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piano from Martin Gasselsberger. ‘Cancellation Blues Reprise’ continues the theme with
some more tasty harp work from Hofherr and the album closes with another Dylan cover ‘I
Want You’.

Whilst there are some good moments from the band and they are all obviously accomplished
musicians the overall feel of the album was a bit lack lustre to my ears. Oliver Mally with his
gentle spoken word lyrics and songs that stretched well over the three minute mark tended

to make the songs all sound a bit “samey” and it also had that “lockdown” studio
jam/rehearsal feel about it too.

Maybe the album would benefit from employing an outside producer with fresh ears who
could lift the overall sound a bit as I feel these guys are underselling themselves a little bit. As
always don’t let me put you off —please give it a spin and see what you think.

Ged Wilson

Trevor Babajack—Not Far To Go —Independent Release

Trevor Babajack is a crowd favourite on the British blues cir-
cuit, having been nominated for numerous UK blues awards he
has now formed the Trevor Babajack Trio for his latest release.

The album opens with ‘Rambling Man’ a great driving bluesy
rhythm with some Sonny Terry style harmonica. There is a

touch of Americana about ‘Little Bird’ having a more rootsy
vibe. ‘On The Radio’ has such a gentle sentimental feel that
carries you along, I really liked this one. ‘Let It Roll’ is a slower
slide guitar enriched blues with some great vocal delivery from Trevor whilst there is some
more nice harp work to be had on ‘Black Water’.

‘On Y Va’ is a lovely guitar instrumental with some African inflections. ‘Mary O Mary’ has that
Americana vibe and the great violin work from Jo Chambers really rouses the drama of the
song. ‘Wedding Song’ has a personal feel somewhat in the style of Seasick Steve’s ‘Walkin
Man’. Trevor’s solo voice and harp vamp ‘Ambler Gambler’ is so much fun before the album
closes with ‘Brownsville’ digging into a great bluesy riff in a more familiar Babajack stomp
mode.

The decision to expand into a trio really works here as the overall sound is enhanced in a
subtle but effective way. Jesse Benn’s percussion adds depth and freshness to the sound
whilst Jo Chambers’ tasteful violin really adds a new dimension somewhat reminiscent of
what Sugarcane Harris did for John Mayall’s “USA Union” album. Whilst Trevor’s instrumen-
tation has always been first class I’ve noticed a change with his vocals here. Dare I say his
vocals are much better and more personal now as a result of him coming out of his old blues
style shell? I think so.

The album is both well recorded and produced with subtle use of panning and not over
reliant on effects which has somehow landed a nice warm live feel. So, as the winter nights