Larry's delicate and tasty riffs as sideman for touring Blues greats such as Byther Smith, Tad Robinson and James Armstrong puts him in an elite category.

Bill Speer, who is featured on vocals and keyboards, amply demonstrates his wizardry on the 88s, but it's his gravelly singing style that cranks up the attention meter on all the 13 original cuts on "Got Me Crazy". The Blues revival has introduced a slew of boogie n' blues pianists to the discerning public's attention: cats like Dave Maxwell, John Cleary, Barrelhouse Chuck, Al Copely and Fred Kaplan. There is no hesitation in placing Mr. Speer in the same rarified atmosphere. The Blues is really just a metaphor for the human condition, a need to let it all hang out, and simply tell it like it is. "Lost and Found Blues" is uncompromisingly honest in its tale about trying to forget-with a wee bit of help from the wine and whiskey, still, those pervasive memories keep penetrating that alcoholic haze. Yes, I realize it's been done a thousand times before, but the key to success is making it seem like nobody's ever suffered as miserably as you have. Bill's demons sound like they've tied him up in a thousand knots. "Say A Prayer" is a driving, horn heavy soul-shaker, semi-autobiographical in its recounting those important lessons all mothers have imparted to their offspring-especially saying thanks at bedtime. Horns are prominently featured on this and every track, so kudos are proffered to these guests for their rousing work throughout: Jan "Rocky" Verweel (trumpet) and Simon Wallis (saxophones). Alec Fraser's Liquid Studios, the venue of choice for all Toronto-area musicians lately, keeps it all sounding down home and immediate. Any musician who's ever been mistreated by a club owner (or sound man for that matter) has to identify with the aggravations enumerated in the lyrics of "All We Get", a super funky offering with a grinding pulverizing beat to it. The title track charges your way like a locomotive hurtling off the tracks, a deal about how some hot little number can reduce a fella to wobbling around like a bowl of spaghetti-while frying his brain in the process. The madness of it all touches Larry, drawing him to dig deep down for some scorching Chicago-style licks. "Enough For Everyone" neatly encapsulates all the strengths of this formidable quartet in a nutshell. It features memorable lyrics, a commanding sax solo by Wallis, some uplifting ivory-tickling by Speer, solid rhythmic work from drummer Mike Fitzpatrick and bass player Bill Lyons, plus sparse but transfixing guitar lines from Goodhand's deft right hand, the real lynchpin behind so much of "Got Me Crazy". "Past Midnight" also succeeds on many levels, while "Road Kill" is a rousing finale that'll leave you craving for more. It's surfeit layers of ideas, all honed from many years of experience, and each spontaneously complimenting each other, that transforms "Got Me Crazy" into such a winning combination. REAL BLUES is not on any obligatory, patriotic mission in promoting homebrews like The Livin' Blues Band. You can straddle all four corners of the globe, and the simple fact remains, that these guys are the honest-to-goodness REAL LIVIN' DEAL. They're not second fiddles to anybody around the world. - by Gary Tate/LivinBlues