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mid-70s, before being picked up by the rockabilly revival of the 80s.

This previously unissued set was recorded live in Italy in 2006, with a three-piece
band led by guitarist Marco Di Maggio. Wikipedia states that the Moscow gig on this

tour was the best show that Robert ever played. I can believe it, though, as this set is
truly wonderful rock and roll. He is in excellent form on a programme of rock and roll

classics, sounding close to Elvis in many places – that is the Elvis that excited Sam
Phillips who felt he had found a white singer who sounded Black. The band has a
tough sound, owing something to Link Wray and Gene Vincent maybe. There are

rockabilly boppers too, but much of the music is definitely on the bluesier side of rock
and roll. Try ‘Look Who’s Blue’ for a fine example.

It might not be blues, but it certainly is bluesy – and it rocks like crazy! Bring along
your winkle pickers and give it a listen. Highly recommended for a rocking good time…

Norman Darwen

Ian Siegal, Johnny Mastro—Easy Tiger—Continental
Blue Heaven ASIN : B0DL1C6MGW

This new album from Britain’s Ian Siegal (Berry) and
the US harmonica player Johnny (Giovanni) Mastro

based in New Orleans where this album was recorded
‘live’ in the studio. The album features all original songs

written by Ian and Johnny and backed by Johnny’s band
the Mama’s Boys, like opener ‘Four on the Floor’ a
stop-time blues with Ian’s sandpaper vocals and driving

guitar and Johnny’s distorted up front blues harp.
‘Balling the Jack’, ‘Baby You Can Get Your Gun’ and ‘No Mercy’ are more of the same

and ‘Dog Won’t Hurt’ is a song based around the old joke (Spoiler Alert) “I thought
you said your dog wouldn’t bite?” – “That’s not my dog…”

‘Tall and Tight’ (co-written with Luther Dickinson) features additional backing vocals
for a bit of variety and ‘Miss Your Cadillac’ and ‘Quick to the Gun’ have Johnny taking
the vocals - with echo on maximum. Ian’s back up front for the Tom Waits-like

‘Emperor’s New Clothes’, also ‘Wineheaded’, ‘Who’re in Church’ and the riff-heavy ‘I
Won’t Cry No More’, while we check out with the up-tempo ‘Oedipuss’ with its unison

harp/guitar. Some of Ian’s recent albums have featured more Americana and country
sounds and I’ve longed for more blues content however, this album is straight down

the line blues and I have to admit I would have liked a bit more variety both in the
instrumental line-up and in the styles on offer. That said this is driving, down and