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The Smoke Wagon Blues Band: The Ballad of Albert Johnson—
Own Label

The first four numbers of this impressive set comprise the
storming boogie of the title track, followed by ‘Memphis Soul’,
which is self explanatory, the blues ballad of ‘Ain’t Gonna Be Your
Fool’ and an excellent remake of Mr. Domino's first hit, ‘The Fat

Man’, which retains much of the appeal of the original. The tempo
then slows a little but that Crescent City flavour remains for ‘Lay
Say Lay’. ‘Mescaline’ is suitably sleazy, with leader Corey Lueck’s
vocal sounding like he has spent too many nights drinking rotgut
whiskey in smoke—filled and rather dubious joints.

This seven—piece has built up a strong reputation — their last album, ‘Cigar Store’ won three
Independent Blues awards. If you still need convincing, lend an ear to the soul—blues of ‘Sacrifice’,
which introduces a sequence of three fine modern blues items, before the ballad ‘A Song For Cheryl’,
with its vague hints of country.

The album then heads towards its close with the traditional—sounding and very fine blues shuffle of
‘Can’t Take The Blues’, the curious “let’s all sing along” country of ‘On The Road Again’ (albeit with a
brief jazz interlude) and the Bo Diddley—inflected rabble rousing closer, ‘Steaming Comrades Harp
Boogie’. No explanation necessary! Overall, another fine album from this Ontario-Canada based
outfit. Worth checking it out.

Norman Darwen
(www.smokewagonbluesband.com)

Eric Hughes Band—Postcard from Beale Street—Endless Blues—
Ehbebro22020

Running to just a little under half an hour, this is more like a ten—
track CD EP. Whilst Beale Street evokes the blues—singer,
guitarist, harmonica and jug player (and Memphis tour guide) Eric
and his seven accompanists, realise this involves many different
styles of blues. So, there is the older, jazz—inflected jug band
sound of ‘Follow Your Stupid Little Dreams’, the driving, punky,

Hendrix—inflected blues—rock of ‘He’s Just an Alley Cat’, the
vintage jazz of ‘Oh Booze’ coming up the river, and the classic soul
sound of ‘Fair Weather Friends’. The opening ‘Ain’t Whipped Yet’ is a regular blues, and indicative of
Eric’s outlook, and even the drugs references of ‘It’s 4:20 Somewhere’ have a precedent, even if The
Memphis Jug Band had a different substance in mind. ‘Homesick Angel’ has a gospel influence, and a
couple of others lean towards singer—songwriter—ish country, making for a varied and very

listenable release, with appropriate arrangements as each song requires.

Norman Darwen