Contemporary and traditional beautiful integrated with an outstanding performance of the whole band. Is it desert blues, or raï or rock, or folk? A little bit of everything, and always compelling.

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

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

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

British blues with a personal road-worn wisdom. 

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.

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!

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!

The Canadian left-handed blues rocker Spencer Mackenzie may not be world-famous just yet, but he recently managed to secure both a Maple Blues Award and a JUNO nomination, and anyone who listens to his album 'Empty Chairs' will immediately understand why: this is pure, unfiltered blues rock, performed by a gifted guitarist who first picked up a guitar at the age of five and gradually found inspiration in legends such as Stevie Ray Vaughan and Joe Bonamassa.
There is also little doubt that the man has something to say and is (thankfully!) probably not just another Republican MAGA supporter playing blues rock. The title track is a protest against gun violence; a mid-tempo blues rocker featuring excellent lead guitar work and inspired by the Parkland shooting in Florida, in which 17 people lost their lives. It is a powerful song, but the rest of the album offers a wide range of textures, from the more upbeat 'Trip' (featuring a strong guitar riff and straightforward yet highly effective drumming) to the more commercial single 'What You Do' and the memorable 'Don't Know Where I'm Going'.
The optimistic 'Till I Get to You' breaks away from the preceding tracks by introducing more soul influences and keyboards, and works slightly less well as a result, but that is quickly remedied by the somewhat rougher 'Frozen Hearts', which relies on a particularly tasty guitar riff that beautifully supports its subject matter – children being separated from their parents and placed in residential institutions.
'Helping Hands' adds more blues influences, after which it takes a little while before we arrive at the even smarter 'Shoot Me Down', which, with its highly singable melodies, wonderful slide guitar, and darker atmosphere, ranks among the album's stronger tracks. This is certainly one I'll be returning to regularly.
After 'Won't Find Her' and closing track 'Evil', the conclusion is clear: 'Empty Chairs' has become a highly varied blues rock album featuring more than enough impressive guitar riffs and equally strong solos, all serving songs that are further elevated by Spencer Mackenzie's excellent and powerful vocal performance. He is undoubtedly an artist worth discovering live as soon as possible.

The Scott O’Neal Band: I describe our music as leaning toward the blues side of R&B! The release ‘Call Me Mr Blues’ is a very pleasant and relaxed album. It’s as if The Scott O’Neal Band is constantly evolving.

Recently, you could read the review of the first volume on Lefty Bates on this site. That volume covered the period 1939 – 1960. This second volume starts in 1946 and ends in 1962.
Lefty Bates was a highly sought-after session musician in the Chicago blues scene. He managed to wonderfully adapt his guitar playing to serve various artists in the blues and rhythm & blues genres. But vocal groups also gladly called upon his input. Occasionally, Lefty even ventured into jazz. It also happened that his guitar parts were mixed into the background or, very occasionally, erased and subsequently played by someone else. On this album, however, you get those recordings where Bates’ guitar playing comes fully into its own. On the recordings Lefty made with the vocal group The Flamingos on the rhythm & blues ‘Carried Away’ and Big Bertha Henderson on the slow blues ‘Tears In My Eyes’ for the Chance label, he played alongside bassist and bandleader Al Smith, tenor saxophonist Red Holloway, and drummer Vernel Fournier. For fans of vocal groups, the Four Buddies perform ‘Look Out’ later on.
The album opens with the blues ‘It Makes Me Blue’ by Aristo-Kats. In ‘The Spider And The Fly’, Aristo-Kats sensitively ramps up the tempo, partly due to Lefty’s guitar playing, and he delivers a brilliant guitar solo.
On ‘I Should Love Her More’ by Jimmy Eager, actually Tampa Red, Bates’ sublime guitar playing is clearly in the foreground and has a somewhat jazzy feel.
Female blues arrives with ‘Annies Answer’ by El Doradoes featuring vocalist Hazel McCollum, the wife of the legendary Robert Nighthawk. Piney Brown and Billy Brooks are united in the bluesy jazzy ‘They Call Her Rosalie’. Brooks was once a member of The High Toppers, Little Richard’s first permanent backing band. In 1960, Piney Brown hired Bates once again for the soulful ‘My Love’.
Soulful rhythm & blues resonates in ‘Fannies Place’ by Larry Birdsong, featuring Al Smith’s orchestra.
For a magnificent slow blues with unique harmonies, it is best to skip to ‘Have No Fear’ by The Answers, accompanied by Lefty Bates’ own band. Impressive doo-wop is also the hallmark of ‘Great Googley Moo’ by The Spaniels.
You get a breathtakingly swinging instrumental with Al Smith and his Broomdusters in ‘Hot Rod Special’, featuring a smooth-sounding Lefty Bates, and on Al Smith’s instrumental ‘Road House’, Lefty largely determines the sound through his playing.
Lefty can be heard under his own name on the instrumental ‘Am I Blue’ and the vocal ‘Ninety Days’, two classic tracks that he recorded in the late fifties. In the early sixties, Bates could be heard on recordings by John Lee Hooker, Jimmy Reed, and Etta James, among others. From Lefty’s collaboration with Jimmy Reed, ‘I’m Mr. Luck’ has been selected on this album, featuring a beautiful guitar intro. Incidentally, Bates can also be heard on Reed’s widely known ‘Big Boss Man’. On Hooker’s ‘I’m Goin Upstairs’, Lefty can be heard somewhat in the background behind John Lee’s unadulterated boogie style.
We conclude with the formidable blues ‘Stop The Wedding’ by Etta James.
It is clear that Lefty Bates felt right at home in any musical genre and more than once determined the sound of the song. The two volumes dedicated to him are therefore more than worth purchasing.

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.

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.  

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!

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

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.

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

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.

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.

Organic modern and old school blues songs. John F. Klaver is on his best with touching fingerpicking guitar.

Jojjo and Amedee met in high school as guitarists for the Fontainbleau Jazz Ensemble. After several years away, playing different musical venues, they reconnected at a benefit show featuring Dr. John and Rockin' Doupsie. After playing music together again, they realized that they had something incredible to offer the community. Thus, the Pontchartrain Shakers were born, driven by the deep roots in the blues and the sweet interweaving harmony of traditional jazz

Before the musicians formed The Dibs, they had already showcased their talents in various formations. The band's figurehead is singer and percussionist Peter Jacobs. Peter is supported instrumentally by drummer Jeff Jr. Gijbels, bassist Guy Engelen, guitarist Stanley Patty, and Bart Billekens on Hammond and piano.
'Just For You' is The Dibs' debut album. It contains 11 songs, no fewer than 10 of which originated with the quintet. And those who regularly read our reviews know that's a plus for us.
The album opens impressively with the funky 'No Sleep'. The instrumental pieces fall into place immediately, allowing Peter to go all the way. Original ideas can be found in 'Stop Fooling Around' and its follow-up, the contradictory 'Sick And Tired', both of which are introduced by nothing but steady drums. The same goes for 'Live Life', which has a jazzy feel. ‘Like Lovers Do’ is a magnificent ballad that embodies the best of blues and soul. For pure soul, skip to ‘Relentless’. New Orleans subtly surfaces a little later in ‘Getting Older’. The band then works its way through ‘Last Chance’ with a blues-rocking flourish. The Dibs close with the bluesy ‘Together’, which leads into a stirring gospel.
Musically, there's certainly something for everyone, but pay close attention to the lyrics as well.
It's beyond doubt that these are true musicians at work here. If I may point out one minor point, it's that very but also very occasionally, Peter's vocals seem to get lost a little bit in the mix. Nevertheless, Peter, Guy, Jeff, Stanley, and Bart can be proud of ‘Just For You’.

That the now 77-year-old blues legend Duke Robillard has been quite productive throughout his career becomes clear from the fact that this journalist had quite some trouble determining exactly how many solo albums the man has released: I arrived at 36, but colleagues mention somewhere between 35 and 38 – and that’s without counting the albums by Roomful of Blues and The Fabulous Thunderbirds in which the guitarist was also active.
The shoes of a Jimmy Vaughan cannot simply be filled by just anyone, of course, but even in 2026 Duke Robillard proves why he was allowed to do so back then. While there is nothing particularly innovative to be heard on the man’s latest offspring, 'Blast Off!', even the performances of already well-known songs such as 'Warm and Tender Love' (a 1966 classic by Percy Sledge), the funky 'Confusion' (originally by Allen Toussaint), the sizzling, wonderfully layered 'Lowdown' (by Tom Waits, with whom Duke Robillard toured two decades ago), and the instrumental 'The King' (by Count Basie) sound remarkably fresh and energetic. The cover of 'Lowdown' in particular is delightful and adds a slightly rougher edge that is (a little too) absent from most of the other tracks.
Naturally, 'Blast Off!' also includes original material, although with 3 out of 12 songs (two of which are entirely instrumental) that number remains rather modest. The fact that Duke Robillard wrote the one self-penned track that also features vocals, the somewhat sensitive 'Feel My Cares' – a blues ballad in which Robillard himself sings instead of leaving everything to the (better, though not exceptional) vocalist Chris Cote – when he was just 17 years old may be telling, though the guitarist’s repertoire has long been filled with reinterpretations of well-known (and lesser-known) songs.
'Blast Off!' offers an engaging journey through familiar genres, from jump blues and ragtime to R&B, jazz and big band, sometimes accompanied by rather cheesy lyrics, but Duke Robillard – who produced the album himself – makes excellent use of the accompanying musicians on his debut for the Nola Blue label, and together they ensure that the album remains fairly cohesive. The strong horn section in particular deserves mention.
A good album with slightly too few surprises to be added to the very top of Duke Robillard’s discography, but with more than enough craftsmanship to make it worth the purchase.

Blues brings people together – So don’t hesitate to enjoy on the rhythms of  Omar & Igor.