PHANTOM BLUES BAND "FOOTPRINTS" Source: Blues & Rhythm Magazine Date: 12/2008 Writer: Norman Darwen

The formula involved is described by executive producer/label boss Randy Chortkoff inside the sleeve as “old school nostalgic music that is necessary to keep the flame alive and burning.” These six guys, with some major league experience above and beyond Taj, plus occasional guests such as the UK’s own New Orleans piano player Jon Cleary, certainly do that. The sound is rooted in the fifties and sixties, with perhaps even a little early seventies in evidence *well, you’ve got to move on don’tcha?), and it is exquisitely and lovingly recreated, whether it be the burning soul of the opener (drawing on Howard Tate rather than Grand Funk Railroad), with its exemplary vocal by keyboardist Mike Finnigan, who impressed me most of all on the debut CD, the late Atlantic-period Ray Charles styled rendition of Hank Thompson’s “Chills and Fever,” again with Finnigan on vocals, or the Freddy King blues of “See See Baby” (guitarist Johnny Lee Schell on vocal, and he sings on three others). Elsewhere there are four lead vocals opportunities for bass player, Larry Fulcher, who, surprise, surprise, is also a fine singer.

The varied programme further includes the Curtis Mayfield and The Impressions sound of “Your Heartaches Are Over,” the Hi records styled funk-blues “Leave Home Girl,” and even funkier “Fried Chicken” (from Rufus Thomas), double entendre with “Barnyard Blues,” the sub-Joe Jones/Ernie K-Doe style of Lonnie Russ’s 1962 song “My Wife Can’t Cook,” a jazz tinged “A Very Blue Day,” and the acoustic slide piece “When Malindy Sings” (based on the work of early African American poet Paul Lawrence Dunbar).

The formula for that first set also included a reggae track, one of the least successful performances in that its presence certainly jarred with the remainder of the material. No such problem this time around as the closer is early seventies reggae styled with appropriate soul influences rather than dub inflections. The only real disappointment is the presence of Billy Eckstine’s hit ballad “Cottage For Sale,” beautifully sung (that man Finnigan), but surely the kind of smooth, anodyne number that turned audiences to rock ‘n’ roll in the first place. That aberration apart, this set is once again highly recommended.