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.

Modern folk with jazzy influences from Belgium. Just enjoy and dance!

Listeners of Random Madness will enjoy performances in a variety of related musical styles—soul, R&B, blues-rock, jazz, and soul-blues—anchored by Price’s distinctive vocal style and the stellar musicians of the Billy Price Band. On May 1, 2026, Get Hip Records in Pittsburgh, Pennsylvania will release Random Madness by award-winning soul-blues vocalist Billy Price. The new recording, produced by Grammy award-winning producer and drummer Tony Braunagel, contains 11 new songs co-written by Price. Braunagel produced Price’s acclaimed 2024 album Person of Interest, nominated by the Blues Foundation for four 2025 Blues Music Awards including Album of the Year

With the five-part series ‘Phantom Rockers’, of which 3 volumes have already been released, the Atomicat label released an impressive number of obscure recordings. Incidentally, you will also soon find the review of the upcoming volumes 4 and 5 here.
Following that series, the KokoMojo label is now focusing on the ‘Black Phantom Rockers’. This series will also consist of 5 volumes. The principle is similar to the ‘Phantom Rockers’ series. The only difference lies in the fact that this series focuses on black artists. Artists who remained unknown to the general public, sometimes adopted strange stage names, or well-known artists who, for whatever reason, did not reveal their true identity and hid behind aliases.
The first volume is now on the market and contains 26 tracks that will quickly leave you wanting more. Because it mostly concerns unknown and local artists, little and often no information is available about them. However, do not despair, as the excellent tracks speak for themselves. The album opens with ‘You Made A Boo Boo’, a fine rocking rhythm & blues by Bob and Earl. The names Bob and Earl certainly make you think of the song ‘Harlem Shuffle’ from the early sixties. Well, the Earl on both recordings is the same artist, namely Earl Nelson. Bob was not the same on both recordings. On ‘You Made A Boo Boo’, you hear Bob Byrd and not Bob Relf. That both Nelson and Byrd came from vocal groups is clearly audible in their vocal qualities. Pure rock ‘n’ roll follows with ‘Country Boy’ by Billy La Mont. Behind ‘What Am I’ by Big Bob, you discover the powerful voice of Big Bob Kornegay. He recorded the song for Jaro International. In ‘Bip Bop Bip’ by Pretty Boy, you clearly discover the similarity to Little Richard’s performance. Well, he gave Don Covay the nickname Pretty Boy. Later, you hear him again with the equally rocking ‘Rockin’ The Mule’.
The fun thing about compilations is that you discover obscure songs that have long been hidden from your ears. That certainly applies to ‘Rock and Roll Jungle’, the title track of this first volume. Wonderful rockabilly by Joe Benson! A track that is also embellished with a driving sax. An all-scorching sax also sets ‘Cheating Woman’ by Kansas City Jimmy on the rails. Stunning guitar work forms the intro to ‘Peg Leg Woman’ by Willie King. The song was written by Ike Turner, and his band was also on hand for the accompaniment. Guitar Shorty is also well-known, here in ‘Ways Of A Man’, where Shorty’s guitar work sounds heavenly once again.
‘I Got Your Boogie’ is introduced by Sarah ‘Fatwoman’ Dean in a soulful manner, after which the song unfolds into a superb rhythm & blues boogie. Dimples Jackson then provides a cool blend of early soul and rhythm & blues in ‘Ring A Ling’. Blues is represented by Lonesome Sundown and the well-known ‘Gonna Stick To You Baby’. Sundown recorded the song for Excello, and on harmonica you hear Lazy Lester, who was also associated with Excello. Emon Mickle was a gifted blues guitarist and harmonica player. You can hear his talent on the instrumental ‘Lonesome Highway’. Mickle also recorded as Driftin’ Slim and often performed as a one-man band. More instrumental work follows with ‘The Boogie Twist’ by Cal Valentine & The Texas Rockers. Clifford King serves up a fine example of jump blues in ‘Want To Jump With You Baby’.
It is clear that KokoMojo has hit the mark again with this new series. In addition to the fantastic music you get here, the CD is packaged in a highly original three-part fold-out digipack, adorned with handsome illustrations of Guitar Shorty, Lonesome Sundown, and Big Bob.
We are already eagerly looking forward to the upcoming volumes.

Once again, Souad Massi blends tradition, poetry and contemporary rock with introspection and engagement.  Strong album!

With an unusual electric oud, Mehmet Ali Sanlikol, shows his jazzy virtuosity and even makes your psychedelic brain spin.

The rising star of Chicago blues gives you a few love songs but also an impressive live concert. Keep watching him!

A voyage through the world in diverse musical styles. Be surprised!

‘Grandpa’s Mill’ has become Colton Bowlin’s very personal country album. In the 12 tracks, he looks back on a life of hard work in a small community. The title of this album was not chosen at random. In his teenage years, Colton worked six days a week at ‘Grandpa’s Mill’. Colton promised his grandfather that, before the man passed away, he would make an album in his honor, and Colton kept his word.
The tracks are all bathed in a quiet, relaxed country atmosphere. Bowlin has pulled it off beautifully in terms of both melody and lyrics. In the opening track ‘Clinton County’, he looks back wistfully on the past, a beautiful time that is unfortunately over, but also offers inspiration for ‘Set Me Free’.
He reflects on his relationship with his grandfather in the closing track and title track of this album. A classic ‘old school ballad’ is also right up Bowlin’s alley, as is evident in ‘Dirty River’. ‘Grandpa’s Mill’ is Colton’s tribute to the often raw and hard life of ordinary people in a small community. ‘Don’t whine, just keep going’ is the message, although reminiscing about what has passed and what felt good is certainly not to be missed.

‘Book Of Paul’ is the fifth studio album by singer-songwriter Paul Cauthen. The album features 13 original songs written by Cauthen, who received assistance from a number of co-writers.
The sound Paul presents is undeniably unique. In a way never heard before, he blends country soul, outlaw country, funk, and gospel creating, blessed with a powerful baritone voice, a sound that is tailormade for him.
That unique sound is immediately evident in the first track, which is also the title track. In the follow-up, ‘Ain’t No Crime’, outlaw country takes the upper hand.
‘Texas Swagger’ is released as a single. A song that, due to its unpredictability and the very idiosyncratic performance of the backing vocals, can certainly serve as a model for Cauthen’s musical achievements. The funk feel can be found in ‘Breakaway’, while ‘Chain Smoking’ brings Cauthen’s quieter side to the surface; a duet in which Paul receives vocal support from Delaney Ramsdell. Cauthen is also a storyteller. He talks about the often lonely life of an artist an the road in the uptempo ‘Cigarettes & Billy Graham’.
With a dose of gospel, the album closes with ‘The Voice Inside (Silence)’.
‘Book Of Paul’ is a remarkable album. Although the country influences are clearly present here, the album might be a bit difficult for country purists due to a lack of country. Nevertheless, ‘Book Of Paul’ is an album that has a lot to offer and is therefore more than worth listening to.

A mediterranean musical trip from Marseille – a fascinating masterpiece! 

This next chapter in Bob Corritore’s blues adventure showcases stunning collaborations with some of the top performers on today’s blues scene. Story-telling songs with great singers and champion bands provide the ultimate setting for each of the featured guests and Corritore’s masterful harmonica. Bob has the unique ability to bring out neverbefore captured aspects of well-known singers, achieving exciting and heartfelt performances! From Bob’s cornerstone of straight, traditional Chicago Blues to his explorations with early R&B, Mississippi country blues and soul/blues, Bob Corritore captures the nuanced purity of each style, creating a guided tour of the many aspects of Blues, its tradition and extensions.

A musical tribute to Africa with a mix of Afro-Cuban rhythms and melodies

Great compositions and professionally executed.  This band deserves international attention.

Well crafted songs, mostly horn driven. And some boogie piano with a honest voice.  What more do you need?

This successful series, which focuses on the energetic rock 'n' roll and rockabilly of the fifties and early sixties, continues with the 53rd volume. This volume focuses on the Los Angeles-based labels Challenge and Jackpot. These labels were already featured in volume 51, but the archives of both labels certainly contain a large number of tracks that are more than worth listening to. As already proven in previously released volumes, the German label Bear Family Records once again dives deep into the catalogs of the featured record labels. It does not stop at just the well-known songs released by the labels; fortunately, attention is also paid to those recordings that are not immediately part of the collective memory. This is also the case in this volume. A number of the artists who were part of volume 51 are also present on this volume. Additionally, there are also artists making their debut on volume 53.
But let's listen to the tracks. The opener is immediately the well-known Wynn Stewart, from whom we get a driven and fast alternative take of ‘Come-On’. He returns later with ‘She Just Tears Me Up’. Up-and-coming talent follows immediately with ‘Great Day In The Morning’ by The Four Teens. Legend Huelyn Duvall is present twice. The first time with ‘Juliet’, an infectious rockabilly number. Later on the album, he returns with ‘Hum-Dinger’. You also get ‘Juliet’ in the version by Jerry Arnold. The Champs became instantly famous with ‘Tequila’ from 1957. Here they are present with two songs recorded a year later, namely ‘Go Champ, Go’ and the raw, sax-characterized ‘Midnighter’. When Dave Burgess was not working with The Champs, he recorded under his own name. ‘Lovey Dovey Baby’ is a fine example of this. Dave Burgess also scored as a songwriter for fellow artists. For this, be sure to listen to Hedley and Lee with ‘Trouble’. Chuck Rio was also part of The Champs, although he left the band after the success of ‘Tequila’, he was responsible for the song's great success. He recorded ‘Denise’ under his own name, a gem of a rocker.
Kimball Coburn serves up delightful doo-wop in ‘Cute’, in which he is backed by a sublime vocal group. Solid, rocking rhythm & blues is represented by pianist Al Downing. In ‘Oh! Babe’, he can count on the musical support of The Poe-Kats.
Because of his tenor voice, Prentice Moreland was part of various vocal groups. He demonstrates that he could also make it under his own name in ‘Teacher Drives Me Crazy’.
Jerry Fuller released about 20 singles, only four of which made it into the charts. As a songwriter and producer, he gained more appreciation, although ‘Anna From Louisiana’ is a cool track and pay attention to the harmonica part as well.
A nice ‘spoken song’ with a rocking foundation is ‘Bad Dad’ by Gene Davis. Originally, Gene had a fondness for country, but when he moved to Los Angeles, the rockabilly bug caught him.
The Rangers deliver some nice instrumental, guitar-driven work in ‘Mogul Monster’. The same goes, by the way, for Bob Regan and the incredibly impressive ‘Tarantula’. Incidentally, Bob was the husband of Lucille Starr. Alan Pierce and The Tonekings provide instrumental surf with ‘Swampwater’. A final instrumental comes with the buzzing ‘Buzzzzz’ by Jimmy Gordon.
Volume 53 is a wonderful addition to the 51st volume, which also paid attention to the labels Challenge and Jackpot. Both volumes are, by the way, more than worth purchasing.

Having already spent more than four decades and boasting over 30 albums and singles, the Texan Dale Watson can rightfully call himself a living legend. His Americana consistently features a sublime mix of honky-tonk, outlaw country, western swing, and rockabilly, dubbed ‘Ameripolitan’ by the master himself.
On his new album ‘Unwanted’, Dale once again masterfully blends roots genres. True to tradition, the lyrics, wrapped in beautiful melodies, cover topics such as heartbreak, love, and hard life lessons learned during his life on the road.
Dale recorded the 12 tracks with two bands, namely The Memphians and The Lonestars. Additionally, he called upon a number of guest musicians.
Willie Nelson is a big fan of Watson, and that admiration is mutual. This is evident in the opener ‘Willie Waylon And Whiskey’, featuring Nelson, Jennings, and the whiskey that apparently connects the men. The follow-up, ‘She Was My Baby’, is a beautiful track in which Dale strikes a nice balance between a bluesy and country foundation. For a massive tearjerker with an authentic country vibe, you can turn to ‘If You Really Love Me (Outlive Me)’. This immediately proves that Watson has a firm grasp of the various country genres. ‘Just Yesterday’ also falls within that genre.
In ‘What The Hell Happened To The Cadillac’, Dale muses on change, yet is left with just as many questions.
A love duet and country go hand in hand. ‘You’ve Got My Heart’ ensures this, featuring beautiful harmonies between Dale and Celine Lee of The Lonestars. A plea for the continued existence of the honky tonks comes with the uptempo ‘Don’t Let The Honky Tonks Go’.
Lyrics are often not very meaningful. You certainly shouldn't project this flaw onto Watson's lyrics. For that, be sure to listen to the formidable ‘Life Is Like A Song’. Watson surveys his life in the final track, which is also the title track.
All tracks are bathed in brilliant melodies, in which pedal steel, piano, and fiddle are indispensable alongside guitars, drums, and bass. Add to that Dale’s weathered and still powerful voice, and you know that ‘Unwanted’ is yet another top album by Watson.

For this album Mick assembled his favorite team of musicians, beginning with producer and guitarist Jeff Jensen, teamed with a solid group of Memphis based musicians: James Cunningham, Bill Ruffino, Rick Steff, Tom Lonardo, Carl Casperson, Eric Hughes, Marc Franklin and Kirk Smothers. Joining them was harmonica ace Bob Corritore on a very special song.

The color ‘pink’ takes us nostalgically back to the middle of the last century, when the color was present virtually everywhere. Just think of the Pink Cadillac, the pink accents in kitchens and living spaces, all kinds of pink clothing, pink lipsticks, pink perfumes, pink champagne, and we could fill several more lines. In short, it was part of the decidedly romantic style of the fifties and early sixties.
It is therefore not surprising that ‘pink’ also found its way into popular music. On this album, Bear Family Records brings together no fewer than 30 tracks recorded between 1950 and 1962, all of which had ‘pink’ in the title. It is not only fun to read those titles; it is even more fun to listen to the songs and immerse yourself in the fifties, when everything that is no longer possible today was still possible and allowed. Rock ‘n’ roll and rockabilly were omnipresent, but the songs on this compilation cover a broader segment. Thus, genres such as rhythm & blues, jazz, pop, exotic sounds, and sugary sweet teen songs are also featured.
For instance, you often encounter the same title, but it is performed in different styles by the respective artists namely, by well-known top artists and those who enjoyed slightly less fame.
The Tyrones kick things off with ‘Pink Champagne’ a track composed by jump blues legend Joe Liggins. The Tyrones perform the song at a hellish jump blues tempo. Later on the album, vibraphonist Lionel Hampton and his orchestra, with vocals by The Hamptones, present the song in a slightly calmer version. You also get ‘Pink Champagne’ a third time in a more rocking rhythm & blues version by saxophonist Rusty Bryant and The Carolyn Club Band.
Another song you get in two versions is ‘The Pink Panther’, composed by Lee Hazlewood and his wife Naomi Ford. For the first time, it is presented to you in a rhythm & blues version by the vocal group The Tads. Guitarist Al Casey then wraps the same song in a well-fitting rockabilly outfit.
There are no fewer than four songs featuring the ‘Pink Cadillac’. Two of these are by the same author, namely Sammy Masters. Together with His Rocking Rhythm, he performs the song in a brilliant rockabilly version. Rusty Draper, together with David Carroll and his orchestra, tackles the same track and gives it the same rockabilly touch.
For a jazzy touch, skip over to the instrumental ‘Sherry Pink’ by Vido Musso and his orchestra. Even more instrumental work in the same genre comes with the burlesque-sounding ‘Perfume and Pink Chiffon’ by Sonny Lester & His Orchestra. Another legend, saxophonist Earl Bostic, is present with the instrumental ‘Pinkie’, drenched in wailing sax. Atmospheric and romantic are adjectives that apply to ‘Cherry Pink And Apple Blossom White’ by Georgia Gibbs and Glenn Osser’s orchestra. Incidentally, the same applies to ‘Pink Hawaii’, performed instrumentally in ‘Aloha style’. The performers are the talented guitarist Billy Mure, accompanied by The Islanders.
This album features the most diverse genres. For instance, you can effortlessly categorize ‘A White Sport Coat (And A Pink Carnation)’ as pop.
Many artists recorded for Sun Records at the time, but not everyone managed to achieve worldwide fame. One such artist was O.C. Holt, who works his way through ‘Pink Wedding Gown’ in a rockabilly style.
‘Sixteen Tons’ made Tennessee Ernie Ford instantly famous. Here you can hear him in ‘Pretty Little Pink’, which is somewhat reminiscent of his big hit.
Pink was everywhere, as evidenced by the teen pop song ‘Pink Shoe Laces’ by Dodie Stevens, backed by Bobby Hammack and his orchestra. Incidentally, Dodie Stevens was barely 12 years old when she recorded the song in 1958.
Johnnie Ray is widely known. Accompanied by Ray Conniff’s orchestra and The Ray Conniff Singers, he delivers a major tearjerker in ‘Pink Sweater Angel’. Incidentally, other famous artists follow. Carl Perkins makes an appearance with the excellent rockabilly tune ‘Pink Pedal Pushers’, as does Eddie Cochran with ‘Pink Peg Slacks’. Later Jerry Lee Lewis also performs Perkins’ ‘Pink Pedal Pushers’ in his signature style. Jerry Dove and His String Busters also serve up fine rockabilly in ‘Pink Bow Tie’, complete with extremely tasteful guitar work. Naturally, rockabilly of the very best kind comes with Sonny Fisher and his own composition ‘Pink And Black’. Successor Gene Vincent, together with His Blue Caps, continues the rockabilly party with ‘Pink Thunderbird’, which is also the final track on this compilation.
‘The World Is Pink’ catapults you into the ‘pink world of the 50s’ for over 70 minutes. However, beware…… do not consume alcohol while listening, or you might receive a visit from ‘pink elephants’. Enjoy!

Electric Swamp Funkin’ Blues is Selwyn’s most “in your face” recording, and proves why he has become a “must see” live artist. On the new album, Selwyn and his band move from searing, raw songs like Never Should Have Gotten Out Of Bed and Talking Heads to the tender Labour Of Love and the gentle, romantic Soulmate. The band, featuring longtime members Regi Oliver on saxophones and Donald “Huff” Wright on bass, fits perfectly into each song, creating just the atmosphere Selwyn intended.

We can only applaud that Big John Greer is featured in Bear Family Records’ ‘Rocks’ series. In the post-war music scene, Big John was one of the saxophonists who gave rhythm & blues a serious boost with their energetic and raw sound. Greer could not only coax an enormously powerful sound from his sax, but when he stepped behind the microphone, he also proved to be a great blues shouter. Big John, also known as ‘240 pounds of solid jive’, learned from the very best, as a member of one of the best orchestras of the time, namely that of Lucky Millinder. Big John sang occasionally in that orchestra, but he made his recording debut in 1948 with ‘Wineola’.
From early 1949, Big John Greer was just about the most important artist under contract with the rhythm & blues department of RCA Victor. The 30 tracks on this compilation all date from the late 1940s and the entire 1950s. Recordings he committed to vinyl for the labels RCA Victor, Groove, and King Records. Moreover, here you get Big John’s hits including ‘Red Juice’, ‘Clambake Boogie’, and ‘Rocking Jenny Jones’, both vocal and instrumental. It is no wonder that his music resonated with the public. After all, his songs were immensely powerful and, above all, very danceable, which was a plus for that time. Another plus is that Greer recorded with the very best musicians. We hear studio guitarist Mickey Baker, Al Casey, bandleaders Lucky Millinder and Art Blakey, Bill Doggett, Sam ‘The Man’ Taylor, Big Al Sears, and Stanley Webb, to name just a few.
The compilation starts with ‘I’m The Fat Man’, a blues shouter made for Big John, that unceremoniously lodges itself in your head. The tone is set for Greer’s successes, as the instrumental ‘Big Rock (Rockin’ With Big John’ is already foreshadowing. Big John demonstrates his effortless transition from rhythm & blues to the emerging rock ‘n’ roll in ‘Come Back Maybelline’, the answer to Chuck Berry’s ‘Maybelline’. Big John turned The Memphis Jug Band’s pre-war ‘Bottle Up And Go’ into an infectious rock ‘n’ roll version, and ‘Honey, Why’ and ‘Come Back Uncle John’ also possess that rock ‘n’ roll feel. You get another beautiful interpretation of a classic with ‘Drinkin’ Wine, Spo-Dee-O-Dee’. Greer could also be subtle, as in the slow, bluesy ‘Wineola’. With Dolores Brown, he created a cool duet with ‘You Played On My Piano’.
You can also enjoy Greer’s performance as a saxophonist on the instrumental tracks ‘Record Hop’, ‘Duck ‘Walk’, ‘Midnight Ramble’, the rocking ‘Blam’ featuring a skillful blend of sax and lead guitar, ‘Big John’s A Blowin’’, and the wonderfully smooth-sounding ‘Night Crawlin’’ with a superb performance by guitarist Mickey Baker.
The great Big John Greer concludes with the brilliant melodic blues ‘Got You On My Mind’, immediately his signature song.
As is customary in the ‘Rocks’ series, you once again receive a fantastic 30-page booklet with all the info about the artist and the tracks.
If you love roaring sax, a killer blues shouter, steaming rhythm & blues as well as flashy rock ‘n’ roll, and music that is incredibly danceable, then this ‘Big John Greer Rocks’ is definitely your thing. Highly recommended!