The Backroom Blues is one of the well-known multi-artist albums highly desired and requested by Blues radio DJs and Blues lovers from around the world. And here is the explanation why: Thanks to Bongo Boy Records, we have the opportunity to enjoy the Blues musicians who will surely be surprised by my music story. What this record label does has its significance and it actually shows us how to be persistent and should work to get as many people familiar with this musical style.
Over the years, it is indicative that more and more people are stuck in front of these releases because such compilations are a great opportunity for audiences to get to know a certain number of musicians, so if you are interested in something, then go ahead and look for more material than each of them. In this way, the story just spreads ... Yours bluesy, Mladen Loncar - Mike Thank you !
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Gar Francis opts for a confrontational tact with “Champagne No Fizz”. The limber bass in place, the entirety of the journey has a propulsive energy to it. His voice, with a commanding hue, helps to serve as the focal point for the whole work.
“Swing Low, Sweet Chariot” shows Ann M Wolf doing that timeless classic song such justice. Keyboards get woven together in a way that has a fantastic flourish to it. From the beginning to the end there is a gospel-like presence to the construction of the sound.
A living, breathing quality imbues Big Bone Daddy’s “Tore Down” with pure passion. The communal quality of the vocals features a further warmth to it. Drums do a wonderful job in accentuating the hit of the piano chords.
On “No Life Without Jesus” the Bible Belt Blues bring a faith-based message to the masses. Quite poignant the piece takes its take in setting the tone. Arrangement-wise things are kept simple yet highly effective.
Classical flourishes dominate GURLIK’s sweeping “Ending Blues”. Melodies have a purity to them, for they touch upon a 70s flavor full of such soul. All of this without a single word needing to be said.
By far the highlight comes the expansive Grits Guitar “Runs Like a River”. Everybody in the band doubles-down on the smokey, thick atmosphere. The entire group has a hazy, dazed quality to them.
Gar & Myke explore their wild side with “Intentional Chaos”. They keep things straightforward yet straight from the heart at the same time. With a nice angular groove that anchors the whole thing the few elements are delivered with such soul to them.
Joy races through on J. Howard Duff’s defiant “On That Morning of Mornings”. Everything here feels absolutely infectious for there is a freewheeling presence to it. Guitar work has a nice edge to it while it weaves its way through the track.
“Housewife’s Blues” shows off Clark Ford’s ability to craft a story straight from a life lived to the fullest. Drums have a looseness to it. The song swings on through with an easygoing quality, as the lyrics reflect upon a degree of loneliness.
Tempos have a steadiness to them with “Mighty Warriors for Christ” for the Bible Belt Blues employ a starkness to it. Guitars have an improvised quality to them for they serve as singers in their own right. Word choice matters as the verses are chosen with care.
Southern fried rock rolls through as the Gypsy Carns play with pure fire on “Stock Market Blues”. A nice sense of dark comedy emerges within the verses, ones that jest about how easy it is to lose money in the stock market. Honestly the live setting of the sound too helps to imbue it with that raw grit that makes the blues so fascinating.
Big Bone Daddy grabs the listener’s attention on “Got It”. Virtually teeming with a sense of confidence the song is big from beginning to end. This is not a subtle piece but it is an undeniably fun one.
On “Lord, Don’t Move That Mountain” Ann M Wolf has a slight psychedelic wander to the traditional bluesy sound. The organ swells feel like a wonderful backup singer. Really, the song has a sprawling ambition to all of it.
The pure energy of “Beg Borrow and Steal” revels in Sheba The Mississippi Queen’s uncanny vocals. Her voice truly lifts up the rest of the sound as the bombast feels delirious. Everything within the sound seems to emphasize this very point.
