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groove with ‘Fakin’ It’. ‘Shuffleboard Swing’ is a strong instrumental workout with
both Texas guitar shadings and hints of the late 40s; ‘Killing Me’ is a strong blues
recalling Lowell Fulson and Johnny “Guitar” Watson. Bobby Bland’s slow-ish ‘Rockin’

In The Same Old Boat’ has a curious, jazzy, 60s vibe – Sean gets the vocal and guitar
work just right too. The same applies to Ike Turner’s ‘That’s All I Need’, where the
sound of very early soul can be heard in the vocal towards the end, and this classy

album closes with another Ike link via the R'n’B ballad ‘Let’s Call It A Day’.

‘Don’t Let The Devil Ride’ is a fine gospel performance with excellent group vocals
in support, courtesy of The Morgan Brothers, formerly known as The Sons Of The

Soul Revivers. If that makes you think of Kid Andersen and Greaseland Studios, you’d
be right – and that explains just why the musicians here are also premier league.

Norman Darwen

(www.littlevillagefoundation.com)

Terry Robb—Howlin’ Waters—New Folk Records

Terry Robb is regarded as one of today’s premier blues

and roots finger-picking guitarists. Some may recall he
worked with and produced John Fahey, the blues
researcher and guitar picker extraordinaire, and some
of the thirteen tracks here are in the “American
Primitive” style associated with Fahey. The first number,
‘St. Charles Rag’ is of course ragtime guitar par excellence
(if a little brief), and it is followed by the excellent

‘Alleluia Shuffle’ before ‘Back Door Mirror’ comes in with
a big beat and some unexpected jazz and rock inflected
playing. ‘One Way Train’ is another band number, with a vocal and even a fiddle in
the driving Mississippi blues-flavoured accompaniment.

‘But Not Now’ is a vocal and slide guitar number, as is ‘Fires In The Country’, an
uptempo piece with sadly all-too apt lyrics. Instrumental ‘When It Gets Cold’ segues
from folk ballad with classical guitar intro to a Mississippi John Hurt-styled piece,

but maintains a strong cohesion. ‘Boogie In Seven’ is just what it says, a band number
with an unusual time signature, and the fiddle pops up again.

‘Hobbs Captein’ (sic) has jazz influences (in the double bass playing as well as the
guitar work), ‘Katie And Arnie’ provides more impressive ragtime guitar playing,
and ‘Ride To Ticino’ is an impressionistic piece at a stately pace. The title hints
strongly at The Wolf and Muddy. There’s nothing by them here, or really anything

that sounds like them, but ‘Tripped And Fell In Love’ is a straight-ahead blues, with
a nice piano break. Proceedings then finish in fine style with another virtuoso
ragtime guitar showcase, ‘Fahey At Bush Park’.

Norman Darwen
(www.terryrobb.com)