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Buddy Flett - Mississippi Sea
Out of the Past LLC

Run Time: 50:57

Buddy Flett is a storyteller. Laboring on as a regional sensation for over 36 years, Flett’s stock rose in the international market last year with the huge success of Kenny Wayne Sheperd’s Ten Days Out: Blues From the Backroads album in which he and Kenny played the AAA-radio success “Honky Tonk.” Thriving on this new found popularity, Flett produced this CD with Steve Howell and what we get is a talking book of musical influence from the South.

Flett throughout the 12 tracks (9 of which are Flett’s own) of this disc blends country & western, country blues, ragtime, blues-rock, and singer-songwriter-like storytelling of how the South was and is for him throughout his life. Kenny Wayne Shepherd makes a guest appearance on the highly touted Flett tune “I Hear Ya Callin’” but for the most part the arrangements are laid bare with just Flett and some minor accompaniment.

The first track “Baby’s Back In Town” blurs the lines between country & western and country blues, showing that indeed a bluesman taught Hank Williams Sr.  and probably Jimmy Rogers how to play guitar and sing songs about everyday people and their troubles. “Done Somebody Wrong” is Flett’s interpretation of another slide guitar giant; Elmore James and he does it with ease without bordering on mimicry. On the aforementioned, “I Hear Ya’ Callin’” Flett’s vocals soar over the top of an acoustic-fied Kenny Wayne Shepherd solo. Flett’s love for Texas-style blues is demonstrated perfectly on the lone acoustic reworking of Freddie King’s “Hideaway.” The autobiographical album title track and “Mama’s Kitchen” are obvious very intimate personal looks into Flett’s own life and don’t sound dull or too “folky” not to please a blues crowd. The acoustic blues-rock of “Run To the Levee” is a personal favorite and shows that when blues-rock is done right, it can make even a die-hard traditionalist perk up their ears and enjoy themselves. Flett also rollicks through Leadbelly’s “Linin’ Track” and doesn’t give the over-produced feel that Aerosmith’s reworking “Hangman’s Jury” gave to the song, but instead traces back to the roots of the song and arranges it from there. Flett doesn’t try to be something he’s not or stray from his roots, either.

Flett’s continued touring and working with Shepherd along with the strong songwriting and musicianship that goes along with playing anything for 36 years has paid off for Flett and as the comfort level and confidence displayed here, he doesn’t make it sound like its success that’s come too late.

Visit Buddy Flett on MySpace or visit him at Steve Howell’s website at:  The CD is available from major music outlets.

Reviewer Ben Cox is a Blues Songwriter, Musician, DJ and Journalist.

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