1 	I Shall Not Be Moved 	2:20
2 	Higher Love 	5:53
3 	Blues For George Floyd 	3:40
4 	You Don't Know What Love Is 	4:31
5 	Blues For Lucky Peterson 	10:19
6 	Big Town Playboy 	4:02
7 	Albert's Stomp 	4:42
8 	In The Dark 	6:11
9 	All Your Love 	8:12
10 	Lord Protect My Child 	6:11
11 	Mess Around 	3:42
12 	Talking To Mr. Bromberg 	3:27
13 	Black Lives Matter 	6:22
14 	Blues For J 	6:00
15 	Navajo Blues 	3:12

Ronnie Earl - Arranger, Composer, Guitar, Primary Artist, Producer 
Diane Blue - Vocals 
Paul Kochanski - Bass
Dave Limina - Hammond B3, Piano 
Forrest Padgett - Drums
Peter Ward - Guitar

Rise Up is Ronnie Earle's 27th album and his 13th for Canada's venerable Stony Plain label. The blues master's playing style has long been celebrated for its iconic tone and deep well of emotion. None of that changes here, but this set is topically contemporary, a reaction to the history-making year 2020. Earl offers tributes to the recently lost, and solace for those continuing to struggle on the front lines for racial and economic justice. Comprised of originals and covers, most of the album's 15 tracks were cut in Earl's living room studio while he recovered from back surgery; the recording was finished on March 3, 2020. The remainder are live tunes from an earlier performance at Daryl Hall's House Club.

The set opens with a solo acoustic, instrumental read of "I Shall Not Be Moved." Closely associated with the Civil Rights Movement, the song's roots lie deep in the Delta blues (Charlie Patton cut it in 1929). The Broadcasters -- keyboardist Dave Limina, vocalist Diane Blue, bassist Paul Kochanski, and drummer Forrest Padgett -- enter on original "Higher Love." Blue sings about the rarest form of love, agape, its only concern being the good of the beloved. Simmering Hammond B-3 and a swinging drum shuffle frame Earl's stinging tone, underscoring the emotion in Blue's lyric. "Blues for George Floyd" reacts to the brutal street killing of the unarmed citizen by a policeman in 2020, which sparked explosive international protests that continued as the album was released. It's a searing instrumental. Earl wrangles his Stratocaster in pain, anger, frustration, and grief, all while trying to find a way forward. A soulful, humid read of Fenton Robinson's "You Don’t Know What Love Is," cut live, showcases Blue's finest vocal performance here. Instrumental "Blues for Lucky Peterson" is a muscular and fitting tribute to the deceased bluesman who was Earl's close friend. Blue shines in a sultry, steamy read of Lillian Green's "In the Dark." She dialogues intensely with Earl's guitar line by line with simmering intensity. Bob Dylan's "Lord Protect My Child" is offered as a stirring gospel-blues, with hovering B-3 atop Earl's restrained, resonant fills; Blue thoroughly commits herself to and inhabits the loving, prayerful lyric. "Black Lives Matter" is a mournful slow blues with Limina on piano. Blue wails for the lost before Earl interjects with a talking blues, entwining it all with a resolve for justice. After a swinging version of Jimmy Smith's "Blues for J," the set concludes with "Navajo Blues," a moody, revealing instrumental, addressing the U.S. government's genocide of indigenous peoples. The twin aspects of Rise Up might prove initially jarring, as poignant, mournful, and angry blues sit side by side with buoyant roadhouse rockers. But that's Earl's purpose -- as the son of two Holocaust survivors, he aims to provide empathy, awareness, and healing while unflinchingly addressing injustice and human suffering. You can't ask for more from a blues record. ---Thom Jurek

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1.Ain’t That Loving You 5:38
2.Southside Stomp 4:13
3.Death Don’t Have No Mercy 6:00
4.Jim’s Song 3:00
5.Heartbreak (It’s Hurtin’ Me) 6:43
6.Howlin’ Blues 4:11
7.Never Gonna Break My Faith 5:25
8.Long Lost Conversation 10:15
9.Sweet Miss Vee 4:16
10.Blues for Magic Sam 5:24
11.So Many Roads 10:52
12.You Don’t Know What Love Is 4:04

Ronnie Earl - guitar
Dave Limina – piano and Hammond B3
Diane Blue – vocals
Forrest Padgett – drums
Paul Kochanski – bass
+
Nicholas Tabarias – guitar
Mark Earley – baritone sax
Mario Perrett – tenor sax
Peter Ward – guitar

Stony Plain Records released of the latest CD from multi Blues Music Award-winning guitarist Ronnie Earl and his band, the Broadcasters, The Luckiest Man. Ronnie Earl calls the album, “A traditional blues album of remembrance, love, and unwavering resolve to live with faith and gratitude.” The new disc was recorded at Woolly Mammoth Studios, Waltham, Mass.; Keep the Edge Studio, Quincy, Mass.; and in Groton, Mass. On The Luckiest Man, Ronnie and the Broadcasters, both current as well as some of the earliest members, contribute to the new album, which follows the sudden loss of Jim Mouradian, the band’s beloved bass player following a show in January. Mouradian was also a respected guitar luthier, family man and a gentleman. This musical journey through loss and healing can be felt in the hauntingly beautiful “Death Don’t Have No Mercy,” and in Ronnie’s tender tribute to his brother on “Jim’s Song.” Life moves ever onward in the pulse and beat of “Heartbreak,” and faith takes hold in “Never Gonna Break My Faith.” For the song, “Long Lost Conversation,” Ronnie is reunited with some of the earliest Broadcasters and current members of Sugar Ray and the Bluetones, who were on his first albums in 1983.

They say that you can’t keep a good man down and that inner resolve is both heard and felt within each song on The Luckiest Man, Ronnie Earl’s twenty-fifth album and his eleventh on Stony Plain Records. Since 1983, Ronnie Earl has released a series of traditional blues albums, often interlaced with jazz, gospel and soul offerings; however he has always returned home to his “mother music” which is traditional blues. Ronnie Earl continues to be one of the most emotive blues guitarists today, whose musical voicings deal with loss and healing, gratitude and love, compassion and passion. Indeed, it is those emotional touchstones within his music, which is so beautifully reflected in the swirl of colors expressed in artist Tom Noll’s painting of Ronnie on the cover.

The Luckiest Man confirms Ronnie Earl’s status as one of the most soulful blues/soul/jazz guitarists working today. He is a three-time Blues Music Award winner as “Guitar Player of the Year,” a DownBeat magazine winner for “Blues Album of the Year,” an Associate Professor of Guitar at Berklee College of Music and has taught at the National Guitar summer workshop in Connecticut.

They say that you can’t keep a good man down and that inner resolve is both heard and felt within each song on The Luckiest Man, Ronnie Earl’s twenty-fifth album and his eleventh on Stony Plain Records. Since 1983, Ronnie Earl has released a series of traditional blues albums, often interlaced with jazz, gospel and soul offerings; however he has always returned home to his “mother music” which is traditional blues. Ronnie Earl continues to be one of the most emotive blues guitarists today, whose musical voicings deal with loss and healing, gratitude and love, compassion and passion. Indeed, it is those emotional touchstones within his music, which is so beautifully reflected in the swirl of colors expressed in artist Tom Noll’s painting of Ronnie on the cover.

The Luckiest Man confirms Ronnie Earl’s status as one of the most soulful blues/soul/jazz guitarists working today. He is a three-time Blues Music Award winner as “Guitar Player of the Year,” a DownBeat magazine winner for “Blues Album of the Year,” an Associate Professor of Guitar at Berklee College of Music and has taught at the National Guitar summer workshop in Connecticut. --- bluesmagazine.nl

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01 – The Big Train
02 – Blues for Celie
03 – Miracle
04 – Heart of Glass
05 – Rush Hour
06 – Vernice’s Boogie
07 – Blues for Hubert Sumlin
08 – Equinox
09 – Ain’t Nobody’s Business
10 – Robert Nighthawk Stomp
11 – Jukein’
12 – I’d Rather Go Blind
13 – Pastorale

Personnel:
Ronnie Earl (guitar); 
Dave Limina (piano, Hammond b-3 organ);
Lorne Entress (drums).

The Blues were once the well- spring of popular music, but it’s a long time since they ruled the world – though its spirit, and occasionally its form, still lives on. Ronnie Earl and his longtime band are among those who still carry the flame. A big admirer of guitar legend Otis Rush, Earl was a relatively late convert to the guitar. But the New Yorker immersed himself in blues culture and earned numerous awards for his cultured playing. This mainly instrumental live album comes in Earl’s 60th year and is a spirited celebration of both him and the genre. It helps that his band are no slouches: Dave Limina on Hammond and piano is a lively contrast to Earl’s tasteful playing, especially on The Big Train and Vernice’s Boogie. One for blues veterans of a certain vintage. -- irishtimes.com

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01.Ronnie Johnnie   (2:51)
02.I Smell Trouble   (4:18) 
03.She Winked Her Eye (3:47) 
04.Baby Doll Blues (6:00)
05.Ridin' in the Moonlight  (4:00)               play
06.My Home is a Prison (5:10) 
07.Sick and Tired  (2:26) 
08.I'll Take Care of You (5:10)
09.San Ho Zay  (3:27)
10.You Give Me Nothing But The Blues (2:37) 
11.Follow Your Heart (3:39) 
12.Why Should I Feel So Bad? (5:26)
13.You've Got Me Wrong  (3:08) 
14.Narcolepsy (Mr. Earl Wakes Up Late!) (3:52)
15.Some Day, Some Way (3:24)                     play
16.No More Chances (3:14)
17.Waitin' For My Chance (2:40)

Personnel:
Ronnie Earl - Composer, Guitar, 
Anthony Geraci  - Organ, Piano
James M. Glasscock 	Assistant
Neil Gouvin - Drums
Doug James - Sax (Baritone)
Kaz Kazanoff - Sax (Tenor)
Mark "Kaz" Kazanoff - 	Sax (Tenor)
David Maxwell - Piano
Sugar Ray Norcia - Harmonica, Vocals
Greg Piccolo - Sax (Tenor)
John Rossi - Drums
Michael Ward - Bass
Mudcat Ward - 	Bass
Kim Wilson - Harmonica, Vocals

Guitarist Ronnie Earl was featured from late '79 through the mid-'80s with Roomful of Blues, and commenced recording solo albums while still with Roomful. His second Black Top album, released in 1985, is another horse-doctor's dose of masterful, biting blues guitar and impassioned, no-nonsense performances, with Sugar Ray on vocals. "A gutsy record, with Earl in fine form." --Billboard.

The songs collected here on this compilation "Deep Blues" were recorded February & August 1982 at Brighton, Massachusetts and serve as Ronnie Earls debut session.Originally the tracks were from two early L.P. titles called "Smokin" & "They Call me Mr. Earl" The guitar work is stunning especially on "Baby Doll Blues" ..six minutes of blues guitar in a Magic Sam mode . The vocals are handled wonderfully by Sugar Ray Norcia & Kim Wilson. Added musicians include Dave Maxwell/piano, Greg Piccolo/tenor sax,Kim Wilson/vocals, harmonica. --P.J. Le Faucheur.

This 1988 album actually compiled Ronnie s first two solo albums, 'Smokin' and 'They Call Me Mr. Earl', which were recorded in 1982 and 1984 with a bang-up cast including Roomful of Blues vocalist/harpist 'Sugar Ray' Norcia and Fabulous Thunderbirds vocalist/harpist Kim Wilson! 17 tracks of early Earl!

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1. Hey Jose (5:12) 
2. Blues for Otis Rush  (8:29) 
3. Little Johnny Lee (6:33) 
4. Wolf Dance   (6:23) 
5. Mary Don't You Weep  (6:46) 
6. Howlin’ for My Darlin’ (7:44) 
7. Blues for the Homeless (11:21) 
8. Big Walter  (5:35) 
9. Alone With the Blues (4:24) 
10. Travelin’ Heavy (4:49) 
11. Donna (7:23)  

Personnel: 
Ronnie Earl, Jose Alvarez (guitar); 
Dave Limina (piano, organ); 
Jimmy Mouradian (bass); 
Lorne Entress (drums); 
Silver Leaf Gospel Singers.

"I make this music in the hopes that I may touch your soul," says Ronnie Earl. "It is not fame that I seek or need." These words explain his low profile and encapsulate the vision of an emotionally driven musician. The statement’s truth rings out in every blistering guitar lick and solo on this predominantly instrumental release. As an authoritative axe slinger, Earl is less concerned with how many notes he plays than with the impact each holds. Like Mike Bloomfield (who he sounds eerily like on "Blues for Otis Rush") his style is lean, hungry, and fiery. Recorded live in the studio, Earl shifts from the traditional gospel of "Mary Don’t You Weep" (with guest vocalists the Silver Leaf Gospel Singers) to a sharp cover of Howlin' Wolf’s "Howlin' for My Darlin'." A mouth-watering unaccompanied showcase appropriately titled "Alone with the Blues" and the Peter Green-styled "Donna," where notes drip like mercury from his fingers, are also highlights. Tough yet expressive and always soulful, this is intensely moving blues from a gifted guitarist whose humility and sincerity are as affecting as his music. ---Hal Horowitz, Editorial Review

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