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There were a further three albums (“Muddy “Mississippi” Waters Live” is not included here)
from this association. Muddy was reinvigorated, singing unbelievably well, reworking classics
from his own back catalogue and occasionally those of others, plus a few new tracks. Besides
Winter, he was backed by his regular band, and James Cotton - himself a fairly big name at the
time - contributed some trademark fiery harp, with Big Walter Horton also turning up on ‘I’m
Ready’. It was big news too that Jimmy Rogers featured in the band on that album.

If you don’t already have these albums, just get this set; if you do, get this anyway and preserve
that precious vinyl. I don’t want to pick favourites - the standard is so high throughout, but
sometimes ‘King Bee’ gets a little overlooked. However, much as I love Slim Harpo’s ‘I’m A King
Bee’, Muddy runs it close - very close - and the stripped-down ‘I Feel Like Going Home’ is another
highlight. These sets brought Muddy, the blues, and Johnny Winter’s blues credentials back to
a high level. Not as indispensable as Muddy’s early stuff, but far, far better than anyone hoped
for at the time.

Norman Darwen

Sam Joyner—Come What May (I’ll Always Love You)—
Independent
(www.samjoyner.com)

Singer and keyboards player Sam Joyner was born and raised
in Chicago but spent his summers down south in Mississippi
and Arkansas, and his music is a tasty mix of Chicago and
Louisiana blues and sweet soul music. His last set was issued
in 2019; the set under consideration here has a dozen tracks
with Sam employing a bunch of fine Louisiana blues musicians,
starting with acclaimed guitarists Lil’ Ray Neal (of the famed
Neal family, of course) and Guitar Slim Jr., and New Orleans
drummer Jellybean Alexander. One of my minor criticisms of
this fine set is that more details on who’s playing what and
where would be useful.

But it’s the music that counts, and there are fine blues like the shuffle version of ‘Stormy Monday
(Shuffle)’, a tough cover of ‘Hoochie Coochie Man’ (excellent vocal and a different piano break
here), a homage to Robert Cray with ‘Too Many Cooks’, and the original ‘Feels Like I Can’t Go
On’. There is a fine tribute to “Louisiana’s last authentic juke joint” (‘Teddy’s Juke Joint’), and
‘Holmez Boogie’ makes for a good instrumental closer.

The sound is a little “busy” on the opener, but again, that is a minor criticism. Sam is not afraid
to tackle issues like addiction, as on the title track, and I look forward to hearing more from him.
This is a set that has grown on me with every play. Sam is certainly a name to look out for and
deserves to be better-known.
Norman Darwen

“Sir” Oliver Mally & Peter Schneider—Almost There—
Blind Rope Brr13022cd
(www.sir-oliver.com)

Singer and guitarist “Sir” Oliver is a veteran of the Austrian/
German blues scene, working as a bandleader, solo artist, or
as here, in a duo or small group set-up. He is also a versatile
performer, and on this, his first post-COVID album (listen to
the closing number, ‘Milk & Honey’), he tackles “Blues and
Songs” as the sleeve tells us - the latter fall into an Americana
bag, as on ‘Everybody Knows’ and ‘This Road’.