The Scott O’Neal Band

Call Me Mr. Blues

Lightning in a Bottle Records

Scott O’Neal grew up in Ann Arbor, Michigan, where he began his musical journey as a teenager, gaining regional radio airplay in the local band Zachary Thax. After moving to Arizona, O’Neal opened a blues nightclub in Prescott and began his Arizona blues journey, making lifelong friendships with some of the state’s best blues artists. In 2002, the Scott O’Neal Band was born. O’Neal and his band won the Northern Arizona International Blues Challenge in 2020 and competed in the 2021 Memphis IBC competition. O’Neal is also an Arizona Blues Hall of Fame inductee.

O’Neal, on guitar and vocals, is joined by guitarist Brian Waterbury; keyboardist Carl Dalgren; bassist Mark Winley; and drummer Mike Hutchenson. Backing vocalists include Mary Kelley, Meri McKee, and Casandra Long. The horn section includes Max Bouchard, trombone; Brad Moors, trumpet and flugelhorn; and Alex Holland, tenor and alto saxophones. The horn arrangements are by Dalgren. The album is co-produced by O’Neal and Col. Darryl Harrelson and recorded at Raven Sound Studios in Prescott, Arizona. All of the songs were written by O’Neal.

The album opens with “Nothin’ to Gain,” as O’Neal sings, “You know I love you baby, it’s no surprise, the way you walk, the way you talk, the way you bat those big blue eyes. If I ain’t got, your sweet love, I ain’t got nothin’ to gain.”

On “Love Somebody,” O’Neal chimes, “Late at night when the moon is bright and you’re laying all alone, wondering why nobody is calling you on the phone. You get the feeling, like you’ve done somebody wrong, I’m telling you, you’re cold as ice and it’s been going on way too long. You’ve got to love somebody, you’ve got to love somebody, somebody like me.”

“Just Another Day,” with the horns, features O’Neal as he chants, “Just another day in the neighborhood, me and Jimmy Slim, we’re up to no good. No work, all play, that’s how we pass out time away. Sitting by the road side just thinking away, maybe I could be somebody someday. Gonna do what I want and not what I should, ’cause it’s just another day in the neighborhood.”

On “Good Luck with That,” O’Neal groans, “I’d straighten up if I thought I should, stop getting crazy, you know I would. There’s a little something that’s understood, how can it be bad when it feels so good, I’m having fun and that’s a fact. All I gotta say is good luck with that.”

“Givin’ Me the Blues,” with some great organ from Dalgren and the twin guitars, features O’Neal as he cries out, “You’ve got trouble coming your way, it’s getting closer day after day, Now listen baby I can’t stick around, to see you pick yourself up off the ground. I’ve got news for you, I know when I’m gettin used. Yea I’ve got some news for you, baby, you’re givin’ me the blues.”

On “Down and Dirty Blues,” O’Neal moans, “Goin’ down to the nightclub, man the joint is jumpin’. Everybody’s dancin ’cause the band is pumpin’. Dressed in my best, gonna show my stuff. Get myself a drink, feeling good. Ha ha sho’ ’nuff. Nobody’s up tight everybody’s feelin’ lose. Now we gonna get our fill of them down and dirty blues. Low down and dirty blues.”

“Cash Is King” features O’Neal as he howls, “You want a fine woman on your arm, brother that takes money. ‘Cause if you ain’t got no cash, you ain’t gettin’ no honey. They say that ‘money can’t buy everything’. But that’s a lie, what you want you can buy because cash is king. Ooo ooo, cash is king.”

On the title track, “Call Me Mr. Blues,” O’Neal shouts, “Now the women all know by the look in my eye, I can make them little girls laugh, I can make ’em cry. Now I’ve got something you can use, and baby you can call me, Mr. Blues.”

“It Ain’t Worth Bitin’,” with piano from Dalgren, features O’Neal as he swears, “Louisiana hot sauce lay it on thick, you can start a fire pretty damn quick. Smoke house barbeque, chili peppers too, make mine hot and greasy nothin’ else will do. It’s gonna give your mouth a smack, ’cause it ain’t woth bitin’ if it don’t bite back.”

On “Walk Away Blues,” O’Neal wails, “She’s warm as a sunny day then the dark clouds are overhead, and now I’m standing here, wondering just what I said. You know I love her madly, wish that she would stay, because I hate to see her go, but I love to watch her walk away.”

“That’s What Love Is” is a slow blues featuring O’Neal as he declares, “your smile is the sunshine brightens up my day, let me wipe your tears on a cloudy day. Your sweet kisses in the morning light, your tender loving late at night. Whatever it takes I will find a way, to make you feel love each and every day. Let’s take our chances and roll the dice and start all over again. That’s what love is.”

On “Free Man,” O’Neal belts, “Look here, I got a story to tell. That woman I love, she puts me through hell. Woke up this morning and she was gone, looked all around but she was nowhere to be found. Now she’s gone, and I’m a free man.”

The closer, “Time for Walkin’,” with more great piano from Dalgren, features O’Neal as he croons, “Baby, baby why you wanna do me that way, you turned my sunshine into a rainy day. I love you baby, you know that’s a fact, but it’s all a losing game, the cards are stacked. I’m tired of talkin’, it’s time for walkin. All your dirty dealin’ days are through I’m walkin’ out on you. It’s time for walkin’.”

O’Neal proves himself a great singer/songwriter and guitarist on these fine tunes. Call Me Mr. Blues should help Scott O’Neal receive wider recognition, as it demands to be listened to. Thank you, Mr. Blues.

Richard Ludmerer

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