"Recorded at the Zebra Ranch Recording Studio in Coldwater, Mississippi, the 11 blues-drenched tracks on New Moon Jelly Roll Freedom Rockers Vol. 2 give fans even more bang for their buck than the first volume’s 10 tracks of sublime roots music. New Moon Jelly Roll Freedom Rockers Volume 1, released in September of 2020, was greeted with universal acclaim and became a Top 20 Billboard and Top 10 Living Blues chart album. This album crosses the generations of new Blues-Rockers and Classic Blues Statesmen. It is a testament to the great experience and talent of these esteemed performers that they could casually conjure a recording of this quality out of the ether in a casual jam session — sounding as if you are right there in the room with them with between-song banter and commentary, the classic structures of the Blues, being pulled together and teased apart by some of the most award-decorated members of the Blues Elite." (American Blues Scene)
"The result is 10 tracks of glorious blues-roots-Americana, played with tangible joy and gleeful abandon. Musselwhite contributes two of his own songs (the magnificent “Strange Land” – originally released on Musselwhite’s debut album in 1967 – may be the high point of the album) as well as contributing his ageless voice to the Memphis Jug Band’s classic “K.C. Moan”. Elsewhere, the Rockers delight in re-imagining the likes of Charlie Patton (“Pony Blues”) and traditional fare such as “Shake It And Break It” and “Come On Down To My House”. Even the more well-known covers (Wilbert Harrison’s “Let’s Work Together” and Jimi Hendrix’s “Stone Free”) are given a new lease of life, sounding somehow new and different even though they actually remain relatively faithful to the originals." (BluesBlast Magazine)
"Country is de muziek van het uitgestrekte Noord-Amerikaanse platteland. De melodieën zijn simpel en de thematiek van de songs komt overeen met de blues en ons eigen levenslied. Liedjes over liefde en bedrog, vreugde en verdriet, plezier en pijn. De basis van de muziek ligt in Britse volksliedjes die door de blanke pioniers werden gespeeld op gitaar, viool, wasbord en de banjo. De eerste grote country-artiest was Jimmie Rodgers, die in de jaren dertig furore maakte. Twintig jaar later was de tragische Hank Williams de belichaming van countrymuziek. Nog altijd klinkt de snik van Hank door in de stem van menig country-artiest. Het heiligdom van de country is het Grand Ole Opry Theater in Nashville. Bekende substijlen zijn honky tonk (elektrisch), Western swing (jazzy), countrypolitan (gladde countrypop uit Nashville), outlaw country (stoere mannen als Willie Nelson en Johnny Cash) en countryrock." (Muziekweb.nl)
“Little Willie Farmer is living proof that Mississippi continues to produce deep blues. The guitarist is neither a soul modernist nor revivalist, but simply a small town auto mechanic. He first took up the acoustic guitar in his early teens, and through picking cotton soon saved up enough money to buy an electric instrument. He played for audiences at home and at school events, and learned about blues and R&B mostly through listening to a powerful station out of Nashville. For about fifteen years Farmer worked regularly with local semi-professional gospel groups. Farmer eventually decided he wanted to get back into blues actively. He initially didn’t want to deal with the trouble of keeping together a band, and began playing solo gigs. "The Man From the Hill" marks the first time that he’s spent serious time in the studio. For the past thirty years Farmer has run his own auto repair shop, and hopes that the release of this record and associated touring will allow him to retire.” (Big Legal Mess Records)
“Throughout the prolific career of Sonny Terry and Brownie McGhee, the most beloved performing association in blues history, many fans felt that Terry too often took a backseat to his partner. On this album, Terry got a chance to really strut his delightful whooping and hollering stuff. It’s still a Terry and McGhee date, but it’s Sticks McGhee on guitar in place of his older brother. J.C. Burris, Terry’s nephew, also played on the session and their lively twin harmonica romps are among its highlights. With J. C. Burris, Sticks McGhee, Belton Evans” (Concord.com)
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