“The Mystix are simply brilliant, and its message combine tradition and modern details, around mentioned forms, in best possible way.”

The Mystix are Boston, Phoenix roots supergroup, with 6 albums in their collection. They are known for attractive concert performances across the US and Europe, and also its career has a respectable status too.
“Live-Rhythm And Roots” is their actual product with 19 tracks in, recorded and taped from 4 different locations. Fronted by vocalist and guitarist Jo Lily, The Mystix deliver refine portions of roots rock, americana, country blues , done with strong energy and emotions. They performed on simply, but clear and convincible way. Songs are listenable, and band knows how to be educative to their listeners and audience, when start to perform each tact of offering show. The Mystix are simply brilliant, and its message combine tradition and modern details, around mentioned forms, in best possible way.

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The Mystix serve up a delectable mix of blues, R&B, country, and rock with Blue Morning. These musicians are at their finest, and have crafted an album full of soul that could easily become a new favorite of any music lover.

Jo Lily – the band’s front man – plays acoustic and slide guitar, and sings with the raspy voice of Tom Waits, Dr, John, and Bob Dylan. Bobby Keyes, who has recorded with greats like Jerry Lee Lewis and Ben E. King, plays guitar and his excellent skill dazzles. He can switch from funky blues style to rock riffs effortlessly. Bassist Marty Ballou and drummers, Marty Richards and Dennis McDermott, round out the Boston-based group. Keyes and Lily co-produced the CD.

While all ten songs on Blue Morning are good, some standout a little extra. A Change in Jane is a ballad that would fit nicely on one of Dylan’s later albums or pass for one of Van Morrison’s movie songs. It’s strong on visual imagery and leaves you wanting more, as it’s a short song. The spirited rhythms on the aptly named New Orleans set the scene for a rollicking street party in The Big Easy. New Orleans is the liveliest song on Blue Morning. Another lively tune is The Mystix’s cover of Rattled. And while the Traveling Wilburys: Bob Dylan, George Harrison, Tom Petty, Jeff Lynne and Roy Orbison are and were the masters, The Mystix’s version just might beat the original.

The title track slows things down a bit. It’s a heartbreak song that offers the hope of a new day. Which Side of Heartache is a true weepy country tune and is reminiscent of The Tennessee Waltz. Hi-Line is a great closer for Blue Morning. It’s a last call for whiskey and a last request for the band type of song.

The Mystix’s Blue Morning is a solid album by a masterful band that mixes genres seamlessly. It’s got something for everyone. Blue Morning is a great example of how good songwriting and instrumentation can create a perfect listening experience.

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The Mystix have released a handful of full-length albums from their hometown of Boston, but it’s live on stage that you really get a feel for their varied repertoire.

The musicians accompanying singer-guitarist Jo Lilly certainly aren’t lightweights: they each have a wealth of experience behind them. Guitarist Bobby Keyes is a Muscle Shoals veteran who has worked for Ben E King, Robin Thicke and Jerry Lee Lewis, while fiddler Matt Leavenworth has also worked with Jerry Lee and Maria Muldaur. Marty Richards and Jesse Williams make up the rhythm section. They have both performed with J. Geils, which really shows when they’re let loose at the end of the set during a countrybilly version of rock classic Boppin’ The Blues, and again in the rolling boogie of John Lee Hooker’s Whiskey and Wimmen.

We can appreciate the inspired, universal harmonica work of Annie Raines, known from her duo with Paul Richell. Mostly well-controlled, Jo Lilly uses his raw, raspy vocals to present his original songs alongside striking renditions of country blues and other Americana classics. Listening to the slightly nasal vocals in traditional Long John, Dylan is not too far away, and in fact that master did once make the song his own. After a well drawn out performance of You’re The Best Lover That I Ever Had and some recent bluesy Steve Earle tracks, we return to Dylan with To Ramona, nice waltzy folk from the Another Side album, where guest artist Tom West’s accordion recreates the characteristic Mexican feel of the borderland.

After a selection of his own Mississippi-esque country blues songs, Lilly introduces the band members. The seasoned Boston veterans immediately impress in the New Orleans song Jelly Roll, but are equally impressive in Hard Times, a subdued tribute to Stephen Foster, the godfather of the American song writers’ guild. In between, they also perform a relaxed blues track borrowed from Jimmy Reed. This repertoire of songs from the archives combined with Lilly’s originals forms a rich musical variety, an ideal calling card for the band. Hopefully, with a favorable wind, this card will also reach our concert organizers.

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Jo Lily and Bobby Keyes got the cream of Boston musicians to create The Mystix, a  sublime roots rock band. And you can hear it because when they play, they are on fire. Bobby is on lead guitar (listen to Boppin’ the Blues), but don’t forget fiddler Matt Leavenworth (listen to Ramona) and the great harmonica player Annie Raines who also plays keyboard, mandolin and performs backup vocals. And then there is the excellent rhythm section – Marty Richards on drums and Jesse Williams on bass.

This wonderful live album shows that The Mystix are also a great live band who not only recreate intimate folk blues but can also drive the crowds wild with steamy jazzy blues. In one hour, the album builds to a magnificent climax in the electrical Whiskey and Wimmen, followed by a more subdued encore. Beautiful. You will immediately want to listen to all of their studio albums and book them for a tour of the Netherlands. A great album.

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You must have been there before too. Purely by chance, you find yourself at the performance of an act previously unknown to you, which turns out to be so good that on your way out you just have to make a quick stop at the table. You know the table, the place where the otherwise hard-to-get record of the artist in question is simply there, yours for the taking. It comes home with you as a souvenir, where you later experience many more hours of pure listening pleasure.

“The Mystix Live: Rhythm And Roots” is that sort of record: a summary of a successful evening of roots entertainment, in the company of some of the best musicians from the Boston area and beyond. We’re talking about Jo Lily (vocals and guitar), Bobby Keyes (guitar), Marty Richards (drums), Jesse Williams (bass and vocals), Annie Raines (accordion, organ, mandolin and vocals) and Matt Leavenworth (fiddle). Dennis McDermott (drums) and Tom West (accordion) also feature for a truly unlikely, captivating rendition of Bob Dylan’s “To Ramona”.

After five studio albums Lily and co. thought it was high time for a live album. And after listening to this great album, damn, they sure weren’t wrong! It’s a true delight for the senses to hear rough-voiced Lily and his group play their way through tracks like traditional “Long John”, Steve Earle’s “You’re The Best Lover That I Ever Had”, Dylan’s “To Ramona”, Jimmy Reed’s “Things Ain’t What They Used To Be”, Stephen Foster’s “Hard Times”, Carl Perkins’ “Boppin’ The Blues”, John Lee Hooker’s “Whiskey and Wimmen”, “Cry Cry Cry” by Johnny Cash and more. All covers, then? We hear you thinking. No, actually. A lot of covers, certainly, but also some perfectly fitting original songs written by frontman Lily, respectively some of the titles are original hit pieces like “Midnight in Mississippi”, the beautiful title track of their latest studio album, “Blue Morning”, “A Lifetime Worth Of Blues” and “Hi-Line”.

The acoustic country blues genre forms the starting point of many of The Mystix’ songs, however they certainly don’t restrict themselves to it. But you may have noticed that already from the titles listed above. Country, Americana, folk, blues, R&B, roots rock, rock and roll: you name it, they’ll play it. And how! You’ve gotta love this collective, promptly rocketed to roots supergroup by so many fellow American musicians. We’re already hooked, now you will be too!

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The Mystix are a sextet that performs primarily in the Boston metropolitan area and aims to bring their vast musical background of blues, country, soul, and rock – a fusion attaining great warmth and passion at their hands – into the clubs and venues of the area. All six members of The Mystix boast series of experiences alongside greats of American music that have made them invaluable within the ‘roots’ scene, like that of guitarist Bobby Keyes with Ben E. King, Jerry Lee Lewis, and Mary J. Blige, in addition to sessions at the legendary FAME Studios; fiddler Matt Leavenworth with Maria Muldaur and the same Jerry Lee Lewis; bassist Jesse Williams with Al Kooper, Duke Robillard, and The J. Geils Band; drummer Marty Richards with Kim Wilson and The Blues Brothers Band; and harmonica player and vocalist Annie Raines with premier blueswoman Susan Tedeschi. Leading the group is solo singer Jo Lily, author of many originals in the Mystix repertoire, his coarse voice rich with genuine transport. Their live calling card is “Rhythm and Roots,” a record that, in the course of its duration of over an hour and a quarter, shows a resolutely compelling team spirit and uninhibited attitude in several beautiful instrumental jams – for instance, in the cover of “You’re the Best Lover that I Ever Had,” from the repertoire of Steve Earle – one of the album’s strong points. Among the other reinterpretations, worth mentioning are the traditional “Long John,” the record’s opener; Bob Dylan’s “To Ramona;” Carl Perkins’ smooth “Boppin’ the Blues;” Johnny Cash’s “Cry, Cry, Cry;” Stephen Foster’s ever-classic “Hard Times;” and the two robust blues pieces “Things Ain’t What They Used to Be,” by Jimmy Reed and “Whiskey and Wimmen,” by Chicago blues master John Lee Hooker. These are joined by a delightful set of songs penned by Jo Lily, perfectly embedded in this varied and exceptional setting; “Midnight in Mississippi,” “Blue Morning,” “A Lifetime Worth of Blues,” and “Hi-Line” carry all the love for their musical roots, seasoned with autobiographical overtones that touch on the many evenings and thousands of miles traversed over careers rich with what they’ve given us musically in the Southern States. A record made by the impassioned for those who love the sounds described above, sounds that have had mutual influence on one another, resulting in the composition of an extraordinary musical ‘patchwork.’ (Remo Ricaldone)

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“The way The Mystix gives the well-known songs a pure roots treatment is spectacular.”

The Mystix are a band that you could easily term a super-band. They combine the musical talents of Jo Lily (guitar, vocals), Bobby Keyes (guitar), Matt Leavenworth (fiddle), Jesse Williams (bass, vocals), Marty Richards (drums) and Annie Raines (harp, vocals). All these musicians have already earned their stripes, having played with Duke & The Drivers, Ben E. King, Jerry Lee Lewis, Maria Muldaur, Al Kooper, Duke Robillard, J. Geils, Kim Wilson, Blues Brothers, Paul Rishell and many, many more. The album contains live recordings from four locations, while the repertoire is made up of famous and lesser known songs covered by the band in their own style, supplemented with some original tracks penned by Jo Lily. The band kicks off with an upbeat country track, ‘Long John’. The show also includes ‘You’re The Best Lover That I Ever Had’ by Steve Earle, Dylan’s ‘To Ramona’, Jimmy Reed’s ‘Things Ain’t What They Used To Be’, ‘Boppin’ The Blues’ by Carl Perkins, Hooker’s ‘Whiskey And Wimmen’ and ‘Cry, Cry, Cry’ by Johnny Cash. You might say that doesn’t sound very unique, but that doesn’t take into account the approach that The Mystix use. Rest assured, you’ll never have heard the way this band plays these hits before. The Mystix approaches these songs from the point of view of their roots. Just listen to the intoxicating fiddle and harmonica in ‘You’re The Best Lover That I Ever Had’ or the swinging, largely acoustic but first and foremost rootsy approach to ‘Things Ain’t What They Used To Be’. The king of country bop, Carl Perkins, should be commended for his harmonica, fiddle and Lily’s twangy guitar in his ‘Boppin’ The Blues’. And if there ever was somebody with the right voice for presenting a Cash song with verve, Jo Lily is the perfect person for the job.

But there’s no reason for Lily’s own songs to play second fiddle to the cover versions. ‘A Lifetime Worth Of Blues’ is a ballad which, thanks to Lily’s husky voice, is sure to make listeners break out in goosebumps. It’s also notable that this album isn’t some ego trip. All the musicians play on an equal footing for the sole purpose of serving the repertoire. If real music with unadulterated roots captivates you, do not hesitate to take this album home. You won’t regret it!

Lambert Smits (5)

The way The Mystix gives the well-known songs a pure roots treatment is spectacular. Like you hear the songs of Dylan, Hooker, Perkins and Cash here, you never heard them before. Need I still say that this is an absolute must have?

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We have dealt on several occasions with these seasoned gentlemen from Boston, never failing to emphasize the sense of preparedness and feeling that emanated from their music – a combination of roots hillbilly blues, dusty country ballads, suburban pub rock, and even a streak of soul (which doesn’t hurt at all). Considered a “regional sensation” on the East Coast, a sort of supergroup for the initiated, with musicians who’ve earned their stripes, The Mystix have come to the classic live album, but avoid the clichés of many such operations. Instead of celebrating the 10-plus years of their career and five previous studio albums, they prefer to pack the lineup with traditional and curious covers, almost as if to prove their origins, their tastes, the make-up of their singles.

The band consists of six members, though on occasion expanding to eight, with a pair of special guests in their rendition of Dylan’s To Ramona. The spirit lies in the voice of Jo Lily, raspy, tremulous, and strangling – a little turbulent and not very graceful, but ideal company for this type of sound. Alongside him, the guitars, played by the brilliant hand of Bobby Keyes (who has collaborated with Jerry Lee Lewis and Ben E. King, among many others, if that wasn’t enough) – a little country blues and a little rockabilly in his approach. Enriching the sound are the harmonica and organ of Annie Raines, and especially the fiddle of Matt Leavenworth, the element that gives The Mystix’ music its more rural accents, conjoining the white and the black. Rhythm and Roots defines the group’s style well, somewhere between Johnny Cash and John Lee Hooker; the finale presents a long and vigorous jam on Whiskey and Wimmen and original interpretation of Cry, Cry, Cry so as to rid us of any doubt.

First, there is room for many more evocations of the great river of tradition, all rendered with instrumental competence and great feeling – from the huffing opening of Long John, between honky tonk and hillbilly music, to the dredging up of forgotten classics like Jerry Roll, of antique western swing flavor, and Hard Times by the iconic Stephen Foster (known for Oh Susanna, among others). Recorded at four different locations on the Atlantic coast, Rhythm and Roots sounds like anything but a record from that musical area; the ambience evoked is closer to that of Sun Studio, the road that leads from Nashville to Memphis, between country and early rock ‘n’ roll, and that’s where Carl Perkins’ Boppin’ the Blues or bluesman Jimmy Reed’s Things Ain’t What They Used to Be end up. The Mystix’ soul spirit is also emphasized by the presence of You’re the Best Lover That I Ever Had, a piece taken from the more recent work of Steve Earle: an excellent version, rich with groove, and having expanded over time.

In this flurry of citations, one never gets the impression that Jo Lily’s originals are filler; on the contrary – they are concentrated in the first part of the lineup, probably due to Lily’s somewhat wheezy timbre, but in the electric country blues of Midnight in Mississippi, and the gypsy-esque A Lifetime Worth of Blues, the echo of Bob Dylan’s Modern Times and Together Through Life resounds.

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The band The Mystix manifests the kind of music americana is. Alongside their own music interpretation, you find the likes of Bob Dylan, Johnny Cash, John Lee Hooker, Steve Earle and Carl Perkins.

The Mystix has been called “a roots supergroup” in a newspaper back home in Boston. The epithet is actually valid as the members Jo Lily, Bobby Keyes, Matt Leavenworth, Jesse Williams, Marty Richards and Annie Raines have merits that few in the industry have, and they also put their own special touch on not only their own material, but also on interpretations.

This live album is the group’s fifth album, and offers everything from blues to country, jazz, rock and r & b.
The frontman, singer and guitarist Jo Lily at times sounds like Bob Dylan squared and his To Ramona is one of many covers. Even songs by Jimmy Reed, John Lee Hooker, Carl Perkins and Johnny Cash are interpreted, though the best cover is You’re the best lover That I ever had by Steve Earle.

But it is, after all, Jo Lily’s songs that stand out, especially Midnight in Mississippi and A lifetime worth of blues.

Anyone looking for answers to what the term americana stands for need look no further.

Hans Bloom

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Respect! The Americana blues-roots band THE MYSTIX’s first live album is remarkably good. Many of the tracks, sung with Jo Lily’s whiskey-weathered, rasping voice, leap right out at you, delivering great moments. Again on this CD, titled Rhythm and Roots, as with previous productions the singer, songwriter, and guitarist is the focal point of the seasoned Sextet from Boston. Praised as the ‘Roots Supergroup’, the band presents a supple, wonderfully varied, tried and true mix of Americana, blues, and country, ending after an hour and 15 minutes of playing time with the Johnny Cash classic “Cry, cry, cry”, leaving listeners more than happy, in fact completely satisfied.

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