one of his previous albums, but for some rea- son I got sidetracked. Bummer. I had no idea what I was missing. Morin was born in Billings, Montana, a
member of the Crow tribe of Native Ameri- cans. He played around the area here and there before relocating to Northern Colorado, where his career took off. The acoustic-based When I Rise stands
as one of the finest albums thus far in 2018, chock full of acoustic finger picking, blues and soaring vocals. The album features ten of Morin’s originals. along with a brilliant inter- pretation of the Grateful Dead’ “Dire Wolf” and his take on Duane Allman’s “Little Martha”is amazing. It’s Allman’s song, but Morin paints it in his own colors. There’s not a weak cut on the album, and “My Memories of You” will find your hand reaching for the volume knob to turn it up louder. So good! There are times when Cary’s finger
picking is so good, you’ll swear its two guitars being played together, but no, it’s just one guy. One highly skilled and talented artist. If you are looking for good music with a fresh sound, look no further. This one is a winner.
-Michael Buffalo Smith
The Bennett Brothers Not Made for Hire (American Showplace) New York musicians, gui-
tarist Jimmy Bennett and bassist Peter Bennett first came to my awareness as
the backbone of Alexis P. Suter Band. Their presence on blues-rock albums from Bruce Katz, John Ginty, and Marcus Randolph cap- tured my attention even more. This summer, the Bennett Brothers released their debut album, Not Made For Hire, a powerful blues- rock album filled with a fistful of electric gui- tar and lots of groove. Drummer Lee Falco and keyboardist John Ginty bring their mojo
Cowboy 10’ll Getcha Twenty (Crazy Chester Records) It had been 37 years
since Cowboy had recorded for Capricorn Records. The members of
the original band as well as subsequent line- ups had all come and gone, and the musicians were all working on other projects. It was 2008, and producer Johnny Sandlin pitched the idea to Tommy Talton of “getting the band back together,” recording a brand-new Cowboy album, and just seeing what hap- pened. As one lucky enough to be in the stu- dio during the first sessions, I can promise you, it was sheer magic that happened. All of the original band members gath-
to the band as well, forming a tight-knit outfit of musicians. A searing blast of Texas-style electric
blues greets the listener in “Junkyard Dog”. Falco holds nothing back on drums as he drives this revving fully-loaded beast with rip- ping guitar from Jimmy. The B3 sounds of Ginty is sweet icing on this cake. The Bennett Brothers give an intoxicating performance in a wonderful, riveting way in “I Just Don’t Want the Blues Today”. This one also fea- tures the lovely vocals of Linda Pino backing them up. She definitely adds a layer of heart- felt emotion to the song. The rocking conta- gious riffs in “What’d I Do” have a fabulous way to burrowing right inside to my core, and I love every bit of it. The album ends in a tremendous way when the needle drops on “I Got a Woman”. The guitar/organ intro gen- erates a wave of excitement and captivates my attention. Within ten seconds, the groove is set with a the funky rhythm and rides the spi- raling B3 organ delightfully to its cosmic end. Not Made For Hire is the real deal.
This is what Blues-Rock is all about. -Phillip Smith
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