Page 44 - BiTS_08_AUGUST_2023

Billy the Kid & The Regulators—Nice Ain’t Got Me Nothin’
—Independent
(www.billythekid.com)

Out of Pittsburgh, PA, singer/ guitarist Billy Evanochko leads his
huge-sounding band through some blistering blues-rock on this
nine-track set. Try the driving ‘Shake That Thang’ with its echoes
of ZZ Top maybe, or ‘Say You Want A Woman’, where the
arrangement and guitar playing strongly recalls Albert Collins
in a few places, or ‘Ain’t No Fun’ with its subtle soul touches and
an appropriate vocal from the leader, though the song itself is
an undisputed blues-rocker, as the tough, spikey guitar solo
makes very clear.

There is a mid-tempo to slow, rather pointed electric blues in ‘Sweet Honey Child’. A second
version of this same song closes the album. It is an acoustic version driven along by guitar,
blues harp and some rather fine barrelhouse piano (keyboards player Owen Dougan-Bacha,
who impresses throughout) which is prominent but not quite as obvious among the amplified
instruments on the first version – there is rather a nice Muddy Waters in the 40s feel to this
unplugged rendition. The band is completed by bass guitarist John Bartholomay and drummer
Ben Davis – it is hard to believe there are only four musicians on the album, such is its power.

It’s certainly worth checking out if you want your blues-rock heavy on the blues side…
Norman Darwen

Pistol Pete Wearn—a Collection of Blues, Ballads &
Barnstormers—Footstomping Records Fs1011
(www.pistolpetewearn.co.uk)

Pistol Pete Wearn is a singer, guitarist and multi-instrumentalist
based in Staffordshire, though I had to check that he means
Staffordshire, England. This set is just what the title says, with
the cover art referencing older reissue albums from the 60s, and
although the songs are all originals by Pete (plus a couple of
numbers written with collaborators), so too does the sound,
delivery, instrumentation and musicianship.

There is some delicate Americana—as on ‘A Letter’—and Nashville session man Phil Brochtein
adds some notable pedal steel playing to ‘Staring At The Walls’. Olly Parry’s violin playing adds
a mournful touch in places—try the closing ‘Flashing Blue Light’ - although he can also tear up
a hoedown, as on ‘Queensville Stomp’.

Other tracks draw strongly from the blues—try ‘The Clansman’ about a diesel locomotive (no
“K”s here!) with its excellent, driving slide guitar work recalling the Delta blues, or the slower
‘Factory Floor’. ‘Not My Circus’ has something of a ragtime-blues jug band feel, and contrasts
strongly with the urban decay of modern Britain portrayed on ‘Meet Me On The Bridge’ - nice
blues harmonica on this track too. ‘Staggerlee’ is a reworking of the venerable folk ballad, with
a work-song feel in the call and response vocals and the subtle percussion.

An impressive release.

Norman Darwen