It must be with mixed emotions that New York-born bass player Bill Troiani reads yet another review that mentions his twelve years association with Detroit’s Eddie Kirkland, both live and on record. It automatically gives him blues credibility, but he has done so much since, so my apologies for this Bill. The other Bill here is Bill Booth, born in Maine, a nicely relaxed singer and guitarist (and multi-instrumentalist) with more of a leaning to Americana than his colleague. Both men now call Norway home; they play regularly on the blues circuit there and across Scandinavia. Though their paths have crossed before, and they have already worked as a duo previously, this is their first time recording together. A very fine set it is too: tight, controlled, focussed blues on a setting that sounds, deceptively perhaps, like a warm, informal, intimate session. To get an idea of the type of sounds here, listen to the latent power of Driving Rain, with its shades of Dire Straits in the vocals and guitar work, though Booth’s fiddle playing adds a different sound (as it does elsewhere). It is followed by the straight blues of Still Might Be Around, which also has a hint of Western Swing. Or lend an ear to their cover of Son House’s Grinning In Your Face, that will convince just about any reader, and if it doesn’t, well, they follow it up with the early John Lee Hooker sound of Didn’t Know What I Had, fantastic. This is a very listenable, individual blues album with a distinctive twist. It shows just how well these guys know their stuff and is well worth your time and money.
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NORMAN DARWEN
Blues Matters Magazine UK
This is an atmospheric album of well worn blues, played with feeling and the familiarity that comes with experience. Nobody showboats or feels the need to put their foot on a monitor and rock out. The whole album smells of understated class, restraint and the warmth of valves, antique instruments and above all integrity. This is a groove heavy grower that gets in your ears and stays there.
Marc Higgins 01/02/21
Dette er en tidløs countryplate, slike som settes i premiehyllen sammen med Lyle Lovett, Bob Dylan, J.J. Cale, Lightnin’ Hopkins, Mississippi Fred McDowell og BR549. Musikk du kommer tilbake til. I gode og onde dager.
De fleste låtene her treffer midt i hjertet og er country/blues du ønsker å ha med deg inn i solnedgangen.
Johnny Andreassen
In this uplifting baker´s doxen of songs, only one extends beyond four minutes. Stepping, up, singing out and moving on gives the album a feel of a blues party to which we´re all invited at The Bills´home sveet downhome.
David Innes (Rock n Reel magazine UK)
There is a delightful smoothness to the album as their voices intertwine over backings, but there is a lot of disguised detail that you can discern with a closer listen.
Til the Blues Have Gone features a dozen original songs, each of which is a showcase for the duo’s own particular slant on deep blues and country swing. The songs maintain a distinctively mature feel throughout, with some fine performances, such as the brooding “Keeping the Blues Alive” and the pop infused “Already Gone”.
Allan Wilkinson
Met Till The Blues Have Gone, zullen The Bills alvast heel wat mensen gelukkig maken. De sobere uitvoeringen zijn vooral een meerwaarde op een plaat waarin muziek en gevoel centraal staan. Een aanrader voor iedere american roots liefhebber.
Mr. Blue Boogie
As you’d imagine, after all these years in the business, they play with an effortless and relaxed ease and, while, it’s rooted in well worn musical and lyrical territory, it slips down like a well matured mellow bourbon.
Mike Davies
‘TIL THE BLUES HAVE GONE is perfect Summer’s Sunday afternoon listening, so laid back it nearly falls over, and when played on a cold and damp November Tuesday or February Friday you will still feel that warm vibe; and that’s always a good thing (NOVEMBER 10, 2020)