Live in ’67 — Volume Two
Forty Below Records
By Randy Murphy

john mayall cd coverLast summer, I reviewed John Mayall’s new album chronicling a series of live dates in various London clubs during the spring of 1967. Now, Mayall and his pals at Forty Below Records have released, on honest-to-goodness vinyl no less, the next volume of these remarkable recordings.

To review how these historical performances came to light: Tom Huissen, a 16-year-old Dutch blues devotee, shadowed Mayall and this particular edition of The Bluesbreakers — Mayall on organ and vocals, John McVie on bass, Peter Green on guitar and vocals, and Mick Fleetwood on drums (and in this album, R&B singer Ronnie Jones sitting in on “Double Trouble”), around London during April and May of 1967 while toting his single-channel, reel-to-reel tape deck. Thankfully, Huissen captured on these priceless tapes a small taste of the nascent blues scene of mid-sixties Britain.

Just as the first release, these recordings are not close to high-fidelity, though to my ears this second volume on vinyl sounds a bit warmer than the first volume on CD — besides, listening to this music on a turntable, well, just feels right.

The performances Huissen captured here are invigorating and potent. While there’re no clunkers in the batch, there are a couple of soul-stirring highlights. The first cut, Mayall’s “Tears In My Eyes” showcases Peter Green’s ability to shift his guitar playing flawlessly from soulful into combustible in just a few short bars. “Greeny” a full-tilt, straight-ahead boogie number is another highlight, as is John McVie’s bass solo on “Chicago Line.”

But again, the whole album is terrific and it’s difficult to single out one or two tracks for recognition. It would also be quite difficult to underestimate the value of these recordings, and the only thing that overshadows their historical importance and cultural legacy is their musicality. Besides, how can blues tunes recorded in London’s Marquee Club or the Ram Jam in 1967 possibly go wrong?

So, my advice is to buy these albums, spend a few pleasant days listening to them, and then go see Mayall live at the Aladdin on November 7.


Tears In My Eyes / Your Funeral And My Trial / So Many Roads / Bye Bye Bird / Please Don’t Tell / Sweet Little Angel / Talk To your Daughter / Bad Boy / Stormy Monday / Greeny / Ridin’ On The L&N / Chicago Line / Double Trouble.


Not Quite Legal
Revved Up Records

chase-walker-band-cd-coverThe Chase Walker Band’s second release, Not Quite Legal, is a great indication that these teen-aged musicians were not just another flash in the pan group of youngsters trying their hand at the blues. They really mean their place in the genre and their rocking it big time with their approach, while showing that they’re still growing as a band, too. It is kind of scary just how good these kids are, as songwriters as well as musicians.

Band leader Chase Walker is already quite an accomplished guitarist. He also has plenty of savvy and sass as a songwriter and vocalist. There is a bit of adult language that crops up occasionally in a couple numbers, “Cold Hearted” and “Don’t F It Up” and its earned the release a parental advisory warning label, but even these songs display a creative musical drive that belies the band member’s ages.

Aside from Walker, the band features drummer Matt Fyke and bassist Randon Davitt, who contributes his own songwriting skills and vocals on the track “Changed.” Backing vocals from Jade Bennet-Mateo and April Stephenson also add exceptional soulful contributions to the band’s sound.

Enjoyable covers of Toots & The Maytall’s ska piece “54-46” and a rootsy version of The Wood Brothers’ “Honey Jar” enhance the musical diversity of the album. Then there is “Red House”; this Jimi Hendrix number may make many people say, “Oh boy, that old song? Everybody and their mother has done that one. Here we go again.” But rest assured, this is a superbly rendered take of the song, starting out with Walker working with solid resonator guitar playing that builds up the drive as the band joins in. It shows a lot of respect to Hendrix’ tradition without sounding like every other band who has covered the song. And the distorted vocals brings it all home. Well done!

The band throws in a hidden track at the end of the disc titled “Yabba Dabba” that really shows off the trio working in a jam feeling. They may be young, but they’ve been working together enough to grab each others’ feel and approach to the music. And it just keeps getting better. Keep your eye on the Chase Walker Band, these kids have got it going on and bring across on both recording and in live settings! Wow!

Total Time: 49:33

Done Loving You / Red House / The Walk / New State Of Mind / I Warned You / Cold Hearted / Don’t F It Up / 54-46 / Changed / It’ll Pass / Honey Jar / Living On Thin Ice

Introducing John Blues Boyd: The Real Deal
Little Village Foundation

john-blues-boyd-cd-coverIf you listen to just one new artist this year, you should direct your attention to John Blues Boyd. At the age of 71 he has released his debut disc with the urging and guidance of the Little Village Foundation.  Boyd claims that he always had a feeling for the blues, but life had to come first, making ends meet to cover his expenses. It wasn’t until his wife of 49 years, Dona Mae, passed away in 2014 after an extended illness, that Boyd was finally able to look into the blues — not only as a means of coping with his loss, but as a profession.

The album, appropriately titled Introducing John Blues Boyd: The Real Deal, was recorded in Kid Andersen’s Greaseland Studios in San Jose. There is a lot of autobiography behind the songs presented here. The album opens with a bit of retrospective on Boyd’s life, “I Am The Real Deal,” and the closing piece “John, The Blues Is Calling You” brings the events of his life up to date. The love for his wife and her suffering is documented in three tunes, “I’m So Weak Right Now,” “When Your Eyes Met Mine” and “Screaming In The Night.” A fourth number, written by Kid Andersen and Rick Estrin, is yet another tribute to her, titled “Dona Mae.” Of the songs included on the album, all but three were penned by Boyd. The only exceptions (aside from the already mentioned “Dona Mae”) were written by Rick Estrin, including an outstanding take on Estrin’s humorous “That’s Big!”

Every track on the album is pure blues that resonates with every note. The Real Deal is just that; blues played at its absolute best in traditional electric Chicago or Delta fashion. And having spent a great deal of his life living in Mississippi, the exposure was there. Not to mention his cousin was the late legendary bluesman Eddie Boyd.

Being released by Little Village Foundation, Boyd was accompanied in the studio by a gathering of the talented musicians that have become go-to artists for the group. They include such well-known blues greats as label leader Jim Pugh, Rick Estrin, Kid Andersen, Aki Kumar, Big Jon Atkinson, June Core, Terry Hanck, D’Mar Martin, Frankie Ramos, and Robert Welsh to name just a handful. Bringing John Blues Boyd into the studio is another prime example of the label’s drive to bring lesser known or overlooked musicians to the forefront. And we should all be happy that John Blues Boyd now has music that we can all hear! And from the sounds of it, we should be hearing a great deal more from this new 71-year-old artist as he has claimed in a recent article that he has already recorded 52 songs and has another 60 ready to lay down. This is without doubt, one of the best blues releases of the year! And though the term has been overused, mostly for people undeserving, John Blues Boyd truly is “The Real Deal.”

Total Time: 45:33

I Am The Real Deal / You Will Discover / I’m Like A Stranger To You / That’s Big! / The Smoking Pig / That Certain Boy / Dona Mae / I’m So Weak Right Now / When Your Eyes Met Mine / Screaming In The Night / (Have You Ever Been To) Marvin Gardens / Be Careful With Your Love / John, The Blues Is Calling You

Texas Blues Voices
Appaloosa Records

fabrizio-poggi-cd-coverTexas has long been fertile ground for outstanding blues musicians. It has carved a tremendous niche in the history of the genre, stretching back to Blind Lemon Jefferson, Blind Willie Johnson, and Lightnin’ Hopkins. It’s still serving as a birthplace for so many newer artists, too. So it was only natural that Italian bluesman Fabrizio Poggi has held a life-long goal to perform and record with the musicians of the Lone Star State.

Poggi is a Blues Music Award nominated harmonica player, with twenty recordings and four books under his belt. He has collaborated with quite a number of great musicians over the years, including the likes of Ronnie Earl, Sonny Landreth, Charlie Musselwhite, Marcia Ball, and Otis Taylor to name but a few. So it should be no surprise that making his dream come true of working with some of Texas best saw some of its favorite sons and daughters jumping at the chance — the result is Poggi’s newest release, Texas Blues Voices.

Heading down to Austin and working with famed Grammy winning engineer Stuart Sullivan, Poggi rounded up  a handful of the city’s best musicians to work as his core band: guitarists Bobby Mack and Joe Forlini, keyboardist Cole El-Saleh, and the rhythm section of bassist Donnie Price and drummer Dony Winn. The dream team of guests that he pulled into the mix are all over the top, offering a selection of covers and a few songs written by the artists performing.

Stand-out numbers on the disc would have to include Ruthie Foster singing Sonny Terry & Brownie McGhee’s “Walk On,” Lavelle White working her song “Mississippi, My Home” with Carolyn Wonderland and Bobby Mack inserting terrific guitar solos, Shelley King’s is sensational on her piece “Welcome Home,” and Guy Forsythe’s resonator guitar playing on the traditional “Run On.” All of the performances are outstanding. Other musicians appearing are Mike Zito, Mike Cross and WC Clark. And Fabrizio Poggi blows some dynamic harmonica throughout.

If you have not been exposed to Fabrizio Poggi before, this is a superb disc to get your introduction. Filled with amazing playing by everybody in the mix. And it’s got a nice history of Texas blues going on, too. Texas Blues Voices is definitely something to put on your list to take a listen to. You won’t be sorry.

Total Time: 47:09

Nobody’s Fault But Mine / Walk On / Forty Days And Forty Nights / Rough Edges / Mississippi, My Home / Neighbor Neighbor / Many In Body / Welcome Home / Wishin’ Well / Run On

Blues Immigrant
Tongue ‘N Groove Records

matthew-skoller-cd-coverChicago-based harmonica ace Matthew Skoller is back with his fifth release. It’s fitting for a musician who has been laying down some of the sharpest harp music in The Windy City for nearly three decades, working alongside the city’s greats like Junior Wells, Lurrie Bell, John Primer, Koko Taylor, The Kinsey Report, that he has brought many of his best friends with him to create a masterful recording, Blues Immigrant, including guitarists Carlos Johnson and Eddie Taylor Jr. and keyboard professor Johnny Iguana.

Skoller is not afraid to address social issues in his music, something that has never been far from most blues music since the genre first took roots well over one hundred years ago. He sadly talks about the disappearance of the mom and pop businesses that made this country great in the number “Big Box Store Blues.” And he tackles how corporate greed is over-powering consumerism and life in general with “Story Of Greed.” The title track, “Blues Immigrant,” offers an autobiographical account of Skoller’s life beginning with his grandparents arrival in the country in 1922. But sometimes he thinks that regardless of just how much history has gone by and the troubles he’s seen, he still feels that he needs a green card to reside — has he paid enough dues, or does he need a green card to play the blues?

A welcome addition to the album is Skoller performing the Blues Music Award nominated song that he wrote for Lurrie Bell, “The Devil Ain’t Got No Music.” His presentation is sleek and filled with his signature vocals and burning harmonica.

Most of the tunes on the disc were written as part of Skoller’s songwriting partnership with Vincent Bucher, who also co-produced the album. But there are some great cover tracks included, too. Among those is a terrific take on Haskell “Cool Papa” Sadler’s “747,” perhaps best known by Joe Louis Walker’s version of the song. Luther “Snake Boy” Johnson’s “Get Down To The Nitty Gritty” and Papa Lightfoot’s classic instrumental “Blue Lights” both shine highly.

Skoller truly strikes home with his satirical piece “Only In The Blues.” It’s a sad vision, but quite true. Where but the blues can you find “His girlfriend is his manager / His brother books the gigs / Ex ol’ lady does the website / And supports his only kid / Thinks it’s only temporary / And he calls ‘payin’ dues’ / It’s a funky situation found only in the blues.” Or how about the performer being called the real deal and legend who out-sells BB King and Buddy Guy, despite the face that he’s only nine years old. Come to think about, this probably is more factual than satire.

Matthew Skoller continues to prove with every release he puts out and every performance he plays, he is one of Chicago’s true modern masters of the blues. And yes he has paid his dues. This is exactly the type of music you expect to hear when you think about Chicago blues. And it is amongst the very best to be found!

Total Time: 43:10

Big Box Store Blues / The Devil Ain’t Got No Music / Blues Immigrant / Only In The Blues / Tear Collector / Story Of Greed / 747 / Organ Mouth / My Get It Done Woman / Get Down To The Nitty Gritty / Blue Lights


Hard Times, Bad Decisions
JayRay Records

Lisa Mann CD coverWhatever recipe Lisa Mann is currently using to cook her albums, I hope that she has it written down, because they’re definitely a gourmet taste. Her latest release, Hard Times, Bad Decisions, is chock-full of that same winning flavor that has seen her star rise onto an international level, reaping all kinds of accolades and two consecutive Blues Music Awards.

There is a great cast of players working with Lisa on the disc. Aside from Her Really Good Band mates Jason JT Thomas on guitar, Michael Ballash on drums and Brian Harris on keys, she is joined by Portland-based friends Andy Stokes, Rae Gordon, Ben Rice, Sonny Hess, Louis Pain, Dave Melyan, Renato Caranto, Steve Kerin, Chris Mercer, Joe McCarthy, and Stan Bock. That is an all-star collection indeed, but there are also a couple of big-time out-of-towners included, too, Mannish Boys guitarist Kirk Fletcher and Black Sabbath drummer Vinny Appice.

There’s so much to like about this album. She is a vocalist who stands among the very best anywhere. And Lisa writes songs that range in multiple directions of emotion. She reflects on how choices for our lives are not always the best decisions made in the opening track “Hard Times, Bad Decisions.” “Two Halves Of One Broken Heart” is extremely touching in her duet with soul master Andy Stokes. This one grabs at your heart with its slower bluesy approach. “Doghouse” is a lot of fun as she tells her other half that he’s sleeping in the doghouse tonight and he ain’t getting any bone. And talking about fun on this song, how about Rae Gordon offering her vocals to the background, and throwing in a few of her own trademark dog barks, too. A New Orleans sound is all over “Ain’t Nunna Your Business” with Steve Kerin adding authentic Louisiana keyboards to the horn backing of Mercer, McCarthy and Bock.

There are four covers on the disc that Mann truly finds the right direction for. In particular, Portland’s own Mary Kadderly’s jazzy, bouncing number “I Go Zoom” features the guitar fire of pal Sonny Hess and the terrific piano playing of Alex Shakeri, with Lisa showcasing a nice bass solo that truly details why she is a two-time BMA recipient for her bass work. Also, Mann gives a beautiful take on Don Robertson and Jack Rollins’ 1953 piece “I Don’t Hurt Anymore” perhaps best known as sung by Dinah Washington, that has also seen covers by Hank Snow and Johnny Cash. Lisa’s take matches right alongside any of those renditions.

The album closes with a deeply haunting pace as Ben Rice dishes out a very swampy resonator guitar and Vinny Appice handles the drums superbly as expected alongside a moody bass line from Mann on “Judge A Man Forever.” This takes the album pretty much full circle, where past decisions have once again played a strong part in life. The hopes here are that one’s life is not going to be forever marred because of bad choice that happened early on. It is a strong and emotive number to close out a sensational album.

One thing that you can always count on with Lisa Mann, you’re going to be taken on a trip with lots of turns and excitement in her music. It just keeps getting better and more thrilling not just with every song on this album, but every album she creates, too. Don’t let it stop. Knowing Lisa, it’s just going to keep on rolling. Expect it!

Total Time: 45:30

Hard Times, Bad Decisions / Two Halves Of one Broken Heart / Certain Kinda Man / I Go Zoom /  Doghouse / I Don’t Hurt Anymore / Ain’t Nunna Yo Bizness / My Father’s House / You Need A Woman / Play It All The Way / I Love You All The Time / Judge A Man Forever

Been There Done That
McKenna Records

Barbara Healy CD coverBarbara Healy has long been one of the finest vocalists in the lower Willamette Valley whose talent is reflected in her amazing, passionate songwriting and performances. Since the 1980s she has been delivering smoking hot music filled with heartfelt soul in bands such as The Allnighterz, The I-5 Nine and her current outfit Groove Too. Her latest release, Been There Done That, is her sixth recording overall, the second with Groove Too, and it is filled with her own personal experiences.

All of the material on Been There Done That is original with the exception of the closing take on Big Jay McNeely’s classic “There Is Something On Your Mind.” Healy shares songwriting duties throughout with bandmates guitarist Gerry Rempel and keyboardist Gus Russell, and the band consists of bass player Scoop McGuire, drummers Brian West and Alex Huber, and “The Treacherous Horns” featuring Dave Bender on trumpet and flugelhorn, and Tony Johnson on sax. All musicians provide over the top performances and very tasteful solos throughout the entire recording.

The album opens up with a moody, slow burning number, “Struck By The Blues,” with all of the members taking nice showcase runs behind Healy’s precise vocal delivery. Rempel especially puts forth some sizzle on his guitar strings on this one. That is followed up with a bit of humor as Healy tells her pursuer to “Put Your Money Where Your Mouth Is,” because buddy if you’re not going to deliver on what you claim to make her feel good, just stay out of her neighborhood. On “I Close My Eyes” there is so much going on in today’s world that she would like to close it all out of her mind. “Rumba Of The Heart” has a Latin percussive flow with a little New Orleans piano flavor, and another burning guitar solo. “Shake It Up” has a terrific Memphis R&B feel and may show Healy’s magnificent voice at its very best making it a stand out track among a disc full of winners. The final original “Four Alarm Fire” is introduced with some seriously punchy horn work that brings the song on strongly and the pace is fitting of its title and makes you want to snap your fingers right in time.

Been There Done That is a very pleasing collection of bluesy-soulful fun. There is a reason why Barbara Healy has stood tall within the Eugene and Oregon, blues scenes for four decades. When you have talent like this, material like the songs gathered here, plus an assembly of fantastic musicians, you have the formula for not only longevity, but for first-class releases as seen here.

Total Time: 37:04

Struck By The Blues / Put Your Money Where Your Mouth Is / I Close My Eyes / Rumba Of The Heart / Shake It Up / Four Alarm Fire / There Is Something On Your Mind


Taylor Made Blues
Swing Suit Records

Mick Kolassa CD coverMississippi-based bluesman Mick Kolassa is back with his third recording in as many years, and as with those previous two he has hit another winning formula with Taylor Made Blues. Kolassa is an exceptional musician, working his acoustic guitar around his gravelly voiced singing. As a songwriter he is quite sincere. These are honest songs, often humorous, then at times telling emotionally from experiences filled with heartbreak and loss. Exactly the base that any strong songwriter and blues musician should draw upon. It is life and it is real. You have to live it to bring it across right. And Kolassa has done just that.

His heart is reflected in a multiple manner of expressions throughout Taylor Made Blues. He mourns the loss of his closest friend and brother-in-law Ted Todd in “Left Too Soon,” and pays tribute to the Brazilian fishing guide he shared friendship with in “Raul Was My Friend.” But he is not only filled with sadness on the album and he shouts out his happiness for those he still has in “With Friends Like Mine” and his love for his wife Molli in “Baby Faced Louise.”

Eight of the dozen tracks are Kolassa originals, with a ninth, the number “Keep A Goin’,” he has reworked from the Frank Stanton poem written nearly a hundred years ago. The three other selections are covers of Graham Nash’s “Prison Song,” Townes Van Zandt’s “Lungs” and The Temptations’ “I Can’t Get Next to You.” All are done tastefully in Kolassa’s own approach.

Named after the town he lives in, Taylor Made Blues was recorded in Memphis’ Ardent Studios with guitarist Jeff Jensen once again serving as engineer. Alongside Jensen, the core behind the album’s band is bassist Bill Ruffino, drummer James Cunningham and keyboardist Chris Stephenson. Kolassa also draws upon his wealth of friends to assist, including some of the finest in the region with Victor Wainwright, Castro “Mr. Sipp” Coleman, Eric Hughes, Reba Russell and Tullie Brae, plus Long Tall Deb Landolt, and Colin James also flew into Memphis to lend a hand.

As he has done with his other recordings, Mick Kolassa will donate all proceeds from the sale of Taylor Made Blues to The Blues Foundation to benefit their Generation Blues and The Hart Foundation programs. So the purchase of the album benefits you twicefold as you not only receive some terrific material to listen to, you also help young artists and musicians in need at the same time.

Taylor Made Blues is a very personal recording by Mick Kolassa. Filled with life’s ups and downs, he has once again delivered an exceptional album that stands out in every sense as genuine and bona fide as it comes.

Total Time: 48:34

Baby Faced Louise / Taylor Made Blues / Prison Song / I’m Getting Late / In The Way / With Friends Like Mine / Lungs / Keep A Goin’ / Left Too Soon / Can’t Get Next To You / My Hurry Done Broke / Raul Was My friend

Devestatin’ Rhythm

David Vest CD coverEven if David Vest were not the articulate songwriter that he is, his piano playing would still be able to tell stories that’d capture your attention. His expressive boogie style just has a way of its own to speak of the greatest tall tales you may have ever heard, but everything he offers on those keys ring true and deliberate. And it makes you envision images of everyday life or perhaps images you really don’t want to see in reality, but they’re out there.

Vest is a three-time Maple Award (Canada’s own Blues Music Awards) winner for piano player of the year. He is joined once again by The Willing Victims, and a couple of “Special Victims,” too. They have worked with Vest on his previous two recordings since the pianist relocated from Portland to British Columbia, and they are among some of the most highly-regarded blues artists in Canada: Teddy Leonard on guitar from the band Fathead, and Maple Award-winning bass player Gary Kendall and drummer Mike Fitzpatrick, both who have worked countless years with Downchild Blues Band. The Special Victims Unit are Pete Carey on sax and Howard Moore on trumpet. Their horns add an extra spunk to many of the tracks on this album.

“West Coast Saturday Night,” written by the band as a whole, opens the disc with a nice New Orleans approach featuring sharp guitar work by Leonard. That flows into the shuffle of “Stop This Madness” as Vest reflects on current world situations. The boogie is laid all out on “Kingsnake” as he states that music has been said to be a young man’s game, but that’s all right with him as he’s not playing a game. And he’s not joking! He takes a moment to remember a number of blues greats who have moved on to the afterlife, but despite their absence “The Blues Live On.” The only non-original track on Devestatin’ Rhythm is the cover of Leon Payne’s “Lost Highway,” best known as sung by Hank Williams. The country feel is delivered perfectly on this track between Vest’s piano and Leonard’s slide guitar.

Devestatin’ Rhythm continues the remarkable work that David Vest has been enchanting audiences with for nearly six decades. Without doubt he’s going to keep that piano’s keys primed and pumping with the best boogie delivery of its kind anywhere as long as he’s got breath to breathe. He’s no throw-back, he’s bona fide pianist who’s lived the life and still carries the tradition on. And his lyrics are going to make you smile, or maybe just make you think a little deeper on some subjects that we may experience today.

Total time: 40:08

West Coast Saturday Night / Stop This Madness / Staring Down The Barrel Of The Blues / Kingsnake / We’re All Sharecroppers Now / The Blues Live On / Biscuit Rollin’ Baby / Lost Highway / Come Back To Bed / Red Dirt Remedy

I Surrender
Self Produced

When I reviewed Gabriel Cox’s debut album a couple years ago, the first thing I said that you’re going to notice is that this man can sing. Does that bear repeating? Cox is a natural singer whose voice is filled with so much soul and emotion that it can make you feel it coming directly from his heart. And it only is one part of this amazing young performer’s musical vocabulary as you have to note his guitar playing and the incredible songwriting talent he also posseses.

Gabriel Cox CD coverGabriel Cox has now released his sophomore recording, I Surrender. He opens the disc with perhaps his most renowned tune in a updated take with “Willie Brown II.” This is a mostly an a cappella number that finds Cox not only using a stomp-box to bring out the rhythms, but in fact a whole box, upon which he stands and stomps. It is a highlight to witness at his performances and this time he brings in a huge supporting cast behind him. If there’s any way possible to surpass the original take of this song, he has done just that.

Did I mention the supporting cast behind him? Well, most of them hail from the Salem base area that Cox calls home, but he has brought in some heavy hitters, too, including Eugene’s Hank Shreve on harmonica and Portland’s Rae Gordon adding her instantly recognizable voice. Other artists include Jarred Venti, Brandon Logan, Derek Jones, Nathan Olsen, Jason Carter and vocalists Miranda Vettrus, John Pulvers, and his father Mark Cox. All shine highly throughout the album.

The songwriting once again excels with immediate noticeable standouts like “Best That I Can,” “Your Touch,” his duet with Miranda Vettrus on “This Love,” the frenetic pace of “Fever,” and the heartfelt passion emoting from the closing number “I Surrender.”  Even though Robert Johnson’s masterpiece “Come On In My Kitchen” is not an original, it has been given the Cox treatment, totally making the song his own.

I Surrender is a roots album of extraordinary merit. Gabriel Cox has a lot of himself inside his music and it reflects his blues in his own manner. I said it before, and I am saying it again, Gabriel Cox has the magic. He is pure alchemy. There’s gold dripping from his fingers when it comes to talent and songwriting. His time is now. He is an artist that deserves to rise to the very top. Another outstanding release from somebody that we’re sure to be seeing a lot of for a long time to come.

Total Time: 58:38

Willie Brown II / Best that I Can / Fever / Pretty Little Lady / The Railman / Still The Man / I Can’t Take This / I’m Gone / Your Touch / Come On In My Kitchen / This Love / Boy In Blue / I Surrender