Author Archives: detroitwriter1

Album Review: Eliza Neals – 10,000 Feet Below

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Eliza Neals

photo by Jane Cassisi; photo courtesy of Frank Roszak Promotions

by Eric Harabadian, Contributing Blogger

Album Review of Eliza Neals: 10,000 Feet Below (E-H Records)

The “Detroit Diva” returns with this strong follow up to her critically-acclaimed album Breaking and Entering. That previous release made a bold transition from her bluesy soul and R&B rep to more of a harder blues/rock style. With 10,000 Feet Below, Eliza Neals continues on that path by honing an even more defined vision of her craft. She is aided by frequent collaborator and award-winning guitarist Howard Glazer. But really she’s got some of the best musicians from Detroit, New Jersey and Nashville throwing down on this no holds barred collection of original Neals-penned gems.

Eliza Neals - 10,000 Feet Below

image courtesy of Frank Roszak Promotions

The album begins with an ode to a slick street-smart hustler named “Cleotus.” Right away, Neals and Glazer establish homage to the acoustic blues tradition with a simple but powerful pairing of soulful vocals and searing Dobro slide guitar. Neals delivers a tale that is compelling and chilling. “Another Lifetime” is currently blowing up on Sirius XM radio and for good reason. It’s a slow smoldering kind of blues that spins a yarn of lost love, again ignited by Glazer’s sensitive guitar licks. “Burn the Tent Down” is an incendiary mid-tempo rocker that has single written all over it. It’s a good time tune about southern barbecues and kicking that party vibe loose. Here Neals employs some of her considerable vocal skills as her multiple backups weave in and out in a most effective way. The title track “10,000 Feet Below” begins with Neals bellowing “Just got back from hell.” And then it’s all fire and brimstone from there! She has a way of really connecting words and feelings. You really feel her passion, which is further supported by her subtle piano stylings and Glazer’s tasteful electric fills. “You Ain’t My Dog No More” is kind of gimmicky but works in a novel sort of way. It’s just a fun Muddy Waters-like romp where Neals scolds her man for not treating her right; “No more treats”… indeed!

Eliza Neals

photo by Jane Cassisi; photo courtesy of Frank Roszak Promotions

At this juncture the “Detroit Diva” takes a break and delves into ballad territory with a sweet tune called “Cold Cold Night.” This features Paul Nelson on lead acoustic guitar. The song has a Stevie Nicks/Ellen McIllwaine sensibility to it. Neals can do a lot of amazing things with her voice, and this tune is a prime example of her melodic depth and range. That’s followed by the album’s sole cover tune in Skip James’ haunting “Hard Killing Floor.” The trio of Neals on keyboards, Glazer’s howling fills and drummer Demarcus Sumter’s spare accompaniment is meditative and riveting. “Call Me Moonshine” is another traditional sounding I-IV-V blues shaker that creeps along via Glazer’s sly turnarounds and Neal’s velvety Hammond B3 work. “Downhill on a Rocket” follows and is kind of a dark minor piece. The swampy New Orleans feel is further proffered by Neals’ line “Voodoo woman with a cross in her hand.” When she sings stuff like that it’s not just some line-reading off a corny script. She means business! The album concludes with another straight-ahead country blues track, “Merle Dixon,” and an atmospheric duet with legendary guitarist Billy Davis called “At the Crossroads.” Davis cut his teeth with classic artists like Jackie Wilson and Hank Ballard and the Midnighters. He brings that veteran Motor City poise and mojo for a performance that appropriately puts the cap on this essential set of tunes.

Eliza Neals and her various musical co-horts she affectionately dubs “The Narcotics” (duly named because “they are dope!”) have done it again. Her hot and sultry brand of blues is for real, with enough radio-ready punch and songwriting savvy to break through modern media platforms in a big way. Look out!

 

EP Review: Erin Pellnat – Dream in Color

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Erin Pellnat

photo courtesy of Erin Pellnat

by Eric Harabadian, Contributing Blogger

EP Review of Erin Pellnat: Dream in Color

Erin Pellnat - Dream in Color

image courtesy of Erin Pellnat

Dream in Color is a four-song EP by Brooklyn, NY-based singer-songwriter Erin Pellnat that blends superior compositional craftsmanship, with insightful lyrics and tasteful musicianship. This talented young musician also currently fronts the NYC-based band Caretaker, with all instruments played, and the recording produced, by her father and co-writer Christopher Pellnat.

“Blue Skies and Happiness” opens the album where a jazzy samba-like rhythmic undercurrent sets the stage for a tale of love gone wrong. Based on Irving Berlin’s 1926 standard “Blue Skies,” Pellnat’s song reveals a touch of gray, with the opening lines: “Blues skies and happiness/Those were your promises/But it’s been raining for days and I’m so sad/Why does it have to be so bad?” This bossa nova-flavored  track kind of has an Eliane Elias meets Jobim quality to it.

Erin Pellnat

photo courtesy of Erin Pellnat

The title track “Dream in Color” is another slice from the songwriter’s collective pie. It’s kind of psychedelic folk, with a “glass half-full” perspective. Pellnat urges the listener to consider accentuating the positive aspects of life, with these opening lines: “Think fast, faster than you can haul ass/Away from your deep and dark past/Silence the voices and ask/Why don’t you dream in color?” She sings it with such laconic and self-assured conviction, how can you refuse?

“Stay” spotlights another interesting song construction that features lilting Beatles-esque verses paired with a waltz-like chorus. The spirit of this piece is ethereally poetic, with a subtle British folk rock quality to it. The violin and accordion are nice touches and add to the song’s allure and mystique.

Erin Pellnat

photo courtesy of Erin Pellnat

“Forever Kisses” finds Pellnat ever the hopeless romantic again, with the lines: “No love is lost in the end/Whether a lover or friend.” The tender folk song is driven by an odd-metered snare drum and atypical chord changes. This all adds to the eclectic and unique nature of the tune. She concludes the piece and this superb set of songs with words that are as prophetic as they are profound: “Why can’t we stay the same?/Young and beautiful again?”

With this being a debut release for the versatile and erudite singer, there is nowhere to go but up, as they say. Consider, if you will, some thoughtful and sophisticated pop that elevates the genre. It takes you, the listener, on a wonderful path that is least travelled and well worth the journey.

Album Review: Gretchen Peters – The Essential Gretchen Peters

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Gretchen Peters

photo by Gina Binkley; photo courtesy of Gretchen Peters Management

by Eric Harabadian, Contributing Blogger

Album Review of Gretchen Peters: The Essential Gretchen Peters (Scarlet Letter Records)

Gretchen Peters has been on the national music scene since 1996. She is a singer-songwriter who has plied her trade recording nearly a dozen albums and has written hits for Martina McBride, Etta James, Trisha Yearwood, Patty Loveless, George Strait, Anne Murray, Shania Twain, and Neil Diamond and has co-written with Bryan Adams. So, this album – a collection of demos, live tracks, alternate takes and album cuts – has been a long time coming.

Gretchen Peters - The Essential Gretchen Peters

cover photo by Gina Binkley; image courtesy of Gretchen Peters Management

When you’ve got such a prolific composer and performer as Peters, there is a wealth of material to draw from. Perhaps the greatest takeaway from experiencing Peters’ music is that there is a timeless quality to it. A classic song has staying power and can really speak to the heart and soul of the listener. That’s the kind of gift Peters has. You can hear it in the barroom banter of friends trying to define their purpose in “The Meaning of Life” or dealing with life’s futile struggles in “When All You Got is a Hammer.” There are also beautiful love songs that span the human condition from the longing of “On a Bus to St. Cloud” to her duet with Bryan Adams, “When You Love Someone.”

Gretchen Peters

photo by Gina Binkley; photo courtesy of Gretchen Peters Management

What’s really remarkable is that many of the songs on this two-disc package have been major and minor hits for many other people. But it’s nothing like hearing a master storyteller like Peters deliver them with her own inimitable candor and poise. She knows how to wrap an emotion around a lyric and make it come alive. She has a sincerity in her voice that’s not unlike Dolly Parton or Bonnie Raitt, sweet but with a knowing world-weariness to it. And it is that very sincerity that informs the self-reflective “Five Minutes” and the personally empowered “Woman on the Wheel,” with just the right amount of gusto and grit to get the message across.

To paraphrase a video interview seen a few years ago, she could be sitting at home writing songs and collecting hefty royalty checks for them. But thankfully she has always stayed true to her muse to be a performer as well as a writer. Hence, she writes from a place of experience and is compelled to complete the circle by going out there and playing those songs for people. With The Essential you have the Gretchen Peters story… so far. Here’s to her continuing that musical journey for many years to come.

 

 

Album Review: Circuline – Counterpoint

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Circuline

photo by Rob Shannon of http://fotopic.com/; photo courtesy of Circuline

by Eric Harabadian, Contributing Blogger

Album Review of Circuline: Counterpoint (Inner Nova Music)

Circuline is a NYC-based progressive rock band that blends theatrical vocals with a very vivid and cinematic fusion-esque approach. The personnel includes keyboardist Andrew Colyer, drummer/keyboardist Darin Brannon, lead vocalist Natalie Brown, lead vocalist/guitarist William “Billy” Spillane, bassist Paul Ranieri, and guitarist Beledo. What’s nice is that they augment the ten tracks here with a series of special guest guitarists from some of the finest progressive sources on the planet. And, to the band’s credit, those guest artists add something extra and unique to each track.

Circuline - Counterpoint

image courtesy of Circuline

“New Day” opens the disc, with a sound collage of musical snippets and taped speaking voices. Atop that is a cacophony of multi-layered guitars courtesy of Beledo and Randy McStine of the band Lo-Fi Resistance.

Guest guitarist Doug Ott, of the band Enchant, and Fright Pig’s Alek Darson trade off solos and ornamental riffs on the personally reflective track “Who I Am.” This cut kind of sets the pace for the inventive and eclectic pace of this disc.

Circuline

photo by Rob Shannon of http://fotopic.com/; photo courtesy of Circuline

“Hollow” is a standout track that not only features great vocal harmonies from Brown and company but puts a spotlight on Colyer’s Keith Jarrett-like melodic fluidity. The lyrics are quite insightful, as well, and could be applied to what’s going on in society at the moment: “Rest your head… no one said it would be easy to change the ways of the land… casting your lines from sinking sand. I don’t want to follow you. I don’t want your hollow view.”

Circuline

photo by Rob Shannon of http://fotopic.com/; photo courtesy of Circuline

“Stay (Peter Frankenstan)” is another highlight that features guest guitarist Stanley Whitaker of Oblivion Sun and Happy the Man fame. This track has a very Pat Metheny/Jeff Beck kind of quality to it atop jungle-induced rhythms. In it, the futility and fragility of life is discussed, with dynamic vocals from Brown that reach the stratospheric range.

Just like the movie, their song “Inception” is abstract in content and execution, with crazy drums and a trance-like mid-tempo feel. Glass Hammer’s guitarist Alan Shikoh adds tasteful depth to Beledo’s lead guitar riffs.

Circuline

photo by Rob Shannon of http://fotopic.com/; photo courtesy of Circuline

“Summit” closes the disc with a smooth, mid-tempo, swinging groove. Colyer’s creative comping behind Sound of Contact guest guitarist Matt Dorsey is textbook in how it’s done.

Counterpoint is an album that works well on a number of fronts: as a collection of individual songs, as a compendium of some of the best and brightest in progressive music today, and as a soundtrack to your adventurous musical and spiritual soul.

Album Review: Richard Palmer-James – Takeaway

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by Eric Harabadian, Contributing Blogger

Album Review of Richard Palmer-James: Takeaway (Primary Purpose Records)

Musician Richard Palmer-James may not be that proverbial “household name” one thinks of in recording artist circles, but he has quite a colorful pedigree. He was a founding member of Supertramp and probably had some of his greatest international success as a lyricist working with British band King Crimson on three of their key albums. The singer-songwriter collaborated with long-time associate bassist John Wetton on the King Crimson releases Larks’ Tongues in Aspic, Starless and Bible Black, and Red.

Richard Palmer-James: Takeaway

image courtesy of Glass Onyon PR

According to Palmer-James himself, “ Having spent the last few decades writing words for other people to sing, and thus being obliged to comply with the ambitions and sensibilities of others, I wanted to present a collection of songs that are uncompromisingly my own.” And on his latest solo effort Takeaway, that’s exactly what he’s done. Armed with his trusty arsenal of guitars, mandolin, and words, Palmer-James gets back to his roots. Vivid storytelling draped in flourishes of blues and folk-oriented rock is the order of the day. This is music for grown-ups; sophisticated, yet never snobby or pretentious.

Takeaway is a collection of songs that seem very cinematic and stand alone as little “movies” in and of themselves. The lead track “Aerodrome” depicts a dichotomy of past wartime versus modern time where an aircraft hangar, which once housed fighter planes, now serves as a venue for trance or rave parties. In it Palmer-James sings, “Sad to say the world we knew went down in flames… you’ll understand it’s hard to understand your fun and games.” In two lines he summarizes a generational divide to a T. The next tune, “A Very Bad Girl,” is a rousing blues-tinged rocker with a wry and clever lyrical twist. Here he takes the position of initially criticizing this “bad” girl’s behavior but actually has more in common with her than first realized. There are also songs like “Dance for Me” which, on the surface, seems like an innocuous folk song about cutting loose but appears to have a deeper side that deals with persevering in the face of adversity.

Palmer-James is joined on this album by a crack unit of, primarily, German musicians from Munich, where the British singer-songwriter has resided for many years. Co-producer Evert van der Wal does a great job of capturing his mellow honey-dripped tenor voice to perfection. As a result, his vocals add a tinge of vulnerability and world-weariness to many of the subjects in his songs. It’s a performance style he’s obviously crafted after years of singing in pubs, taverns, and intimate spaces. And, perhaps, that is exactly Richard Palmer-James’ appeal, that you will listen to his words and delivery and feel like you’re connecting and sharing a drink with a very dear friend.

 

Album Review: GunHill – Nightheat/One Over the Eight

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by Eric Harabadian, Contributing Blogger

Album Review of GunHill: Nightheat/One Over the Eight (JLB Media)

Here is a “two-fer” of some ’90s rock that may have slipped by your musical radar completely. Fronted by ex-Uriah Heep and long-time Lucifer’s Friend vocalist John Lawton, these rare slices of British vinyl are presented here for the first time as a double CD. One Over the Eight was released in 1995 and the out-of-print Nightheat came out in 1997. Both albums reflect the times in terms of production and song styles but received a modern up-to-date sheen that gives each a very relevant and radio-ready sound.

Gunhill: Nightheat & One Over the Eight

image courtesy of Glass Onyon PR

One Over the Eight is a nice overview of originals and covers that define classic rock and soul. Lawton is a singer’s singer and draws a line in the sand from the get-go with a deep cut by Whitesnake called “Walking in the Shadow of the Blues.” That’s followed by a passable, yet effective take on Lennon/McCartney’s “Eleanor Rigby.” The covers keep on coming strong, with a soulful showcase for Lawton’s voice on Bill Wither’s “Aint’ No Sunshine.” Guitarist Riki Robyns’ slightly metallic tone digs deep into cuts like “Better By You, Better Than Me” and Rainbow’s “Stone Cold.” They also write some fairly strong ballads as well on tracks like the ethereal “Angel.” All in all, this particular release comes off like a band that cut its teeth on the pub rather than arena or concert circuit.

Nightheat bumps things up a notch or two, with more effective production as well as songwriting. The band kicks this one off appropriately with an up-tempo rocker by Lawton called “Don’t Stop Believing.” Bad Company’s “Ready for Love” follows and is certainly in their wheelhouse of moody and hook-filled classic rock. “Nobody Loves You the Way I Do” is dramatic in a John Waite/Paul Rodgers/David Coverdale kind of way. Rousing rockers like “Don’t Look Back” and “Any Day Now” are nice blends of heavy rock and hook-filled soul. Also, one would be remiss not to mention Lawton’s brilliant and heart-wrenching take on the perennial “When a Man Loves a Woman.” He sings the you-know-what out of that song!

If you’re looking for real rock and roll that delivers a good balance of strong originals and quality covers, you would be well-served to check out this two album compilation. Understandably, GunHill may be a name that, for decades, has been only familiar to European audiences, but now everyone can enjoy these gems of really fine British rock that still resonate and hold up under modern digital scrutiny.

Album Review: Lucifer’s Friend – Too Late to Hate

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by Eric Harabadian, Contributing Blogger

Album Review of Lucifer’s Friend: Too Late to Hate (Lucifer’s Records)

Many music fans worldwide will be happy with the release of this new studio album by German/British band Lucifer’s Friend. This is, perhaps, “breaking news,” as they say, because it’s been 36 years since the band’s last release Mean Machine in 1981. Lucifer’s Friend began in 1970 and has gone through a number of stylistic and personnel changes. But original core members vocalist John Lawton, guitarist/keyboardist Peter Hesslein, and bassist Dieter Horns are back at the helm to deliver an album packed with raw rock and roll dynamite.

Lucifer’s Friend: Too Late to Hate

image courtesy of Glass Onyon PR

Now when a number of “classic” bands of the past decides to reform it seems like they’ve returned to the scene for a major payday or some ulterior motive. Often there may be only one original member from the band’s “glory” days, and an album or series of live performances is just an excuse to cash in on a retread of the “hits.” Well, that is certainly not the case here! These veteran musicians came to play and have released an album of totally new and original material that is strong and truly makes a statement. Lucifer’s Friend is one of the original hard rock and progressive bands from the ’70s and brings that ample volume of experience and expertise to the proceedings here. Right out of the gate, “Demolition Man” revs on all cylinders, with a driving force and uptempo vibe that won’t be denied. The spirit of Deep Purple and Whitesnake combined fuel the following track, “Jokers and Fools.” They lay off the accelerator a tad for the ballad “When Children Cry” but pick the pace right back up for the heavy-hitting “Straight for the Heart.” A little down the list, “Don’t Talk to Strangers” features a well-constructed chorus and huge guitar riffs by Hesslein. And when you have such a charismatic and brilliantly melodic singer as Lawton in the mix, blues rockers like “This Time” and “Sea of Promises” just flow like butter.

This is contemporary hard rock that may have eluded your radar screen in the past. But if you’re looking for something fresh on the music scene, you can’t go wrong here.

Album Review: Arjen Anthony Lucassen – Strange Hobby

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by Eric Harabadian, Contributing Blogger

Album Review of Arjen Anthony Lucassen: Strange Hobby (Cherry Red Records)

Arjen Anthony Lucassen is a Dutch progressive rock singer-songwriter/multi-instrumentalist and producer who, among other things, fronts the band Ayreon. This long out of print solo album was originally recorded in 1996 as, more or less, a fluke. In Lucassen’s words, “Back in 1996 I had so much fun recording Strange Hobby! It was great to take a break from recording my complex, bombastic Ayreon prog-extravaganzas and blow off some steam blasting out these rocky cover versions of my favorite songs from the sixties.”

Arjen Anthony Luccassen: Strange Hobby

image courtesy of Glass Onyon PR

This is a “solo” album in the truest sense of that word. All vocals and sounds heard among the 22 tracks here were created by Lucassen. And, whether you grew up in the era of the ‘60s or not, this is just a really fun ride! This is a pretty comprehensive collection that spans the gamut from top hits by Pink Floyd, The Kinks, The Yardbirds, The Beatles, Status Quo, The Beach Boys, The Box Tops, Marc Bolan, etc. Lucassen’s take on opening tracks like Pink Floyd’s “Arnold Layne” or Simon & Garfunkel’s “I Am a Rock” not only display a deep knowledge of ‘60s culture, but it’s a testament to his immense skills as a producer and performer. His vocals are spot on and his ability to shift various textures and moods to suit each song is impressive. Also included are deep cuts like Bob Dylan’s “I Want You,” The Move’s “Flowers in the Rain,” and The Beatles’ “For No One.” Fans familiar with Lucassen’s prog rock work will probably be shocked as he does not take too many improvisational liberties and stays somewhat faithful to the original artist renditions. However, each track bears a strong 360 degree dimensional feel that really immerses the listener and draws you in. The vocals are enveloping and angelic and the guitars/keyboard effects are prominent and will saturate your senses.

You will find yourself singing along to each track and jamming air guitar for sure as well. Since Lucassen had such a blast creating this project, here’s hoping Strange Hobby, Vol. 2 might be a not too distant consideration!

Album Review: Lee Delray – Brand New Man

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Lee Delray - Brand New Man

image courtesy of Frank Roszak Promotions

by Eric Harabadian, Contributing Blogger

Album Review of Lee Delray: Brand New Man

NYC native Lee Delray wields a soulful voice and an even more soulful guitar approach. He unleashes his full blues rock onslaught on his latest effort, Brand New Man. He is also a very talented songwriter who is able to connect with audiences on a number of levels.

The album kicks off with a strong and spirited track, “Meet My Maker.” Delray lays down a steady I-IV-V pattern while stating his slide guitar prowess from the outset. This track establishes right away that this is, indeed, a young master at work. That is followed by a standard popularized by everyone from Albert King to Kenny Latimore called “I’ll Play the Blues for You.” This is smooth urban blues, with a jazzy feel and some nice conversational rap from the leader in the mid-section. Along these lines, Delray continues that rap/blues hybrid on “First-String Man.” His guitar establishes a Stevie Ray Vaughan-meets-Jimi Hendrix kind of vibe and pairs that with embellishments from the hip-hop team of Young Chizzy and Deejay NoGood. It’s an unlikely musical marriage, perhaps, but one that works and really pays off well.

Lee Delray

photo courtesy of Frank Roszak Promotions

Delray writes catchy hooks and really has a flair for melody and succinct thoughts and lyrics. This is most evident on the seemingly autobiographical “Blues Came Callin’.” He picks up the pace for the follow up “Love Line.” This is a funky number that features tasteful note choices delivered in a Carlos Santana/Coco Montoya manner. “Cookin’ in My Kitchen” is one of those typical love and suspicion kind of songs. It’s a shuffle, with a lot of attitude and spark. “Hollar” is just like the title sounds; blues with a raw exclamation point! It continues that rough and tumble shuffle style that really smokes. Delray unloads some wicked slide guitar work here, as well.

“Gotcha” follows and is pure Chicago-styled swing. Kudos go to the leader’s trusty rhythm section of bassist Scott Ward and drummer Ken Conklin, who really lay it down here. “Mine All Mine” is a very syncopated R&B-influenced track somewhat reminiscent of Robert Cray or Delbert McClinton; a strong funky underpinning that’s perfect for dancing or jamming. And that brings us to, not the least, but the last track, “Yesterday’s Tears.” This is a tune that could easily be a hit on country, pop or r&b charts. Mike “Sweetharp” Smith’s harmonica and Lenny Hayden’s acoustic guitar give this a very appealing back porch/Dobie Gray type feel.

Lee Delray is, simply, the complete package. He is extremely versatile, able to assess his audience and their needs. And he truly delivers, whether the song calls for rock, country, jazz, funk and, in the case of the aforementioned “First-String Man,” even hip-hop. He is an artist with a sense of adventure, yet he still has his finger on the pulse of appealing to his fan base. I’m sure he will generate a number of new fans too with his latest, Brand New Man.

Upcoming Live Gigs

Lee is scheduled to perform on December 9th at The Lakeside in Saylorsburg, PA; on January 28th at The Brown Pelican in New Bern, NC; on January 30th live on-air at the Raeford Morning Show in New Bern, NC; and at the All Day International Blues Challenge in Memphis, TN (January 31st through February 4th). Check his website for additional live dates as they are added.

Album Review: Mick Kolassa – Taylor Made Blues

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Mick Kolassa

photo courtesy of Frank Roszak Promotions

by Eric Harabadian, Contributing Blogger

Album Review of Mick Kolassa: Taylor Made Blues (Swing Suit Records)

Mick Kolassa is a bluesman for all seasons. First of all, he’s got a voice chock full of character, able to hit the high notes when required or talk in a low conversational manner. He’s also an insightful songwriter, with a wry wit and sense of adventure. Examples of this can be found throughout, from the laid back acoustic feel of “Baby Face Louise” and “Taylor Made Blues” to the lighthearted “I’m Getting Late” and the funky socio-political “In the Day.”

Mick Kolassa - Taylor Made Blues

image courtesy of Frank Roszak Promotions

Joining Kolassa on guitars, song arrangements and co-production is Jeff Jensen. He adds a certain spark to the proceedings and gives everything a rich sheen and ambiance. While this is primarily an original record, Kolassa has selected three choice covers that fit in very nicely with the overall program. Graham Nash’s “Prison Song,” Townes VanZandt’s “Lungs” and Norman Whitfield and Barrett Strong’s “Can’t Get Next to You” are brilliant adaptations and each given a unique spin.

Perhaps one of the key things about Kolassa is his ability to straddle that line between adhering to his traditional Southern blues roots while dipping his toes in the pools of rock, New Orleans-style funk, gospel and folk, as well. And he does it all with authenticity and conviction that really draws the listener in.

Mick Kolassa

photo courtesy of Frank Roszak Promotions

In addition to Kolassa and Jensen, the album features contributions from a laundry list of first-call session players and vocalists spotlighted in the gracious and thoughtful track “Friends Like Mine.” Kolassa is a very special artist, indeed, and all proceeds from album sales go to The Blues Foundation’s HART Fund and Generation Blues programs.

Upcoming Live Gigs

Mick currently has four upcoming shows listed on his website. On Monday, November 14th, he’ll be at the Bluesberry Cafe in Clarksdale, Mississippi. On Sunday, November 20th and Sunday, December 4th, he’ll be at the Rum Boogie Cafe on Beale Street in Memphis. And on Friday, February 3rd, 2017, he’ll be at fuBAR, upstairs from Rum Boogie, in Memphis. Be sure to watch for additions to Mick’s schedule on the “events” page of his website.