In the ‘Right Hand Man’ series, which highlights the importance of musicians who brought their employers to immense heights through their contributions, Lefty Bates is now featured.
A guitarist who is certainly not to be underestimated. The KokoMojo label is paying tribute to him through two volumes. This first volume covers the period 1939–1960. The second volume, to be released later, covers the period 1946–1962.
Bates was one of the most sought-after accompanists in Chicago. This certainly had to do with his versatility, as he made recordings with artists active in blues, rhythm & blues, as well as vocal groups. Occasionally, Lefty even ventured into jazz. As was often the case, recordings by session musicians were not always used or were even mixed into the background. This also happened to the left-handed Bates. On recordings he made with Arbee Stidham and Sunnyland Slim, his parts were replaced by those of Earl Hooker or Louis Myers. Matt Murphy was then approached to replace Lefty on lead guitar on Billy ‘the Kid’ Emerson’s recordings.
Bates was born in Leighton, Alabama on March 9, 1920. He grew up in St. Louis, and while still in school, he started his first band, The Hi-De-Ho Boys, which was very popular in the 1930s and 1940s. With that band, he also made his first recording, which opens this album: ‘That Cat Is High’ by ​​Tommy Powell & His Hi-De-Ho Boys. World War II signaled the end of The Hi-De-Ho Boys, and Lefty served in the army. After the war, he joined The Aristo-Kats, which unfortunately lasted only one year. In the early 1950s, he formed his own trio. He also made a handful of recordings for United, Mad, and Apex. From 1952 onwards, he did session work for the Vee-Jay and Club 51 labels.
On January 29, 1953, it was Lefty who played lead guitar for Jimmy Eager and his trio. Jimmy Eager was the alias Tampa Red used quite often. After that, Bates made numerous recordings in the previously mentioned genres. His musical versatility also gave him access to Vee-Jay’s house band. Versatility that he clearly demonstrates on this first volume.
On the slightly jazzy ‘Watch Yourself Baby’ by Aristo-Kats, you can immediately hear that Bates was an extremely talented guitarist through the coloring of the song. With that same band, he repeats this once again in the instrumental ‘Boogie In C’, which is elevated to a higher level by Bates’ smooth lead guitar work. But Lefty also feels right at home in rocking rhythm & blues. Examples of this are frequently present here. It is astonishing how Bates manages to impress on recordings by vocal groups such as The Flamingos, The Moroccos, The Dells, The Spaniels, and Danderliers. Although harmonies take priority, Lefty adds another level through his empathy.
As a brilliant blues lead guitarist, you can hear him on ‘Please Mr. Doctor’ by Jimmy Eager aka Tampa Red. He later delivers a stunning solo on the instrumental ‘Beale Street Stomp’ by Al Smith’s Progressive Jazz, as well as on the equally instrumental ‘Foolin’ Around Slowly’ and ‘One Two Cha Cha’, also by Al Smith.
For Bates’ work in the popcorn genre, you can skip to ‘Just A Little Bit’ by Tiny Topsy.
Under his own name, Lefty Bates can be heard on the instrumentals ‘Chicago Cha Cha’, ‘Background’, and ‘Rock Alley’, and the vocal and bluesy ‘Somebody Will Understand’. This first volume ends with ‘Sugar In My Tea’ by Piney Brown, once again featuring a sublime contribution from Lefty Bates.
What makes Lefty Bates so unique is the fact that he knows perfectly well what a song expects of him. Additionally, his creativity is inexhaustible, preventing him from falling back into the same patterns. As a result, he unconsciously steps to the forefront and elevates the recordings to a higher level.
We are already eagerly awaiting the second volume, the review of which will be on this site soon.

Blues Music Award–winning guitarist, singer, and songwriter Zac Harmon brings the excitement of the stage to fans with the release of the new live CD Zac Harmon & The Drive ‘Live’. Blues powerhouse Zac Harmon & The Drive bring the electricity of their legendary live performances straight to listeners with the release of their new live CD. Recorded in front of an enthusiastic crowd, the album captures the raw energy, deep grooves, and soulful storytelling that have made Zac Harmon one of the most respected voices in modern blues. Backed by his dynamic band The Drive, Harmon delivers a performance that reminds audiences why blues music continues to thrive on stages around the world. The CD features powerful renditions of fan favorites along with standout moments that highlight the band’s musicianship and Harmon’s commanding guitar work and soulful vocals. From slow-burning blues to high-energy grooves, Zac Harmon & The Drive Live showcases the passion and authenticity that have defined Harmon’s career.

Recently, you received the review of the first volume of ‘Black Phantom Rockers’, the new series from the KokoMojo label, here. The remaining Phantom Rockers, and there are still a large number of them, found a home with the Atomicat label, which is now releasing the fourth volume in this series. Once again, 30 tracks by rockers who are either unknown or chose to remain unknown through aliases.
The opener is immediately the title track and also a never-before-released acetate recording. It is served up by Nelda ‘Ned’ Fairchild. Probably unknown, yet she was the composer of Cochran’s ’20 Flight Rock’. Cochran was credited as co-writer, although it is assumed that Fairchild is largely responsible for the song, certainly after hearing ‘Who Baby’. Cochran is also the phantom rocker in John Ashley’s ‘Born To Rock’. In the follow-up, the rousing ‘You Oughta See Grandma Rock’ by Skeets McDonald, you get not one but two phantom rockers. On guitars, you hear Eddy ‘Edward’ Cochran and Joe Maphis.
Although Buddy Knox’s backing band is listed as The Rhythm Orchids on ‘Swingin’ Daddy’, it was actually Buddy Holly and his Crickets, and they clearly left their mark on the song. Buddy Holly and Cricket Jerry Allison later also act as the phantoms on Jack Huddle’s ‘Starlight’, in which Holly’s guitar style is undeniably present.
Paul Marvin, real name Marvin Gauthreaux, was a musician from the New Orleans region. You can certainly hear that typical sound in ‘Hurry Up’. Marvin appears later as Little Mummy with ‘Where You At Jack’. He kept the name Little Mummy because Marvin’s older brother pronounced his name as mummy.
‘Ham ‘N’ Eggs’ is at times reminiscent of Ray Charles’ repertoire. However, the performer is Skip Manning, who later made soul recordings under the name Phillip John Flowers. If Jett Powers’ voice in ‘Go, Girl, Go’ sounds familiar to you, that is not surprising, as Powers would later become known worldwide as P.J. Proby.
Sharon Lee Myers recorded as Jackie DeShannon and Sherry Lee. On the poppy rockabilly song ‘I’ll Be True’, she blends both names into Jackie Dee.
In the creepy ‘The Whip’ by The Creeps, the Diddley-riff-driven ‘Who’s Been Here’ by Commonwealth Jones, and ‘Pauline’ by Johnny & The Jills, the common thread is phantom rocker Ronnie Dawson. With The Creeps, he sits behind the drums; with Commonwealth Jones, he acts as singer and guitarist and with Johnny & The Jills, he combines drumming with vocals.
A song that has been covered quite often, sometimes with a few changes, is ‘What’s The Word – Thunderbird’. Here you get the original version by Bobby & Buddy. Bobby was Bobby Robinson, CEO of Fury Records, and Buddy was Buddy Barnes.
You get impressive harmonies with vocal groups like Bells and their ‘Let Me Love Love You’, The Four Ekko’s with ‘Toodaloo Kangeroo’, and certainly during ‘I’ll Be Gone’ by Ron-Dells. The founder and group member was none other than Delbert McClinton.
There is delightful instrumental work propelled by sax and guitar in ‘Tough’ by ​​Bill Smith Combo, but this was actually Tom Brown of Tommy & The Tom Toms, who worked with Gene Summers.
The album is packed with formidable tracks. For instance, there is ‘Bopper 486609’ by Donna Dameron. The song was written by The Big Bopper. Could The Big Bopper also be the vocalist? According to some sources, the song was recorded with a speed-up voice so that he sounded like a woman. We will probably never know for sure. However, this counts as a funny anecdote.
What is certain is that this fourth volume in the ‘Phantom Rockers’ series contains 30 impressive tracks. It is also interesting to know which artists were behind the Phantom Rockers. ‘Phantom Rockers’ is, without a doubt, a series to cherish.

Dedicated to the hope for a better world.  Lovely jazz compositions and excellent musicianship. Recommanded!

Lexie Blue continues to push the boundaries of blues music, infusing it with her own unique style and bringing a fresh perspective to the genre. Her passion for music and her talent make her a force to be reckoned with in the blues world, and her deep soulful voice is sure to leave a lasting impression on anyone who has the pleasure of hearing her sing. She has opened up for Tab Benoit, Derek St. Holmes (original Ted Nugent singer), Mark Farner from Grand Funk Railroad, Anthony Gomes, Coco Montoya and NightRanger. Writing and singing the blues is what she does best.  

2026…..It is a double celebration for the renowned band Boogie Beasts, a group that needs no introduction here. They are celebrating their 15th anniversary and the hundredth birthday of the legendary R.L. Burnside. R.L who was born in North Mississippi, was one of the leading representatives of the modern Delta juke joint blues sound. The timing is perfect for albums like ‘Don’t Be So Mean!’, which unfolds with eleven raw and unpolished songs. Jan Jaspers (guitar/vocals), Patrick Louis (guitar/vocals), drummer Gert Servaes, and Fabian Bennardo with his raspy harmonica have been the brains behind the sound for years. Now, in Duwayne Burnside, Kenny Brown (R.L. Burnside’s right-hand man on guitar for years) and Luther Dickinson (North Mississippi Allstars, ex-The Black Crowes) with his distinctive slide guitar are there ideal soulmates. Alongside these three key Mississippi figures, the section also features Pablo van de Poel of the Dutch psychedelic rock trio DeWolff and Belgian garage rocker Cedric Maes (The Sore Losers, The Sha-La-Lees), artists who bring a great deal of musical spirit as well. Audacious grooves, hypnotic riffs, and that spirit of Hill Country blues are immediately noticeable in songs like ‘Jumper On The Line’, ‘Skinny Woman’, and ‘Peaches’. The track ‘Going Down South’, the album’s second single and perhaps the most iconic song in Burnside’s oeuvre, receives a delightful contemporary twist. Boogie Beasts, carry on the tradition!

Bad dreams and broken loves won’t lift you up.  Very melancholic with cinematic textures.

You won't find blues shouter Piney Brown in the American charts of the mid-20th century. However, this does not mean that he did not record high-quality rhythm & blues.
Born Columbus S. Perry on January 20, 1922, in Birmingham, Alabama, he grew up in Kansas City, Missouri.
His stage name, Piney Brown, is reminiscent of the nightclub owner of the same name, who became immortalized by the song ‘Piney Brown Blues’ by Big Joe Turner. However, Piney emphasized that his stage name was in no way inspired by this. Although it may have had some advantages. Piney started his musical career in the family gospel group, The Young Blue Jays. In 1940, Brown moved to Baltimore, where he performed in nightclubs. When Wynonie Harris had to miss a performance with Lucky Millinder's orchestra due to a sore throat, Piney was the ideal remplacerend. Pianist Sonny Thompson arranged for Piney to make his debut recordings for Miracle Records in 1948. Of the four recordings, only one, ‘That’s Right, Little Girl’, was released. Incidentally, this song is also the opening track of this album. He then moved to the more prestigious label, Apollo. There, his single ‘Mourning Blues’ appeared with ‘Gloomy Monday Blues’ on the B-side, and these two songs can also be found on this album. He recorded the song ‘Ooh You Bring Out The Wolf In Me’, considered his most famous song, in 1953 for Jubilee Records. For King Records, he recorded the single ‘Walk A Block And Fall / Whispering Blue’. The latter song, which can also be heard here, was recorded as a duet with Rose Marie McCoy, with Mickey Baker and Champion Jack Dupree playing guitar and piano respectively. King Records also hired Piney as a songwriter. Although James Brown is often credited as the composer of his instrumental ‘The Popcorn’, it is certain that Piney Brown, then under contract with King Records, was partly responsible for the track.
He recorded the excellent ‘Sugar In My Tea (Cream In My Coffee)’, which can also be classified under the popcorn genre, for Mad Records in 1960. The guitarist on that recording was Lefty Bates.
In the early sixties, Piney returned to Birmingham to care for his mother. However, he continued to perform and write songs. For instance, he collaborated with soul singer Bobby King and blues harmonica giant Jerry McCain. Thanks to Brown's influence, McCain was able to record his now-legendary ‘Steady’.
Piney Brown passed away on February 5, 2009, in Dayton, Ohio.
What becomes clear with this album is that Piney Brown released a number of incredibly strong songs throughout his career. This compilation contains 26 impressive tracks that he recorded between 1948 and 1962, effortlessly showcasing Brown's talent and versatility.
The blues shouter kicks things off with a swinging ‘That’s Right, Little Girl’. He demonstrates that he can also deliver an excellent, compelling blues in ‘Gloomy Monday Blues’ and the soulful ‘Why Do I Cry Over You’, or in ‘Lovin’ Gal Blues’, which is introduced by scorching sax. But Piney is also right at home in rocking rhythm & blues. Just listen to ‘That’s Right Baby’ and ‘How About Rockin’ With Me?’ for proof. ‘Ooh I Want My Baby’ is also incredibly skillful, possessing a funky edge, albeit a slight one. Jump blues, in turn, forms the foundation for ‘Talking About You’.
Brown also moved with the times. For instance, ‘Life Is Funny’, recorded in 1961, also contains a dose of pop, and in the closing track ‘Unemployed’, Piney plays the soul and funk card.
And then, of course, there is the infectious ‘Ooh You Bring Out The Wolf In Me’.
This album offers a fantastic overview of Piney Brown’s oeuvre. Music lovers unfamiliar with the man simply must add this album to their collection. Piney fans need no encouragement. They know for sure that quality always rises to the top!

Get in trance on the drum beats of the most inventive band from Soweto.