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gravelly soul infused baritone vocal, underneath, Jason’s fat New Orleans slow saxophone adds
extra depth and dimension. The driving, swinging bass and percussion on the dance floor
Jiving ‘Weep For Me’, is joined by a fine fat, bellowing fifties saxophone, meanwhile Jason’s
vocals and guitar lead the way. A deeply melancholy tale is ‘Real Blues’, the fat, crying
saxophone duets with a mournfully twangin’ guitar, as over the top, Jason slowly wails away.
The drawling, slow burn rising, ringing guitar of ‘The Doctor’, is paired with a splendid
morose, almost bleating saxophone.

The intense, moody floor scraping ‘Hang ‘Em High’, is driven by a slow, low burning saxophone
with rich ringing, searing guitar seeping through. ‘Money Don’t Work On The Devil’, is a
splendid shoulder shuffling boogie, the pounding percussion, joins an infectious entwining of
grinding guitar and low enticing saxophone, it also has a great singalong chorus. Another
serious toe-tapper is ‘Two Timing Woman’, Searing slide and punching percussion are abetted
by an infectious, almost honking New Orleans saxophone. ‘Lost In The Dark’, is a lovely little
rocker with its searing, searching, grinding guitar, matched with a raw honking, vamping
saxophone, delightfully underpinned by pounding percussion.

An infectious toe-tapper!

Brian Harman.

Brad Wilson—Brad “Guitar” Wilson—Cali Bee Music

Although, in the past, he has appeared as a special guest of the
rock band Chicago on a good number of their tours, singer and
guitarist Brad’s own music is primarily blues-edged. Here, the
twelve self-produced numbers are a combination of originals
and covers. Joining Brad in the studio, on lead vocals and
guitar are Brian Beal, Jeff Covell, Oscar Huguet and Jack Van
Aert on bass, with Adam Gust, Peter Wolf, Rod Wilson and
Willem Van Kempen on drums with Frankie Vriens on

keyboards.

The opener is a very lively, heads-down groover paying homage to John Lee Hooker, suitably
entitled ‘Ballad Of John Lee’, punching bass and percussion underpin some very fine
understated lively guitar. Muddy Waters’ ‘Walkin’ Thru The Park’, is given a fine percussive
pace with singeing organ-work alongside, while over the top, the rich, tight guitar-work is
crisp and compelling. This pinpoint focus is applied to B.B. King’s version of ‘Rock Me Baby’,
the sweet, clear ringing guitar tones, are a treat, as are Brad’s enticingly mellow vocals. Stevie
Ray Vaughan’s ‘House Is Rockin’, is a fine example of a low-down, guitar driven, racing boogie.

A change of pace is delivered on Freddy King’s sweetly, slow burning ‘Someday After A While’,
the crying guitar lines and Brad’s aching vocal are delightfully entwined. On the enjoyably
loose ‘Hang With A Bang’, Brad infuses a more soulful, late night carefree, Caribbean dancing
feel to his inviting guitar-work. The dark, brooding instrumental ‘Avatar’, has Brad wading his
way through to the light with some splendidly solid, guitar. When the need arises his vocals
are suitably gruff, as is the case on Cream’s ‘Tales of Brave Ulysses,’ he also, shows that he and
his guitar are more than capable of taking on a Sixties classic with understatement and ease.
Willie Dixon’s “I Can’t Quit You Baby’, is a splendid eight minute slow burning live rendition,