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Wild Feather Recording studio in Nashville and it does sound very good, big-sounding guitars and
a pounding rhythm section of Kasik and Jeff “Shakey” Fowlkes on drums.

'Reckless' is a rocking, modern version of Bo Diddley with Richard Rosenblatt on harp and on the
rocking “Keep the Party Rolling” Sheldon Ziro plays harp. 'Sunnyland Train' is a blasting Elmore
James cover with Slim playing great slide and on 'Sure Shot' we drop the pace with Slim playing
banjo on this moody ballad, while on “Platinum Junkie' Jason Ricci joins the party with his
harmonica sounding as sharp and cutting as Slim's lead guitar. 'Snake Eyes' features more banjo,

together with guitar and 'Think About That' is another rocker with harp, leaving just the closer
'Half a World Away' (not the Oasis song) a melodic rock song that to me didn't seem to fit with
the rest of the album, although it does have a nice blues guitar solo. I thought that this was a
better, more bluesy album than 'High Desert Heat' with the band showing that they can rock out
but also be more subtle and although their basic power trio format works well on most of the
tracks it was good to have the harp players adding another dimension to four tracks for a bit of

variety.

Graham Harrison

Errol Linton—No Entry—Brassdog Records ASIN :
B087QKBM9S

Brixton (London) bluesman Errol Linton recorded this new
album in Liam Watson's Toe Rag Studios with its analogue

equipment and it really sounds great, it sounds really authentic
from the opening moody instrumental 'No Entry Blues' to the
60s-sounding 'Fools for Love', with its echoes of Billy Boy
Arnold. 'Sad and Lonesome' quotes lyrics from Sonny Terry and
Brownie McGee's 'Walk On' and 'Rain in your Life' has Errol

singing and playing harp over a funky backing with wah-wah
guitar. The band is Kenrick Rowe (drums), Petar Zivkovic (keyboards), Adam Blake (guitar) and
Lance Rose (bass). ‘So Many Women’ is a real rocker and 'Speak Easy' is a delicious mix of blues
and dub while 'Howling for my Darlin' is the old Howling Wolf song given a reggae twist - it
really works. The reggae influence continues on 'Love You True' but again it works really well
and Fred McDowell's 'Got To Move' is rendered in a loping, murky mix with great harp - this is
real tough blues - we then finish with the upbeat ska of ‘Big Man’s Gone (I'm on My Way)'.

I thought that this was an excellent album, first class blues but with Errol's unique addition of
Jamaican influences - you can see why Joe Bonamassa was keen to work with him.

Graham Harrison