Do You Get The Blues? is Jimmie Vaughn's third solo outing and undoubtedly his his finest effort. After a pair of decent major label records Vaughn has has jumped to a smaller label where he was given the freedom to do things his way. The result is a classy, eclectic record that makes for absorbing listening from beginning to end.

 It seems like Vaughn has been out of the spotlight for a while but it's really only been three years since his last release. In the meantime he's busied himself with side projects including selecting the tracks for his brother's 4-CD box set released with much fanfare last year. During his stint with the Fabulous Thunderbirds and through his two solo records Vaughn has staked out his claim as an aggressive purveyor of gritty Texas blues-rock. On Do You Get The Blues? Vaughn stays mostly in blues territory with a bit of jazz thrown in delivering a marvelously tasteful and diverse record.

 You won't find any blues-rock here instead Vaughn delivers tasteful, classy blues licks with just enough fire and great to keep things interesting. Backing Vaughn is a tight, stripped down band featuring wonderful B-3 playing from Bill Willis and rock solid drumming from George Rains. Guest stars include James Cotton, singer Lou Ann Barton and ex-Double Trouble members Chris Layton and Tommy Shannon. Produced by Vaughn himself the arrangements have an eclectic, off kilter feel that makes for interesting listening: "The Deep End" chugs along lazily with fine slide by Vaughn and riffing harmonica by James Cotton, the steamy instrumental "Dirty Girl" with just the core trio has a dead on Booker T. & the MG's groove while "Planet Bongo" featuring bongos, flute and background vocals has an oddly engaging and atmospheric jazz feel. There's plenty of straight ahead blues on tough numbers like "Out Of The Shadows", the shuffling "Robbin' Me Blind" while Lou Ann Barton lays down her gritty Texas drawl on"Power Of Love" and "In The Middle Of The Night." Why she hasn't cut a record under her own name in over a decade just boggles my mind.

 Do You Get The Blues? is easily Vaughn's finest solo achievement and hopefully he's ready to step back into the spotlight. It's been a few years and it's certainly good to hear from you Jimmy.

[For more on Jimmy Vaughn visit: www.jimmievaughn.com]

(Jeff Harris)

Johnnie Marshall: 98¢ In The Bank (JSP)

Jimmy Morello: West Coast Redemption (JSP)

 The JSP label has built a reputation of putting out consistently good blues records with a knack for breaking deserving new blues talent. A case in point is 98¢ In The Bank the sophomore release from blues up and comer Johnnie Marshall. Jimmy Morello has been around a bit longer but is not nearly as well known as he should be and has already cut a pair of good records for JSP as well as produced other artists for the label. West Coast Redemption is an excellent introduction gathering up the best of Morello's work for the label.

 98¢ In The Bank is listed as Johnnie Marshall & His Blues Buddies but that's somewhat misleading. Marshall takes only a supporting role in what is really an excellent ensemble record of blues veterans and lesser known players. Trying to follow the personnel list is like trying to read a road map with a half dozen people taking vocal turns and everyone getting room to solo. The cast includes Johnny Rawls, Eddie Kirkland, Sonny Rhodes, George Boone and Slam Allen backed by the always reliable Nutmeg Horns who are basically the house horn section for JSP. Despite all the talent there's no ego trips here and the results are stellar mix of blues and soul with some exceptionally strong songs. The relatively unknown George Boone proves himself a fine soulful singer on the gritty title track and the same thing goes for little known Slam Allen who sings lead on "That Ain't Right" helped out by Boone and Marshall. Marshall is front and center on "That's Where I Stay" soulfully singing about his hometown as he lays down some crisp, stinging guitar. Other highlights go to Johhny Rawls on the soul drenched "Don't Put Me Down", Eddie Kirkland who sings and plays guitar on the tough "I Can't Afford To Live" and Sonny Rhodes on the hard hitting, autobiographical "When You Want The Blues."

 West Coast Redemption is an excellent introduction to the talented vocalist and producer Jimmy Morello. Half the cuts come from Morello's two fine JSP releases and the other nine cuts feature artists he's produced for the label including Roy Gaines, Sweet Betty, Patrick Vining, Carol Fran & Clarence Hollimon, Chris Wiley and Richard Boals. Morello is an exciting big lunged singer who clearly owes a debt to great shouters of the past like Big Joe Turner and Roy Brown. Morello employs a red hot band that plays in a jumping West Coast style circa mid-50's featuring vicious guitar from guys like John Marx, Alex Schultz and Paul Bryant plus nice piano work from Tom Mahon. Highlights include the low-down "Too Much Crime In The City", the romping "You Can't Do This To Me" featuring stinging guitar from Kenny Blue Ray and the jumping "Got You On My Mind." Of the tracks Morello produced check out veterans like Roy Gaines on "You Are Gonna Wish I Stayed" from Bluesman For Life a marvelous record that really jump started Roy's comeback and the gritty "Texas Home" a typically inspired outing from the duo of Carol and Clarence Hollimon. Other highlights include Sweet Betty on the rocking "They Call Me Sweet Betty" and the swinging "Two Timin' Man" from Chris Wiley, two talented ladies who if there was any justice should have been propelled into the big time by these releases.

 JSP is one of those labels whose new releases are always eagerly awaited whether featuring new found talent or time tested veterans. These two releases only enhance that reputation for quality.

(Jeff Harris)

Bob Kirpatrick: Drive Across Texas (Topcat)

 There seems to be a never ending supply of first rate bluesman who call Texas their home. Add to this list Bob Kirkpatrick who has toiled away in relative obscurity but comes across fully formed on Drive Across Texas, a lean mean Texas blues record that's sure to get people talking.

 Kirkpatrick has been giging steadily for years but has rarely ventured out of the Lone Star state. Add to this a meager discography which includes a pair of 45's and an LP on the Folkways label and it's no wonder Kirkpatrick has slipped under most folks radar. The word may be starting to get out with some recent well received European tours and now this record on the Dallas based Topcat label. Drive Across Texas serves notice that Bob Kirkpatrick is a major blues talent and should spread his fame well beyond Texas.

 Strangely this record was cut not in Texas but in England with Steve Coleridge's band Short Fuse. You wouldn't know from listening however as Kirkpatrick and the band deliver a tough, gritty set of Texas blues with feel more suited to the 50's than the present. Kirkpatrick is multitalented, blessed with a booming, soulful vocal style, a lean stinging guitar attack and a knack for writing some really good songs. The set list is almost entirely originals studded with gems like the hard driving "Remember" featuring some vicious guitar, the sly humor of the shuffling "She's In Love", the easy going Chuck Berry feel of "Too Much Time" featuring some marvelous rippling piano and the rocking R&B feel of "We'll Be OK" are just a few of the many highlights. In fact of the sixteen cuts there's hardly a clunker in the bunch.

 Now in his late 60's Bob Kirkpatrick shows us what those in Texas knew all along that this is a bluesman of major talent and hopefully this record will get the word out. I suspect we'll be hearing much more from Bob Kirkpatrick.

(Jeff Harris)

Various Artists: Rhythm Room Blues (Hightone)

 Rhythm Room Blues is a sizzling live collection of performances taped at famed Phoenix blues club the Rhythm Room. The record is a celebration of the Rhythm Room's 10th anniversary and judging from the performances it's been a hell of a good ride so far.

 The driving force behind the Rhythm Room is Bob Corritore a jack of all trades who has done it all from hosting a blues radio show, playing harmonica, promoting local blues and now club owner. Rhythm Room Blues is actually a companion record to Bob Corritore: All-Star Blues Sessions an excellent collection of studio recordings from Rhythm Room regulars which came out in 1999. This one features some of the same artists and may even be better featuring thirteen prime cuts from Kim Wilson, R.L. Burnside, Sonny Rhodes, Henry Gray, Nappy Brown, Sam Lay and Mojo Buford.

 All the recordings are crisply recorded and obviously taped right from the board. R.L. Burnside gets the bulk of the recordings (4 cuts) from what must have been a great 1994 show. Burnside introduces "Rollin' And Tumblin'" with the immortal lines: "If the Budweiser lasts I think we'll make it" and proceeds to roll through powerful versions of "Long Haired Doney", "Nightmare Blues" and "Goin' Down South." Legendary pianist Henry Gray is in fine form on the rocking instrumental "Henry's Houserocker" and the down in the alley "Sinner's Pray" featuring wicked slide by Johnny Rapp. Sonny Rhodes delivers the goods on the gritty "Livin' Too Close To The Edge" and backs vocalist Nappy Brown on the salacious "Lemon Squeezin' Daddy." Other highlights include Kim Wilson who knocks out a pair of loose, in the pocket blues classics in "Eyesight To The Blind" and "Five Long Years" with stellar guitar support from Rusty Zinn and Billy Flynn.

 In the ten years of it's existence the Rhythm Room obviously had plenty of those great blues moments when the sparks really flew and thankfully someone had the presence of mind to keep the tapes rolling and capture some of the magic.

-Check out this related review:
Bob Corritore All Star Blues Sessions

(Jeff Harris)