened to Jesse Stone, who also recorded as Chuck Calhoun or Charles Calhoun. Under the latter name, you can hear him together with The Four Students on the swinging ‘My Pigeon’s Gone’.
He made several recordings as Driftin’ Slim. You can hear this harmonica player, guitarist, and singer as Model ‘T’ Slim during ‘Shake Your Boogie’.
The vocal group The Ecuadors, among others, serve up impressive harmonies with ‘Let Me Sleep Woman’. The same applies to the slow, bluesy ‘It’s Hot’ by Gene & Billy. Both were also part of various vocal groups.
The title track of this volume is credited to the dynamic singer Sandra Grimms.
For a bit of verbal bickering, you can turn to the spoken ‘Topless’ by Rolls Royce & The Wheelers, swaying along to a nice groove.
Series like these always provide a lot of listening pleasure. In addition, they also contain discoveries and fun facts about the artists responsible for these impressive recordings. Moreover, pay attention to the stunning illustrations by Dayvk Martins.
Fortunately, we are not at the end yet with this third volume. The upcoming release is titled ‘The Twirl’. To be read on this site soon.

What an exciting happy sound!  With a few contemporary elements Kuljit Bhamra brings Punjabi music into the 21ste century.

The Vanishing Dutchman knows how to compose.  But after so many years the surprise is gone and that’s a shame.

For Nana Osei a tough journey but with a nice debut album as result. Respect!

The many awards Jason Ricci has won prove that he is an artist and harmonica player in a league of his own. He may well have both feet firmly planted in the blues, but he doesn't get bogged down in it. As both an artist and a wizard on the harmonica, Ricci pushes boundaries. Boundaries that he then convincingly redefines.
He does this once again with verve on his new album ’13 Hours’, dedicated to his drummer, John Perkins, who passed away on March 31, 2025. After a long search, Perkins' place was entrusted to Benny Piazza, who also performs as a backing vocalist. In addition to Jason and Benny, The Bad Kind consists of Jason's wife, singer Kaitlin Dibble, Brent Johnson on guitars and backing vocals, and bassist Bill Blok, who also serves as a backing vocalist.
On the 10 songs, two of which are covers, Ricci explores various corners of the roots genres. Genres that align perfectly with his lyrics, which address frustrations, contemporary life, the broken music industry, honesty, and self-preservation.
With the opener, the over eight-minute-long ‘Sick Of This Shit (Explicit)’, Jason immediately sets the bar immensely high. The song is bathed in a delightful funky New Orleans groove, in which Dr. John also shone. The track starts with a clever funky beat featuring Jason and Kaitlin. Brent Johnson’s sublime guitar solo also plays a prominent role. Halfway through the song, Jason vents his frustrations in a spoken section, after which he unleashes the harmonica. The first of two covers is announced with the bluesy ‘Tired Of Trying’ by Johnny Winter. The other cover is the emotional ‘Rivers Invitation’ by Percy Mayfield, performed formidably by Kaitlin, in which a fantastic horn section also joins the band. The instrumental ‘Leo Watkins Rag’ starts with a super-fast groove and Jason’s equally fast harmonica, only to transform halfway through the song into a guitar-driven slow blues, after which the tempo regains that ‘rag feel’. Jason showcases a waltzing blues harp in the instrumental ‘Nuit Waltz’, while Kaitlin serves up a compelling soul blues in ‘Long Twisted Night’, which she wrote herself. Jason and Kaitlin advise that you can often only survive by taking a step back and staying away from the noise in ‘Bubble Gum Pop’, which is drenched in a fine bass line. Kaitlin also takes the microphone for the upbeat shuffle ‘Renegade’, a track in which the late John Perkins still handles the drumsticks. That same John Perkins is finally honored in the nearly 12-minute title track, in which Kaitlin vocally portrays John's years of connection with the band, being on the road, making music together, and the loss and absence in a formidable way. She is supported in this by the catchy lead guitar of guest musician John Lisi.
With formidable songs and arrangements, breathtaking harmonica, sublime vocals from Jason and Kaitlin, and an excellent band, Jason Ricci has delivered a top-tier contemporary album. Not to be missed!

'No Rhyme or Reason' is the seventeenth (!) studio album by blues guitarist and singer Stacy Mitchhart, who first made a name for himself on the club circuit of his hometown of Cincinnati during the early 1990s. These days, Mitchhart lives in Nashville, has performed in stadiums such as the Johan Cruijff ArenA before tens of thousands of people, and has collected awards including the Albert King Most Promising Guitarist Award at the International Blues Challenge in Memphis. He has also been inducted into the Canadian South Blues Hall of Fame and has received multiple awards from the Music City Blues Society. Naturally, such a résumé raises expectations for a new release, especially when the album is produced by two-time Grammy winner Tom Hambridge. What we hear on 'No Rhyme or Reason' is certainly of a high standard, although this blues veteran rarely ventures into truly new or groundbreaking territory.
The album gets off to a strong start with the swinging 'Good One Time', one of several blues-oriented tracks that gain additional colour from keyboards and horns without allowing those elements to overshadow the guitars and wah-wah effects. 'Bad As You', meanwhile, briefly misleads the listener by opening with a few loose notes before the rest of the band turns it into one of the strongest songs on the album.
Mitchhart is not an exceptional vocalist, but he is certainly more than capable of handling the lead vocals on his own material. On 'Sure Looks Good to Me', however, he receives assistance from Gretchen Wilson, whom he first met back in the 1990s when she was still working in a bar. Add some piano to the mix and the result is a highly enjoyable slice of roadhouse rock.
Things slow down somewhat with the solid ballad 'Once You Leave', which, thanks to its backing vocals, piano and horns, sounds just a little too polished. After that, we seem to pay a visit to Mississippi on the swampy 'Flip It to the Other Side', a track that – believe it or not – features lyrics about making pancakes and spinning blues records. A very cool song.
On 'We Blew It', Mitchhart occasionally adds a bit more distortion to his voice, although the music itself may be slightly too restrained to be considered particularly daring. The fact that 'It’s a Long Way Down'—originally written by Jordan Rainer and Kevin Brandt for Chris Stapleton, who ultimately passed on it—is another slow-paced song filled with organ and gospel influences does little to change that impression.
The cleverly constructed 'Ain’t No Rhyme or Reason' opens with a fat bass line and immediately reveals itself as one of the album’s more intriguing and original tracks. It therefore comes as no surprise that it has become a live audience favourite. 'Mean Bad Wrong', featuring Kenny Neal as co-vocalist, harmonica player and guitarist, is a completely different affair. Mitchhart’s slide guitar work and Neal’s rougher, more mature vocal performance elevate the song considerably, while the honky-tonk piano contributes greatly to its appeal.
'Never Gonna Get Me Back' perhaps feels a little too radio-friendly for our taste, although its guitar solo is certainly worthwhile. The shuffle-driven 'She’s Just Right for Me', on the other hand, recalls B.B. King and succeeds largely thanks to several excellent blues guitar solos.
Finally, 'On My Dying Day' brings the album to a powerful conclusion. Opening and closing with strong songs: hats off.