The Zombies

On which Blunstone and Argent once again become The Zombies, with a little help from original Zombie Chis White on bv’s, the father and son rhythm section of Jim and Steve Rodford and fine guitarist Keith Airey.

In his liner notes Rod Argent makes the point that it was the music on the album that ultimately led to the decision to once again become the Zombies.

In truth this is a U turn, as before the duo have eschewed all possibilities of this happening. But as Argent rightly says, there are “Zombies” style harmonies here, and they do send a shiver down the spine.

Of course the duo has mellowed and perhaps “Southside of the Street” for example, would have been a bit light-weight for the original band. That said, “In My Mind A Miracle” has a classic chorus, topped by Blunstone’s magnificent enduring vocals. The re recorded “I Don’t’ Believe In Miracles” similarly impresses, while the title track has real presence. There’s even some carefully arranged strings on the almost pastoral “Memphis”.
In short, this is a classy and at times mellow affair, but in the end, Colin’s wonderful voice and Rod Argent’s song writing sensibilities are still worthy of the moniker, The Zombies.

Here are some clips from the CD	Broadband (CD quality)	Dial-Up (AM radio)
In My Mind A Miracle
I Don't Believe In Miracles
Baby Don't You Cry No More
As Far As I Can See

Various Artists

Always a sucker for a sampler since the heady early 70’s days of “Picnic” and “Fill Your Head Full Of Rock“ etc., this special 10th anniversary has a host of gold nuggets.

There’s plenty to choose from and the well known heavy weights like Walter Trout (“Jericho Road”) and swampy boogie man Omar Dykes (“Boogie Man”) and of course the posthumous effort from Luther Allison (“I Wanna Be With You”) set the standard.

But there’s much more. Michael Hill just about steals the prize with a mesmerising “Something In The Sky”, while Ian Parker adds to his growing reputation as a deep thinking song writer.

There are eleven tracks here including a reborn rocker in the shape of Aynsley Lister and plenty to tickle anyone’s palate.

The Yardbirds

Following several recent blazing gigs it seemed only right to finally cover this album. For one thing the hype has died down, the critical expectations have been swept away by some great live performances, and guess what, “Birdland” is half a revisit to the band’s glorious back catalogue and also a reminder of the post psychedelic writing of Jim McCarty as on the mellifluous “Crying Out For Love” and “Mystery of Being”
Skunk Baxter (Doobie Bros/Steely Dan) adds killer guitar on “The Nazz Are Blue”, but really gives a context to show how good current axe grinder Gypie Mayo is. He blazes away on the opening Yardbird classic “I’m Not Talking”.

Oh! and of course other guests include Jeff Beck on Chris Dreja’s “My Blind Life”, while the match of Steve Vai with “Shape Of Things”, and Steve Luthaker on the 60’s period “Happening Ten Years Ago” is perfect.

Alan Glen blows a might harp throughout, especially on “For Your Love”, and perhaps only Joe Satriani on “Train kept A Rollin’ adds little to the original. But overall, the current band had lots to lose, but in the event come up trumps, with a set worthy of the Yardbirds’ legacy to Rock and Blues.

Big Head Todd & The Monsters

Many thanks to resonance FM’s Pete Sargeant for mentioning this album and band. I’d almost forgotten about this Colorado trio and assumed they’d disbanded, but here they are with their one of their best efforts.

The music ranges from stylish rock to blues via Dylan, all from the pen of main man Todd Parker Mohr.

The Monsters are a trio who aside from Todd, comprise Rob Squire on bass/vox and Brian nevin on drums/vox, and collectively they let their jamming background take care of the music. Todd writes the stuff, and Bighead Todd & The Monsters, the band impress in a college rock kind of way.

There’s a plethora of styles from the jazzy “Beauty Queen” and the obvious Dylan undertones of “Peacemaker Blues” to searing guitar and big piano sound on the very impressive “Imaginary Ships”.

For a band that has been around for a decade, you can file this under well shaken and matured contemporary rock.

Colin John

A second month of acoustic wizadry for two fine guitarist who although different in style of playing and singing, combine magically on this album.

On which the American based Colin John and esteemed blues social commentator/guitarist Michel Hill get real low down on a front porch acoustic session.

Colin and Michael have been touring together over the last year, and the results are neatly captured here.

The opening “11 Months & 29 Days” is a gloriously ragged blues on which both guitarists swap solos and vocal lines; the following cover of the traditional “Eyesight To The Blind” is a melange of acoustic guitars and includes Foley Q on piano. Steve Calabria adds acoustic bass, and drummer Scot Turner thunders things along nicely. This is a rare case of an acoustic version bringing fresh life to an oft recorded song. Michael Hill delivers a trademark emotive vocal on “Oil”, a typical biting political blues commentary. Colin adds Son House voice loops over sole razor edge slide on “Son House”

For the rest there’s some superb inspirational playing on the instrumental title track, some Low Down Robert Johnson, and even an acoustic Michael hill led “Whipping Post”.

After all these years of promise both Colin and Michael have struck base. Go and buy.

	If you have a broadband connection you can hear the same clips in CD quality:
	O.I.L
	Whipping Post

Rocky Athas Group

Very much in the Snowy White/Peter Green axis, Rocky is in fact the heavy duty guitarist while the husky voiced Larry Samford adds the real feel to Rocky’s powerful chords and heavy duty tone.

You could file this under “good singing, good playing” and FM friendly. Producer Jim Gaines (who has done such a great job for Walter trout) manages to bring out the best of the band in the studio.

The title track drips with emotion, even though the bank of backing synths are slightly OTT. The concluding solo on the track tells you all you need to know about a fine guitarist who knows all about dynamics.

On the Fab T Birds influenced “Long Run”, rocky cuts loose in fine style over some tasty keyboard fills from Riley Osborne. There’s an interesting cover of Tommy Bolin’s “Slow Driver” which builds up by turns, and on the closing rocking shuffle “Long Time Gone”, Rocky and Larry hit bass in a brusque work out that surely augers well for future live dates.

The Imperial Crowns

I was sent an email about a year ago extolling the virtues of this band who were then unsigned and looking for work. 12 months on the trio have honed their styles in the manner of Big Head Todd (see above) to come up with a contemporary sounding funky blend of rock with a blues undertow. There seems to be a batch of new roots rock trio’s who are unafraid to mix different styles in a brusque manner, and The Imperial Crowns are right there in thee vanguard.

“Hymn Book” deals with sex in a lovely sleazy way on the orgasm driven, heavy duty funk of “Lil Death”, the up front “King Size Jones, and the bluesy sleaze of “Golden Girl”.

Cleary this is band that knows no musical barriers and are not afraid to strip their musical layers down to the bone. Check out the effective simple funk of “Comin Fuh Ya”, and the low down blues of “Restless Soul”. Yep sure enough, as the album title suggests, this is a “Hymn Book”, but hymns from the other side of the track, low down and so catchy!

Key Frances

A dash of The Velvet Underground, Lou Reed style, a dash of Jonathan Richman, a fleeting glimpse of Nick Cave, the memory of John Cale, the occasional nuance of Jim Morrison, with Key Frances the list of influences goes on. But in truth Key Frances is really his own man, whose honest lyrics combine with his hugely effective guitar style to deliver real presence .

Mixing part philosophy (as on “Black Rock City”) with some post psychedelic imagery, (check out “Lizards”), Key cuts it right down to the bone.

This recording was cut in Santa Fe in front of some dies hard fans, who like this listener were probably mesmerised by a major talent who you somehow feel will never compromise his raison d’etre. And the latter is best defined by the title track and the aptly named “Cool”.

This is hip Folk music for the modern age. It is music for lovers, thinkers and those simply in need of a return to their musical source. Key’s one man mix of electric and acoustic guitar, and mesmerising lyrics are the perfect stopping off point.!

Guy Tortora

If I told you all that there was a Californian Ry Cooder style blues man playing some cracking gigs round the country who has released a fine debut album, you’d be forgiven for moaning about not yet another wannabe blues man. But think again, because most of the former is true, and in the case of Guy Tortora he mixes some superb lyrical metaphors with the most delicate but succinct guitar style, and a subtle bluesy growl to match.

The album’s title is very apt, as Guy deals in the blues idiom but he is just as liable to follow wherever his muse takes him. From the brilliant opening “Long Slow Blues” through to the more punchy electric guitar led “Late Starter” to the live favourite “Sanctified Love”, and the slide laden slow blues “Tough Love”, Guy sets a very high standard.

In an age where either extended solos make up for a lack of lyrical content, or where some cliché dominates proceedings, Guy deals in wry observations, crisp clutters of guitar notes, and leads a fine band through a very impressive album. Check out either the live band or the album, or lash out on both, you won't be disappointed.

Joshua Blue & The Deep Blues Band

One of the great delights of being a promoter is to receive a work in progress, and so it is with rising new blues star Joshua Blue, who offers a 3 track perfect calling card to announce a new blues talent on the block.

From the emotive take on the Billy Ward standard “Move To The Outskirts of Town”, through to the hardest hitting live blues funk work out its been my pleasure to hear for years, this is back to the source blues.

There is also a lovely acoustic “Trouble In Mind”, and by the end you realise that this former Hip Hop dude, has taken his shift to the blues in his stride and come up with a fresh take on traditional blues.

Joshua has the voice, the playing ability, a tight band and above all the force of personality to make it all stick.

Having caught the band at the Stormy Monday Club a few months ago, I was eagerly looking forward to hearing some recorded output, and the results are just as impressive as the stage show. Remember the name Joshua Blue, and check him out at either the Torrington or the Rayners Blues festival in late March.

Roscoe Chenier

The Lousiana gentle giant of the blues, packs a punch with his swamp style blues, gravelly voice and insistent guitar style.

A relative of the famous Zydeco star Clifton Chenier, Roscoe has ploughed his own furrow with some deft shuffles, swampy down home blues and judicious covers like Junior Parker's "Next Time You See Me".

With a band that includes his agent and estimable guitarist Jan Mittendorp, Roscoe delivers his own brand of deep Lousiana blues, that can make you dance, feel blue and even sing, all in the space of the time it takes to play this cd..