Music. Alcohol. Oysters. Books.

This 4CD box comprises 100 songs Merle recorded between 1962 and 1994, offering more than four and a half hours of music. The first disc begins with Haggard's earliest known material for Talley Records, such as Skid Row and Sing a Sad Song, and then moves on to his first chart hits. The second part of the set focuses on a short but very prolific stretch from 1968 to 1970, when Merle released standout tracks like The Legend of Bonnie and Clyde, Mama Tried, and Hungry Eyes. His straightforward yet highly effective songwriting, combined with strong and expressive singing, shines throughout the first two discs.

Things become a little less exciting on the third CD, which wraps up in 1977, and on the last one as well, but both remain quite consistent, with a lot of truly delightful tunes, even from the eighties. I spent the whole weekend listening to these Haggard songs, many of which I know very well, and it was pure joy from beginning to end. There are no tracks from the last twenty years of Merle's career, which makes sense as the collection was released in 1996. Moreover, it essentially stops in 1983, with only one song from the nineties included.

The box itself is terrific. It comes in a proper old school long format, with the CDs housed in jewel cases and an excellent accompanying book. An awesome edition!

The third studio album by Jorma and John follows the same formula as the previous two companion albums in The River Flows series (2020, 2021). Kaukonen plays lead acoustic guitar, while Hurlbut sings and plays second guitar.

The album opens with the long, San Francisco-themed track Angel Island, written by Peter Rowan. It is very good and poetic, although I prefer the original vocals. The album title, by the way, is taken from a line in this song.

The record includes six covers and two originals by John. Both of Hurlbut's tunes are strong. Day in the Country is rollicking, and Lazy Saint is especially catchy. As for the covers, I think not all of them turned out equally well. I really like David Wiffen's Driving Wheel and the good old Pastures of Plenty by Woody Guthrie. The rest seem decent, though they come across as a bit dull. The instrumentation is excellent, but some songs are too long, and John's vocals do not always suit them. The second side is less engaging, although overall the album holds up well.

Little Willie Anderson (1920–1991), often referred to as Little Walter Jr., earned that nickname by trying to mirror Walter's distinctive style while also serving as the legendary harp master's valet and chauffeur. This CD is a reissue of the original vinyl album released on Bob Corritore's Blues over Blues Records label back in 1981. The recordings were made in July 1979 at Birdland Recording Studio in Chicago. Willie is backed by a tight band; notable players include Robert Jr. Lockwood on guitar and Fred Below on drums. Pete Haskin contributes saxophone on a take of Lester Young's Lester Leaps In, and the traditional tune Been Around carries a similarly jazzy feel. The remaining tracks are Chicago-style blues. The only Little Walter cover here is Everything Gonna Be Alright, while everything else is credited to Willie himself. His harmonica playing is top notch, and the compositions are good, though none particularly stand out, much like his vocals. Still, this is a compelling historic session and the lone entry in Little Willie Anderson's discography.

An acoustic album by two remarkable bluesmen. Margolin wrote seven new songs for it, Corritore added his own instrumental, and the Bobs also decided to record a few covers. The most notable of those is It Makes No Difference by The Band. Margolin was part of Muddy Waters' band when they performed that very song at the original Last Waltz concert, which makes the choice especially meaningful. This track also features guitar and vocals from Jimmy Vivino, known as the leader of the house band for Conan O'Brien. The instrumental work on the album is gorgeous, with slide guitar and harmonica blending beautifully. There's clear chemistry between the two Bobs, though I couldn't quite connect with Margolin's vocal style. That's why I like Corritore's breathtaking instrumental Salt River Stomp the most. The album closes with tunes by Muddy Waters and Sonny Boy Williamson the First. If you like the vocals presented here, it will be a top-notch acoustic blues disc for you.

Neal Francis returns with his third studio album, a fun collection of breezy, somewhat psychedelic disco. The influence of the seventies is undeniable, but not everything here feels strictly vintage. I even hear hints of Jamiroquai in the mix. The girls from Say She She provide backing vocals on several tracks, and guitarist Eric Krasno makes a guest appearance on one of them. The recording sound isn't slick, but it does feel a bit harsh, lacking warmth, even on vinyl.

The best songs, in my opinion, are on the first side. The opener, Need You Again, is funky and catchy, driven by a captivating guitar riff, while Don't Wait stands out with its vibrant energy and excellent bass lines. What's Left of Me leans more toward pop-rock. Neal's vocals sound really cool, and he plays great keyboards! Overall, the second side feels a bit weaker. The only song I truly like there is Can't Get Enough. Already Gone is pleasant and melodic, though its guitar riffs veer too much into AOR territory. The album closes with a short instrumental title track, lasting less than a minute.

A solid album overall. Of course, it doesn't quite match Neal's debut, Changes (2019). Still, it feels more interesting than his second record, In Plain Sight (2021).

Another disc of live recordings from the Flamin' Groovies' heyday — this time capturing their outdoor San Francisco concert on October 26, 1980. The band's lineup featured Cyril Jordan, Chris Wilson, and Mike Wilhelm on guitars and vocals, George Alexander on bass and vocals, and David Wright on drums. The setlist is all covers, including songs by The Beatles, The Rolling Stones, and The Byrds, plus some rock 'n' roll numbers with a bit of soul and blues thrown in. They opened and closed the set with two Dave Edmunds tunes — not surprising, as he produced several of the Flamin' Groovies' albums. The energy of the performance is great, as shown by almost punk versions of Chuck Berry's Let It Rock and the old blues standard Baby Please Don't Go, but sadly, the disc's sound quality is pretty rough — more like a muddy audience bootleg than a proper soundboard recording. As a bonus, three tracks from their Old Waldorf gig two days earlier are included, among them the band's own classic Shake Some Action, though it doesn't sound much better. Strictly for collectors.

John lived in San Francisco between 2004 and 2013 and played a lot of concerts around the area. These two CDs were recorded during shows at Biscuits & Blues, the city's premier blues venue, Poor House Bistro in San Jose, and Point Arena Theater in Point Arena, up north in Mendocino County, in February 2012.

Németh is joined on the recordings by members of his touring band, including A.C. Myles on guitar and Tommy Folen on bass, along with his former drummer Nick Fishman. The performances also feature the acclaimed guitarists Kid Andersen and Bob Welsh, and John Lee Sanders on keyboards.

The first disc, as the title suggests, leans more toward blues, while the second one highlights the soul side of Németh's music. In total, there are twenty-five tracks running about two hours, with most of the songs taken from John's three albums released on the Blind Pig label between 2007 and 2010.

The blues part is quite interesting — both Németh's harmonica and the guitar work are a real pleasure to hear. The performances are top-notch, although the disc feels a bit drawn out, and the live atmosphere doesn't always come through as vividly as it could.

I found the second collection more enjoyable — it has a solid groove and funky soul, and John's vocals really suit that style.

That said, both discs are easy to return to and listen to again and again.

Cristina Vane's third studio album is an eclectic collection of original songs, spanning thirteen tracks that explore blues, rock, bluegrass, and country. Vane is accompanied by a rhythm section, an organist, and several guest musicians, giving the recording a rich, mature sound. She sings beautifully and delivers striking slide guitar work, making her music feel like something between Molly Tuttle and Larkin Poe — a style that should truly appeal to fans of both artists.

I particularly enjoyed the catchy Hard Rock Bend, and the title track, an energetic acoustic piece featuring Molly Tuttle, is impossible to overlook. The rock-driven Everything Is Fine stands out, while the electric blues number Shake It Babe is another highlight of the record.

A strong, thoroughly enjoyable album — one I could listen to on repeat. Hear me call? Yes, we heard it.

This acoustic music festival took place at the Berkeley Community Theater in Berkeley, CA, on April 25, 1981. Organized as a benefit for the Seva Foundation by Wavy Gravy — who also served as the event's host — it was entirely recorded by Owsley "Bear" Stanley, who would relocate from California to Australia the following year.

The concert opened with a solo performance by Country Joe McDonald. His energetic set featured the brilliant, sci-fi-infused folk song Picks and Lasers, about a guy mining ore on Mars. He also delivered Slide Trombone Blues, showcasing his skills on the trombone, and, of course, the legendary Feel-Like-I'm-Fixin'-to-Die Rag, complete with a raucous "fuck cheer" aimed at Ronald Reagan — a rousing way to kick off the day.

Next up was folk singer Rosalie Sorrels, accompanied by guitarist Mitch Greenhill. Her performance was engaging, though the cabaret-style vocals may not have been to everyone's taste. Among other songs, she performed You've Got to Go to Sleep Alone by Jimmie Dale Gilmore and I Remember Loving You by Utah Phillips, both of which resonated well.

This concluded the first disc of the three-CD edition. The second disc opens with Kate Wolf, supported by Nina Gerber on guitar and mandolin, and Ford James on bass. Their performance was truly exceptional — great songs, a commanding voice, and masterful instrumental work. Kate delivered a stunning rendition of The Youngbloods' classic Let's Get Together, with Wavy Gravy joining in.

The recording then shifts to a largely forgettable 20-minute percussion set by Mickey Hart and Bill Kreutzmann, followed by the arrival of Jerry Garcia and Bob Weir — essentially a stripped-down Grateful Dead lineup, sans Phil Lesh and Brent Mydland. John Kahn of the Jerry Garcia Band stepped in on upright bass. Their set featured several traditional numbers, a beautifully understated Friend of the Devil, Marty Robbins' El Paso, which shone in the acoustic setting, and a rare rendition of Oh Boy! — a stellar performance overall.

The festival closed with Odetta. Although her set was recorded, negotiations with her estate prevented its inclusion in this release — a real shame, as it was considered one of the standout moments of the event. To ensure she wasn't overlooked, the organizers included a full article in the booklet about the performance.

Overall, it was a good day with a number of memorable acts.

The twenty-third¹ album in Catfish's discography. Does the world really need so many of his records? Over the past twenty years or so that I've followed this remarkable bluesman from Iowa, that question has crossed my mind more than once. And each time, the answer became clear after just one listen to his latest release of the moment. Yes, it does.

Catfish remains devoted to old country blues, gospel, and ragtime, drawing inspiration from an inexhaustible well of tradition. But he doesn't simply resurrect these old songs — many of which have long been forgotten — he breathes new life into them, making them shine with fresh colors, reinventing them through his signature string-twanging style.

His latest album features fourteen acoustic tracks, including a couple of his own compositions. As always, Keith's guitar work is a delight, delivering a distinctive, vibrant, and percussive sound. It's a pleasure to hear his fresh takes on timeless classics like Candyman, Nobody's Fault but Mine, and Diddy Wah Diddy, alongside more obscure gems such as Long Gone from Kentucky by Little Hat Jones and the bawdy Who Pumped the Wind in My Doughnut by Washboard Sam. The decision to incorporate two-part harmony on the gospel tune Go, I Will Send Thee is particularly effective.

I really like this album. Great job, Keith.

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¹Or perhaps it's even his twenty-fourth, if you count Tadpole Blues (Early Recordings 1982–1984). And two of those albums are compilations of previously released material.