The post Eddie 9V reimagines classic 1970s song appeared first on Blues Rock Review.
]]>Produced by Grammy-winning producer Dan Auerbach and recorded live at Easy Eye Sound Studio in Nashville, Eddie 9V’s version transforms the disco hit into a Southern soul and blues track with a heavy groove and slide guitar inspired by Duane Allman.
Written by Harry Wayne Casey and Richard Finch of KC and the Sunshine Band, “Rock Your Baby” became an international hit for McCrae, reaching No. 1 in both the United States and United Kingdom in 1974.
Rather than attempting to recreate the original, Eddie 9V approached the song by imagining what it might have sounded like had McCrae recorded it at Muscle Shoals with a Southern soul band. Eddie and his band learned the song shortly before recording it live in the studio.
“’Rock Your Baby’ is a perfect example of me being out of my comfort zone,” says Eddie 9V. “Dan was literally a foot away, singing each line to me and coaching me, and then we’d hit record. My band and I had never played it before. We listened to it and learned it in about 20 minutes. I think it’s a good rendition, and it has a good Southern vibe.”
“Rock Your Baby” follows previously released singles “Blowin’ Up” and “Whole Lot Coming For You” from Down Here.
Auerbach produced the new album, which continues Eddie 9V’s blend of Southern soul, blues, rock and roll, funk and R&B. The sessions brought him together with several musicians and songwriters, including Marcus King, Pat McLaughlin and Daniel Tashian.
Down Here follows Eddie 9V’s 2024 album, Saratoga. The Atlanta native began playing guitar at age six and explored metal and indie rock before discovering the blues through Howlin’ Wolf’s 1966 Newport Folk Festival performance. He released his debut album, Left My Soul In Memphis, in 2019.
Eddie 9V will remain on the road throughout the remainder of 2026, with dates across the United States and Canada.
TOUR DATES
SEP 12 Morganton, NC – 44th Morganton Festival
SEP 17 Fredericton, NB – Harvest Music Festival
SEP 18-20 Telluride, CO – Telluride Blues & Brews Festival
OCT 8 Fort Myers, FL – Buckingham Blues Bar
OCT 9 Live Oak, FL – Suwannee Roots Revival
OCT 10 Ponte Vedra Beach, FL – Ponte Vedra Concert Hall
OCT 11 St Petersburg, FL – Jannus Live
OCT 15 Wilmington, NC – Bowstring Brewyard
OCT 16 Charleston, SC – Music Farm
OCT 20 Chicago, IL – The Salt Shed (Night 1) *Rescheduled Date w/The Black Keys
OCT 21 Chicago, IL – The Salt Shed (Night 2) *Rescheduled Date w/The Black Keys
OCT 23 Bloomsburg, PA – Arts in Bloom @ Petit Center for the Arts
OCT 24 Cape May, NJ – Exit Zero Jazz Festival @ Nauti Spirits Distillery
OCT 25 Annapolis, MD – Rams Head On Stage
NOV 3-7 Miami, FL – The Revivalists Present Otherside of Paradise • Miami to Nassau, Bahamas
NOV 11 Knoxville, TN – Bijou Theatre
NOV 12 Winston-Salem, NC – The Ramkat
NOV 13 Asheville, NC – The Grey Eagle
NOV 14 Richmond, VA – The Broadberry
DEC 3 St Louis, MO – Delmar Hall
DEC 4 Newport, KY – The Southgate House Revival
DEC 5 Warrendale, PA – Jergels Rhythm Grille
DEC 6 Washington, DC – Union Stage
DEC 10 Nashville, TN – The Basement East
DEC 11 Atlanta, GA – Variety Playhouse
DEC 12 Birmingham, AL – Saturn
DEC 18 Louisville, KY – Mercury Ballroom
DEC 19 Columbus, OH – Skully’s Music Diner
DEC 20 Indianapolis, IND – The Vogue
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]]>The post Sonny Landreth releases first single from upcoming album appeared first on Blues Rock Review.
]]>Written by Landreth, “Lady On The Rise” features the Louisiana guitarist on vocals and guitar, with Brian Brignac on drums and percussion and Tony Daigle on keyboards. Landreth and Daigle produced the track, which was recorded, mixed and mastered by Daigle at Electric Comoland in Lafayette, Louisiana.
Landreth says the song was inspired by hope and felt like the right choice to introduce his next chapter.
”Oh man, after all this time, it feels great to have a new single coming out. That always gives me a boost and breathes new life into a project, so I’m excited to get it out there. I chose ‘Lady On The Rise’ because of the vibe I felt recording it in the studio this summer and because it’s a song inspired by hope.”
The as-yet-untitled 2027 release will mark Landreth’s 15th album and follows a career that has established him as one of the most distinctive slide guitarists of his generation. His approach combines blues, roots music and the sounds of his native South Louisiana with an adventurous playing style that has earned him two Grammy nominations and appearances at Eric Clapton’s Crossroads Guitar Festival.
Landreth began his career playing with zydeco legend Clifton Chenier’s Red Hot Louisiana Band and has since appeared on hundreds of recordings. His collaborations and session work have included artists such as John Mayall and John Hiatt.
Along with the new single, Landreth has several live appearances scheduled. On September 16, he will make his first appearance at Americanafest in more than 20 years, performing on the day stage at Eastside Bowl alongside Grace Potter, Eli Paperboy Reed and others. The performances will be broadcast live on WMOT Roots Radio in partnership with NPR Music, World Café and Nashville PBS.
Landreth will also perform an official Americanafest showcase at the Station Inn on September 17. Later in the month, he heads to Austin for two appearances at Eric Clapton’s Crossroads Guitar Festival.
UPCOMING TOUR DATES:
09/17 Nashville, TN – AMERICANAFEST
09/26 Austin, TX – Eric Clapton’s Crossroads Guitar Festival
09/27 Austin, TX – Eric Clapton’s Crossroads Guitar Festival
10/09 New Orleans, LA – FOC Concert Series – New Orleans Jazz Museum
10/11 Lafayette, LA – Festivals Acadiens et Créoles
10/17 Homer, LA – Louisiana Legends Festival
2027:
06/06 Frankford, NJ – Michael Arnone’s 34th Crawfish Fest
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]]>The post 10 Blues Rock Albums Worth Playing on Repeat appeared first on Blues Rock Review.
]]>Jeff Beck’s landmark debut album as a solo artist, Truth, was released in July 1968. Beck was constantly pushing the boundaries of the electric guitar, reinterpreting blues songs like “You Shook Me” and “I Ain’t Superstitious” by Willie Dixon. The album featured a formidable lineup, with the recently discovered Rod Stewart providing his raspy, impassioned vocals, future Rolling Stones guitarist Ron Wood playing bass, and Micky Waller on drums. The album contains 10 cuts, made up of three original compositions and seven covers, including the album’s opening song, “Shapes of Things,” by the Yardbirds, a band Beck had previously been a member of.
Brothers is the sixth studio album by the Black Keys and was released in 2010. It was recorded at the legendary Muscle Shoals Sound Studio in Alabama, where a deliberate minimalist approach was used during the recording process. Songs like “Everlasting Light,” “Next Girl,” “Tighten Up,” and “Howlin’ for You” blend gritty guitar riffs with cavernous drums, creating soulful grooves. Their raw garage blues rock roots evolved into something that sounds both primal and modern, with hooks that make the album endlessly replayable.
Sloe Gin was Joe Bonamassa’s sixth studio album, released in 2007. The album’s title was derived from the title track, which appeared on the late Tim Curry’s 1978 studio album. It became Bonamassa’s epic signature song about crushing isolation and emotional exhaustion. It’s an album that reveals more with every listen as Bonamassa evolves beyond his image as a young guitar virtuoso and enters the next stage of his career as a fully developed blues rock artist. The album moves effortlessly between heavy blues rock, acoustic blues, soulful ballads, and atmospheric instrumentals. It contains 11 mesmerizing tracks, including four originals as well as carefully chosen covers of songs by Chris Whitley, Alvin Lee, John Mayall, and others.
Gary Clark – Blak and Blu
Gary Clark Jr.’s 2012 release, Blak and Blu, is his third studio album but his first on a major record label. The original release featured 13 cuts that blended blues with soul, R&B, funk, psychedelic rock, and hard blues rock. One of the best tracks demonstrating Clark’s amazingly dexterous guitar work and ability to create a song that feels both vintage and modern at the same time is the nearly eight-minute “When My Train Pulls In.” The infectious rhythm, combined with biting guitar work and powerful vocals, creates a mesmerizing experience that reveals new layers with every spin.
Disraeli Gears is Cream’s second album, and the band dives headfirst into the psychedelic counterculture groove. At the time, there was an ongoing debate about who the best power trio was, something Jimi Hendrix even joked about. Cream reinvents the blues at full throttle, from “Sunshine of Your Love” to “Tales of Brave Ulysses,” combining improvisation with carefully crafted studio rock. The album has 11 cuts that explore a variety of directions through the combination of Eric Clapton’s sharp, stinging guitar runs, Jack Bruce’s melodic bass, and Ginger Baker’s precise drumming.
Jimi Hendrix’s debut album, Are You Experienced, was released in May 1967, just prior to his landmark first American performance with his band at the Monterey Pop Festival in June 1967. It is considered one of the most musically explosive debut albums in rock history, redefining the way an electric guitar could sonically interpret a multitude of genres. Power trio dynamics were expanded and opened up to a myriad of possibilities by synthesizing blues, R&B, hard rock, psychedelia, and jazz-rock into something that still sounds startling and rewards the listener over multiple replays.
Led Zeppelin’s eponymous debut album was released in January 1969 after the quartet completed the tour dates for the Yardbirds’ final tour. The album was recorded in 30 hours and contains a potent fusion of amplified blues, folk textures, and high-voltage riffing. Two of the album’s nine songs are covers of Willie Dixon blues classics, with the rest consisting of originals or co-written songs. The combination of Jimmy Page’s sonic guitar wailing into the stratosphere and Robert Plant’s raw, explosive vocals, powered by John Paul Jones and John Bonham’s driving backbeat, creates a hypnotic experience that demands repeated listens.
John Mayall’s album John Mayall and the Blues Breakers with Eric Clapton was released in 1966. It was nicknamed the “Beano” album because Clapton is seen reading a copy of the British comic on the album cover. Eric Clapton had recently left the Yardbirds when Mayall recruited him to play the blues. Clapton’s guitar was rich in overdrive, stellar guitar peals, and sustain, which contributed to the album’s raw power and emotional intensity. The album demonstrated that British musicians could interpret the blues with authentic feeling.
Stevie Ray Vaughan’s debut album, Texas Flood, was released in 1983 and spearheaded a blues revival, driven in large part by his remarkable skill on the Stratocaster. The album is comprised of 10 cuts, including four covers and six originals, performed by Vaughan on guitar, Chris Layton on drums, and Tommy Shannon on bass. Vaughan’s Stratocaster prowess is the centerpiece of the power trio, delivering road-honed material with raw intensity and no excess polish. Vaughan’s pinched, muscular bends are reminiscent of Albert King, combining Texas blues grit with rock drive.
ZZ Top’s commercial breakthrough occurred when they released their third studio album, Tres Hombres, in 1973. It peaked at No. 8 on the Billboard 200 and earned the band its first gold album certification, along with the nearly Top 40 single “La Grange,” which peaked at No. 41. The album features 10 cuts executed with precision by the trio of Billy Gibbons on guitar and vocals, Dusty Hill on bass and vocals, and Frank Beard on drums. The album is pure blues rock distilled through a Texas bar-band sound, filtered through Southern rock and a boogie beat. Gibbons draws inspiration from blues legends like Lightnin’ Hopkins and John Lee Hooker, as well as the more recent British blues rock of Peter Green’s Fleetwood Mac and the early Rolling Stones.
Each of these 10 albums is hypnotically magnetic, with raw blues rock power, grit, groove, and emotional voltage. These albums connect the distant past with the present, from the pioneering spirit of Jeff Beck and Jimi Hendrix to the modern edge of Joe Bonamassa and the Black Keys. Their enduring legacy refuses to fade away after a single spin because the best blues rock doesn’t just capture a moment but creates a conversation between the past and the present that demands another listen.
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]]>The post Eric Steckel: Sandstorm Review appeared first on Blues Rock Review.
]]>Starting out with a killer Painkilleresque drum fill, “When It Rains, It Pours” is a heavy, bluesy goodness lit up by distorted guitar work made up of soaring licks, harmonics and pinch squeals. Steckel does a great job at fusing late 80s / early 90s hard rock vibe with modern blues. This continues with “The Other Guy”. Aggressive, in-your-face rock and roll energy, rich guitar tone and punchy arena-rock drums. Think Whitesnake meets Lynch Mob, meets Mr. Big, meets Bonamassa.
Perhaps a bit unexpectedly, Eric and the band make a 180 turn on “Blues for the Lonely”, a soul-sprinkled slow blues number with long notes on the electric organ providing a solid ground upon which the band strolls slowly while Eric walks and talks us through the story. Back to the heavy sound, “What I Wanna Believe” sounds like southern metal more than anything. Imagine Zakk Wylde playing with Lynyrd Skynyrd. Completely explosive!
The introspective title track has been written on the spot thanks to the fantastic vibe and chemistry in the studio. Talking about “Sandstorm,” Steckel said: “The incredible vibe in the studio brought forth tons of new and spontaneous material such as the title track ‘Sandstorm’ which instantly became my favorite track on this album and a perfect representation of this body of work.” Jazzy piano then paves the way for a love ballad that is “Empty Promises”. Eric’s incredible, soulful vocal performance is the absolute highlight of this song. Eric had previously recorded this Michael Burks cover on 2012’s Dismantle the Sun.
A Lance Lopez classic, “El Paso Sugar” follows, and it fits the vibe of this album oh so well. Incredible pick! But let me ask you, what on earth is that guitar sound on “Axe to Grind”? The dirtiest, meanest, most sinister distortion you’ll hear. Major pentatonic blues licks in between that heavy riff are such a tasty contrast. Wonderful, dirty, fat blues rock tune that brought out that pure teenage-style excitement in me, like the first time I heard Deep Purple’s “Stormbringer”. This is followed by a cheeky, funky, bluesy “She’s a Golddigger” bringing a juicy groove and fiery slide guitar licks. Closing out this wild ride of an album is a warm ballad titled “Back to Life”, ideal listening for a late night tipple.
Sandstorm is a bold blues rock album that packs a punch. Excellent choice if you’re living on a heavier side of blues town, or if you simply need an energy boost. A cohesive mix of 10 well-produced tracks, top-class musicianship from Eric and the band, and just enough contrast to keep you on your toes throughout – a great listen!
The Review: 8/10
Can’t Miss Tracks
– When It Rains It Pours
– Sandstorm
– Axe to Grind
The Big Hit
– Axe to Grind
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]]>The post Robin Trower: Live At Cambridge Junction Review appeared first on Blues Rock Review.
]]>A first look at the venue and it screamed pokey, unfinished industrial space. Thankfully the inside didn’t let me down. It’s just how I imagined it. Dark, dingy, and smelling like one too many pints of Camden Ale had been plastered on the walls.
There were no windows either. Given we were here for guitar royalty, it seemed only fair that paying punters couldn’t be fleeced by peeky blinders and nesting birds somewhere in the rafters.
In many ways, it felt like the perfect setup for the humble, no airs and graces demeanor of Trower. After almost every song came a simple, heartfelt “thank you, I appreciate it,” delivered without ceremony or any sense of entitlement.
His ego (or lack of one) was equally as generous with his long-time bandmates Richard Watts (bass and vocals) and Chris Taggart (drums), after taking a breather from the sling-shot guitar workout of “Little Bit Of Sympathy” to acknowledge their unshakable yet unobtrusive backing that glued everything together, while allowing his trusty Stat (ably supported by a wall of Marshalls) to shine.
Of course, he never allowed them to return the adulation, but like many in attendance, they could occasionally be seen smiling (bordering on laughing) at the sheer absurdity of some of the fretwork unfolding in front of them, especially when Trower spun off on his own accord, seemingly intent on conquering new worlds.
Opening with timeless classic “Too Rolling Stoned,” it’s invigorating that just three instruments can still cook up this kind of joyful, blues-rock jam, with Trower stretching out early doors and showing everyone why that soulful, mellifluous tone has stood the test of time. Die-hard Trower-ites would also have been pleasantly surprised by the inclusion of “Distant Places Of The Heart” — a mysterious, psychedelic blues number from his Seven Moons (2008) collaboration with Jack Bruce, where he weaved in and out with melody and emotion.
Trower’s output since the turn of the millennium has been nothing short of sensational, so it made complete sense to sweat out the newer stuff. No Worlds To Conquer (2022) might still be a baby when compared to his mid 70’s heyday of filling out US stadiums and trio of consecutive, acclaimed power-trio records, but there’s three songs off this LP alone, all brilliant in their own right. From the melancholic blues of the title track with its slow, even vibrato to the two-throng finale of “The Razors Edge” and “Birdsong,” they drip with undeniable chemistry, perfect pauses and poise, style, and that sweet sweet Trower tone.
His latest single “Live Your Time” is another dreamy and poetic addition to the setlist, similarly laid on groovy sprinkles of Wah, with Watts and Taggart again holding down the rhythm in spades. The octogenarian was then at his his most Hendrixianon on the smooth, cosmic blues of “One Go Round,” before throwing in the one-two knockout punch of his other big-hitters — the soaring, spitting feathers groove “Day Of The Eagle” with its bombastic driving force of the guitar and bass, and the bewitching “Bridge Of Sighs” with its iconic riff meandering throughout.
Both are greeted with big cheers and head nods aplenty from the packed-out venue, who have been treated to something special by a virtuoso who proved his long credentials long before I was born. Everyone was here to watch an 81-year-old deliver a masterclass in how to make a Stratocaster sing in a way that made a room full of people stop talking and simply stare in amazement. We didn’t leave disappointed.
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]]>The post Hannah Wicklund: War on Women; Calling All Good Men Review appeared first on Blues Rock Review.
]]>Born in South Carolina, Wicklund has established herself as a singer, songwriter, producer and multi-instrumentalist, while also pursuing work as a visual artist. Her career has developed around a modern blend of rock, blues and other roots-oriented influences, with her 2024 album The Prize earning considerable attention. Here, she takes an even more hands-on role, writing and producing the record herself, bringing that experience into a project that feels more personal in both its subject matter and execution.
The album addresses gender inequality, frustrations with the music industry, heartbreak, and the possibility of hope after difficult experiences. Those themes are introduced immediately by the brief opening title track, an atmospheric a cappella piece whose sparse arrangement gives it an appropriately haunting quality. It is an effective way to establish the album’s tone before the full band enters.
“Red Gorilla” shifts gears with a bluesy hard-rock approach, combining a solid rocker with fuzzy guitar tones and subtle indie-rock influence. Despite its blues foundation, the track sounds fresh rather than overly nostalgic. “Evil Is A Corporation” follows with a swaggering, bluesy groove and retro-soul touches, making its subject matter as direct as its title suggests.
“The Pier” takes a more subdued approach, with soul and R&B-influenced verses eventually giving way to a anthemic hard-rock chorus. The contrast works particularly well, and the song is elevated further by an incendiary guitar solo that serves as its bridge.
“Diamonds” may be the album’s most musically interesting track. Its folk-infused, countrified rock arrangement makes excellent use of acoustic guitar, while the flute adds an unexpected progressive-rock character to the song. It is a somewhat unexpected number, but a highly effective one.
“The Token” takes yet another turn, built around piano and a pop-leaning arrangement. Catchy and emotional without becoming overly sentimental, it is a tasteful ballad and one of the record’s strongest moments.
“Cowards & Kings” is perhaps the most imposing rocker here, an organ-infused hard-rock number built around an enormous main riff and a measured rhythm. Wicklund delivers some of her strongest vocals on the track, while a soaring, arena-ready guitar solo drives it home.
“Calling All Good Men” closes the record with another a cappella performance. While it clearly echoes the opening track, its tone is less haunting and somewhat more optimistic, providing a fitting conclusion to the record.
The production is another strength, with a well-balanced mix that gives the instruments plenty of definition without stripping away their character. The band performs exceptionally well throughout, and the arrangements keep changing enough to maintain interest. Rather than confining itself to a single musical approach, the record moves comfortably between different shades of rock, roots music, soul and pop, and that variety gives it much of its appeal.
Overall, War On Women; Calling All Good Men is an excellent and thoughtfully crafted album, with enough variety to keep it engaging from beginning to end. Wicklund’s perspective is clear throughout the record, and her willingness to speak openly about the struggles women continue to face gives the album an authentic sense of purpose. That conviction works particularly well because it never comes at the expense of the music, which remains well performed and consistently engaging. The result is a record that has plenty to offer musically while also standing for something worthwhile.
The Review: 9/10
Can’t Miss Tracks
– War on Women/Calling All Good Men
– Red Gorilla
– Evil is A Corporation
– The Pier
– Diamonds
– The Token
– Cowards & Kings
The Big Hit
– Cowards & Kings
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]]>The post Bernard Allison announces “Loving You” appeared first on Blues Rock Review.
]]>The veteran blues guitarist and singer, son of the late Luther Allison, has spent more than three decades building his own career with a sound that combines blues, funk, R&B and rock. Loving You continues that approach while placing an increased emphasis on collaboration.
The 10-track album features guest appearances from Devon Allman, Larry McCray, Victor Wainwright, Matthew Curry, Matthew Mwangi and Heather Hardy. Allison’s nephew Jasper Allison and niece Lyndsey Allison contribute backing vocals, while rhythm guitarist Stephen Johnson, also known as Stevie J Blues, co-wrote five of the album’s seven original songs.
“I’ve always wanted to record an album, bringing family and friends together!! Loving You is simply showing my appreciation and respect for my family and friends. So, I decided to invite and collaborate with a selected group of musicians and family members. I placed them on tracks where I felt they could bring out their true emotions and musical passions. We created a well-rounded album full of surprises, while showing our appreciation to all of our musical influences and genres. We laid down my blues foundation, with a taste of Funk, R&B, and Rock!! And we did it, The Allison Way!!!,” Allison said.
Stevie J Blues, a Jackson, Mississippi native and former member of Bobby Rush’s band, also joins Allison’s core band alongside bassist George Moye, drummer Sam Butts Jr. III and keyboardist Eric Roberts.
Loving You opens with “Left Me With My Guitar,” a funk-driven electric blues number centered on Allison’s relationship with his instrument. Victor Wainwright joins Allison on vocals and piano for “4 O’Clock In The Morning (Waiting On You),” while Larry McCray and Matthew Mwangi contribute guitar to “Time Traveler.”
Allison keeps things soulful on “Slide On Over,” which features backing vocals from Jasper and Lyndsey Allison along with Stevie J Blues. The record then moves into rock territory with a new version of Rick Derringer’s “Rock & Roll Hoochie Koo,” featuring Matthew Curry on guitar and vocals.
Devon Allman appears on guitar on the title track, “Loving You,” while Larry “Doc” Watkins contributes handclaps. Heather Hardy adds violin to “Pay What You Owe Me,” which also features Jasper and Lyndsey Allison and Stevie J Blues on backing vocals.
Other songs include “Busted & Disgusted,” “Should I Wait” and album closer “Blues Thang.”
Allison emerged as a solo artist during the 1990s after previously playing guitar in his father’s band. While Luther Allison remains a major influence, Bernard Allison has also cited guitarists including Johnny Winter and Stevie Ray Vaughan among the musicians who helped shape his approach. Over the course of his career, he has released more than 20 albums while touring extensively in the United States and Europe.
Loving You continues that career with an album built around the musicians and family members Allison has developed relationships with along the way.
TRACK LISTING
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