Vol. 2 By The New Moon Freedom Rockers



Vol. 2

New Moon Jelly Roll Freedom Rockers

Stony Plain 2021

Review by David Bowling

The New Moon Jelly Roll Rockers are a long lost and brief super group consisting of Charlie Musselwhite, Alvin Youngblood Hart, Jimbo Mathis, the late Jim Dickinson, Luther Dickinson, and Cody Dickinson.  During 2007, they gathered at Jim Dickinson’s ranch. They just sat in a circle and played and sang into microphones set in front of each person. Two albums worth of material was recorded at these casual sessions. The tapes were lost for over a decade, mainly due to Jim Dickinson’s passing.

I reviewed the New Moon Jelly Roll Freedom Rockers first volume last year. Now Volume 2 has been released. Many times, a second volume of music from the same sessions is inferior because the better material has already been released.  This is a rare occasion when the second volume is better than the first.

First, the material fluctuates between classic blues and rock and roll, and even an old jazz piece. They all benefit from the simple approach of the band. Second, the sound is surprisingly good for the type of recoding session as each voice and instrument is distinct.

Three rock songs are transformed in a blues direction. Charlie Musselwhite’s “Black Water” and “Blues For Yesterday,” plus Doug Sahm’s “She’s About A Mover” highlight The album as the songs take on new structures far from their rock roots.

Classic Blues is well represented. Jimmy Reed’s “Can’t Stand To See You Go,” Junior Wells “Messin’ With The Kid,” and The Mississippi Shieks “Blues Is A Mighty Bad Feeling” may have a modern sheen but at their foundation, they are straight from the Southern Delta.

Charlie Mingus’ “Oh Lord Don’t Let Them Drop That Atomic Bomb On Me” may be a little weird but it is also a lot of fun.

 The New Moon Jelly Roll Freedom Rockers have issued an album of very listenable blues. It is not an overly ambitious affair, which is part of its charm.

Rating: ***1/2

My Savior By Carrie Underwood



My Savior

Carrie Underwood

Capital Nashville 2021

Review by David Bowling

Carrie Underwood is one of the most commercially successful country singers working today. Her voice has a power and clarity that very few singers have had. Every once in a while she strays from a country sound, which brings us to My Savior, which is a full fledged gospel album.

Her voice is beautiful, the song selection is excellent, and the production impeccable. My only issue with the album, and I have said this about her several times before, is that every once in a while she is too perfect. This tends to happen when she strays away from country music.

If there is such a thing as pop/gospel, this is it. The purity of her voice is stunning but in some ways it hurts the passion that makes gospel music work. Gospel music is not necessarily pretty and that is what Carrie Underwood is all about. The difference is shown with her duet with CeCe Winans on the old hymn “Great Is Thy Faithfulness.” Carrie sings it and CeCe believes it.

All that aside, it is a very listenable album. “Blessed Assurance,” “Nothing But The Blood Of Jesus,” “Just As I Am,” and “Because He Lives” all succumb to her pop perfection. The closest she comes to a traditional gospel sound is “The Old Rugged Cross” and “Amazing Grace,” which is a song made for her approach.

My Savior is a well-intentioned album that will no doubt please her huge fan base. If one approaches it as a pop album of gospel covers, you won’t be disappointed. If you want true gospel music, there are better places to start.

Rating: ***

The Ghost Light By Bob Bradshaw



Bob Bradshaw

The Ghost Light

Bob Bradshaw

Fluke Records

Review by David Bowling

Bob Bradshaw is one of the more interesting artists working today. While his songs have a subtle melodic quality and his voice is a very good instrument; is is his talent as a song writer that shines through his music and ultimately provides its foundation.

His lyrics have a precise nature. They are focused and have simple characters and well-developed visions. The stories are not of the spectacular type but are more of a philosophical nature that draw you in and help you to add your own thoughts and dreams to them.

“Dreams is representative of his work. Simple instrumentation combine with his straight ahead vocals. The song meanders along as the lyrics gradually create the story. “In The Dark,” “Light Of The Moon,” and “Gone” continue in this vein of creating low-key, yet entertaining music.

Bradshaw began his life and early career as a journalist in Ireland but it has been his time in the united states that has defined his music. His approach reaches out in a number of directions but can best be described as Americana with a number of the tunes have country and folk elements.

Whether it be the Latin influences of “Sideways,” the nostalgic “She’s Gone For Good,” or the light-hearted “Songs On The Radio;” The Ghost Light is a nice look into the mind and heart of Bob Bradshaw. A good way to spend some quiet time.

Rating ***1/2

The Lucky Ones By Pentatonix


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The Lucky Ones


RCA 2021

Review by David Bowling

Back in the day, NBC had a television show titled The Sing Off. The winner of season three was the acapella group Pentatonix. They have gone on to sell tens-of-millions of albums and tour constantly for almost a decade. They are arguably one of the most popular and successful pop groups in the world.

For the last several years Pentatonix has relied of Christmas and cover songs, but now have released a new album of original songs titled The Lucky Ones.

The five members of Pentatonix have voices that blend perfectly and creatively. They are also a rare group that can re-produce their intricate harmonies in concert, where without backing instruments, there is little room for error.

The band members may not plump the depths of their psyche’s but The Lucky Ones is a personal album. The title song is an autobiographical chronicle of the musical journey and their acceptance of a little luck along the way.

The topics vary from breaking up (“Happy Now”), to support (“Love Me When I Don’t” and “Coffee In Bed”}to mental health (“Be My Eyes”).

The tempos vary but there are a number of ballads that present the group at their best. “Side,” “Exit,” and “It’s Different” all allow the individual voices to shine before combining into soaring harmonies.

The 11 songs are concise as the album checks in at just under 40 minutes. It is a format that serves the group well as they do not over-extend their welcome on any of the tracks.

Pentatonix has taken a chance by leaving cover songs behind and that decision serves them well on The Lucky Ones. 

Rating: ****

Way Down In The Rust Bucket By Neil Young & Crazy Horse


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Way Down In The Rust Bucket

Neil Young & Crazy Horse

Reprise 2021

Review by David Bowling


Just about any live album by Neil Young is a good album and Way Down In The Rust Bucket is no exception. Recorded 20 years ago at The Catalyst bar in Santa Cruz, with Crazy Horse in support, it finds Young at his improvisational and rock & roll best.

The performance was culled from the Neil Young archives. The sound is good for what was a house show but not spectacular by today’s standards. The emphasis is on the songs, which interferes with the flow of the concert.  Still, it is lucky that he had the tape machine rolling as it chronicles one of Young’s better live performances.

The two CD set combines some of his best-known material with a few deep cuts that combine into a satisfying set. The concert took place at the time of his Ragged Glory album release, so those songs tend to predominate.

The live setting provides a perfect setting for young to improvise on his guitar as he extends a number of songs far beyond their studio versions. “Like A Hurricane” at close to 13 minutes and “Love To Burn” at just shy of 14 minutes are a guitar extravaganza for Young, plus several other tracks come close in length.

A gem is the first live recording of “Dangerbird;” 15 years after its release on Zuma. Add in such classics as “Cinnamon Girl” and “Cortez The Killer” and you have a statement from the early part of his career.

Crazy Horse has supported Young on numerous projects and he is comfortable and at ease with them They tend to bring out the best in him. Bassist Billy Talbot, drummer Ralph Molina, and guitarist Frank Sampedro provide excellent support without getting in the way.

Way Down In The Rust Bucket is a raw performance of rock and roll at its best.

Rating: ****

Wyoming By Randy Lee Riviere


Randy Lee Riviere

Wilderness Records 2021

Review by David Bowling


Country music is one of the most popular styles of music in the United States. It now has a smoothness that is far removed from the twang of Hank Williams and Patsy Cline.

Once upon a time there was a style called country & western. Two of the very different leading proponents were Marty Robbins with his Gunfighter Ballads series of albums and Bob Wills western swing music.

Randy Lee Riviere’s new album Wyoming re-visits and updates many of the elements of the Marty Robbins brand of country & western. His stories of the west are more panoramic and philosophical than Robbins and the music has a modern smoothness but the intent is the same.

Throughout the album, above all, is an appreciation of the American west. His lyrics pay homage to the environment, Native Americans, and family; all within the context of the American west.

The center of the album and his songs are his lyrics. Each song is like the chapter of a book that coalesces into a fulfilling whole.

However, it is the title track instrumental that takes the listening on a journey without lyrics..  It sums up the mood and textures of of the music and brings everything to a satisfying conclusion.

Lyrically, “Red Rain” that is an opus of the old west combining life, love, and violence. “Our Town” is a nostalgic and angry look at the changing west. “Morning” is about what will never be again, and so it goes through the 12 original tracks.

Riviere has returned to an oft forgotten style to produce an emotional and interesting album of music. It takes the listener on a satisfying journey through the modern-day west where folk, country, and rock elements coalesce into modern-day country & western. Somewhere Marty Robbins is smiling.

Rating: ***

The Complete Atlantic Singles 1968-1971 By Dusty Springfield


The Complete Atlantic Singles 1968-1971

Dusty Springfield

Real Gone Music

Review by David Bowling


Dusty Springfield, 1939-1969, was one of the lead pop songstresses of the last half of the 20th century. After a brilliant music career and tumultuous life, she died just prior to her induction into the Rock And Roll Hall Of Fame.

While she was known for pop hits such as “You Don’t Have To Say You Love Me” “The Look Of Love,” and “Wishin’ And Hopin,” it was her three years with the Atlantic label the formed the definitive period of her career.  Tom Dowd, Jerry Wexler, and Arif Mardin, (engineer, producer, vice president), transitioned her from pop to a more soulful style.

Now her 12 singles, both A and B sides, released by the Atlantic label, have been issued under the title The Complete Atlantic Singles 1968-1971.

Led by “Son Of A Preacher Man,” one of the best songs of the time period, the bulk of the material should be required listening for any fan of the era or Springfield. Her smooth delivery effortlessly transitions to soul and her voice gives everything a unique sheen.

Songs such as “Just A Little Lovin,'” “Breakfast In Bed,” “Willie And Laura Mae Jones,” and lesser known tracks “Bad Case Of The Blues,” “That Old Sweet Roll,” and “I Don’t Want To Hear It Anymore” are all sublime.

It is some of the lesser known tunes that add luster to the release. “Lost” is a foray in Philadelphia pop/funk, while “Let Me Get In Your Way” finds her vocal following a simple bass line. “In The Land Of Make Believe” uses a sitar to set up her vocal.

The sound is excellent as is most everything recorded for the The Atlantic label, especially when the three above mentioned gentlemen were involved. The instrumental backing is supportive and never gets in the way, which lets her voice be the focal point. She had a wonderful way of annunciating each word clearly, which was unique.

The Complete Atlantic Singles: 1968-1971 catches Dusty Springfield at her best, which given her career, says a lot.


From Elvis In Nashville By Elvis Presley



From Elvis In Nashville (4-CD Box Set)

Elvis Presley

Sony Legacy 2020

Review by David Bowling


Since Elvis Presley’s death over 40 years ago, his material has been reissued dozens of times in every form imaginable. From small greatest hits albums to huge box sets that have been pieced together from previously available material, every song he ever recorded has appeared over and over again. Now, however, someone has had an original idea.

During June of 1970, Elvis went into the studio and, in several marathon sessions, recorded three albums worth of material. Later, background vocals, orchestration, and some duets were added before their release. Now all the additions have been erased. What remains is just Elvis and his basic backing band, which makes for a very different listening experience.

The first two CD’s in the set contain the undubbed masters of all the issued songs. Elvis was recording live in the studio and his voice dominates each song without any distractions. Songs such as “The Fool,” “You Don’t Have To Say You Love Me,” “Mary In The Morning,” “Love Me,” and “Life” are re-invented and re-imagined in their simplicity.

The final two discs contain the outtakes from the sessions. I think they have all been released previously but have not been collected in one place. Now back in their original context, they make sense. Elvis was recording live in the studio and so tracks with multiple takes show him in total control. It is a good presentation of his creative and recording process.

This is another one of those albums that will appeal mainly to Elvis’ hard-core fan base. It is not that there is anything really new here but rather the appeal is in the uniqueness of the presentation. Forty-four years after his death, that is enough.

Rating: ***1/2


Winter Stories By Judy Collins & Jonas Fjeld


Winter Stories

Judy Collins & Jonas Fjeld

Wildflower 2019

Review by David Bowling


There was a time when Judy Collins was an important part of the American folk revival movement. Beginning in 1961, she released a series of excellent folk albums. While she has turned in a pop direction during the past four decades; every once in awhile her folk roots shine through.

Her latest release, Winter Stories, is a nice fusion of pop and folk. There are some older songs and recreations of past tunes. Her choice of Norwegian folk singer Jonas Fjeld as a vocal partner on a number of songs was an interesting choice, and ultimately an effective one, as he pulls a number of the tracks back from the pop precipice.

Winter Stories, despite the title, is not a Christmas album. Rather it is a laid back affair that is best heard sitting around the fire place on a cold winter night. It is mostly an album of story songs, including her 30 year old opus “The Blizzard.”

The vocal duet tracks work well. “Northwest Passages” is about the explorers of the past and Eric Anderson’s “Angels In The Snow” is recreated for a duo. Add in “Frozen North” and the title track and it adds up to a series of strong tracks with Fjeld.

Possibly the best song is her haunting rendition of Jimmy Webb’s “The Highwayman.” She transforms this old country tune.  She takes “Bury Me With My Guitar On” in a different direction and it emerges as a peppy rendition.

It is nice to see Collins veer back toward her folk roots. Winter Stories is one of her strongest albums in decades.

Rating: ****

Volume 1 By The New Moon Jelly Roll Freedom Rockers

Volume 1

New Moon Jelly Roll Freedom Rockers

Stony Plain Records 2020

Review by David Bowling


There are super groups and then there is the little super group that can and did.

Back in 2007; some what under appreciated blues and roots musicians Charlie Musselwhite, Luther Dickinson, Cody Dickinson, Alvin Youngblood, and Jimbo Mathis gathered at Jim Dickinson’s ranch for a few days and nights of recording music. They simply sat in a circle and played a couple originals and some classic blues songs while the tapes ran. And so the New Moon Jelly Roll Freedom Rockers were born, but not for a while.

Jim Dickinson passed away and the tapes sat on the shelf for over a decade. They have now been resurrected and cleaned up and released as Volume 1, which means there is a second volume on the horizon, which given the quality of this release is good news.

The production is impeccable given the primitive nature of the recording sessions. Each instrument is distinct and the songs have a flow from one to the other. It is also presented as a very intimate release but does not intrude on the quality of the music.

Musselwhite is a superior harp player and he demonstrates his skill on “Blues Don’t Worry Me” and “Strange Land,” which are blues shuffles. He plays off Jim Dickinson’s piano melodies.

They are on very solid ground when they turn to older blues tunes. Charley Patton’s “Pony Blues” had great slide guitar by Hart, as does the Mississippi Sheiks “Stop And Listen Blues.” “Come On Down To My House” is presented as a barrelhouse blues piece curtesy of Jim Dickinson. They also transform Hendrix’s “Stone Free.”

The New Moon Jelly Roll Freedom Rockers manage to not only create good music but seem to be having fun at the same time. The real good news is there is more to come.

Rating: ****