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This double CD includes all of Crochet’s recordings from 1954 to 1963, and more. The opener,

‘Deedle-E-Deedle-D-Da (Keep Knockin’)’ is a decent example of Cajun music from that time, but the
subsequent recordings, with accordion player Vorris ‘Shorty’ LeBlanc, steel-guitarist Stutes, and
drummer Clifton Newman really upped the standard, supplying a strong sound that rocked the dance

hall. ‘Sugar Bee’ was a surprise hit and the band was re-named in its honour. This set contains plenty
of very fine material, including material issued under Stutes’ or Le Blanc’s names. There are also
alternate takes of some tracks.

Closing out this handsomely packaged set are a couple of superfluous tracks overdubbed in the 80s.
Really though, the whole set is a must for anyone with a taste for real cajun music.

Norman Darwen

Altered Five Blues Band—Holler If You Hear Me—Blind Pig
BPCD 5173

(www.alteredfive.com)

I do really like Milwaukee’s Altered Five Blues Band, and this CD,
their fifth studio set, shows just why. In Jeff Taylor they have a
totally convincing vocalist; he can draw on Howling Wolf for

inspiration (without closely imitating - listen to ‘Where’s My
Money’) or take his lead from BB King’s singing, as on the funky
‘All Suit, No Soul’, or just slip in one or two of B’s inflections. For
the latter, lend an ear to the slow ‘Clear Conscience, Bad

Memory’. Or he is just himself, as on most tracks.

But the credit is to the band, and guitarist and major song-writer Jeff Schroedl has a strong and
versatile approach, though always keeping things on the blues side. Keyboards player Raymond

Tevich lays down a comfortable cushion, whilst bass player Mark Solveson and Alan Arber on drums
provide the perfect propulsion. The great Jason Ricci also guests on harmonica on five tracks, and I
particularly enjoyed his Sonny Boy No. 1 influenced playing on ‘If You Go Away (She Might Come
Back)’.

It is hard to pick favourites though on such a consistent set. Let’s just say if you enjoy modern
electric blues firmly rooted in and sticking close to the tradition, with no recourse to blues-rock,
you’re likely to appreciate this CD as much as I certainly did.

Victor Ian Leyland