Byther Smith I'm A Mad Man {bullseye Blues CD BB 9527} (1993)

Smitty is unequivocally not mellowing with age. This set finds him physically threatening some poor slob in "Get Outta My Way" and generally living up to the boast of the title track. As his profile finally rises, Smith is receiving a little high-profile assistance - Ron Levy produced the set and handles keyboards, while the Memphis Horns add their punchy interjections wherever appropriate.

Smith was so far outside the domestic blues loop that this Chicago-cut set only found release on a British logo, JSP. It was our loss – Smith is typically brusque and ominous, threatening to "Play the Blues on the Moon" and "Addressing the Nation with the Blues" as only he can. Nothing derivative about his lyrical muse – he's intense to the point of allowing his words not to rhyme to make his points, while his lead guitar work is inevitably to the point. Strictly judging from the lyrical sentiment of his recordings, it might be wise not to make Chicago guitarist Byther Smith angry. Smitty's uncompromising songs are filled with threats of violence and ominous menace (the way blues used to be before the age of political correctness), sometimes to the point where his words don't even rhyme.

Considering his nickname and near-anonymity at the time, it is surprising to realize that Wild Child Butler was already 55 when he made this CD. Although he had recorded very few released sessions before this album, Butler had been active most of the time since settling in Ontario, Canada. A talented harmonica player, he also possesses a deep and very expressive voice. With a first-rate combo that features the intense guitar of Pete Boss, Butler performs most of his best material for his Bullseye Blues debut. Among the highpoints are the title cut, the topical "Crack House Woman," an unaccompanied "Walkin' The Little Girl Home" and the minor-toned "It's A Pity." Recommended.

Clearwater comes up with a compelling mix of tunes on this 10-track outing, his first for the Bullseye Blues imprint. The southpaw guitarist covers a wide range of styles (as befitting a true West Side guitarist, where versatility is a badge of merit) including Magic Sam's "Look Whatcha Done," and Nat King Cole's "Send for Me," Gene Allison's "You Can Make It If You Try" and Clearwater originals like "Party at My House," "Don't Take My Blues," "Hard Way to Make an Easy Living," "Love Being Loved By You," and the title track. Produced by Eddy and utilizing his regular working band with guest appearances from Jerry Soto on keyboards, Mike Peavey on saxophone, Steven Frost on trumpet and Billy Branch on harmonica, this is the Chief just laying it down simple and hard, doing what he does best - delivering taut and shimmering West Side guitar and vocals with a vengeance.

This incarnation of Roomful of Blues includes vocalist and harmonica player Sugar Ray Norcia taking the singing spotlight, Matt McCabe now their pianist and Chris Vachon principal guitarist. This CD blends blues and R&B classics with a couple of originals; highlights include a fine reading of Smiley Lewis' "Lillie Mae," a remake of "Hey Now" originally done by Ray Charles and Norcia's fiery vocal and torrid harmonica solo on Little Walter Jacobs' "Up The Line." This is faithful to the classic tradition, but contains enough contemporary qualities to have a fresh and inviting sound.

Little Jimmy King's third album finds him in the well-placed hands of Memphis producing and arranging legend Willie Mitchell. With Mitchell's publishing branch supplying six of the 12 selections here, there's a much more pronounced soul/blues feeling to this album than his two previous efforts, spelled out in a most contemporary manner on the confessional opening track, "Living In the Danger Zone" and "We'll Be Together Again." As always, Little Jimmy tips his hat to his mentor, the late Albert King with every note he hits on his Flying V, squeezing strings over several frets to get those classic Albert microtonal bends on tracks like "I Don't Need Nobody That Don't Need Me," "Drawers" and the title track. This is a thoroughly contemporary blues album that could - and should - expand King's audience beyond the usual blues circles.

A half century after he made his debut waxings, Fulson is still going strong - and not as some museum piece, either. Still a vital blues artist who refuses to rest on his massive laurels, Fulson's latest is a fine addition to his vast discography, comprised mostly of fresh originals and featuring his customary biting guitar and insinuating vocals.

An unheralded gem that fell through the cracks during its initial issue in 1985 and definitely deserved its higher Bullseye Blues profile six years later….