Category: Album Reviews

Hearing Aide: Years & Years, “Y&Y EP”

They say you should never judge a book by its cover, but what about judging a band by their album artwork? It’s an interesting concept. As a musician, I’ll admit I enjoy the contents of a record way beyond its initial art, but as I’m gazing along multiple music search engines, I have to say bright colors do catch my eye first. But what does this have to do with British band Years & Years and their new album? Everything.

Many have been drawn to this talented trio’s previous releases, including their 2012 single “I Wish I Knew” and 2014 super hit “Real.” However, it wasn’t music alone that brought me to the masterpiece that is Y&Y EP. Once the intricate design of the album cover caught my attention, there was a sudden urge to listen to the entire collection, which of course, I did.

In typical EP fashion, the EP contains only four tracks, each contrasting in style. The opening track “Desire” leads us in with what some would consider to be a champion pre-game anthem, with an engaging house-inspired pulse courtesy of beat master Emre Turkmen. The combination of Turkmen along with bassist Mikey Goldsworthy was the start of Years & Years back in 2010. Since then, Olly Alexander’s soulful vocals have been added to the band after Goldsworthy heard him singing in the shower. With the addition of Alexander, Years & Years have been gaining great success before even releasing a full-length album, like undergoing an extensive UK tour. The tender mix of bluesy melodic lines and urban dance blends make this band very distinct to listeners, especially for tracks like “Take Shelter” and “King.”

Placed last in the EP is a track entitled “Memo,” which you could say is the outlier of the Y&Y EP. With subtle use of electronic embellishments, Alexander plays block piano chords as he sings jazzy vocal syncopations. His use of vocal trilling is similar to that of Tracy Chapman, yet there’s an intimate softness in his voice that is close to the style of James Vincent McMorrow. While the song may leave the EP on a rather gloomy note, it shows great versatility within the group that leaves us anxious for a full-length album. While there’s no official word on what this group will do in the studio next, we will surely be keeping watch, at least for some new artwork to marvel at.

Key Tracks: Desire, Take Shelter, Memo

February 5, 2015
Hearing Aide: Dethlehem ‘Destroyers of the Realm’

Do you like melodic death metal? Do you like role playing games along the lines of Dungeons & Dragons? If you answered yes to both of these questions, Dethlehem is a band you need to know about, if you don’t already.

Simply put, the music of Dethlehem serves as a portal to a wondrous realm of knights, maidens, dragons, wizards, witches, and ghastly nocturnal creatures. Hailing from Pittsburgh, PA these five heroes have spent the last seven years treating their audiences to a true fantasy RPG experience, through both their live shows and studio recordings.

Their latest album, Destroyers of the Realm, is no exception. From start to finish, this 11 track adventure uses crushing war drums, superb guitar riffs and solos, beautifully layered and diverse vocals, and a tasteful low end, to cut through the fabric of space and time. It transports the listener to a metal nerd’s utopia, where the only rules stem from the limits of your XP and your luck with the dice.

Presentation is very important to this band. Not only do they grace the stage covered in medieval battle armor, they also made sure to put just as much effort into the physical copies of their latest album. Visiting their bandcamp page and downloading a digital copy scores you an issue of their digital comic book, but buying a deluxe hard copy from the same site ensures a separate lyric sheet. It comes off as a medieval scroll with burnt edges, and encapsulating the entire package, is a custom sleeve with the band’s royal seal stamped on it with red candle wax.

The album kicks off with an 8 minute battle called Knightmare. This tune goes off in several directions throughout, but the diversity of the song never takes away from its flow. This band is very good with song structure in that regard. Each song is a well conceived part of an overall story and never fails to hit its mark. The guitar riffs are catchy and spot on with their genre, reminiscent of the guitar work on The Jester Race, Whoracle or Colony by In Flames. The solos are very driving, but also just as catchy as the riffing. If you’re a fan of hooky leads with a slight power metal feel, then these licks are for you.

Oathbound follows Knightmare and serves as an ideal single and perfect representation of this band’s sound. It’s hard-hitting, with no regrets and leaves you wanting more. Simply scroll down for the video and allow it to speak for itself.

The record also never loses its RPG feel. Several guest performances were included on this record to make certain of that. Haunting narrations make their way on and off certain tracks. The album also contains three interludes, during which the listener is transported back to a D & D setting, where only the dungeon master’s words can dictate the next chain of events.

Enchanting female vocals, courtesy of Clarissa Badini appear on the track, Shadow Remnants of the Guardian Shield, and the URIZEN boys’ choir also appears on the same track, taking on the roles of a group of dwarfs. This is also the longest track on the album, at 9:08. It’s a true testament to the band’s level of admirable musicianship as a whole.

The shortest actual song on the album is Oathbound, clocking in at 3:52. However, the majority of the full songs, not counting the interludes, hover in between 6 and 9 minutes. Fans of this genre shouldn’t be disappointed by the longer tracks. These are very multi-dimensional songs, with great dynamics and skilled layering across the board. Simply put, they remain interesting for their duration.

Dethlehem will be in Clarence NY on June 13 for an outdoor folk metal festival. Fans of the band and their new album Destroyers of the Realm are urged to come out and hear these tracks played live, along with some of the best talent the WNY metal scene has to offer!

Key Tracks: Knightmare, Oathbound, Shadow Remnants of the Guardian Shield

www.dethlehem.com

www.facebook.com/dethlehem

www.dethlehem.bandcamp.com

February 3, 2015
Hearing Aide: Mick Fury “Nobody Knows My Name”

Syracuse native, Mick Fury, who received a Sammy Award in 2014 for Country Album of the year with Sunday Funday is currently touring with my friends Phoenix Eleven. He recently played at Toby Keith’s and Turning Stone’s Tin Rooster while home for the holidays. Mick Fury and his band Midnight Moonshine recently released a new album Nobody Knows My Name.

Just like his last album, it keeps your foot tapping with a few light hearted fun tracks while still showing you a softer side with “Kick Down My Door”.

“Boys Knight Out” The first single off the album came about with Mick and his boys hanging out at a house party in Minoa, NY one night. It’s how they’d get down on summer nights when they weren’t playing, and it seemed like a song other Northern country fans who liked to party could get into. I fully agree. This song gets you into the mood to party with the upbeat rhythm that is kind of reminiscent of something Luke Bryan would release.

“Couple a Beers” Another light hearted track that shows the world that these guys enjoy a good time. Again a nice tempo that makes you want to get up and shake it!!

“Kick Down My Door” A heartfelt melancholy song with a nice soft tone. I’m sure a lot of fans will be able to relate to the heartbreak and longing for someone they once loved. I like that this middle of the album is broken up with this soft melody that showcases his range.

“Nobody Knows My Name” In Mick’s own words “Nobody” feels great to me because there’s definitely those times when I’m bombarded with phone calls and texts and emails, and all I wanna do is hit Oneida or Ontario lake, grab a cold beer, and do some grilling, and get away from it all where no one can hassle me”. This track really stuck with me because I know a lot of us find ourselves feeling this same way.

Fans can keep up with Mick’s journeys from Nashville on their website or on Facebook. Also, their songs are available at most Upstate New York radio stations, so please if you love country give a call and ask to hear em.

Key Tracks: Boys Night Out, Kick Down My Door, Nobody Knows My Name

January 29, 2015
Hearing Aide: Charley Orlando, “Starseed”

Hailing from our eastern neighbor region of Glenville, singer-songwriter Charley Orlando has earned quite a live performance reputation here in the Upstate region, playing upwards of 3,000 shows. Though he has decided to take a break from music for this upcoming year, he has ended 2014 with a bang, and it’s name is Starseed.

Orlando released this eight-track album on December 9th, where it has since been released on Spotify, Facebook, and of course, his own website. He has established himself as a pioneer for an “Organica Groove” genre, that stems from the Acid Folk he grew up listening to. Through most of the album, I agree that the ever-present bright timbre of the acoustic guitar brings me back to Bob Dylan’s Blonde On Blonde days, but Charley’s voice in particular sings to the tune of a more recent ensemble to me: The Decemberists. Though they are more in the indie rock sphere, the Decemberists maintain a high folk sensibility through their lead vocals, which Orlando also embodies, whether it was his intention or not. In songs like “Drop,” “Think It Over,” and “Rise,” the throbbing rhythmic pulse is supported by a multitude of fresh drum patterns that aren’t familiar to the traditional pop-trained ear. Other songs, like “Positive Fire” have very intricate pre-chorus sections, with attention to his abilities as a guitarist. My favorite, however, is the 80’s New Wave style synth that accompanies “If You’re Down.”

Along with his choices of instrumentation, Charley Orlando has an interesting strategy to his songwriting. Along with the constant major chords that ring throughout his album, he is trying to adapt a new recording style through use of his Ableton software. Before ever adding vocal and instrument lines, he is working on recording and creating based primarily on rhythmic pulses, allowing the music to find itself. While I’m not sure when he’ll return to the music sphere, I can guarantee that Starseed is only a preview for what is about to come from Charley Orlando.

Key Tracks: Think It Over, If You’re Down, Rise

January 28, 2015
Hearing Aide: ‘American Beauty/American Psycho’ Ushers In New Fall Out Boy Sound

American Beauty/American Psycho marks the sixth studio album for Fall Out Boy and with it comes a major style change to a band that has constantly changed their sound. Long gone are the pop-punk songs of Take This To Your Grave and From Under The Cork Tree. Fall Out Boy have now become as pop as any other artist on the top 40 chart. Beginning with Infinity on High the band started transitioning away from their roots and experimenting with elements taken from big bands and arena rock bands off the past. This culminated in 2008’s Folie a Deux, an album that was their most divisive with both critics, fans, and the band itself.

Following the release of Folie a Deux the band took an extending hiatus before returning with 2013’s Save Rock and Roll and with it brought in a new direction. The album had a hard pop edge with big hooks in every song but also with it came guest heavy songs that gave it the feeling of being a “Fall Out Boy and Friends” album. And now with American Beauty/American Psycho the guest spots have been replaced with samples.

The album is absolutely drenched in samples which makes it sound less like a band playing and instead a Patrick Stump solo effort. It’s very weird to not hear much music actually being played. Guitar riffs are sparsely heard and Andy Hurley’s drums have been processed to the point I’m not actually sure he ever actually laid down acoustic drum tracks in the studio. Most of the drumming sounds like your standard club track beats.

The effects put on Patrick Stumps vocals are mind boggling because the man has one of the best voices in the industry. The whole mix of the album is very flat and becomes incredibly distorted the louder you play it (think the controversy around how Metallica’s Death Magnetic was mixed). I can only wonder why someone thought it would be a good idea to overwork both the vocals and instrument mix to this extent.

The songs still have the big bombastic hooks that the band is known for but they lack the heart that their albums used to have. The lyrics aren’t as clever as they used to be and some songs re-use lyrical themes of songs past. The emotion of the lyrics was always a huge draw for the band. From songs about loneliness and regret to break up songs, everyone could find something to relate to with a Fall Out Boy track. But now while still inventive, they just don’t have that emotional heft.

Despite all this, the album does produce a few tracks that will (at least should) become live staples. “Uma Thurman” is the best song on the record hands down. It’s got an infectious chorus that begs you to sing along with it. “Novocain” has some really nice vocal patterns that gives more credit to Stump being a genius when it comes to vocal cadences and timbre shifts. The two lead singles “Centuries” and “Immortals” are strong songs but are also largely the key evidence of a band that has completely changed their sound. For longtime fans these will be the two throwaway songs on the album. If you compare those songs to anything from Take This To Your Grave or even Folie a Deux, they sound like a different band entirely minus the vocals.

I need to be honest here. Fall Out Boy is my favorite band. It’s been really tough to listen to them change so much. Every time a new song was released from this album I had a sense of dread that the next song was going to be the one that makes the band jump the shark for me. As much as I dislike the change in ideals behind their songwriting process I can’t admit to disliking any of the songs on this record which wasn’t the case with their last record. I so badly want them to return to their old sound but I think that’s the feeling shared by a lot of fans that love a band that has been around for 10-15 years. Bands do change. Sometimes for the better and sometimes for the worse. But take it or leave it, this is what Fall Out Boy is now.

But just remember, at least they still play the old stuff live.

Key Tracks – Uma Thurman, Novocain, The Kids Aren’t Alright

January 22, 2015
Hearing Aide: Midriffs ‘Subtle Luxuries’

This album is a great example of why a lot of the time it doesn’t make sense to try to pigeonhole a band into a certain genre. Punk, surf rock, grunge, garage rock, some psych rock sounds, all of it is found on Subtle Luxuries, the debut album from Boston band Midriffs. So, let’s just say, it rocks, in a really good way.

The lo-fi recording quality on this record is exactly how it should be. Sometimes when an album sounds slightly less than perfect and polished, the rawness of the sound is what makes it feel genuine. It’s nice when a record has the vibe of not trying too hard, while still presenting great songs that are carried by a very real energy.

They start off the record right, with “Taboo Tattoo”, an infectiously upbeat less than two and a half minute song with a punk attitude that grabs your attention and leaves you wanting more. However, before you can expect more of the same on the next track, they hit you with a walking bass line and surf rock guitar tone that make you quickly realize Midriffs have a lot to offer.

Listening through the fourth track, “Green on the Grass”, and thinking back to how the album started, it’s impressive how much the sound evolved over the course of half of the album, while still maintaining enough of an overall feel that flows incredibly well. This track is dreamier, more melodic, but they still never lose their edge. If someone went into this album thinking they were just getting a run of the mill punk record, they’d likely be very surprised to find themselves happily drifting off into a world of atmospheric reverb at the song’s close. Of course, only to be snapped right back into more fast paced action when the next track “Wine Waiter” hits.

Midriff shifts and flows through styles throughout the album, but never sticks to one for too long, making for a listen that is always interesting, and never boring or predictable. The guitar part that kicks in at the last minute of “Down By The River” takes you by surprise, with a “Oh, and they can play like that too!?” type of reaction. They then follow that with a purely instrumental surf rock track, always keeping the listener on their toes.

It will be interesting to see where they take their music on future recordings. Perhaps they’ll take one of these sounds and go further down a more narrow, specialized road. But that would be unfortunate, as it is the blend of so many great sounds that make this album what it is. Keep the reverb, keep the raw punk energy, keep shredding, keep yelling, and stay a little dreamy, because damn, these songs sound like a good time. I’ve never seen Midriffs live, but I hope it’s as much fun as it sounds. I envision a dirty bar, with good friends, some head banging, some dancing, a lot of yelling along, and a lot of beer, some of which is being thrown about over an extremely happy, energy filled crowd. Who doesn’t want some of that?

Subtle Luxuries can be listened to in full, and downloaded here.

Key Tracks: Taboo Tattoo, Death Beach, Down By The River

January 20, 2015
Hearing Aide: Turnstile ‘Nonstop Feeling’

Until January 13th, hardcore band Turnstile had not ever released a full album — but since 2010 they have gained a following of 32,000 devoted Facebook fans, all enthused by their live performances and demos. Especially known in the underground Albany scene, their followers are almost cultish, rejoicing at the release of their debut: NonStop Feeling.

In many ways, the word, ‘feeling,’ does not pair well with ‘hardcore band.’ However, one listen to a song like “Love Lasso,” the penultimate song — an instrumental — and you’ll soon understand. The title Non Stop Feeling could quite easily could refer to the idea that Turnstile’s efforts, energy, and hardness are nonstop insane and the second track, “Drop,” proves this. Thus, the “nonstop” and “feeling” work very well together.

It seems that there are few complaints one could have about this album. It should have been longer on one hand, but at the same time, its short, sweetness gives it a tasteful edge; like amazing sex: it lasts a certain amount of time, but it won’t leave your head for awhile.

Turnstile is composed of five gentlemen from Ohio, Baltimore, and Washington, D.C. who share the uncanny ability to write a fully energetic album with deliberation, but carry immense emotional capacity at the same time. Their use of two guitars is especially impressive because it allows the band to carry an extra dimension of melody and a rounded out sound, while still being diligent with that nasty hardcore anger. Fans of Rage Against the Machine and Black Flag will enjoy songs such as “Addicted” and “Stress.” Even some of The Dillinger Escape Plan – like chaos echoes through the production of the album.

So far, it might sound to the reader like just another melodic hardcore album, but Nonstop Feeling goes a lot further than that. The great thing about it is the dynamics therein. Few times will bands — especially in hardcore — experiment enough to find ways to make melodies, slow songs, and ambiance work the way Turnstile does. For this reason, Non Stop Feeling is already gearing up to be one of the most memorable, brave, fierce releases of this year and Turnstile just earned themselves a new fan.

By the way, we definitely recommend going to see Turnstile at a show. Their New York dates are always famous. And whether you’re a hardcore junkie or you have never cared for the genre, these guys put on a show to be remembered.

NonStop Feeling from Turnstile can be purchased on iTunes, through the band, and at retailers.

Key tracks: “Love Lasso,” “Drop,” “Stress”

January 14, 2015
Hearing Aide: Stellar Young ‘Vessels’

Known as one of Albany’s most distinct rock acts, Stellar Young are back with a new effort, Vessels. With great tracks such as “Helen, I…” and “We Got Away,” one would be hard pressed to deny the musicianship and writing ability of Stellar Young. Vessels is not just a good album, though, it is a breath of fresh air (if you’ll pardon the cliche) on the modern rock scene. It’s one of those albums that you can close your eyes to and relax. It’s definitely on par with some of the legends of this generation and days before.

They say every great band has an X – Factor. Stellar Young has five.

It starts with Dave Parker. He’s not just a bass player. He’s a f*cking weapon. The man had his start in Kingston, about an hour outside Albany, recording the likes of Weerd Science (of Coheed and Cambria fame) and has gone as part of Stellar to Applehead Recordings in Woodstock, where the band worked with engineer Chris Bittner to make Vessels sound like a million bucks.

All song compositions, including lyrics, are attributed to the entire band, but the broadcaster of those lyrics, John Glenn (not the astronaut) has the voice of a god; each lyric is sung with deep emotion and thought — allowing the listener to insert him or herself into the soundscape. And one live performance will have audiences convinced he is damn close to pitch perfect. On “Hitting Reset,” those high notes will leave you amazed. And his synth playing adds a new dimension to the music — one of ambiance and emotion.

“Red Lights” shows off the perfect partnership between guitarists Kyle Hatch and Erik Flora. While a lot of bands choose simply to go with a single guitarist for their own reasons, the match of Flora and Hatch remains a gold team. The two guitarists have the ability to “weave” between one another, creating a slight chaos, but also a tasteful depth. Their dirty tones work well with Glenn’s voice — think something between The Killers and The Rolling Stones.

Curt Mulick is no stranger to the drumset, either. He delivers a dynamic performance, often alternating styles for the broadest spectrum. One song that high lights his ability to do this would be “Nomad.” Not every performance is played in any traditional style, but Mulick is the driving force, the glue that kept this album together.

Overall, Vessels, is simply an album very well done. Stellar Young is no longer some underdog and they definitely don’t fit into the profile of local band anymore. It’s quite the surprise

January 13, 2015
Hearing Aide: Bishop ‘Hate Wide Open’

Albany based band Bishop might have been described at times as an alternative metal or hard rock act, as their blatant use of loud, blasphemous guitars suggests, but their upcoming album, Hate Wide Open, set to drop Jan. 6, has more to offer.

From an overall perspective, Hate Wide Open, is an experience in groovy, hard rock mixed with the melodic type of vocals. The instrument section, composed of three brothers – Tom Semeraro on guitar and lead vocals, Rocco Semeraro on drums and backing vocals, and Vincent Padula on bass and backing vocals — who also generate a fairly tight system of vocals based around their lead singers melody. The music is not far from groove – oriented hard rock. Clutch fans will enjoy the riff driven guitars, rather than stand alone chords — the latter of which is all but absent in the album, while Anthrax and Metallica fans will likely enjoy the vocal styles. And finally, Bishop, clearly understand the necessity of deliberation in an album. If nothing else, Hate Wide Open hits its listener in the jaw.

You’ll be able to shout along, bang your head, and nod to the groove in your car.

Unfortunately, the album is far from perfect. Bishop seems to have committed three great sins against their own ministry. One is that the album is repetitive. Guitars repeat the same scale all too much, and follow the same pattern. Songs such as the title track, and Pretty, come off as a rehashing of Clutch’s Blast Tyrant, Anthrax, and at times even Mötley Crüe. And these combinations result in the listener’s belief that Bishop’s ability to write is limited, and worse, it can cause the listener boredom.

Likewise, some of the lead vocals come off as lazy, as at certain points, they lack integrity, or may have been rushed through the recording process. In these instances, Tom Semeraro’s voice simply seems tired, it drags on for just too long.

Luckily, Hate Wide Open ,contains a few tricky twists, at least enough to keep the listening party active for one full round. “Awaken” is a brilliantly a constructed straight rock ballad — it seems to draw its influence from a few different acts and sounds different from any other song on the album — transitioning from an emotional acoustic dance to heavy sway.

Further, the album is strong with enough NOLA type riffs, along the lines of Down or Crowbar, to further the great energy the album has. In similar fashion, “Neverland” is quite possibly the strongest track on the album. It twists straight rock with psychedelic build. If this song doesn’t capture your attention, few things will.

Overall, Hate Wide Open, is a solid attempt, but Bishop doesn’t really bless us with this one. They would do well to reevaluate how songs are written — and although the album is energetic — it just doesn’t satisfy. But don’t worry, guys, we’ll give you a second chance. Say ten Hail Mary’s and we’ll consider you absolved.

The album can be purchased directly from the band at bishopmusic.com.

Key Tracks: Awaken, Neverland, Pretty

January 12, 2015
Hearing Aide: Johnny Winter ‘Step Back’

Take a step back to the roots and let Johnny be your tour guide. Recorded before the untimely passing of Johnny Winter at the age of 70 in July 2014 and released as planned in September, Step Back brings us on a 13-song journey through the roots of blues. He takes along a plethora of talent to spotlight throughout the album, including Upstate NY’s own Joe Bonamassa. Though Winter has played the field of rock and roll, his heart had always been in the blues and Step Back brings his recordings full-circle.

Back in 2011, Winter released his penultimate album Roots which was a predecessor to Step Back. Much the same, that album journeys through the early blues recordings with guest talent – Jimmy Vivino, Susan Tedeschi, Derek Trucks, Warren Haynes, and his brother Edgar Winter among others.

A day or two prior to Johnny’s performance at the Towne Crier Café in October 2012 (currently located in Beacon, NY but located in nearby Pawling, NY at the time) I had the privilege to interview him over the phone live on WRPI Troy. At the time, Roots had been out for about a year and the idea for a “Roots II” follow-up album had at least been formalized. I asked him how he goes about picking who he wants to collaborate with on the album and who he wanted to get on the album but couldn’t for whatever reason. Here’s what he had to share regarding Roots:

I just pick people I liked. Paul [Nelson] actually picked most of them and they were people that I liked, people I have known. I have a lot of respect for all the guys on the record.

There were a lot of people. I wanted B.B. King, Buddy Guy, Dr. John, Billy Gibbons, a lot of people that just didn’t have the time to do it… Eric Clapton. Maybe we’ll get them on the next one.

Get some of them he did for Step Back. From that list he is joined by Eric Clapton, Billy Gibbons, Dr. John, and also by Leslie West (Mountain), Brian Setzer, Ben Harper, Jason Ricci, the Blues Brothers Horns, and Joe Perry (Aerosmith).

Johnny Winter with NYSMusic’s Steve Malinski and fellow WRPI DJ Mike Buhuski, Oct. 19, 2012

As a blues standards album, all but one of the songs are covers of songs originally recorded by the iconic names of blues and rock and roll – Willy Dixon, Bo Diddley, B.B. King, and Howlin’ Wolf, among others. Some may say that a covers album is a simple way to record and release another album to sell but to say that about Step Back (and Roots as well) would be a mistake.

Johnny and band mate/producer Paul Nelson did something with this record that would make you second-guess if they were actually his songs vs. covers. The songs are re-crafted to be all about Johnny’s noted guitar and slide guitar work bolstering howling licks and smooth blues with a big unyielding sound. He does this all with staying true to the old blues structure of composing. The guest artists also add their own distinct sound when they take their turn at some solos and rhythm fills.

When I interviewed Johnny I also asked if he had any sneak peaks at the then unnamed follow-up album he didn’t want to spoil any surprises. “Well, I don’t want to tell you what we’re going to do. I’ve got a pretty good idea though!” he said toward the end of the interview.

Winter’s take on these blues standards gives a fresh life to them. Not to say the genre has ever faltered or given way, however. It is a gratifying listen to long-time blues and rock aficionados but presents the standards to a younger generation in a vibrant rebirth of those songs hidden in the LP stacks or heard when passing by Stevie Ray Vaughn’s cover of “Who Do You Love” on the radio.

While listening to the album it is profitable to have the liner notes on hand to be your guide to each song. There is no story or narrative about the songs nor lyrics; the notes are simple and to the point laying out precisely which part of the song features the guest artist. Let the notes be your friend and make for a more fulfilling experience listening to Step Back.

Step Back has been nominated for Best Blues Album for the 2015 Grammy Awards on February 8 and is up against releases by Dave Alvin & Phil Alvin, Ruthie Foster, Charlie Musselwhite, and Bobby Rush with Blinddog Smokin’.

Key tracks: Unchain My Heart, Sweet Sixteen, Death Letter

Track Listing, with original composer and guest aritst:

1.”Unchain My Heart” – Bobby Sharp (feat. Blues Brothers Horns)
2.”Can’t Hold Out (Talk to Me Baby)” – Willie Dixon (feat. Ben Harper)
3.”Don’t Want No Woman” – Don Robey (feat. Eric Clapton)
4.”Killing Floor” – Howlin’ Wolf (feat.Paul Nelson)
5.”Who Do You Love” – Bo Diddley
6.”Okie Dokie Stomp” – Clarence “Gatemouth” Brown (feat. Brian Setzer)
7.”Where Can You Be” – original (feat. Billy Gibbons)
8.”Sweet Sixteen” – B.B. King, Joe Josea (feat. Joe Bonamassa)
9.”Death Letter” – Son House (solo Johnny Winter)
10.”My Babe” – Willie Dixon (feat. Jason Ricci)
11.”Long Tall Sally” – Little Richard, Robert Blackwell, Enotris Johnson (feat. Leslie West)
12.”Mojo Hand” – Lightnin’ Hopkins (feat. Joe Perry)
13.”Blue Monday” – Dave Bartholomew (feat. Dr. John)

Johnny Winter performing “Dust My Broom” from the predecessor to Step Back, Roots, on The Late Show with David Letterman in 2012

January 5, 2015