Our old friend Danny is realising a long-held ambition here, to present some of his tough blues music with an expanded musical lineup. The Bryant voice and guitar can take it, many years of road work have given him the presence and live reputation to pull the project off. Bryant feels that the right mix is some blues classic tunes plus arrangements of his own material and says he is “thrilled with the result”.

Besides Danny then we have keys, rhythm guitar, a four-piece horn section plus bassist and drummer. Shows in Germany and Holland served as the recording venues and the tracks cover two discs. Unless stated in this review, the compositions are by Danny Bryant.

Temperature Rising kicks off with power and gnarled guitar riffing, horns and Hammond chording, Bryant sings with his customary passion for what he is doing. Just Won’t Burn has a cool piano intro, taking its time before the drums herald the sharp Fret-King guitar crying with a touch of delay. It’s a quality song, aching with pain, Danny’s forte it must be said, notwithstanding his ebullient demeanour off stage.

Prisoner Of The Blues ups the tempo to a fast chug and this is where the grainy horns really come to life; Holding All The Cards evokes mentor Walter Trout with its hard beat and foot-tapping tempo. Early Cray elements in the vocal phrasing perhaps ? Greenwood 31 is a song I recall Danny telling me linked to his meeting Hubert Sumlin, guitarist for The Wolf among others. He was an inspiration for Danny and me, for that matter. It has a Chess style thump to it, taken South. Groaning The Blues was written by Willie Dixon and recorded by Otis Rush and the guitar is fiery enough here, for sure! Blood Money is of course an album title cut and funks its way along with some great horn figures and riffs.

On The Rocks starts the second of the discs and is a Texas bouncing shuffle, the kind Danny handles well as he digs into his Albert Collins lick larder. Maybe the most addictive track on this set. As The Years Go Passing By (P Harris) is the song that – speeded up – inspired Layla. You know it from Albert King, most likely and it retains its haunting quality. Take Me Higher has chunky horn riffing a-plenty and was presumably what Bryant had in his head as the project evolved. Unchained has a moody Ray Charles tinge to it, curiously the singing reminds me of Bobby Tench, star of some early Jeff Beck Group tracks. No bad thing.

Painkiller features acoustic guitar and builds from that. The piano is a lovely touch and Bryant sings with a sustained intent. Closer cut Stop Breaking Down of course goes right back to the 1930s and Robert Johnson, a gritty finale.

Not only a successful venture, but quite a handy introduction to Bryant’s work and musical impact. The crowds on these recordings sound uplifted.

Pete Sargeant

(Thanks Chris H and good luck Danny)