Richard Ray Farrell & Marco Pandolfi, Stuck On The Blues
Blue Beet (2007) 10004

Let's start with the acoustic set where Farrell follows up his fine collaboration with Steve Guyger with, and introducing, another harp maestro in Marco Pandolfi.

Like all of his CDs, this set is a mix of Farrell originals and well chosen covers including an obligatory Robert Johnson.

Farrell has a natural, unforced vocal style that is ideally suited to acoustic blues - and, as on his previous release with Guyger, he restricts his guitar playing to mainly rhythm allowing Pandolfi the room to demonstrate his mastery of acoustic harp.

The set opens with "I've Got My Fingers Crossed" a Jug Band/ Tampa Red hybrid that fairly bounces along fired by Pandolfi's exuberant harp - before segueing into RJ's "Phonograph Blues" with it's sparse strumming, wistful vocals and Sonny Terry influenced harp. The hypnotically percussive "Dollar For Dollar, Pound For Pound" is reminiscent of the work of Satan and Adam - "Share Your Love With Me" has a folksy Celtic feel - whilst "Honey Babe" reminds me of the early work of Leon Redbone.

Big Bill Broonzy is another major influence on Farrell, Pandolfi's John Lee "Sonny Boy" Williamson styled harp adding credence to "Make My Getaway" - Farrell's own "Stuck On The Blues" and "Walkin' On Thin Ice" staying within the Broonzy canon: the first an high-spirited romp replete with fine high register harp, whilst the latter is a loping blues with more Sonny Boy (1) styled harp.

Add in a tremendous rendition of Muddy's "Honey Bee" replete with fine acoustic slide and superb harp - a bouncy rendition of Blind Lemon's "One Dime Blues" featuring "cracked" plaintive vocals - and Sam Hopkins' "I Once Was A Gambler" played Chicago style but with Sonny Terry influenced harp, and you have a set that delights from first track to last. - Mick Rainsford, Blues in Britain Magazine

14 tracks, 48 minutes. Excellent. It's not apparent who suggested pairing the talents of Richard Ray Farrell, a native of the United States, with the Italian-born and raised Marco Pandolfi, but a tip of the hat is in order along with a complimentary cocktail or two. Farrell is a deft and rhythmic guitar player who packs an incredibly soulful voice in his luggage while Pandolfi offers his own richly expressive harmonica to an all-acoustic set of blues. Honey Bee, You Gonna Quit Me and I Once Was A Gambler mark a few of the well-chosen covers while Farrell's own Walkin' On Thin Ice, Stuck On The Blues and Hook, Line & Sinker display original songwriting skills that easily stand up with the best of the genre. The duo delivers from beginning to end with their remarkably relaxed and conversational approach coming through whether calling on Chicago, Piedmont or Texas influences, and while an ocean sits between their respective homes, the tandem gives the impression of having grown up as next-door neighbors. While passports, scheduling headaches and language differences may be a small handful of issues that separate Richard Ray Farrell & Marco Pandolfi, their musical communication is seamless, respectful and real. Maybe we can drop some not-so-subtle hints to the pair and request an encore performance on disc (with a lengthy tour in support) that displays both the acoustic and electric abilities of both artists. Wonderful stuff this is!
© 2008 by Craig Ruskey

Let's stay with acoustic but change styles completely with the meeting of these two monsters of talent, American Richard Ray Farrell, guitar and vocal, and Italian Marco Pandolfi, harmonicas. If Farrell has already proven the width of his art on his previous albums reviewed here before (see Virus de Blues older issues), Pandolfi is no slouch either in a "I-swallowed-it-all-and-I'm-giving-it-back-with-class" style. The two men association seems as natural as can be and let's one think they met before they walked together into the studio. It's a perfect musical match we got here. One can be amazed at Richard's guitar playing, as perfect in picking as it is on slide, but it shouldn't hide his singing quality. The man is indeed an excellent singer, in a natural, not faked style, even when a little raw on certain tracks. A vocal and guitar completed with subtlety the Italian's harmonicas, both their talents matching perfectly without any of them ever trying to over shadow his partner. This CD should please country blues lovers with a preference for a faithful to the idiom approach that still doesn't hide the players own personalities. This album is recommended to them, just as much as Richard Ray Farrell previous work, be it solo or with Steve Guyger.
-Rene Malines

Down Home Old School Country Blues
Blue Beet (2006) 100003

It didn't take long for Richard Ray Farrell to "win-friends-and-influence-people' (especially the 'right people') upon his return to the U.S. after spending most of the last 30 years in Europe. Anyone doing an album with Harmonica Ace Steve Guyger deserves/demands our attention as Guyger is strictly 'old school' and also at a level of talent & experience that sees few peers (especially since Guyger worked with Chicago legend Big Guitar Red a.k.a. Walter Smith for several years). In the liner notes, Thomas J. Cullen refers to Guyger and Farrell as the Bucks County, PA based tandem which suggests that this album is not just a 'one-off' and that this is a working duo act and if that's the case, they should be on this Summer's Festival circuit and that's reassuring. Referring to them as 'old school', Cullen is on-the-money with that description and while the contemporary Blues scene is awash with acoustic Country Blues duos, Farrell & Guyger are a big head-and-shoulders above 98% of the rest. The first thing you notice about this disc is the beautiful, crystal-clear sound, which is usually only found on Audiophile pressings. So kudos right away to Ground Hog Studio in Holland, PA (recording, mixing and mastering all taking place there and performed by one Michael Tarsia).

Guyger has a tone/sound on harp that is entirely his own and immediately recognizable and on the opening cut, the old chestnut "Good Morning Little Schoolgirl", you'll find yourself saying/thinking "Now this is really different".Many might be scared-off by the song list of classic (and often over-recorded) Country Blues numbers but you'll be in for a real mind-blowing experience when you hear what these 2 totally unique talents do with the material. Richard's steel-box picking gives "Good Morning..." an immediate ear-catching flavor and Guyger's accompanying harp is astoundingly lyrical. It's also a treat (a Rare treat) when both of the light-skinned purveyors of these Blues can sing-their-asses-off. "Cool Cool Place To Go" is Sonny Boy #2's exuberant masterpiece and Guyger tackles it with a Joy and Passion that only a Sonny Boy fanatic could put across. (Sonny Boy #2 is in my books the REAL King of The Blues...).Even "Rollin' And Tumblin' ", a tune that I declared I'd not listen to another recording of, comes across with fire, as the balance between Farrell & Guyger is one-of-a-kind in that both contribute equal amounts of molten energy. By the end of "Rollin' And Tumblin' ", you'll be thinking that Farrell & Guyger are the absolute Best duo on the scene today. The imaginative reworkings of tough classics really reaches a peak with Little Walter's "I Gotta Go", with Farrell playing his box like a man possessed (a number that very few pickers will ever match in terms of co-ordination and execution), while Guyger blows incredible harmonica. Wow! I had to hear this one 4 times in a row (and take note to play this to several friends). Robert Nighthawk's deep "Friar's Point Blues" is an opportunity for Richard to play some sweet acoustic slide. "Oh Red!" a popular jitterbug Blues from the 1940's is another absolute gem, with Richard & Steve getting lost in the good-time Joy and playing like men possessed. "Cocaine Blues" comes from the 1930's and it's such a sly comment on Segregation and Black Life realities that one could write an Anthropology Paper on the lyrics. Richard's voice is perfect for it and he imbues the lyrics with just the right amount of cynical humour, which is the whole gist of the tune. "Gimme Mine Now" is an early Chicago Blues from Tampa Red and the boogie guitar and the tasty harp solo (high notes that'd make James Cotton smile) makes this a standout track amongst killer-diller tunes. I dare you to keep your feet still! "That's Alright" is performed using the early Robert Lockwood version as the model and it's an exercise in less-is-more as every picked/blown note counts big-time. "Keep Your Hands Off Her" is a number that's been done many times in many ways but never like this.Good time exuberance. These guys obviously have fun playing together. "Sail On" should be heard by every harmonica player/fan, as Guyger's taste and genius are present in a truckload. Perfect guitar accompaniment by Richard also helps too. "Early In The Morning" is a rompin' stompin' tour de force guaranteed to have winos dancin' in the street. Every single second of this CD is Pure, perfect Genius & Joy in equal doses and I can't recall ever experiencing Acoustic Blues duos (outside of Sonny & Brownie) that had this much magic in it. It's exactly what 'doctor-ordered' for 2006/2007 as it exudes soul-fixin' goodness. Easily the Best new Acoustic Blues album to come along in many years. 6 Bottles of Old Grand Dad for an album every Blues fan (no matter how jaded) should own and play the Heck-out-of. What better way to change the World than through Joyful Noise?! Only occasionally am I compelled to thank the artist(s) personally for giving the World a gift and in this case, it's entirely warranted; thanks guys!

...A. Grigg, Real Blues Magazine, Canada

"Down Home Old School Country Blues" is an apt title for this wonderful set from two of my favourite blues artists -- Richard Ray Farrell and harp maestro Steve Guyger.

Between them, this duo have racked up 65 years of performing the blues -- and it shows as they perform sixteen well chosen covers, investing them with a new life but retaining that earthy, feral beauty that epitomizes the work of the great acoustic blues masters -- uncluttered picking and chording, wailing harp allied to soulful, down-to-earth vocals. In short -- the "real deal".

Farrell opens with John L Williamson's "Good Mornin' Little Schoolgirl", the wistful edge that permeates his vocals echoed by Guyger's propulsive harp and enhanced by his own strolling strumming. His vocals adopt a more menacing tone on "Rollin' And Tumblin", a "headbanging" blues propelled by rhythmic harp and fretwork -- whilst on "Friar's Point Blues" he captures the plaintive vocal and slide stylings that epitomized Robert Nighthawk's blues, Guyger's melancholy harp enhancing the mood and feel.

Luke Jordan's "Cocaine Blues" is an ebullient romp given a Jesse Fuller feel replete with wailing harp -- Tampa Red's "Gimme Mine Now" is invested with a manic intensity, Guyger's harp taking the role of the kazoo -- the rollicking "Keep Your Hands Off Her" and "You Can't Get That stuff No More" and a Satan and Adam inspired rendition of Tommy Johnson's "Big Road Blues" rounding out Farrell's vocal contributions.

Several of Guyger's selections inevitably draw from the works of the great harp maestros -- Rice Miller's "Cool Cool Place To Go", with it's fraught vocals, stomping guitar and Trumpet (Records) styled Sonny Boy harp -- and the frantic "I Gotta Go", which melds Parkway period Little Walter with Papa Lightfoot being particularly impressive. It was also inevitable that Guyger would feature numbers associated with John L Williamson, and we get two -- "Sail On" where his high register harp enhances the plaintive mood set by his resonant baritone vocals that are racked with regret -- and "Early In The Morning" where his wildly evocative harp lies in stark contrast to the mushy-mouthed, lisped vocals that evoke Williamson's spectre without being too derivative.

The frantic "Oh Red" with it's gritty vocals and Papa Lightfoot meets Blind Willie McTell feel -- and the raw power of "Baby Please Don't Go" are further highlights of this highly recommended set.

- Mick Rainsford : Blues In Britain magazine

16 tracks, 59 minutes - highly recommended. While discussions continue as to the current state of blues, artists like Richard Ray Farrell and Steve Guyger forge ahead doing what they do best - they play the music like it's meant to be played - with conviction, respect, and an all-too-rare ability to convey true feeling without sounding like they were recently dusted off some museum shelf. This is the real deal, honest-to-goodness Down Home Old School Country Blues played by two masters whose abilities flow together effortlessly. Vocal chores are shared by the team with Farrell handing in Good Morning Little School Girl, Friar's Point Blues, Gimme Mine Now, and Cocaine Blues, among others, with Guyger tackling Cool Cool Place To Go, That's Alright, Sail On, I Gotta Go plus a few more, and both know the meaning of phrasing and finding the core of the music they play. As far as unheralded modern-day bluesmen go, it doesn't get any more real than what Richard Ray Farrell and Steve Guyger deliver, and their lengthy histories and credits attest to their talent. Brilliant stuff!

-- Craig Ruskey

Acoustic Roots
Blue Beet (2005) 100002

Richard Ray Farrell has an education in Truth/Reality that few Americans are fortunate enough to experience and it has also profoundly shaped his Blues and approach to music in general. Richard was given a 'gift' in the mid-1970s when he was still an impressionable and innocent teen. It was a return Airline Ticket to Europe and while the friends he travelled with all returned to America at the end of the summer, Richard stayed on, determined to make his way all over Europe with his guitar paying for his rent and food. Years soon stretched into decades and before long, Richard Ray Farrell was good enough to play Blues Clubs from Denmark to Italy. Many U.S. performers travelling to play Festivals/Clubs in Europe were impressed and certainly mystified by this fellow American that was held in such high esteem and known by everyone in European Blues' circles. To be an American living outside the U.S. one has the realization that the so-called Free Press/Media in the U.S. is, at best, a mirage and when talking to Richard, now back in the U.S., he expressed concern at just how uninformed Americans really are, especially when compared to Europeans. But, the hardest change he's had to endure is the lack of respect shown towards Blues in 2006 in America. "It's like it doesn't even exist. I knew it was bad, but not this bad!" While Richard has become 'European-ized' and he finds many things to be 'less-than' there's ample proof on this CD that his standing in Europe as a Master-Class musician and performer was totally deserved. There are hundreds of releases each and every year by solo acoustic Blues artist and very few rise above the 'tired, tedious, interpreter' classification. I joke that if I can get through one complete listening of a contemporary Acoustic Blues CD, that it deserves inclusion in this magazine. A disc from this genre that is actually ENJOYABLE and bears repeated listenings is a real rarity and a treat and that's what "Acoustic Roots" is. While many master guitar and/or harmonica, few come thru with the 'winning Ace' i.e. vocal chops and Farrell is blessed with a GREAT voice that's both unique and easy-on-the-ears. He's also a gifted acoustic slide player and his One Man Band days in Europe (vocals, guitar, harmonica) are recreated here 'live-in-the-studio'.

The CD opens with "Diggin' My Potatoes", the old Washboard Sam number and it's a spirited workout that exhibits Richard's talents nicely. "I Want You To Know", the old Bo Carter number, is wonderful as it demands top vocal nuances and that's something Farrell possesses naturally. "One Dime Blues", the Blind Lemon Jefferson tune, I've never heard before with harmonica as featured instrument and it's a fine adaptation. Given there are 19 tracks (all either very good or great) I can't cover all of them, but I'll mention the tracks that astound, like Leadbelly's "Ella Speed", a number that showcases Richard's superb picking. Also, Memphis Slim's "Sassy Mae" is transformed into a Robert Johnson-style acoustic slide workout. Nice! "Rope Stretchin' Blues", an obscure Blind Blake piece is performed with a poignancy few could attain and likewise the gentleness of John Hurt's "Louis Collins" is conveyed by Farrell, who obviously has depth of understanding for the songs he covers. "Jinx Blues", the fantastic Son House number, is also dripping with rage and anguish. If anybody embodied The Blues it was Son House and Farrell's version is a passion-dripping tribute. Farrell performs "John Henry", the traditional instrumental, sans guitar and his harmonica-playing is a revelation. He's an exceptional player who deserves much wider recognition for harp skills alone. The closing cut is "Blues-Flamenco" and it's the lone Farrell composition (he's a fine songwriter given his tunes on his "Bohemian Life" album) here. It's a stunning number, a workout that is probably a tip-of-the-hat to his European sojourn, and it's an apt closing number.You'll be hearing much more of Richard Ray Farrell from here on in and that's good news for us. 5 Bottles of Chianti for a CD that kicks-open-the-door for Richard Ray Farrell. Let's hope his Power, Talents and Passion help fuel the ailing North American Blues scene.

A. Grigg, Real Blues Magazine, Canada

19 tracks, 59 minutes. Recommended. Although Richard Ray Farrell is surely a 21st century blues artist, his stellar approach to music has an unquestionable ability to carry listeners back decades in time, and wrapping your ears around his new Acoustic Roots CD may well have you lost in a time warp. Recorded completely live in the studio without overdubs, Farrell tackles a full slate of country blues gems with nothing more than an acoustic guitar, a racked harmonica, and a voice that sounds as tough and coarse as a Mississippi dirt road in July. Whether he's channelling Blind Lemon Jefferson in One Dime Blues, Leadbelly in Ella Speed, or Blind Blake in Rope Stretchin' Blues, Farrell digs down to the basics of great blues with conviction and offers deft guitar work, scrappy harp interplay, and vocals that deliver lyrics in solid form be they poignant, potent, or playful. His slide work in Sassy Mae recalls the brilliantly ragged approach of Son House, and for the traditional Buck Dancer's Choice or his own Blues-Flamenco, the fingerpicking is stellar. Farrell shines just as brightly on Delta pieces associated with the masters; Bukka White's Fixin' To Die and Shake 'Em On Down, Son House's Jinx Blues, or the absolutely chilling version of Robert Curtis Smith's Lonely Widower, all standouts. He leaves few stones unturned with more from the catalogs of Mississippi John Hurt (Louis Collins), Smokey Hogg (a searing Too Many Drivers), Blind Boy Fuller (Jivin' Woman Blues), Bo Carter (Let's Get Drunk Again and I Want You To Know) and others. While times and technology have changed drastically over the years, Richard Ray Farrell seems to have stepped right out of the 1930s and into the present on Acoustic Roots, and never once sounds out of place. A crowning achievement and a winner from start to finish.

- Craig Ruskey

“One of the genre’s most underrated performers”

Richard Ray Farrell’s last CD, “Bohemian Life”, was strictly in the electric tradition, with a strong Chicago feel; however on “Acoustic Roots” we find Farrell exploring the roots of his earliest influences with a series of well chosen covers from the likes of Blind Blake, Bukka White, Leadbelly et al. Accompanying himself on acoustic guitar and rack harp, Farrell’s intimate vocal stylings, which at times remind me of Leon Redbone, are ideally suited to the country blues tradition, his robust vocals, laced with humour, bringing new life to numbers like “Diggin’ My Potatoes” and the exhuberant “Ella Speed”.

Farrell’s repertoire ranges from the sly humour and plaintive slide that permeates Memphis Slim’s “Sassy Mae” through the percussive guitar and harp, and urgent vocals of “Poor Boy”, to the melancholy “I Want You To Know” (Bo Carter) with it’s wistful vocals and wonderful picking; all of which he graces with an honesty and earthy beauty that indicates a natural ease and feel for traditional blues.

Like most true blues musicians, Farrell is no mere copyist, taking his influences and reinterpreting their music, adding his own personality to turn numbers like Bukka White’s “Shake ‘Em On Down” into a plaintive lament riding a compelling guitar riff, whilst “John Henry” becomes a fine downhome country blues harp instrumental. Smokey Hogg’s “Too Many Drivers” is an intense performance, laced with menace, riding a compelling guitar riff; Son House’s “Jinx Blues” is played in Muddy’s early Plantation style, replete with House influences, with raw anguished vocals and intense slide; whilst “Mean Mistreater” captures the plaintiveness inherent in Leroy Carr’s blues, enhanced by Farrell’s moaning high register harp.

Despite the fact that there is only one original on this set, Farrell’s obvious love for, sympathy with and command of traditional country blues ensures that this set is a delight from first track to last.

- Mick Rainsford, Blues in Britain Magazine 

It's hot in Georgia right now.  The sun wakes and bakes the asphalt until the late afternoon when the thunderstorms roll in,  turning up the humidity so much the shirt sticks to your back.

A fitting time to sit back on the porch and reach for this new release from blues journeyman Richard Ray Farrell.  Anyone familiar with Richard Ray's previous outing on "Bohemian Life" will find no comparisons here, as this is a testament to the old from the relatively new. Nineteen tracks totaling nearly an hour of music provide a fitting tribute to some of the fathers of the blues and a document that will satisfy even the most discerning blues purist.  From the opening few bars of Huddie Ledbetter's "Diggin' My Potatoes," it is clear that Farrell is no novice picker, laying down an impressive and intricate foundation to lay the vocals and harmonica over.

"Diggin' My Potatoes,"  "I Want You To Know" and "One Dime Blues" start the momentum rolling but it's not until Bukka White's "Shake 'Em On Down" that you begin to really see how good Farrell is.  At the time White's song was young, his life was in upheaval and he was serving time at Parchman Farm. Farrell's interpretation with jagged rhythms and snapping strings is a testament to White and his troubled past; this is blues driven from emotion and Farrell does well to convey it.  "Ella Speed" another Ledbetter song and another triumph is well placed next to the rumble of "Shake 'Em On Down," this time the jangling guitar chasing the cheerful melody to the sadness of the lyrics.  "Sassy Mae" and  "Lonely Widower" play well off of one and other, the first providing one of the better vocal performances on the disc and the later pushing the envelope with more powerful guitar.

Piedmont blues also gets a work out on Blind Boy Fullers "Jivin' Woman Blues" which is simply outstanding, again Farrell in fine voice.  Acoustic Roots was recorded live in the studio with no overdubs. The harmonica was recorded on the rack. This is the heart and soul of the album, it is as honest as it is raw, which is the only way this particular style of blues can be convincingly played.  "Mean Mistreater" is a good example of this; resonating harmonica combined with standard guitar runs keep the message simple but the way it's delivered is powerful.

Other standouts include the traditional "Buck Dancers Choice" which flows like a river, and "Poor Boy," again  with the harmonica owning the song. Mississippi John Hurt's "Louis Collins" also stands out with Richard Ray softening the vocals and letting the guitar carry the melody before again letting the dogs loose on Son House's "Jinx Blues."  Farrell's own instrumental "Blues-Flamenco" rounds out the album displaying his own writing skills considerably.

Richard Ray Farrell has been paying his dues for over thirty years and it is independent artists like him who give the blues a pulse. Take a listen for yourself, if you disagree and this record doesn't move you, then say hello to Louis Collins for me, because you are surely dead.

- Steve Landy, Blackcat Bones Blues Emporium - www.fatbluescat.com

“A powerful singer with an unaffected style”

Richard Ray Farrell "Acoustic Roots" - It's strictly traditional program is composed of prewar blues from Blind Blake, Son House, John Hurt, Blind Boy Fuller, Leadbelly, Blind Lemon Jefferson, and others, with a few postwar anomilies. A powerful singer with an unaffected style, Farrell plays fleet, precise guitar, simultaneously blowing harp. His potent take on Bukka White's "Shake 'Em On Down" and slide-driven version of Memphis Slim's "Sassie Mae," along with good-time readings of Bo Carter songs, show he's equally adept at Piedmont and Delta styles. Acoustic Roots (Blue Beet 100002) is a winner.

- Tom Hyslop, Blues Revue

“Such superb artistry should be recognized and appreciated”

Richard Ray Farrell "Acoustic Roots" - Talented bluesman Richard Farrell is a native of Niagara Falls who lived for many years in Europe and has recently returned to the States. Although he's performed with many electric bands, his heart has always been in the acoustic blues, which he shares with us here. A generous collection of 19 tracks is included, featuring a number of different styles, all authentically and at times brilliantly performed. There's plenty of nifty finger picking and slide work, as well, demonstrating his accomplished mastery. I particularly liked his versions of Leroy Carr's "Mean Mistreater", Blind Blake's "Rope Stretchin' Blues",Son House's "Jinx Blues", and Mississippi John Hurt's "Louis Collins". Hopefully these dazzling performances will open a few doors for Richard in the tough acoustic solo market where appropiate venues are not easy to find. Such superb artistry should be recognized and appreciated.

- Rich Schneider, Blues Beat Magazine

“Superbly played set of traditional blues”

Richard Ray Farrell: Acoustic Roots (Blue Beet) While electric rock blues still reigns supreme thankfully there's still a few diehards who are devoted to keeping the country blues tradition of the 1920's and 1930's alive and kicking. The better practitioners include veterans like John Hammond, Larry Johnson and Paul Geremia and fine young players like Guy Davis, Corey Harris and Alvin Youngblood Hart. Add to the short list Richard Ray Farrell whose "Acoustic Roots" finds him digging deep into a superbly played set of traditional blues. Farrell is not exactly a household name as he's been living in Europe since the 70's and only moved back to the States in 2001. He started as a street musician or "busker" eventually working his way to more prestigious gigs touring with the likes of Lazy Lester, Big Jack Johnson, Big Boy Henry, Louisiana Red, Frank Frost, and R.L.Burnside. Farrell has obviously lerned his lessons well and has a real feel for the subtleties and nuances of the country blues he so obviously loves. "Acoustic Roots", recorded live and with no overdubs, is all Farrell as he plays guitar, rack harmonica and takes all the vocals as he covers the songs of Bo Carter, Son House, Blind Boy Fuller, Bukka White, Leroy Carr and others. Farrell plays with grit and conviction as he tackles fine material like Bo Carter's sly "I Want You To Know" with it's gently raggy feel and deft fingerpicking, delivers a heartfelt but rather jaunty version of Blind Lemon's classic "One Dime Blues", plays some superb guitar on Smokey Hogg's "Too Many Drivers" and takes it down to the Delta for a slide soaked rendition of Son House's dark and brooding "Jinx Blues". Other high points include a sensitive reading of Leroy Carr's oft covered "Mean Mistreater" featuring some good harp work and goes back to the always entertaining Bo Carter on the humorous risque blues of "Let's Get Drunk Again". Richard Ray Farrell has a real feel for the great country blues tradition, breathing new life into these timeless songs and hopefully turning on a new generation to the power and beauty of those old time blues. Fans of traditional blues would do well to check out "Acoustic Roots"

- Jeff Harris, www.baddogblues.com

Three names, no hat: Richard Ray Farrell, who's just returned Stateside after nearly three decades in Europe as a street musician and bandleader, has recorded his first domestic album. Bohemian Life (Blue Beet 100001) is a dazzling demonstration of his writing and performing skill.

The 16 originals display tasty harmonica and guitar, no-jive singing, and range: "Cold Heart" hits with a martial drum pattern and crisply staccato guitar lines, "Bad Intentions" is pure Muddy Waters, "Blues All In My Home" could be Brownie McGhee and Sonny Terry (that's Jerry Portnoy on harp), and "Mean Case Of The Blues" and "Fine Little Number" are Chicago-style blues. "My Heart Beats Just For You" is a cool shuffle driven by Benjie Porecki's organ and Robb Stupka's drums (most of the Severn house band is here, with Bill Heid on piano). Pop-blues? "Natch'l Man." Deep soul? "I Was Wrong." Garage surf? "Jitterboppin'." Spare minor-key cocktail blues? "Lawfully Wedded Wife." Outstanding.

- Tom Hyslop, Blues Revue Magazine

Richard Ray Farrell plays the real blues, steeped in tradition but stamped with his own voice.

-Jerry Portnoy

Richard’s singing, guitar and harmonica playing and songwriting come from gut feeling and some inner compulsion, like the work of the great blues masters of the past.

-David Evans, blues historian, author and professor of music
at Memphis State University, and Grammy Award winner

“Bohemian Life”…good songwriting, excellent guitar and overall strong musicianship.

-Bruce Iglauer, president and founder of Alligator Records