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Jed Grimes and a multi-layered approach. Just before the end, there is even a nod to Led Zeppelin’s

well-known cover version.

Elsewhere, there are hints of Americana - try ‘Ferodo Bridges’ or the celebratory ‘Maddie Is

Leaving’ - and southern soul as on ‘Mi Amigo’. But as I said, this isn’t a blues album. It may interest
some readers though, and I certainly enjoyed it.

Norman Darwen

(www.kategreenmusic.com)

Hughes Taylor—Modern Nostalgia—Independent

There were times during this album that I was convinced it was
1970 (or thereabouts) again. Take a listen to the guitar work in

‘Quarantine Blues’ and I defy you not to agree.

There is a variety of influences to be heard here, though at times
Jimi Hendrix and Cream-era Eric Clapton seem to be the names
that come most readily to mind. Then there is a track like the
driving ‘Highwayman’ with its excellent electric slide guitar work

that sounds vintage though it is difficult to pinpoint exactly why
– let’s just say this is a very fine road song.

Hughes, from Macon, Georgia, is obviously a fine guitar player, but his assured vocals also deserve
a mention, as do the top-rate accompanying musicians. This, his fourth album, is undoubtedly

blues-rock for the new millennium, but with deep roots in the blues sound of the 60s and 70s – not
just the UK blues-based players but also people like The Allman Brothers (try ‘Dreamily’) and the
sounds of Muscle Shoals can be heard here and there. ‘No Evil Love’ opens with acoustic playing
but moves towards tightly-controlled blues-rock as it progresses.

‘She’s My Everything’ is a fairly straight-forward, somewhat jaunty blues with some fine sax
playing, whilst ‘Trouble’ nods again to vintage Slowhand. The closing number, ‘Excuses’ tips its hat
to BB King.

So rather a fine retro but contemporary set. Worth tracking down.

Norman Darwen

(www.hughestaylormusic.com)