Singer/guitarist Lloyd is an Israeli player of the blues but he clearly has the distinctly American idiom pulsing through his very soul, to the point where his self-penned "Burning Thunder" could easily be mistaken for a Texas blues boogie outtake from ZZ Top. "Never Give Up" is a ballad in the vein of Eric Clapton's "Wonderful Tonight" but "Rockin' in the Holy Land" is a joyous roadhouse dance number. "Out of Time" demonstrates that Lloyd has taken a few cues from both Jimi Hendrix and Robin Trower throughout his journey. "Broken Dreams" is the album's weepiest number and it recalls the bluesy southern soul of Gregg Allman, perhaps partially because of the quavering organ fills from Kfir Tsairi. "Moroccan Woman" is also Allman-esque, and while most of the album is comprised of original material, Lloyd also affirms his love of southern soul with a cover of Otis Redding's "(Sittin' On) The Dock of the Bay."
Old School Thang
Jersey bluesman Hector has been playin' the blues for some 35-years now and he's put out lots of albums in that time but there's no need to feel behind if you're not yet hip to his groove; here's a great chance to catch up. Hector includes a hot cover of the (associated with Freddie King) "Goin' Down" early in the set and it's quite possible that the fretboard of his guitar caught fire while he was playing the chestnut. The rest of the album is self-penned and features highlights like the slide guitar and effects-laden "Fake ID," the saucy, horn-enhanced instrumental "Vitamin Big Daddy" and the long, funky jam "People of the World." Overall, Old School Thang proves to be a damn good thang too.
Ding Dong Daddy
With an album titled Ding Dong Daddy you don't have to think too hard to figure out that this record is going to be heaps of fun, and pianist and vibes player Cocuzzi gets the party started with the swingin' piano-driven dance instrumental "Swanee River Boogie." Cocuzzi steps up to the microphone for the pure blues of "Reconsider Baby," a cut that reveals his vocal styling to be not too far off from that of Eric Burdon. The title cut is a crazy vibes and clarinet jam; "Come Sunday" is also a vibes showcase but a mellow and jazzy one. "The Boss" has a Sinatra-like swagger to it but Cocuzzi chills out once again for an interpretation of the classic "Tennessee Waltz." The laid back songs are a thoughtful inclusion as most of this album will have the listener boogieing like mad.
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