“Refugee is a musically and textually perfect track….” – Wasser-Prawda (Germany)

Wasser-Prawda (Click here for original German text.)

Refugees, Violence and Poverty – Political Issues in Current Blues Songs

If you listen to new blues albums, more and more frequently you will find the most up-to-date political and social issues. Or old songs are re-interpreted, with the message still or always up-to-date. Here is small cross-section of current releases.

A deep groove from the Delta, a stoic riff of the guitars, a pearly piano and a story told by different voices. Suddenly one is in the middle in the flight over the Mediterranean. Delta Moon tell the story in “Refugee” from the point of view of the refugees, which you can see briefly in the news, but which hardly ever really reaches to our proximity. “Refugee” is a musically and textually perfect track, a song that you cannot play and hear often enough.

With his latest album “Migration Blues”, Eric Bibb draws the parallels between the escape from the Delta in search of a better life at the beginning of the 20th century and today’s refugee crisis in the Mediterranean. Thus he portrays the simple life in the Delta as well, the consequences of long-standing drought at that time, or praying for a safe coast. Accompanied by the French harp virtuoso Jean-Jaques Milteau and guests like Big Daddy Wilson, an album is created in the sound of the classic Delta blues, which is hardly to be surpassed for realness.

Unless one accesses “Manic Revelations” by songwriter Pokey LaFarge. In the sound of the soul of the ’50s and ’60s, the musician sings about revolts in the USA in the face of increasing police violence, from the escape from the news to the seemingly apolitical country. This comes with a partly intersecting humor, which can make the hardness more bearable.

And here Lafarge is akin to John Nemeth, the Soulblueser, who has been living in Memphis for a number of years. With him, the everyday gun violence in the US comes along in a loose-footed party sound and a call not to let the brains fog, as in the funk of the 60s. “They Never Pay Me” by Gina Sicilia, on the other hand, is musically close to the blues singers of the 1920s, a lament about poverty and social injustice.

Blues was already in its beginnings more than music for the entertainment or the temporary escape from the everyday life with dance. Blues musicians have always told their songs of social issues, of the experience of injustice and violence, but also of the joy of developments for the good. This function of the blues musicians as political and social commentators led to the soul music of the ’50s and ’60s. And then the rappers more and more took over this position. But times such as today lead to the fact that the blues musicians are more aware of their social function. The artists listed here are probably only a part of the current scene, an encouragement to go out on their own to search for songs beyond the pub, dance and love-affair.

Review of Cabbagetown in Bman’s Blues Report

Bman’s Blues Report

Jumping Jack Records artist: Delta Moon – Cabbagetown – New Release Review

I just had the opportunity to review the most recent release, Cabbagetown, by Delta Moon and they have a rocking sound with blues influences. Opening with Rock and Roll Girl, Tom Gray on vocal and lap steel, Mark Johnson on vocal and lap steel create a signature sound backed by Franher Joseph on vocal and bass, and Marlon Patton on drums. With a swampy feel, Just Lucky I Guess features Steven Stills like vocals and swift resonator guitar soloing. Kicking it up a few, Coolest Fools has a country rock/pop feel with a cool hook. Tandem slide work maintains a country rockin’ feel throughout and nicely blended vocals give this track additional appeal. Refugees stands alone for me as the absolute best track on the release. With it’s solid one bass line, slide work and spoken lead vocal, this track just rides the super groove. Excellent!  A modern take on Son House’s Death Letter is totally fresh and unique. Very cool with a thumping bass and cool harp work from Jon Liebman. Title track, Cabbagetown is a cool call and response acoustic blues instrumental featuring instrumental retort between  Gray on resonator and harp and Johnson on guitar. Wrapping the release is a powerful blues rocker, Sing Together, with flavors of CCR and Stills. With rich backing vocals by Kyshona Armstrong and slick slide work, this is a super closer for a really cool release.

Review of Cabbagetown in Blues in the South (UK)

Blues in the South

Delta Moon


By Brian Harman

This is the eighth album from Atlanta, Georgia, based band Delta Moon, who consist of: Tom Gray; lead vocals, lap steel guitar, guitar and keyboards, Mark Johnson; vocals, guitar, mandoguitar and lap steel guitar, Franher Joseph; vocals, electric and upright bass and Marlon Patton; drums and percussion. Their highly effective use of twin slide guitars and low enticing gravel infused vocals most definitely make for a highly impressive and satisfyingly individual style. Here they present nine original numbers along with a stunning version of the classic “Death Letter”, by Mississippi legend Son House.

Unlike most versions, here a brooding, pulsating bass groove is paired with a thickly viscous guitar rhythm over which an extremely haunting harmonica and ringing lap steel eerily floats above, only heightening the emotion. “Cabbagetown Shuffle”, is a splendid gently toe tapping gospel influenced instrumental that features sprightly sweeping brushwork combined with a very immersing rootsy mixture of Hawaiian and bottleneck guitars while overhead a soloing harmonica gently wails away.

The menacing and dirge like brooding mixture of low bass and slowly churning percussion underpin a rumbling guitar and plaintive piano which introduces the partly spoken “Refugee”, which starkly expresses the sentiments and emotions of the newly dispossessed, found in and throughout this world today. The bright and breezy “Rock And Roll Girl”, is the archetypal story of a life lived on the road saved only by the love of a special woman, the sweetly burnishing burred vocals and swinging, slightly fuzzy wailing and rolling guitars effortlessly and soothingly lift you up, up and away. “Just Lucky I Guess”, is extremely enticing and satisfying with its lazy, slightly Hill Country feel, the rolling and tumbling percussion is ably abetted by the splendid comforting Mando-guitar picking, underpinning beautifully rasping yet, soothing vocals. “The Day Before Tomorrow”, optimistically hits you and the ground running with its bright country fuelled acoustic guitars lifting your soul then the richly satisfying electric guitars come in to lift you even higher.

Greatly Endorsed!

Concert Review in Ingolstadt Donaukurier (Germany)

Ingolstadt Donaukurier (For the original German text click here.)


Grandiose opening of the blues festival: Delta Moon will be in the Ingolstadt Neue Welt.

By Karl Leitner

Ingolstadt (DK) For the musicians of Delta Moon it is the last concert of a long European tour, before it goes back home to Atlanta, Georgia. The two guitarists Tom Gray and Mark Johnson as well as Franher Joseph on the bass and Greg Baba on drums are in a good mood.

The fact that they give the first concert as part of this year’s Blues Festival, so to speak, as a farewell gift to the Old World from the New World, is perfect timing. And right at the beginning of the festival a real bang, which should still linger for a long time.

Already after the opening chords “Hellbound Train”, “Black Cat Oil” and “Jessie Mae” the thing is clear. This band will leave nothing to burn today. Featuring a dry, straight-forward, hem-sleeve and earth-bound roots-blues-rock, which smells like the dusty expanses or the marshy swamps of the Southern states, they have the Blues community hooked and will not let go the whole evening.

The band is cool and casual and seems to shake their songs out of their sleeves, but at the same time plays so precisely that a chord and the swaying slide attacks start right up to the mark , Gruff mid- and uptempo songs, fast-paced lyrics, and the inimitable melodies from the band’s composer Tom Gray make the whole thing come true, the beats are unrelenting, the perfect sound and the thrust from the rhythm section fit together. As a blues fan you can only do one thing: groove and enjoy.

This alone would be an extraordinary concert even for Bluesfest. The absolute hammer, however, is these two guitarists, or rather the way they harmonize, complement each other, bounce back and forth, play with each other and against each other. Like two gears, their guitar tracks interlock. Sweeping slides and heavy chords, drawn from the marsh, are released from each other, so that it only crashes. There were always well-known twin guitars, such as – to stay in the Southern States and the blues – the duets of Allan / Dickey Betts or Derek Trucks / Warren Haynes. They soon became the stars that Tom Gray and Mark Johnson are not, but they are very good at demeaning both of them. They certainly do not follow their colleagues in any way.

How they can get themselves off the leash with the hypnotic “Afterglow” or with the R. L. Burnside number “Shake Em On Down” and the songs rightly hover, no one makes them too fast. What a festival start! For all the colleagues, who will be performing at Bluesfest in the coming weeks, Delta Moon have set the bar. And indeed far up.

Review of Cabbagetown in Elmore


Delta Moon – Cabbagetown

By Tom Clarke

Some 18 years ago, when slide guitarist Mark Johnson witnessed a big yellow orb rising over Muddy Waters’ cabin in Mississippi, he knew he had the name of his new band—Delta Moon. For a group entrenched in organic blues to have developed such a singular, recognizable sound took major talent, vision, and determination. Delta Moon began as an acoustic-based trio featuring Johnson and fellow dazzling slide guitarist, Tom Gray. Time and a shuffled lineup has taken them to Cabbagetown, and a funny thing happened along the way. Tightening their model resulted in fine expansions in style.

Singer/bassist Franher Joseph and drummer Marlon Patton play rhythms that can support anything, while Johnson and Gray go to town and then some. The utterly infectious opener, “Rock and Roll Girl,” finds them in heartland rock mode, Johnson cruising on lap steel while Gray sings autobiographically of his life, and celebrates his better half. “The Day Before Tomorrow” mines similar territory, with a nifty assertion around the timeworn message that “Today’s the day—live it like it’s your last.” “Just Lucky I Guess,” next, works a deep blues furrow, the simple melody punctuated by sweet acoustic, and stinging National Steel slide. Gray wrote all three, and not only does he have a way with a pen, he sings in an abraded, but very tuneful set of pipes, the gruff nature perfect no matter the context of the tune.

One of the biggest advances in the band’s gamut, arrives with “Refugee,” a full band collaboration that lopes along and paints the pictures of three harrowing experiences in the victim’s “voices,” complete with background cries, gospel-style. Good God, it makes you throb, and think. On every one of Delta Moon’s eight studio albums and three live ones, there’s at least one “mooned-up” old blues. Here it’s Son House’s “Death Letter,” done animated, Joseph’s bass vocal and the harp by friend Jon Liebman adding great effects. Somehow, through all the moods, Delta Moon albums have an upbeat way about them. This new Moon shines in that way and much more.

Review of Cabbagetown in Keys and Chords (Belgium)

Keys and Chords (For the original Dutch text click here.)

Delta Moon – Cabbagetown

By Philip Verhaege (4 ½)

Delta Moon confirmed again and again. The slide guitar has the upper hand and goes perfectly with the acoustic strings, pounding drums and rough voice.

The album “Cabbagetown” is the new project of the Atlanta-based blues and roots-rock band Delta Moon. It is the eighth release and the successor to the powerful and award-winning ‘Low Down’ from 2015. Besides Son House’s “Death Letter” all the other songs are original compositions. After a long and very successful tour in Europe last year the band plunged into Marlon Patton’s home studio. Delta Moon — Tom Gray (vocals, lap steel guitar, keyboards, harmonica), Mark Johnson (guitar, banjo, backing vocals), Franher Joseph (bass, backing vocals) and drummer Marlon Patton — won the International Blues Challenge in Memphis in 2003. Since then, the band has worked hard. The release opens with the autobiographical rocker song “Rock And Roll Girl”. The hypnotic guitar riffs are directly supported by the typical lap steel, ehe trademark of the group. The acoustic-driven groove of “The Day Before Tomorrow” even has an alt-country abandon. The mandolin and lap steel arrangements of “Just Lucky I Guess” bring us to the love song “Coolest Fools”. The modern “Refugee” is a map of the world problems. After the refugees Gray gets behind the keys, driving “Mad About You” and the swampy beats of “Death Letter”. The Delta shuffle ’21st Century Man’ gives us a satirical look. But it gets really fun with the inspired “Cabbagetown Shuffle”. The bottleneck slide guitar and a southern-sounding steel guitar are the perfect duo. The closing “Sing Together” again enjoy the shimmering slide guitar and pounding drumbeats. Looking good!

Concert Review in Augsburger-Allgemeine (Germany)

Augsburger-Allgemeine (For the original German text click here.)

Under the Blues Moon

Delta Moon in the Charivari: What makes the band so special

By Ronald Hinzpeter

Perfect guitar work: Delta Moon in Charivari.

Photo: Reinhard Pfetsch.

Ulm. If two electric guitars play together, it can lead to wonderful duets like once in the Allman Brothers or Wishbone Ash. It is no harder to meld two slide guitars in intimate harmony, because if the instrumentalists slip a little sloppy with the glass or metal tube over the strings, the eardrums immediately squeak. Delta Moon from Atlanta are one of the few bands ever to compete with two equal-slated players. When Tom Gray and Mark Johnson duel, or play together, they tickle creamy runs from their guitars, then it sounds as if the two identical guitar guitars. No wonder, because the two founding members of the band have been playing together for more than 20 years and seem blind. In the Charivari, they have already presented a performance for the second time that leaves only one wish — that they may soon be able to return. The quartet plays this somewhat laid-back, bluish-waved swampy sound, as it can only thrive in the sultry heat of the South. This does not tolerate exaggerated hustle and bustle, but lives from the steaming slide guitars. Gray and Johnson blend so masterfully that the sound of Delta Moon actually stands out from that of many other bands. The songs are good, solid work, but get the certain brilliance, which lifts them out of the mass, only through the fine guitar playing. Gray and Johnson are doing this without exaggerated posing, but sometimes Gray shakes a little with his hip, with a gray head and thick glasses, more like the friendly narrative. This must suffice as a stage show, the music speaks for itself – and this is applauded by the  connoisseurs who once again filled Charivari. But towards the end, the band goes out in the audience and creates a small session. There may also be bass player Franher Joseph, with the vocal chorus refrain, a little run out of fingers, and backup guitarist Greg Baba shows that he has more on it, than just reliably beat the beat. Oh yes, Johnson and Gray are also pleasant to chat, because after the concert they are still in direct contact with the audience — two grown men, whose job is really fun … Under the Blues Moon.

Review of Cabbagetown in Roots Highway (Italy)

Roots Highway (For the original Italian text click here.)

Delta Moon – Cabbagetown

Tom Gray and Mark Johnson first met several years ago in an Atlanta record store. Both slide guitarists, it took them a short time before forming a band, rather unusual for the presence of the double slide that still characterizes the group’s sound with Gray’s dirty voice. After winning the International Blues Challenge in Memphis in 2003, the band from Georgia started recording and traveling the world on a regular basis, complemented by Franher Joseph on bass since 2007 and the last arrival Marlon Patton on drums, owner of the studio where the new disc was recorded.
From their eponymous debut of 2002 the band has come to Cabbagetown through six studio albums and three live, achieving an admirable balance between the two slides (to which are added the lap steel and mandoguitar played by Johnson) that contribute to the Southern-flavored laid-back sound. Perhaps this aspect is a limit: Delta Moon sometimes seem a bit lazy, as students who do not apply 100% … are good, but could do better. The opening of “Rock And Roll Girl” is emblematic of the quartet’s sound: mid-tempo roots drawled (a little ‘to J. J. Cale), lap steel lazy and incisive at the same time, with female backing vocals. “The Day Before Tomorrow” picks up the pace, while maintaining the impression of laziness, while in the acoustic blues “Just Lucky I Guess” you appreciate the Haitian Joseph on double bass and Gray’s acoustic guitar accompanying Johnson’s pungent slide.

If “Coolest Fools” seems a bit obvious, it is balanced by the intense “Refugee”, a talking blues and denouncing the Night. “Mad About You” includes a solo Johnson all’elettrica. The only cover is Son H0use’s “Death Letter”, approached so unusually both from the musical point of view and the vocal. The mid-tempo blues of the “21st Century Man” and the instrumental hearted “Cabbagetown Shuffle” accompany us to the closing entrusted to the rhythmic roots-rock “Sing Together”.  Another good album for a band that has just started yet another European tour that will pass through our country in the second decade of April.

  • Fabio

Review of Cabbagetown in Flyin Shoes Review

Flyin Shoes

Delta Moon – Cabbagetown

By Norman Darwen

This is the eighth studio album from this four-piece band out of Atlanta, Georgia, with nine original compositions and a throbbing cover of Mississippi Delta bluesman Son House’s classic ‘Death Letter’, more than a little different from other versions you may have heard. The band is more of a roots-rock outfit than a straight blues band, with an upbeat approach and an ability to consistently hit a seemingly effortless groove married to a memorable melody and catchy lyrics. Although the gospel based guitar instrumental ‘Cabbagetown Shuffle’ impresses mightily, a track like ‘Refugee’ probably doesn’t win them too many friends in the more conservative areas of the South.

The band’s sound is unusual in being based around the twin slide guitars and fine vocals of Tom Gray and Mark Johnson over a cooking rhythm section, occasionally aided by the deep vocals of bassist Franher Joseph. At 36 minutes, the running time may seem a little short, but when you have said all that is needed, there’s no need for more, is there?

Review of Cabbagetown in Blues Again (France)

Blues Again (Click here for the original French text.)

Delta Moon – Cabbagetown

We are here with the band that won the International Blues Challenge in 2003, let’s not forget it. This quartet based in Atlanta has never failed its reputation. The proof comes with this eighth studio album. In addition to the rhythm section, Franher Joseph (bass and double bass) and Marlon Patton (drums and percussion) are the two founding members who attract attention because both are slide guitarists. They are Tom Gray and Mark Johnson. It should be noted that Tom Gray was voted Blues lyricist of the year in 2008 by the American Roots Music Association. Nine original compositions and a cover of ‘Death Letter’ by Son House, interpreted in a hypnotic and modern way, appear on this CD which debuts with ‘Rock And Roll Girl’, a song that rocks, but without any hysteria. With ‘The Day Before Tomorrow,’ the next track, we listen to a rhythmic ballad as CCR knew how to do. ‘Just Lucky I Guess’ is an acoustic piece, with double bass and always the slides and voice of Tom Gray, rough as sandpaper. A powerful song that comes close to the desert blues, ‘Refugee’, sees three singers succeed each other: Tom Gray, the beautiful bass voice of Franher Joseph and that of Kyshona Armstrong, backup vocalist on other songs. A country-blues instrumental accompanied by a little harmonica and double bass, ‘Cabbagetown Shuffle’, takes us gently towards the end of the album where the brilliant ‘Sing Together’ positively and enthusiastically urges us to replay this album again and again. A beautiful record to accompany the spring.