Press & Reviews

Living Blues Review by Matt R. Lohr

The liner notes of For the Feral Heart, Mick Kolassa’s 13th solo album, promise the listener “NOTHING BUT LOVE SONGS.” But given the Memphis-based vocalist/guitarist’s status as a relatively recent widower, it is no surprise that this music packs its deepest impact when exploring passions deferred and romance in defeat.

Kolassa’s vocals, confiding and cautionary, coast along TJ Bonta’s throbbing organ and Carl Casperson’s brooding bass on Elegant Angel, and the ’70s-flavored Love Ain’t Supposed to Make You Cry features a spiky Mario Monterosso guitar solo that seems to mock Kolassa’s pain and punishment. Andrew McNeill’s snappy snare drum and Bill Ruffino’s insistent walking bass give Easy to Love a tone interestingly muted, braced for attack. This sardonic sensibility extends into Kolassa’s take on Dave Mason’s Feeling Alright, his brawling guitar and Tullie Brae’s gently threatening backing vocals injecting serious grit into a tune most familiar from its far sprightlier Joe Cocker rendition.

Sweet begins to overtake the bitter as the album eases into its more stylistically diverse back half. A breeze of New Orleans suffuses I Keep Looking, with a spring in the step of Rick Steff’s piano and a jaunty Dr. John looseness to Kolassa’s phrasing. A clever, well-handled romance-tailored-to-fit metaphor and plush acoustic guitar tones make Love in My Size a
genuine heart warmer. There’s even a surprising splash of Caribbean atmosphere, with Hold On threading McNeill’s steel drums through Kolassa’s gentle Jamaican inflections, and Steff’s organ conjuring reggae rhythms on the sun-kissed Forever Sometimes.

The nostalgic violin of Alice Hasen brings a country-folk feel to I Left My Heart in Birmingham; here, and throughout the recording, guitarist and longtime Kolassa collaborator Jeff Jensen’s pristine production enhances Kolassa’s every lovely vocal crack and crinkle. Hasen also lends her skills to the straightforward balladry of Run Away with Me, adding to the wistful comfort imparted by Kolassa’s effortlessly sincere lyrics and delivery.

For the Feral Heart is nicely bookended by a pair of radically contrasting cuts. The bustling wickedness of pure-blues curtainraiser Running to You leads listeners down a twisting, colorful musical road to a closing cover of legendary chestnut As Time Goes By, given a solid, fresh-feeling pace by drummer Tom Leonardo. At the end of the day, Kolassa’s album feels a lot like love itself: seldom predictable, alternately inviting affection and threatening tears . . . but when it’s at its best, ultimately well worth the time. ~ Living Blues, Matt R. Lohr, March 2023

Keys & Chords Review by Philip Verhaege

TRANSLATION: Mick Kolassa is a busy bee. The long player ‘For The Feral Heart’ is already the successor to ‘They Call Me Uncle Mick!, which was released in the summer of 2022. It is his third album that will be released this year and every album has been given a theme. Now these are apparent love songs, but fortunately there is more than just love songs musically. Mick opens with the blues rocker ‘Running To You’, to continue his way with the jazzy ‘Elegant Angel’. The track ‘Feeling Alright’ with Dave Mason’s credits is a wonderful guitar duel between Mick and Jeff Jensen. Guitarist Mario Monterosso comes into the spotlight in ‘Love Ain’t Supposed To Make You Cry’, it’s almost a trademark song for Kolassa. The jazzy and blues song ‘Easy To Love’ is alternated by the acoustic ‘I Keep Looking’. The ballad ‘I Left My Heart In Birmingham’ is about a ‘long-distance’ affair ‘Love In My Size’ and that contrasts with the reggae tinged ‘Forever Sometimes’ and ‘Hold On’, with its distinctive syncopated calypso groove. Alice Hasen’s violin arrangements magically color the roots related ‘Run Away With Me’. Herman Hupfeld’s old standard ‘As Time Goes By’ is the ideal bouncer.

Michigan native Mick Kolassa has lived in Clarksdale, Mississippi for over twenty-five years. He is therefore no stranger to the local blues scene in and around Memphis and was a former member of the Board of Directors of The Blues Foundation. After years of songwriting, Mick Kolassa decided to record his debut album and embraced his friend Jeff Jensen as producer. In 2014 this resulted in the success story ‘Michissippi Mick’. All net proceeds were donated to The Blues Foundation. So Kolassa has its heart in the right place. ~ Keys and Chords

Blues Bytes

Mick Kolassa is a most prolific musician and manages to make all of his albums compelling listening, venturing into different genres at times, but remaining firmly rooted in the blues. His latest release, For The Feral Heart (Endless Blues Records), is his third album from 2022 and consists of nothing but love songs, ten originals from Kolassa and two interesting covers.

Kolassa is backed by the usual cast of characters, including guitarist/producer Jeff Jensen, keyboardist Rick Steff, bassist Bill Ruffino, drummer Tom Leonardo, among others.

The opener, “Running To You,” is a lively blues rocker, followed by “Elegant Angel,” a jazzy blues and one of two tracks featuring Memphis guitarist Mario Monterosso. The album’s first cover is Dave Mason’s “Feeling Alright,” and Kolassa gives this track a somewhat slower pace than usual, bringing out the often-overlooked lyrics (addressing divorce).

“Love Ain’t Supposed To Make You Cry” is a slow burning blues featuring Monterosso on guitar once again, and “Easy To Love” is a smoky urban blues. “I Keep Looking” is a gentle, mostly acoustic tune.

“I Left My Heart In Birmingham” is a rootsy ballad about the complications involved with a long-distance love affair, featuring Alice Hasen on violin, “Love In My Size,” a song about an unlikely love affair, continuing in the same musical vein.

“Forever Sometimes” and “Hold On” touch on reggae and calypso respectively, and “Run Away With Me” is a bittersweet song about our wishes that sometimes go unfulfilled. Hasen’s violin is a wonderful complement to the poignant lyrics.

Kolassa wraps up the album with his take on one of the greatest love songs ever, “As Time Goes By,” from Casablanca.

As with all of Mick Kolassa’s albums, all net proceeds from For The Feral Heart will go the Blues Foundation, split between the HART Fund and Generation Blues. This is a fine album of warmth and compassion that goes down smoothly.The latest in a set of great albums from Mr. Kolassa. ~ Graham Clarke, Blues Bytes

Michael Doherty’s Music Log

Mick Kolassa’s pace is certainly not slowing. In August, he released an excellent album titled They Call Me Uncle Mick! and followed that just a few months later with For The Feral Heart. And this latest release contains mostly original material. As the title and the album’s cover suggest, the tracks on this album deal with love. And is there anything more important? I think the pandemic has made most people take a new look at their priorities, and, big surprise, Love has once again come out on top. Mick Kolassa, in addition to the vocals, plays acoustic guitar and electric guitar on this album. Joining him on this release are Jeff Jensen on guitar, Bill Ruffino on bass, Rick Steff on keyboards, Tom Leonardo on drums, and Andrew McNeil on drums, along with some guests on certain tracks. By the way, all net proceeds from sales of this album go to The Blues Foundation, and specifically to the HART (Handy Artists Relief Trust) Fund and Generation Blues. MORE->

Blues Blast

One of the busiest artists on the blues scene today, Memphis-based Mick Kolassa poured on the heat with the electrified I’m Just Getting Started last summer but returns to his acoustic roots in style with this follow-up, mixing six clever originals with five covers culled from other fields.

A Michigan native who’s released about a dozen CDs since walking away from his day job a decade ago, Kolassa’s definitely deserving of the Uncle Mick reference he uses in the title. Despite the seeming frown displayed on the cover, there’s plenty to smile about thanks to his warm voice, friendly delivery and skill as picker on the six-string.

Three of the biggest names in the industry – Bobby Rush, Doug MacLeod and Watermelon Slim – all make guest appearances here in a set captured by Pete Matthews and Toby Vest at High Low Recording in Memphis. Gospel and blues giant Dexter Allen provided extra help in the studio, and – as usual – Mick called on blues-rock powerhouse Jeff Jensen to serve as his co-producer.

Delivering what he terms “free-range blues,” Kolassa’s backed throughout by Jensen on guitar and percussion, Rick Steff on piano, Tom Leonardo on drums and Carl Caspersen on bass. Rush, Slim and Eric Hughes all contribute harmonica, Chris Gill and Brad Webb sit in on six-string and Alice Hasan (violin) and John Whittemore (vibraphone) lend a hand, too.

All of Mick’s originals are clever, down-to-earth and frequently humorous, and they dovetail perfectly with a cross-section of tunes that span the 20th century, beginning with a rendition of Bo Carter’s “My Pencil Won’t Write No More.” There’s a twinkle in his eye and a smile in his voice throughout the hokum classic. His work on the strings is sprightly, and Hughes’ mid-tune solo shines. Eric yields to Bobby on the reeds for the previously released original, “Wasted Youth,” which follows. An unhurried shuffle, it continues the theme of the opener as it states: “Why they gotta waste youth on the young?/They don’t know how good they got it, man, ‘til it’s already gone.”

John Prine’s country-folk pleaser, “Daddy’s Little Pumpkin,” takes on another dimension thanks to a reinterpretation as a percussive blues before MacLeod lays down tasty licks on “Used to Be,” a complaint about the current state of the post office, radio, reimagined restaurant menus and more. Up next, a cover of Hank Williams’ chart-topper, “I’m So Lonesome I Could Cry,” is head-and-shoulders the most interesting song yet, stripping away the classic country feel and replacing it with a bluesy, gypsy feel enhanced by Hasan’s exceptional work on fiddle.

MacLeod’s back on board for “My Woman She’s So Mean,” which describes a lady who’s highly troubling and evil, too. It precedes an uptempo take on Joni Mitchell’s paeon to “Woodstock” on which Kolassa shares the mic with Watermelon Slim who also adds a taste of Louisiana saxophone and “Why?” – and original complaint about a woman who bad-mouths others and seems able to love herself and no one else.

Things brighten instantly for a take of “(On the) Sunny Side of the Street,” the Broadway hit penned by Dorothy Fields and Jimmy McHugh in 1930. Two more originals — “Bless His Heart,” an uptempo tribute to a late friend Bubba, which features Steff, and “The Cheese Song,” a send-up honoring…you guessed it…cheese – bring the action to a close.

One of the most giving musicians in the blues world, Mick’s a former member of the board of the Blues Foundation and – as he’s done frequently in the past – he’s donating all of the net proceeds to two of its charities: the HART Fund, which provides support for musicians dealing with financial and/or health problems, and Generation Blues, a program that supports youngsters who’ll continue the music for future generations. Do yourself a favor by picking up this one. You’ll be doing a good deed, too! ~ Marty Gunther, Blues Blast

Hot Wax Album Review by the Rock Doctor

Mick Kolassa is one busy dude. I just reviewed his I’m Just Getting Started last month, and he’s already back with another one- must’ve recorded them at the same time.  They Call Me Uncle Mick is a return to Kolassa’s acoustic roots, with no amplified instruments used on any of the tracks- just Mick and his guys having a whole pile of fun.

As with his other records, The Call Me Uncle Mick is a likeable blend of originals and some very interesting covers.  Kolassa has made quite a hobby of uncovering songs that fit well into a blues form. He did it with The Beatles’ Help on his Blind Lemon Sessions disc, and he does it here with a startling version of Hank Williams’ I’m So Lonesome I Could Cry that might actually make you cry.  Other covers here include Joni Mitchell’s Woodstock (with a guest appearance by Watermelon Slim), John Prine’s Daddy’s Little Pumpkin, the old standard Sunny Side of The Street and Bo Carter’s 1931 gem My Pencil Won’t Write No More, which kicks off the album in fine style. At the other end he closes with a bit of fun called The Cheese Song.

As a singer Mick reminds me somewhat of Dr. John and the band as a whole swings with a natural ease, making TCMUM a blast to listen to.  With his producing partner Jeff Jensen Kolassa has assembled another true Free Range Blues Experience.  In a lot of ways it’s the opposite of the Orphan Jon album just reviewed but it’s just as valid a blues experience.  Wasted Youth is a remake of one of his own tunes and includes the legendary Bobby Rush on harmonica.  One of the best original songs on the album is the original My Woman She’s So Mean which will have some people saying “I think I know her” and others thinking “I used to live with her.”

The final word on They Call Me Uncle Mick is it’s a relaxed, jaunty and fun blues listening experience and, like his other albums, well produced to boot.  It sounds like everyone had a blast playing these songs, and you’ll find that as you listen some of that spirit will rub off on you too.  And as with his other albums, 100% of the net proceeds go to The Blues Foundation.   I’ll be playing this in the car on my way to work tomorrow, and I’ll walk in the door with a smile on my face because of it… you can’t beat that. ~ John Kereiff, The Rock Doctor

Le Zicazine

Mick Kolassa is undoubtedly one of the most prolific artists on the contemporary blues scene and only a few weeks after presenting his new electric album, “I’m Just Getting Started! », it is an entirely acoustic effort that he reveals this time with « They Call Me Uncle Mick », a disc for which he has once again brought together the gratin of Deep South musicians! Determined to do without any amplified instrument, the singer and guitarist invited his faithful accomplice Jeff Jensen on guitars and percussion, but also Rick Steff on piano, Carl Caspersen on bass, Tom Leonardo on drums, Eric Hughes on harmonicas and Alica Hasan on violin, also offering the presence of guests like Doug McLeod on guitars, Watermelon Slim on vocals and on harmonicas, Chris Gill and Brad Webb on slide, John Whittemore on vibraphone and, last but not least, Bobby Rush who places his harmonica on an acoustic re-reading of “Wasted Youth”, the tittle track of the album that Mick Kolassa came out a year ago. Elegant in his compositions, very precise in his covers, this bluesman with a very vast culture will offer us a great tour of the works of Bo Carter with “My Pencil Won’t Write No More”, John Prine with “Daddy’s Little Pumpkin “, Hank Williams with “I’m So Lonesome I Could Cry” or Joni Mitchell with “Woodstock”, but also a breathtaking version of the standard “Sunny Side Of The Street” and of course original pieces like “Used To Be” , “My Woman She’s So Mean”, “Why? » and « The Cheese Song », a piece in which he makes tribute to cheeses of all kinds. Totally devoted to the cause of a blues that he has anchored in the depths of his heart and soul, Mick Kolassa sings and plays with constant spontaneity but more than just an artist, he is also a human of incredible kindness and infinite generosity that we can meet on a daily basis in Memphis, whether in a concert hall where he goes to applaud his peers or in a club where he officiates as a judge during the ‘International Blues Challenge. And as for each of his albums, all profits from the sale of “They Call Me Uncle Mick” will be donated to the Blues Foundation to supply the funds intended for the health of musicians and the training of young people. Another reason to get two copies, including one to offer for example! (translated from French!) ~ ZiCaZic.com

La Hora del Blues

TRANSLATION: Mick Kolassa is a very prolific musician who always surprises the audience with new and interesting works. On this occasion and after his previous album in electric format, Mick returns once again to acoustic blues in an album produced once again by Jeff Jensen where all the instruments are not amplified and in which he offers us a repertoire of eleven songs, six of them own compositions and the rest from artists such as Bo Carter, Johnny Prine, Joni Mitchell or McHugh & Fields.

Kolassa’s suggestive voice and guitar find the magnificent support of an excellent group of artists, all of them stubborn connoisseurs of the secrets of acoustic blues, such as Jeff Jensen on guitar and percussion, Brad Webb and Chris Gill on slide, Eric Hughes, Bobby Rush and Watermelon Slim on harmonica (the latter also on vocals), Doug McLeod on guitar, Rick Steff on piano, Alice Hasan on violin, Carl Caspersen on bass, Tom Leonardo on drums and John Whittemore on vibraphone .

The result is a relaxed album where acoustic blues takes over the approximately fifty minutes of elegant and well-developed music and in which Kolassa’s sometimes harsh but always suggestive and well-tuned voice reels off incredible stories including in each and every one of the songs on the album. Good ‘unplugged’ blues by a more than remarkable ‘storyteller’ named Mike Kolassa. ~ La Hora del Blues

Michael Doherty’s Music Log

Blues man Mick Kolassa has certainly kept busy, releasing three albums in the last eleven months. The latest, They Call Me Uncle Mick!, contains a combination of original material and good choices of covers. The music here is acoustic blues. As is mentioned in the album’s liner notes, “No amplified instruments were used on any track, making this album purely acoustic.” Oh yes, acoustic and so damn good! Some talented musicians join him on this album, including three harmonica greats – Eric Hughes, Watermelon Slim and Bobby Rush. Jeff Jensen is on guitar and percussion, Tom Leonardo is on drums, Carl Caspersen is on bass, Rick Steff is on piano, and Alice Hasan is on violin. There are some other guests on various tracks. ~ MORE >>

Downbeat

Unheralded bluesman Mick Kolassa, who lived for three decades in Mississippi before relocating to Memphis, makes good albums on a regular basis. His first Xmas one is better than good; it has the stuff to become a minor classic. Inventive makeovers of the usual Xmas picks and some strong original songs show the value of Kolassa’s slow-and-easy approach to singing lyrics. His weathered, imprecise voice aches with true-blue experience, even when he keeps a strong upper lip. The performance with its sharpest edge of emotion is his bittersweet tune “The Best Christmas Ever.”

Jazz & Blues

Mick Kolassa has been rather prolific in producing blues recordings. His latest is a recording of Holiday favorites with a few originals. Once again, he has collaborated with guitarist Jeff Jensen for this recording. Mick brings his vocals and guitar along with that of Jensen. Others on this session are Bill Ruffino on bass, Rick Staff on keyboards, and James Cunningham on drums. Selected tracks include Eric Hughes on harmonica and Marc Franklin on trumpet, while Reba Russell and Susan Marshall add backing vocals.

Kolassa is a pleasant vocalist enough, but in the context of the songs here, he invests his grainy vocals with considerable charm, as implied by the album title referring to Uncle Mick. The performances are handsomely rendered, with Jensen contributing some first-rate guitar, with others adding memorable solos. One doesn’t expect to hear a bluesy cover of Mariah Carey’s “All I Want For Christmas Is You.” Then, Kolassa delights before a Caribbean-tinged rendition of “Frosty the Snowman,” whose highlights include Franklin’s trumpet solo and Hughes’ harmonica embellishments. With a lazy-sounding backing, Kotassa sings about his love being there, making it “The Best Christmas Ever.”

Kotassa’s laid-back vocal provides just the right mood for a cover of “Merry Christmas Baby.” Jensen is especially outstanding here. “Jingle Bells” sounds like a new song with Jensen’s trebly guitar and a lazy funk groove followed by the light musical setting for “Winter Wonderland.” Franklin’s trumpet adds atmosphere to the genial delivery of “Have Yourself a Merry Little Christmas.” At the same time, Kotassa sings more forcefully on “Christmas Morning Blues,” where his love has gone, taken the presents he bought for her, but she bought him none. It is a vibrant Chicago blues shuffle with Hughes adding a harp solo.

The closing track is “Beale Street Christmas Jam,” with all the band members fitting a classic Christmas song into this instrumental shuffle. It is a spirited close to a toe-tapping collection of bluesy Christmas songs sure to warm the Holiday spirits Ron Weinstock – Issue 399

Blues Bytes

When Mick Kolassa recorded Uncle Mick’s Christmas Album (Endless Blues Records) in Memphis, the temperature hovered around 95˚. If you live in the south and you plan to release a Christmas album, you are going to be recording it in less than frigid conditions. That’s perfectly fine in this case, because this may be one of the coolest Christmas albums you’ve heard in a while. Kolassa and company (Jeff Jensen – guitar, Bill Ruffino – bass, Rick Steff – keys, James Cunningham – drums, Eric Hughes – harmonica, Mark Franklin – trumpet, and Reba Russell and Susan Marshall – backing vocals) give this album a greasy, soulful yuletide feel. There are a lot of familiar tunes present, but unlike you’ve ever heard them before.

Opening with Mariah Carey’s “All I Want For Christmas Is You,” Kolassa effectively delivers it as a soulful, slow blues tune. Next is a fantastic take on “Frosty the Snowman” that marries Memphis to New Orleans in a way that will have toes tapping and heads bobbing. Kolassa contributes a few original songs among the nine tracks, the first of which is the deliciously funky, slightly spicy “The Best Christmas Ever,” which is followed by a wonderful read of the blues classic “Merry Christmas Baby,” which features some superb guitar work.

Three traditional Christmas tunes follow: ”Jingle Bells,” “Winter Wonderland,” and “Have Yourself a Merry Little Christmas.” While none of these are usually considered to be “blues” tunes, Kolassa puts a very bluesy spin on all three songs. “Jingle Bells” has a old school, almost dangerous rock ‘n’ roll feel, “Winter Wonderland” strikes a loose-limbed, carefree groove, and “Have Yourself a Merry Little Christmas” is a nice, warm R&B track that features Jensen on guitar, Franklin on trumpet, and Steff on a variety of instruments.

The last two tracks are originals. First is Kolassa’s rip-roaring blues rocker “Christmas Morning Blues,” where he wakes up to a house missing his lover, his car, and his Christmas presents. The closer is a lot of fun, an instrumental called “Beale Street Christmas Jam,” where the band members take turns fitting classic Christmas songs into a 12-bar blues shuffle.

Uncle Mick’s Christmas Album has a pretty high spot in my list of Favorite Yuletide Albums. Chances are pretty good that it will occupy a high spot on yours, too. Check it out. ~ Blues Bytes

Bman’s Blues Report

I just had the opportunity to review the most recent release, Uncle Mick’s Christmas Album, by Mick Kolassa, and it’s quite entertaining. Opening with Mariah Carey’s, All I Want For Christmas, and I think its a real solid cover. Never been crazy about pop music and Kolassa’s slow bluesy approach with Jeff Jensen on lead guitar, Bill Ruffino on bass, Rick Steff on keys and James Cunningham on drums gives this track a new, fresher life. Original track, The Best Christmas Ever, is up next with a funky R&B approach. Kolassa on lead vocal and with warm backing vocals by Reba Russell and Susan Marshall over cool piano and organ work by Steff set a nice stage and pinched down guitar soloing by Jensen adds spice. Johnny Moore’s Merry Christmas Baby really gives Jensen a chance to show some real nice riffs both bluesy and jazzy making it one of my favorites on the release. Tom tom laden rhythm gives Jingle Bells and whole new face. Get far enough from the music that you can’t hear the words and I defy you to determine that it’s Jingle Bells. This swampy, Dr Joh like approach is really cool and again, Jensen’s guitar work adds real shine to the apple. Very nice. Wrapping the release is a Jensen/Kolassa original, Beale Street Christmas Jam, a hot shuffle ala Gatemouth Brown style. Jensen always has great riffs, and here he’s complimented by Marc Franklin on trumpet (solo), Cunningham on drums (solo), Ruffino on bass (solo), Eric Hughes on harmonica (solo). This track will get your foot tapping. Excellent closer. ~ Bman’s

Reflections In Blue

It takes quite a bit for a Christmas album to get my attention…and even more for me to honestly like it.  Mick Kolassa has done all that, and more.  Uncle Mick’s Christmas Album is one of those things that I can see myself playing throughout the year.  Memphis Blues through and through, the album offers a fresh take on some holiday classics, and a trio of new tunes that capture the Christmas spirit.  Recorded in the 95-degree heat of a Memphis summer, the album features Mick, with some of the finest musicians Memphis has to offer, doing what they do best.  The result is upbeat, soulful, funky, and absolutely respectful of the genre.  Mariah Carey may strike a killer pose in her Santa suit, but Mick’s rendition of “All I Want For Christmas Is You” is, hands down, the best version of the tune I have heard to date.  That is followed by “Frosty The Snowman” with a bit of New Orleans flair.  Other classics include “Merry Christmas Baby”, “Jingle Bells”, “Winter Wonderland”, and “Have Yourself A Merry Little Christmas”.  The original tunes offer insight into what Christmas is all about.  “The Best Christmas Ever” is a funky and soulful love song, “Christmas Morning Blues” is a reminder that not all Christmases are merry, and “Beale Street Christmas Jam” gives each of the musicians to strut their stuff.  This album is sure to brighten your holiday season.  Merry Christmas to all.  – Bill Wilson

Phil’s Picks

Mick Kolassa’s recently released holiday music collection, Uncle Mick’s Christmas Album is unquestionably one of the top titles in this year’s field of new holiday music records.  That is proven from beginning to end of the nearly 40-minute record through its unique originals and equally enjoyable covers.  Among the most notable of the originals featured in this record is its penultimate entry, ‘Christmas Morning Blues.’  This song is so fun in part because of its musical arrangement.  The musical arrangement is a clear Chicago-based blues sound.  The use of the harmonica and guitar immediately conjures thoughts of the best works of Junior Wells.  At the same time, there is no denying the influence of B.B. King here, especially in the combination of the guitar line, the sound of the drums (thanks to the production) and even Kolassa’s own vocals.  Kolassa’s vocals are so eerily similar to those of King through their tone and delivery style.  This even as the picture of Kolassa on the record’s cover makes him look like a cross between a bluesy Santa and a perfect fit as a member of ZZ Top. ~ MORE >>

BluesNRoots Corner

Normally I don’t like Christmas albums much, but ‘Uncle Mick’s Christmas Album’ will certainly get quite a few spins at the end of the year. An absolute must to get through the Christmas season! MORE>>

Michael Doherty’s Music Log

Sure, the holiday is over and it’s time to take down the decorations. But why not listen to a good holiday blues album while you pull down the tinsel and box up the bulbs? Mick Kolassa has just the thing, Uncle Mick’s Christmas Album, featuring a mix of covers and original material, all with a great Memphis sound. Joining the vocalist and guitarist on this release are Jeff Jensen on guitar, Bill Ruffino on bass, Rick Steff on keyboards, James Cunningham on drums, Eric Hughes on harmonica, and Marc Franklin on trumpet, with Reba Russell and Susan Marshall on backing vocals. The arrangements are by Mick Kolassa and Jeff Jensen. ~ MORE >>

Fotos Blues Rock & More

The band put a Memphis spin on everything. Trust us, this ain’t your daddy’s jingle bells! The album opens with Mick’s take on Mariah Carey’s “All I Want for Christmas is You”. It is delivered in a very Memphis bluesified fashion. Then the band took “Frosty the Snowman” right down Beale Street in a Second Line kind of way. Mick’s original “The Best Christmas Ever” is a fun and funky love song about a very special Christmas present. ~ MORE >>