Ray Bonneville "At King Electric" 2018 The throbbing viscerality of the blues works on two converging continuums – the first vector stops us dead, transfixing us with a soul-piercing beat. It's primal, wordless, zipless.A rhythmic vector then spreads to limbs, backbone and essential organs. And singer/songwriter Ray Bonneville has that vibe working for him pretty much throughout At King Electric, his new 11-track collection, and ninth solo album. While Bonneville's fine guitar lines support his spare but compelling melodies, he chooses to pump up the work of his bandmates on bass and, especially, percussion. The result is a propulsive CD that's part grit, part groove, all simmering in a southern gumbo that revolves around Bonneville's life-worn vocals. His lyrics relate the world he knows, on the road, carving out an existence in response to life's challenges. His "Codeine" is particularly evocative, as is "The Next Card to Fall." His songs, all originals, are populated by characters often struggling to find their various paths. Born in Quebec, Bonneville moved to Boston at age 12, where he learned English and picked up piano and guitar. He later served in Vietnam and earned a pilot's license in Colorado before living in Alaska, Seattle, Paris and New Orleans. It is the latter locale that lends the swampy back current to Bonneville's compositions. His first CD came out in 1992, and in 1999 he received the Canadian equivalent of a Grammy for his CD Gust of Wind, along with several other awards. Bonneville's mates on At King Electric include Richie Lawrence on electric piano and accordion, and Andrew Bohren on drums and percussion. © Fred Kraus

Geoff Robb "The Burren" 2017 On this album British guitarist Geoff Robb delivers an enjoyable set of his own compositions plus two others, all inspired by his travels to Ireland, Spain, and England. He plays steel string acoustic and classical guitars, solo and in duo settings with upright bassist Terry Pack on two tracks and violinist Nick Pynn on one. "The Burren" opens the set and evokes the bedrock and limestone landscapes of Ireland's County Clare. "Holy Island" follows and develops the mood of the title track, with distinct melodies in major and minor keys. "Returning" also seems to refer to Ireland and finds Robb employing guitaristic arpeggios and short melodic statements. Terry Pack plays bass on "La Primavera" and "Over the Hills," most often in a lovely supporting role, although he occasionally trades lead lines with Robb. "Herba-Sabina," played on a nylon-stringed instrument, takes its name from a remote village in Spain. Robb introduces and gradually develops simple, yet memorable, motifs in "The Quest," which may be the most fully realized of the solo steel string performances here. "Black is the Colour," played with a driving pulse, is well placed as the disc winds down to its end. Robb closes the program with "Wild Mountain Thyme," played on a classical guitar. The entire album is beautifully recorded and well-sequenced. There's much to enjoy here and I look forward to more music from Geoff Robb. © Patrick Ragains

Daniel Friend "One Thursday Morning" 2018 Daniel Friend is not afraid to stretch a few limits and experiment where other fingerstyle acoustic guitarists might fear to go. On his CD, One Thursday Morning, we find dense chords mixing with melody lines reflecting a jazz background, while at times (like on "Short Fuse") dazzling with lightning runs. He covers some standards, and other are originals. On a nylon stringed guitar, Friend takes his turn on the George Harrison chestnut, "While My Guitar Gently Weeps." It's a fairly straightforward arrangement, but it honors the wonderful original in all the right ways while adding his own creative touches, like some Spanish-inspired double-stops over the base chordal structure. Friend does a credible cover of the jazz standard, "Puttin' On The Ritz," not an easy tune for solo acoustic guitar. "Time Song" uses percussion, keys and bass to create a happy-go-lucky feeling. The CD ends with a full orchestrated piece, "The Unknown," with guitar over synthesized strings. Then about the middle of the song – a crunching electric guitar solo, which he does very well. It's a surprise ending for this record, but maybe not all that surprising, considering how Friend had moved some traditional boundaries in a few of his other songs. © Kirk Albrecht

Jim Pharis "High Mileage" 2018 Fingerstyle guitarist and bluesman Jim Pharis' new CD features a photo of a well-traveled vintage pickup truck on its cover. A couple of the tires may be low on air, and its faded blue hue looks to be painted over with primer in several spots. Its grill is a little bent but its headlights look bright and focused, which lend the conveyance a plucky, friendly countenance. It may as well be a self-portrait. Pharis' title track, "High Mileage," focuses on his mindset on this 10-song album – the Louisiana-based singer/songwriter has racked up plenty of miles along the way, but there's still some gas in the tank, and he's ready to roll, if a little slower. This is a comfortable, lived-in collection, featuring five originals to go with the five covers, including "It Hurts Me Too." Pharis' plaintive voice, accompanied by acoustic guitar and occasional harmonica, paints a life soaked in southern Americana. Pharis caught the folk blues bug in the 1960s and uses his wry humor to keep things pleasant and interesting. I get a little of a David Bromberg vibe now and then on High Mileage, and maybe a little Mississippi John Hurt, which is not a bad thing, not a bad thing at all. Just sit back and enjoy, and take a load off. © Fred Kraus