Jeff Fetterman: Bottle Full of Blues Review

Bottle Full of the Blues

Bottle Full of Blues is the second release from guitarist/singer/songwriter, Jeff Fetterman. This eleven song collection has plenty to satisfy any blues rocker. It also demonstrates how much an artist can grow from his first album to his second album.  Bottle Full of Blues packs a lot more punch in the production, and playing departments than Fetterman’s noteworthy debut Long Hard Road. With influences as diverse as Prince, Springsteen, and Hendrix, Fetterman and company take us on unique musical journey while stopping off at a lot of familiar destinations.

Stream Warren Haynes’ “Beat Down The Dust”

Warren Haynes has made another track from Ashes & Dust, “Beat Down The Dust,” available for streaming. Ashes & Dust will be released on July 24.

Mitch Mann: Blackwater Creek Review

Blackwater Creek

Mitch Mann may not be a name that’s immediately recognizable, but this isn’t because of a lack of involvement on the Alabama blues scene. Mann has been writing and recording for years, lending his guitar (and occasionally voice) to various artists (including The Fiddleworms) and writing and co-writing tracks for others. Mann pulls heavily from his experience specifically as a songwriter on Blackwater Creek, favoring simple, stripped down arrangements that don’t distract from Mann’s melodic turns but still stand strongly on their own.

Guitar Heroes: Guitar Heroes Review

Guitar Heroes

Guitar Heroes is the self-titled album from blues group Guitar Heroes. The albums begins with the track “That’s All Right (Mama),” a track whose slackened strings and banjo-inspired flare give the opening jam a roadster attitude. The lengthy soloing in this first track allows the listener to teasingly glimpse the band’s bluesy and instrumental focus. “Susie Q” with its self-assured opening, introduces an often-reinforced riff, but when the band calls for some ‘gee-tar’ the track evolves with the aid of some brief solo work.

Hamish Anderson releases “Little Lies” video

Hamish Anderson has released a music video for “Little Lies” off his latest EP, Restless, which Blues Rock Review spoke to Anderson about in a recent interview.

Christian Collin: Spirit of the Blues Review


From the infamous crossroads buried deep in Mississippi to singers like Lightnin’ Hopkins, Stevie Ray Vaughan, and Muddy Waters, the blues genre has collected a ton of icons in its time and turned most into legends. Howlin’ Wolf was a man like any other, with a life to lead and a need to somehow make his time on Earth matter. Every blues musician known by name today was and is the same. What makes them different are the fingerprints each left on the genre, bequeathed for future devotees to study. On his second solo album Spirit of the Blues, out July 10, blues guitarist, singer and songwriter Christian Collin pays tribute to the voices that sang before him.

Blues Caravan: Girls With Guitars Review

Girls with Guitars

In 2011, Blues Caravan introduced a trio of musicians known as Girls With Guitars, and rocked international blues audiences. Now, in 2015, Girls With Guitars is back with three new, electric musicians. Enter Eliana Cargnelutti from Italy, and Sadie Johnson and Heather Crosse from the USA. With both a classic blues rock sound, and a contemporary twist, they’ve brought plenty of talent and energy to the blues scene.

Charlie Wheeler Trio: Rewind Review


The Charlie Wheeler Trio exudes a toughness and desperation that can only be cultivated in the working class, unforgiving hills of of northern, PA, from which they hail.  On their latest CD Rewind, they sport a driving brand of groove-rock that is reminiscent of the Black Crowes and The Allman Brothers Band, coupled with the blunt force of post grunge hard rock. Powered by the rhythm section of Rad Akers on drums and Dave Fink on bass, Charlie Wheeler describes his trio as a “song first” type of band. While expansive, improvisational jamming is a key component to their live show, Rewind (their third album) is a solid group of structured songs which allow Wheeler to tear into his vocal and lead guitar work with reckless, pent up hostility.

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