From americanbluesscene.com on Something Smells Funky ‘Round Here:

It’s been nearly three years since Elvin Bishop put together the Big Fun Trio. Last year their eponymous debut album received a Grammy nomination. Now, the blues threesome is set to release Something Smells Funky ‘Round Here via Alligator records.

Bishop couldn’t have put together a better group if they’d been handed down from heaven on a silver platter. Elvin is Rock and Roll and Blues Hall of Fame inductee who first came to light with the Paul Butterfield Blues Band over 50 years ago. Bob Welsh, who plays piano and guitar brings his Louisiana charm to the mix. Bay area native Willy Jordan (cajón, vocals) keeps a solid beat, as well as providing his uber-soulful vocals.

Welsh (Rusty Zinn, Charlie Musselwhite, Billy Boy Arnold, James Cotton), and Jordan (John Lee Hooker, Joe Louis Walker and Angela Strehli) are obviously no strangers to the blues. When combined with Bishop’s guitar work and witty lyrics, they become a 3-fold force of nature. “With a trio there’s no place to hide,” Bishop says.­ “You’ve got to be pourin’ everything you got right out front. You need to be totally into it all the time. It’s really cool to see how people react to the goin’-for-it feel of the music.”

Go for it they do, right from the opening title track. It’s a tongue-in-cheek State of the Union Address delivered with no holds barred. The lyrics are clever, but piercingly direct, and take aim at those in power. The grungy, rock-blues music adds the perfect backdrop. “Funky like a bad pot of chitlins.”

Next up is their cover of Jackie Wilson’s “(Your Love Keeps Lifting Me) Higher And Higher.” Jordan’s vocals shine like polished silver as he works in and out of falsetto, hitting notes that Wilson himself couldn’t imagine. Willy brings those powerful pipes to play on a few other tracks including their re-imagining of Ann Peebles’ “I Can’t Stand the Rain.”

“Right Now is the Hour,” is a 21st Century re-composition of Bishop’s 1978 hit from Hog Heaven. With only Bishop and Jordan on vocals, they carry the weight of that original chorus. The group goes full-on Chicago/New Orleans blues with “Another Mule.” Whether it was Dave Bartholomew, Muddy Waters, Junior Wells, or Koko Taylor singing that iconic line, Bishop was there for all of them, and learned the lesson well.

The group all comes together vocally on the chorus of “That’s the Way Willy Likes It,” but Jordan takes the lead.There’s no falsetto on this one. Just pure, unadulterated, soulful blues.

Although the masterful guitar and/or piano of Bob Welsh is on every track, it doesn’t stand out any better than on “Bob’s Boogie.” It’s no wonder that James Cotton once told him, “Piano player, you take me back to Otis Spann.” He tickles and pounds the keys like a man possessed. If this one doesn’t get you dancing, you better activate your Life-Alert.

“Stomp,” is another instrumental that put the boogie in our shoes. Switching back and forth between some absolutely filthy slide to some grungy, string-bending, it’s no wonder Bishop lets out with one loud, “YEAH” about two and a half minutes in.

Elvin gets his story-telling on with “Lookin’ Good.” Described as one of the three stages of life, after youth and middle age, “Lookin’ Good,” is a left-handed compliment that Bishop takes in stride and wears with pride. “Man, you outta be glad about them wrinkles, and you outta thank God for every one of them grey hairs, because think of all the dudes that didn’t live long enough to get ’em.” His wry lyrics are perfectly accompanied by Welsh’s blues piano.

Our favorite track closes out the record. “My Soul,” combines Chicago guitar playing with Cajun-flavored accordion (provided by Andre Thierry), and barrelhouse piano. Top it all off with Jordan’s commanding, industrial strength vocals, and we’re hearing something brand new, that sounds as familiar as mom’s Sunday dinner.

Something Smells Funky ‘Round Here was produced by Bishop and Steve Savage and recorded at Bishop’s Hog Heaven Studio in Lagunitas, California. It has a street date of July 13th, and if it isn’t immediately in your collection, there may be something wrong with your soul.

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From spillmagazine.com on All That Reckoning:

In their first new album since 2013, Cowboy Junkies’ latest release All That Reckoning is an entrancing piece of musical artistry.

The intoxicating vocals of Margo Timmins bring to life the mix of mind bending realities and powerful messages in the lyrics throughout the album. Written by the guitarist, Michael Timmins, the emotionally rich poetry is well matched with the mesmerizing ambiance of the harmonies.

The quiet brilliance of ‘The Things We Do To Each Other’ is a tune designed to wake up the listener, and that combined with the exceptional guitar and bass accompaniment, creates a flawless song. The subtle percussion, by drummer Alan Anton, assists in helping keep the album from becoming overly soft and unremarkable.

The slightly lackluster ‘Wooden Stairs’ is the only song on the album that doesn’t quite deliver, but since it’s followed up with the upbeat gritty rock stylings in ‘Sing Me A Song’, it’s barely noticeable.

The true standouts on the album are ‘Mountain Stream’, enchanting the listener with its melancholic beauty of vocals, lyrics and subtle melody, and ‘Shining Teeth’, that delivers a metaphorical piece of relatable lyricism and wistful guitar riffs.

With the finely calibrated bluesy riffs and gritty rock sound, All That Reckoning is a brave album from start to finish. The album has a nostalgic way about it, as if transporting the listener back to a time when albums were purposeful and passionate, and is well worth repeated play.

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From crypticrock.com on Over The Years…:

Not all musicians manage to fill their listeners’ soul for over 50 years, but Graham Nash has done just that. A chronological work, his latest album, Over The Years, is a testament to a musical journey that is far from over. The collection – which arrives June 29, 2018, on Rhino/Atlantic Records – presents two albums filled with music from days with The Hollies to life with Crosby, Stills, Nash, and Young (CSNY) along with solo works; this is the best of the past blended with fresh sounds from the two time Rock and Roll Hall of Fame inductee.

With more than a dozen unreleased cuts included in the 30 songs making up either digital, double CD, or two LP sets, this is an anthology blending fifty years of Rock history. Curated painstakingly by Nash and longtime friend and associate Joel Bernstein, the artist is said to be grateful to present his songs in this way.

Here, Nash has given fans a backdoor listen to demo recordings of Rock history’s greatest music; for clarity, when referencing those never-before-released mixes, the gems are notated with an asterisk. In fact, how this music came to be also dictated where and with whom Nash sang and wrote with along the way. Starting with “Marrakesh Express,” there is also a window into the never-before-released demo version recorded in London which was rejected by The Hollies, prompting the musician’s move to the United States.

What happens here is Rock-n-Roll history, time travel at its finest. Furthermore, art and music tell a story painting a vivid picture of reality; “Military Madness” drops listeners back in the middle of the Vietnam War protests. “Immigration Man,” with David Crosby, feels real for an Englishman assimilating into the music scene. These are classics, sequenced to tell a new story.

Listeners may feel an embrace of the familiar with the opening notes of “Just a Song Before I Go,” like a backward hello. Apparent is the fact that Graham Nash and his music are a central thread in the tapestry of Rock music. “I Used To Be King*” is one of the previously unreleased mixes of this; it is a reflection of what has been lying in the vault, treasures for the ear now let loose on the world. Following it up with “Better Days*” with its simple instrumentation, pure vocals, and straightforward delivery is a masterclass in composition.

“Simple Man” rolls in a pure and uncluttered evolution of an artist. One of the tracks from his debut solo record, Songs For Beginners, this collection also includes a demo version recorded in 1970 as a reference point. Doing the same with the iconic “Teach Your Children,” having the ability to hear a song at birth and development into a finished gem is a superfan’s dream. Subtle and softly embracing, “Lady Of The Island” is a flashback of harmonies bringing to mind the classic “Judy Blue Eyes” that sadly was not included on this collection. There is a point in the choice of this track by curators; this is a reflection of a greater body of work, this lifetime of music for listeners to enjoy.

Rock historians will appreciate the way this collection of classics was put together. “Wind On The Water” is another duet, a partnership with David Crosby that shines; both artists still creative over the years. The exceptionally unique opportunity listeners have here with Over The Years is the fact that the version of “Our House,” from the CSNY album Déjà Vu, is coupled with its 1969 San Francisco demo. Further on in the journey, “Cathedral” is one of the songs that elicit that flashback; not one of the hits per se, though what is apparent is the fact that Graham Nash’s music creates an aura for sure.

Listening to the lyrics of classics like “Wasted On The Way” seems prophetic now that it is being included in this release, a song whose demo from 1980 is included here nearly thirty years after it was first laid down. What is apparent on this record, and the inclusion of cuts like “Chicago/We Can Change The World,” is that the years tick by, but do times and problems ever change? Closing out the first fifteen songs is “Myself At Last,” softly taking a breath before taking a trip forward. Does Graham Nash have a future, or is his future just his past as the lyrics of this song reflect?

By embracing and honoring the past with the release of an equal number of demos – along with “Horses Through A Rainstorm” from 1968 London, originally destined for Déjà Vu, “Pre-Road Downs” from Hollywood, 1969, and “I Miss You” along with “You’ll Never Be The Same” from recordings made in 1972 San Francisco, both having graced Wild Tales from 1974 –  the past is brought present, while looking into the future. Having had the opportunity to experience classic recordings and the demos and mixes that made the hits, fans have a window into the Rock and Roll Hall of Fame two-time inductee and social and political activist. Now the creativity of Graham Nash going forward will always include a reflection of his past, but listeners are free to explore new songs as well on Over The Years.

Now, Nash has cleared out the best of the past to share with the world in this curated collection. By doing so, the songwriter is now free to create more magic, a future filled with music to share with listeners. This a taste of the first fifty years, and Over The Years foreshadows of the brilliance of Graham Nash. That is why CrypticRock gives this album 5 out of 5 stars.

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From uberrock.co.uk on Ready Set Go:

The history of Sharks is a fairly well-known story now, with the band originally being formed as a supergroup of sorts by former Free bassist Andy Fraser along with guitar legend Chris Spedding and vocalist Steve ‘Snips’ Parsons. Despite critical acclaim and a considerable promotional budget, the band failed to truly take off for various reasons.

Spedding and Parsons have collaborated on numerous occasions in the intervening years, and it was in 2016 that Sharks surfaced again with some live shows that preceded the release of 2017’s superb ‘Killers Of The Deep’ album. It was at one of those 2016 ‘comeback’ shows at London’s Borderline that I first got to grips with Sharks, and they bit me hard that night. Having fully digested the ‘Killers Of The Deep’ album released a few months after that show, I started to go back in time and check out the original band’s albums. As fine as they are, I can honestly say I think Sharks are a better band now, and this new album ‘Ready Set Go’ only cements that opinion for me.

When ‘Killers Of The Deep’ was originally released, the intention seemed to be that it would be the one final album to achieve some sort of closure for the band, so this one comes as a very welcome and unexpected added bonus. But don’t expect ‘Killers Of The Deep’ part two – ‘Ready Set Go’, conceived under the working title of ‘Black Beatles/White Temptations’, is a different beast. More eclectic, more organic, more subtle, it’s an album that gets under your skin and grows on you with every listen.

The album eases you in with the subtle acoustic blues of ‘Big Chantelle’ before the Hendrix-flavoured uptempo belter ‘Who Chaser’ confirms the band are still packing a punch and penning quality tunes. ‘That Girl’ and ‘Kink Mess’ add an element of blue-eyed soul into the mix, and ‘Doo Wop Nation’’ is a clever soulful blues piece, heavy on the slide guitar, referencing the Beatles and the Beach Boys and putting that original working title into perspective.

‘Mr. Sloane’ is a real highlight, a raucous re-working of ‘Hey Joe’ with updated lyrics, ‘Crash Party’ has a power pop sensibility to it and ‘House Of You’ perhaps comes closest to the Stones-esque swagger of the previous album. Elsewhere, the likes of ‘Come All Ye’, ‘Darkwing and Honeybee’ and ‘It Will Stand’ are incredibly well crafted songs, and ‘A Lovelike Eye’ and ‘Song Of The Slaves’ close the album with a more laid back and dreamy approach.

Having had a sneak preview of a couple of these tunes at a show towards the end of last year, I was pretty sure this album was going to be a good one, and now it’s here I’m certainly not disappointed. This is quality from start to finish.

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From pastemagazine.com on Our Country: Americana Act II:

Ray Davies  wasn’t the only Briton who grew up in the aftermath of World War II entranced by American culture, especially rock, blues and country music. But the former Kinks frontman dug deeper than most of his British Invasion compatriots. America became a kind of fever dream for Davies, a knot for his imagination to unravel. More than 50 years after the Kinks first toured the U.S., Davies is still working at the threads on his latest album.

Like his 2017 release Americana, Davies’ new album is a collection of songs and spoken-word bits about living and working in the United States, and the hold this country and its mythology have had on him since he was a kid: Hollywood glamor, the untamed west, the sense of impregnable security and endless possibility. With guitarist Bill Shanley and alt-country group the Jayhawks reprising their role as his backing band, as well as some help from a horn section, a choir and a selection of other musicians, Davies dabbles in a pre-rock rhythm & blues sound in the trebly guitar riff and swinging beat on “Back in the Day,” rootsy New Orleans swing “A Street Called Hope” and country-folk in the steel guitar and mandolin on “Bringing Up Baby.”

They’re among 16 new songs and a few re-imagined tunes from his extensive catalog with the Kinks and as a solo artist. None of the latter are strikingly different, though Davies has done some tinkering: “Oklahoma U.S.A.,” first heard on the Kinks’ 1971 album Muswell Hillbillies, trades the original piano for a wash of atmospheric guitars and features vocals with a dreamier sound; while “The Getaway” here is brisker than the version on his 2006 solo album Other People’s Lives, with subtle electric guitar accents and a brief spoken-word intro.

Davies pays particular attention to New Orleans here, and not just in the musical arrangements. “It seems that all the music that inspired me started here, then drifted up the big river to become rock ’n’ roll,” he says in a spoken-word bit through layers of wordless vocal harmonies and acoustic guitars on “Calling Home.” New Orleans is also where Davies was shot in the leg in 2004 while chasing a mugger. It’s no surprise then that his fascination with America is tinged with wry, can’t-look-away aversion: he describes a sense of well-being as dawn breaks on “Louisiana Sky,” but confesses to feeling creeped out “with all the talk of voodoo / The living dead / And the zombies everywhere” on “March of the Zombies,” a slinky number stacked with horns.

Our Country: Americana II isn’t explicitly a political album, but there are political overtones these days to any album whose subject is America, particularly one that opens with a song called “Our Country.” That’s a loaded term lately, when the historical promise of a melting pot is at odds with the current reality. “Different cultures, race and creed / Building a society / Gone is the land I used to know so well,” he sings on the song, which plays like an updated “This Land Is Your Land,” with choir-like backing vocals. Turns out Davies is singing about his native England, but you couldn’t tell for a minute, could you? In the end, despite his fondness for America, Davies embraces his origins and heads home. “I am a Londoner, after all,” he says on “Epilogue,” before ripping into the rollicking album closer “Muswell Kills,” which recreates his mugging and includes a payback fantasy.

Despite a career stretching back decades, Davies will probably always be best known for the scabrous guitar riffs powering the early Kinks singles “You Really Got Me” and “All Day and All of the Night. Yet this more rustic sound suits him. Our Country: Americana II and its predecessor, along with Davies’ 2013 memoir Americana, offer an outsider’s perspective on the beauty and peril of America, a land of confounding contradictions. Davies doesn’t judge, he simply tries to understand. Maybe seeing ourselves through his eyes will have a similar effect on us.

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