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matters though if you don’t have the chops, and Giles certainly does.

This set, recorded at The Temperance in Leamington Spa (the site too of a recent Paul Lamb
recording) finds Giles in a pared down acoustic setting, just him and guitarist Manny Fizzotti on
acoustic and National Steel guitars. It leaves nowhere to hide, but Giles really doesn’t need
anywhere. His harp blowing and vocals are right out front on exactly what the title promises.
Titles associated with Son House, Junior Wells, Big Bill Broonzy, Sonny Boy Williamson No. 2, and
Robert Johnson are all given superlative treatments, with both men working tightly together,
never flashy but always keeping true to the spirit of the originals.

Do note too though that Giles’ vocals are also top-notch - take a listen to Junior Wells’ ‘Hoodoo
Man’, but really, each track proves that beyond doubt. Well, each track apart from the steaming

bonus solo instrumental, ‘G.R. Locomotive Blues’. Masterclasses never sound so good…

Norman Darwen

Johanna Red—Stronger than You Thought—Independent
(www.johannared.wixsite.com)

Johanna is a sassy, blues-rocking vocalist from France. Just take
a listen to the opening track of this self-released debut set -
heavy guitar work by Marc Gary Muller powering the songs
along, wailing blues harp by Marko Balland and a kicking
rhythm section, with Johanna out front, powerful vocals with a
tinge of classic Robert Plant! If you’re looking for blues-rock
with an individual twist, you’ve certainly come to the right place.

… And the set continues in this vein. Along the way you might
detect subtle elements of Bo Diddley, as on the title track, a nod
to Etta James maybe with the R’n’B ballad ‘Hiding In Your Lies’, a bit of boogie on the vocal duet
with Lucas Ferraz, ‘Red Room’, and a classic slow blues with a hint of Magic Sam in the form of
‘Haunted By The Pain’. Lovely guitar solo and some fine piano by Germain Destremont on the
latter too.

‘Catch Me’ is slow, grinding blues-rock, and ‘Making Love To You’ is a fine slow-ish blues, whilst
‘In My Head’ is a fine rock ballad and ‘All Along The Road’ has a slight Americana tint. The closing
‘Never Saw It Coming’ is a fine, bouncing number with a particularly noteworthy New Orleans
styled piano break. It’s an excellent finale to a very entertaining release.

Norman Darwen

Muddy Waters—Hard Again/ I’m Ready/ King Bee - Floating
World FloatD6458

Back in 1975, Chess Records was sold to All Platinum, who
turned it into a reissue label. Muddy Waters was left without a
recording deal, and the blues was losing popularity. How did
Muddy respond? Well, he was hooked by Blue Sky Records, who
teamed him up with bonafide rock star at that time, Johnny
Winter. 1977 saw the release of “Hard Again” - I think it was
Blues Unlimited magazine that was less than enthralled with
Winter’s screaming and yelling on ‘Mannish Boy’ but I don’t
believe I have seen any other criticism of that set.