New Release



Best Blues Vocalist/Male/Modern - Shawn Brown
Best Song/Lyrics - When The Lights Go Out
Best Instrumental/Sax - Blues For Ronnie
Best Southern Blues Release
Best Southern Blues CD/New
Best Blues Vocalist/Male - Shawn Brown

I had the distinct pleasure of seeing Willie Lomax and Shawn Brown at the Tampa Bay Blues Festival this spring and it was one great show. Shawn is back doing keyboard and vocal duties on this cd and all I have to do is close my eyes and I can see them tearing up the stage…Don’t wait to buy this disc; it’ll be a classic before you know it.
WEST MICHIGAN BLUES SOCIETY (Issue 12 / Dec 2003) read entire review

…a modern-day triumph that finds its groove in all things timeless.
THE COMMERCIAL APPEAL (Memphis Newspaper / Jan 31, 2004) read entire review

… a classy effort… opening number, a soul stormer in classic Otis Redding fashion. Next up is a slow-burn item, poised perfectly on the cusp between southern soul and the blues, with intense vocal, droning horns and good arrangement with clever use of backing vocals and some fine guitar!… blends a bit of Otis Rush with a cool sixties r&b vocal… fierce instrumental sparring between Lomax and Eric Gales; there is some lovely, tough Freddy King styled playing…‘When The Lights Go Out’ is again slow and intense and despite lasting almost ten minutes it is a gripping performance, both vocally and musically, reminiscent of Buddy Guy in his prime, but exhibiting a self-discipline and understated approach that Buddy has rarely achieved…. A first rate, all-original, southern – particularly Memphis – flavoured blues album with plenty of soul undertones is the very pleasing outcome.
BLUES & RHYTHM (Issue 184 / November 2003) read entire review

“…the Willie Lomax / Shawn Brown Soul Crusade… “Ribs…” really blew a lot of minds and now that the world has had a chance to digest “Ribs…” we get something equally as magnificent….package of magic and joy is the perfect prescription for 2003/2004…Shawn Brown once again proves to be a formidable gospel-styled vocalist and a great Hammond organist whose vocal gymnastics make virtually every song he sings a standout…Once again Willie Lomax drops another classy/classic production on our laps that stands out amidst the competition…5 bottles for an example of Modern R&B-drenched Blues that once again proves for one and all; “It ain’t dead yet”
REAL BLUES MAGAZINE ( Issue 27 / Oct 2003 )    read entire review

… Shawn Brown gained national recognition on the last album, and he’s even better now: His robust B-3 adds muscle and anchors Lomax’s solos… strident Southern soul with wailing sax… The somber title track, about materialism’s eventual void, recalls James Carr’s deep ballads on Goldwax. Lomax’s shards-of-fire playing is at its best on this Song of the Year candidate….“Blues for Ronnie,” a tribute to Ronnie Earl that opens with Martini’s raucous strip-club sax…. blues album with soul and feeling… Best Blues Money Can Buy accomplishes that goal and more.
BLUES REVUE ( December / January 2004 ) read entire review

Wow! Willie Lomax can wale a blues tune. What a song Best Blues Money Can Buy is. Plus the rest of the album is powerful. Now this is fiery blues with a magnificent feel. With artists like Shawn Brown, Leroy Hodges, Jerry Martini, Walfredo Reyes Jr, Howard Grimes and Eric Gales how can this not be a killer CD? The Willie Lomax Blues Revue has just made a significant contribution to blues music with the release of this album. 5 stars

"an extravaganza of Blues, R&B & Soul of the highest calibre . . . exactly what it says on the box . . . "Best Blues Money Can Buy."
BLUES FREEPRESS (Issue 15/October 2003)

… This is one helluva recording if you like your good time blues with a healthy dose of Memphis soul…. Shawn Brown on vocals and the B-3, who knocked everyone’s socks off at this year’s Tampa Bay Blues Festival. He is all over it ‘like a dog on a porkchop.’… Shawn’s vocals and B-3 will have you running for a box of Kleenex and Willie’s guitar will have you running for a bottle of bourbon…. Willie’s guitar has you on the ropes… Drop some coin on this one because it’s worth every penny.
SUNCOAST BLUES SOCIETY ( November / December 2003 )

…a strong piece of sock-it-to me soul…overall quality makes this one well worth seeking out.
BLUES IN BRITAIN (Issue #23 / Jan 2004) read entire review

…The axe grinder assembled one helluva band for this session, calling on soul greats Leroy Hodges and Howard Grimes (the rhythm section behind the almighty Hi Records sound), six-string virtuoso Eric Gales, and a horn section from hell (Memphians Jim Spake and Scott Thompson, who’ve backed everyone from Ike Turner and Bobby “Blue” Bland to the late great Rufus Thomas, alongside Family Stone alumnus Jerry Martini) to round out his decidedly modern soul-blues sound. Lomax’s secret weapon, fellow Floridian Shawn Brown, fits right in with his church-inspired Hammond B-3 chords and his complex piano riffs. Who knew that you could still write great soul songs in 2003? While diehard fans maintain that Otis Redding closed the book on the subject with his death in ’68, no one has – thankfully – told Lomax, who drops the astounding Stax-influenced title track, Can’t Get Enough, and the searing When the Lights Go Out (inspired, like the album’s closer, Freedom Is Not Free, by the events of September 11, 2001) without seeming to break a sweat…Does the album live up to its title? In a genre that sometimes seems to be filled with poorly produced sessions, second-rate sidemen, guitarists who can’t sing, and white men who lack a shred of soul, Lomax’s latest shines like a brand-new dime. Andria Lisle




Best Production
Best Independently Released Blues CD
Best Blues Vocalist Award - Shawn Brown

“One of 1999’s best releases...literally bursting with incredible listening experience that blows away 95% of the competition on today’s recording scene... hailed as the Hit of ‘99.” - REAL BLUES (Issue 23)

“Blues with Soul. Blues with Power.”- RELIX (Vol.26 No.4)

“...Blues with a dash of soul so Southern fried it sizzles.”
“...A great dirty downhome juke sound, so full of flavour you can smell the ribs...
Optimum Score.” - JUKE BLUES (Issue 44)

“Heartbreaking guitar...Deep Soul of the Highest Order...Shawn Brown’s one of the most exciting young talents to come on the scene in a long time.”
Achieved #16 on the Living Blues Radio Charts - LIVING BLUES (Issue 146)

“Surprise star Shawn Brown’s bright, impassioned tenor handles blues and soul with ease, and his rich organ tones provide a soulful bedrock for Lomax’s clear, focused guitar.” - BLUES REVUE (Issue 49)

“...Lomax plays superb guitar throughout...his leads are effervescent...high spirited delta joy.” - BLUESPRINT (July ‘99)

“...True-blue Blues at its Best.” - ROCK & BLUES NEWS (Aug.-Sept.’99)

“...Sweet, smokey soul...wicked acoustic slide.”- JAM MAGAZINE(Issue 278)

“...Lomax’s lush guitar lines sliding over and a kudzu vine”

“...hard core Blues playing and Soulful singing . . .dynamic Blues . . .swinging organ and wailing harmonica” - CADENCE (Vol.25 No.6)

“Radiates with the feeling of a heated night in Memphis. . .Shawn Brown’s rich, smokey voice interjects soul with a soothing undercurrent of Hammond organ.”



“…Lomax is a talented young guitarist content to remain in the background and sizzle
a la Ronnie Earl, Anson Funderburgh, and Otis Grand…guitar fireworks showcase
elegant dynamics of touch and tone as they move effortlessly from deep-seated slow
blues into jumpin’ swing. Sam Carr’s dominating Delta time separates this from the
hordes of generic new blues in the bins…should put a hefty bite into playlists.”
BLUES REVUE ( Dec/Jan 1997 )

“…With lyrics as timeless as Lomax’s, what’s not to love…Jay Miller would have paid
a bunch of green to this guy to lock him into the Excello studios in the early ‘60s…Let
your hair down baby, it’s time to have some fun.”

“…Lomax plays on the button and keeps to the point while Peterson is a fine chanter
in a rough and ready, unsophisticated style and fits the mood perfectly in a set of totally
original material…all adds up to a crackling performance…has to be a winner.”
BLUES & RHYTHM ( No. 114 )

“…impressive guitar playing…ideally suited to Peterson’s raw and powerful vocals…full
of intimidation and menace while Lomax fires sinewy guitar licks from the churning
grooves. Ronnie Earl adds his considerable talents…riding some smouldering guitar
licks…will appeal to a wide range of blues buyers, especially Chicago fans.”
BLUEPRINT ( September 1996 )

“…a disc which should be in the running for Best Independent Release of The Year for
a number of reasons…playing is vintage 1950s and of a caliber only associated with long-
time blues veterans…quite tasty…This is pure down-home, straight goods blues, delivered
with taste and loads of talent. Very seldom will you find a disc with this much talent on
board and such a selection of strong material…there’s just too much great music for one
disc, something I never thought I’d hear myself saying in this day and age…if all the
independent artists and labels today would take this disc and use it as an example of how
the blues should be played and recorded, it would make every critic’s job a lot more
enjoyable…Sam Carr may be the best drummer on the planet and James Peterson sings
better here than on his own discs…5 big bottles for a recording that sets all kinds of
standards in taste and talent.”
REAL BLUES ( December ‘96/ January ’97 Number 4 )

“…Fine tunes with lots of variety and plenty of soul…really enjoyable…You’re sure to
find something to like.”
BLUES ACCESS ( publisher Cary Wolfson/ Winter ’97 )

“…one of the best blues releases emanating from Florida in a long long time…from
Hooker-styled blues boogie guitar to smooth Chicago blues…ass-kicking blues outfit…
Variety, substance, feel, and a graceful adept knowledge of the vast subtleties of the
blues…a retro-contemporary blues CD as good as any major label release, and one well
worth investing in.”
JAM MAGAZINE ( September 13, 1996 )

“…an all-star cast…excellent harpman Rock Bottom contributes some of his best work…
most will find plenty to enjoy here - nice to note, too, that the lyrics are consistently
BLUES GAZETTE ( Fall 1996 )

REAL BLUES ( February to March ’97 Number 5 )


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