In this day of trade deficits, there’s no denying that America’s greatest export is still the blues. Here are a handful of our best products, ready for shipment.
Robin Trower has come full circle on this album. With Procol Harum he sang his own bluesy tunes, and he’s returned to this format after 2 score years of teaming with 
blue eyed soul vocalists. He also plays bass here, relegating only the drumming duties to Chris Taggart onthis collection of originals. His guitar tone still evokes sonic images of vintage Jimi Hendrix, especially the Voodoo Chile sounds of “Lonesome Road” and the strutting “Truth Or Lies.” Other times he taps into riffs of earlier albums, with a Twice Removed hint on 
“Coming Closer To The Day” or getting a little rockin’ me, baby on “Don’t Ever Change.” His voice is much stronger than his Harum days, sometimes mixed through a VOX on the snarling blues “Diving Bell” and the boogalooing “Tide of Confession.” Vintage Fender bending. He’s currently on tour, so be sure to check out when he’s coming to town.
Duke Robillard takes us back to the days of 50s and 60s guitar bands on this fun and danceable session with a core of Bruce Bears/p-key, Brad Hallen/b, Mark Teixeira/dr and a rotating crew of guests. He gets into a pop rock mood on his fun “Don’t Bother Trying to Steal Her Love” with Dave Howard on vocals, while Sunny Cronover is a hoot on the cooing “Sweet Nothin’s” and the Shirelles-ish “Every Day I Have to Cry Some.” Robillard’s guitar gets into a Chuck Berry mood for “Dear Dad” and swings like a rockabilly king for “Rawhide” before having a gorgeous lyrical trip to the pyramids on the Nile during the doo wopper “You Belong To Me.” Pop it into your ’57 Chevy!
Fender man Gary Hoey teams up with some rollicking ax men for a stomping collection of originals. His voice is Bob Seger rich and 70s earthy, and he wails with a vengeance on the KC jumper “Still Believe In Love” and the echoey journey down noir alley on “Waiting For The Sun.” His guitar can create a fuzz tone that needs lint removal on “I Felt Alive” and his acoustic work is lovely on “Almost Heaven.” Teamed with Eric Gailes he rocks steady on “Under The Rug” and takes a trip to Chicago’s South Side with Josh Smith during “Mercy Of Love.” He does a nice shootout with Texas gunslinger Lance Lopez on “Damned If I Do” while he smokes like a Monte Cristo for the finale “Neon Highway Blues.” Stand back or you might get burned!
Texas blues rocker Jimmie Vaughan sounds like he was weaned on the Chitlin’ Circuit with this smoking album of juke joint jumpers. He mixes and matches between studio and concert gigs with a rotating team including George Rains/dr, Ronnie james-Doug James/b, Billy Pitman/g, Makie Flanigin/B3 and a STAXY horn team. Vaughan’s voice sounds like he’s been in the sun hitchhiking all day to Kansas City as he shuffles on the Kansas City growliers “Baby, Please Come Home” and “It’s Love Baby.” Vintage Chuck Berry riffs team with a B3 on “Hold It” and the strings dance on the jivy “What’s Your Name.” The saxes sear on the Ray Charles-toned “No One To Talk To (But The Blues)” and the band strolls down the line on “Just A Game.” The sawdust is on the floor at this club!”
Chicago native George Freeman takes you to neighborhoods unknown with his team of harmonica player and vocalist Billy Branch, John Devlin/b-acc, Luiz Ewerloing/d and various guests for a taste of modern blues. Joanie Pallatto sings and claps hands to Freeman’s clean pickings on the festive title track, while getting fun and nostalgic on the Depression era “The Music Goes ‘Round and Around.” Freeman’s pickings are slinky on “Uncle Funky” and vintage late night sepia’d for “Intimate.” Freeman himself sounds like Redd Foxx on the snappy “Where’s The Cornbread?” and the team struts down the side streets on “Home Grown Tomatoes.” As bonafide Chicago as a deep disher.