Another edition in the blues and rhythm and blues series that finds numerous artists upping the tempo and adding more layers to the primitive foundations of the aforementioned genres. Such musical developments are noticeable from the very beginning of this latest volume as ‘Work With It’ communicates this progression via several tracks where the guitar is often frantic in sound and expression. In fact, the guitar appears central to this latest addition in this series where songs fly out of the traps at great speed via Cal Green’s excellent ‘Huffin’ & Puffin’ and Chuck Mann’s ‘Little Miss Muffet’. The freight train rhythm and hollering vocal that introduces ‘I’m Tired Of Beggin’ is an impressive coupling that forces the listener to down tools before changing track and opting for a more sophisticated sounding ‘Mary Jo’ created at the hands of Red Miller & Quartett. That’s not to suggest that everything blaring from the speakers of ‘Work With It’ is a slick and well-oiled set of songs because the raw and primitive (guitar) sounds can be heard whether sounding almost ramshackle one moment during the aforementioned ‘Little Miss Muffet’, to similar examples later on from Slim Green’s ‘Shake ‘Em Up and beaten and bruised emotions from aptly named Guitar Crusher and equally compelling ‘I’ve Got To Know’. It may be the guitar that is the focal point in the latest series ‘Work With It’, but it remains the entire package of characters and tales to the varied assortment of blues and rhythm and blues expression that really reigns supreme here.

A genuine country sound straight outta Norway! Brushing down their country attire for a fresh outing are Norwegians, Country Heroes, and their brand new single ‘Factory Blues’. With the band having formed in 2014, and one full album (‘Southern Insecurity’) behind them, Country Heroes issue first single, ‘Factory Blues’, from their upcoming sophomore album ‘Honky Tonk Tears’. By focusing on the blue collar sector of workers, the factory theme reminds of a 70s era when such labour was in high demand and probably at its peak, especially in terms of output. In addition, country music pretty much dominated the (UK) airwaves during said period, and this is where the ‘Factory Blues’ of the Country Heroes is most reminiscent of, despite hailing from the southern plains of Norway. With a miniscule rock edge to the country guitars, ‘Factory Blues’ is a fairly detailed overview of a typical working week where banter can fly between workers, cigarettes and coffee are consumed and, of course, hard work being the main, and toughest part of all. But it remains the anticipation of the end of the working week where one is working to live rather than living to work as it’s all about hitting the (honky tonks) bars and going out dancing. All of these details are expertly handled by Country Heroes, who maintain a steady rhythm throughout, with wonderful narration from vocalist Jørund Vålandsmyr who is never overpowering yet manages to capture your attention with considerable ease. Lap up these ‘Factory Blues’ from 9 to 5 because there is much promise to come from this country band.

Without realising it at the time, this project had been a long time coming for lead singer and guitarist Toni Ruuska. What started in 2013 has since evolved into the five-piece band Creek Road Eleven and their debut album ‘The Long Harvest’. Despite the lengthy timeframe used in order to arrive at the stage where the band now find themselves, much attention to detail and a full and comprehensive search was conducted in order to recruit the right individuals to bring home, or more to the point create a genuine southern American country sound. Such attention to the finer details has certainly paid off as Creek Road Eleven deliver a ten-track album packed with rollin’ country rock tunes, and often with a blues edge that justifies their own description of “Southern-spiced country rock” yet makes it all the more remarkable considering their northern location! Closer inspection of ‘The Long Harvest’ reveals an album that is providing a sense of storytelling that affects the majority of us from every day tales concerning the boredom of work and those Monday mornings (‘Bad Monday’), to misfortunes in love and relationships as well. The latter aspect concerning relationships arrives during several numbers, but not without a touch of humour via the lyrics, and found during such loose workouts as the excellent ‘Under The Full Moon’ and equally good, yet jaunty in rhythm ‘Don’t Call Back’. But if it’s escape you’re looking for regarding the mundanities of life, then the “pick me up” greeting of bluesy country rock, ‘Long Straight Highway’ with its talk of long open highways and musically providing a real sense of any such freedoms, then Creek Road Eleven and their album ‘The Long Harvest’ are likely to be the perfect companions for any such journey right now.

A full pot of drinking songs straight from the juke joints of America’s past where blues and rhythm and blues provided the backing track to the joys and pleasures that alcohol could bring, but also its use as a means to combat the ‘blues’ felt when relationship heartbreak came calling. With twenty-eight songs varying between moods and styles and given by artists ranging from Lightnin Hopkins, Rufus Gore, Jimmy Liggins, Dave Bartholomew and Jimmy Rogers to name but a small selection, the quality is set to high when it comes to the collection that is ‘Cheap Old Wine And Whiskey’. Whether it’s a pared back guitar affair via Lightnin Hopkins ‘Drinkin’ Woman’ or a more up-tempo singalong with Johnny Davis and ‘I’m A Wine Drinker’ with its more than happy approach to drink your quota if you’re not feeling up to it, this long player has pretty much got the lot. Take for example the swinging rhythm and stunning vocal pipes of Al Jackson during ‘Let’s Drink Some Whiskey’, to the rendition of Stick McGhee classic (and rockabilly favourite) ‘Drinkin’ Wine’ superbly handled by Larry Dale, before taking further twists and turns via two wonderful ramshackle blues numbers ‘Sloppy Drunk’ (Jimmy Rodgers) and careering off the road ‘Drunk Drivers Comin’ (Richard Bros.). If you need further convincing that you’re in need of some fine company to help lift the spirits and ease the blues, then the punchy sax intro of ‘Wine Wine Wine’ and compelling vocals of Calvin Boze (‘Looped’) should have your limbs shaking in no time. With ‘Cheap Old Wine And Whiskey’ being a combination of the vinyl series ‘Too Much Booze’ and ‘Bad Hangover’, there really is no other option than to take up this addictive habit of blues and rhythm and blues as there are no hangovers to be had here!

Receiving its first live outing via a release concert in Oslo (Norway), and issued to the general public late last week, was the eponymously titled debut album from The Secret Sound of Dreamwalkers. With references to bands such as Mazzy Star and Cowboy Junkies being mentioned by this very music paper in relation to the band’s ‘My War’ single, the album, ‘The Secret Sound of Dreamwalkers’ continues to follow in similar footsteps. Early indications suggest the complexity and beauty of the latter referenced Cowboy Junkies during opening song ‘Brand New’ that gives off an air of simplicity one instance, only to sound packed full of details the next where lead vocalist Kristine Marie Aasvang works miracles with the words by squeezing them through the narrowest of margins during its chorus, for example, and ably matched by the neighbouring guitar (Thomas Bergsten) and steady pattern of the drums (Alexander Lindbäck). There is a feeling of truths stripped bare, albeit in mind, during the tender and acoustic driven ‘Beautiful Blue’, where lyrics offer glimpses of a relationship that is on the verge of being gripped by anxiety and fear, from one person’s perspective that is, which is deeply touching and very beautiful in equal measures. If you’re expecting songs of an uplifting nature, then you’ve definitely got off at the wrong bus stop as these songs are often tales of broken relationships and lost souls. Such moments can be heard via ‘Whiskey Song’ that follows a certain country standard yet halfway through takes an unexpected U-turn and ends up a darkly twisted tale of revenge. It is this very act that sets The Secret Sound of Dreamwalkers on their own path, and where former comparisons begin to fade due to the band heavily stamping their own personality over songs such as the compelling and gospel-tinged ‘Breaking Bad’, to the definite folk influence and marginal country rock of ‘How To Sing Goodnight’, before taking a similar trip with ‘My Only Friend Tonight’, and then ending on a raucous note via ‘Secret/Sacred’. A truly fine diversion of creativity where one can hear The Secret Sound of Dreamwalkers really coming into their own (It was in the name all along!), in addition to delivering a debut album that is extremely compelling, and deeply moving, and one that is far from keeping any secrets.

We’re in blues territory with the latest album from Chris Ruest and Gene Taylor. With this album being mainly a combined effort with additional support coming from Brain Fahey on drums, the main pairing of Ruest and Taylor complement each other with twelve tracks incorporating a classic blues sound along with moments of boogie-woogie and American roots music. Such examples can be heard clearly via the piano fingers of acclaimed musician Gene Taylor during the appropriately named instrumental ‘Torpedo Boogie’ that really fires along at pace. Where this album benefits greatly is the variety in tempo where, for example, the more energetic zip of boogie-woogie is replaced elsewhere with a laidback blues approach and excellent narratives of ‘Keep Talking’, ‘Sad And Lonely Child’ and ‘Life’s Like Lightning’ with Texas blues’ guitarist Chris Taylor greatly impressing throughout. If you enjoy your blues steeped in tradition yet combined with other components of rock ‘n’ roll that occasionally suggest Ruest and Taylor are more than comfortable in the present (look to the roots rock of ‘I’m Down’ and bluesy rock of ‘I Tried’), then ‘It’s Too Late Now’ is definitely a ticket worth purchasing.