Multi-instrumentalist and singer Kelly Carmichael took a circuitous route to his chosen genre of interest, prewar blues. Originally a hard rock guitarist in bands like Internal Void and Pentagram with roots in Jethro Tull, Black Sabbath, and Jimi Hendrix, Carmichael turned to the blues full time in 2002, when he began playing solo. He released a well-received disc in 2005, Old Stock.

Queen Fareena, Carmichael’s second release for Dogstreet Records, is another entertaining offering of prewar stylings, ranging from blues, ragtime, country, to Dixieland jazz. Surrounded by an exceptional group of musicians (Jean-Paul Gaster – drums, Johnny “Lawless” Ray Carroll – upright bass, Scott Rich – trumpet, John McVey – trombone, Alexander Mitchell – fiddle, and Brian Simms – accordion), Carmichael brings the house down with a sparkling set of covers from the prewar era, along with a couple of original compositions, the dazzling title track that fits seamlessly with the classics, and “Booker Blues,” which has a Dixieland feel with Carmichael’s banjo and the backing trumpet and trombone. Carmichael is a master on both guitar and banjo and his warm, expressive vocals are ideal for the material. Wisely, he doesn’t imitate the originals either vocally or instrumentally, but performs them in his own “voice.”

Among the well-chosen set of covers are songs by Mississippi John Hurt (“Richland Women Blues” and “Salty Dog”), and Robert Johnson (a jaunty cover of “Last Fair Deal Goin’ Down”) that cover the Delta blues genre. Ragtime and Piedmont styles are well-represented by covers of Rev. Gary Davis (“She’s Funny That Way” and “Cincinnati Flow Rag”) and Sylvester Weaver (a swinging version of “Guitar Rag”), and the old “hokum” blues style is featured on the humorous “Terrible Operation Blues” and “Come On Boys Let’s Do That Messin’ Around.” The final cut is a funky cover of John Hammond’s “Untrue Blues.”

If you’re like me, you’ll find yourself listening to Queen Fareena over and over. It’s played with tons of energy and enthusiasm and is just plain fun to listen to. It’s great to hear old classics like these being redone and modernized.