February 2003
Writing a review of a new James Carr reissue always brings a smile to my face. I have always felt that he was the greatest deep soul singer that ever lived (he passed away in January 2001). This reissue, You Got My Mind Messed Up (Kent - UK), is an exact duplication of his 1967 Goldwax album plus 12 additional tracks, several of which have been issued for the first time. One thing that strikes you immediately is the wonderful re-mastering that Ace has done here. I have heard this album in the form of a scratchy LP and then a poor sounding import CD. This is the second release from England this month that has been a revelation sound-wise. Most of the tracks are in fabulous stereo and show off Carr's incredible voice as never before. His signature song, "Dark End Of The Street," is here, and after dozens of other recordings of this song, Carr's version still reigns supreme. His "Pouring Water On A Drowning Man" is the epitome of angst, and a perfect place for the unsuspecting listener to start. "You Got My Mind Messed Up" is an ode to love and passion, and is about as emotional as a song can get. When Carr sings "...these ain't raindrops in my eyes, but they are tears...", you want to cry right along. Also included is his 1977 version of Joe Simon's mega hit from 1965, "My Adorable One." Carr's version yields nothing to Simon's equally powerful one. This release has 24 tracks of unsurpassed quality and emotion. The liner notes by the legendary writer Barney Hoskins are enlightening, and a tribute to the short life of this great singer. When Carr died at the age of 58, Ace Records (UK) was on the verge of buying Goldwax Records from founder/owner Quinton Clauch. Their reissue program kicked off with a compilation of all of Carr's Goldwax singles A sides and B sides. From its release in October 2001 until the end of the year, it became Ace's best seller of 2001. It was decided that the singles project would be followed by his two album releases on Goldwax as they were originally issued, each bolstered by the inclusion of originally un-issued bonus tracks. This is the first of those two albums and we now anxiously await the second. This is an essential purchase along with the singles CD. The songs never sounded better, and there will never be anyone else to ever sing these better. When the history of soul music is written, James Carr will get his due acknowledgement as the "Godfather of Deep Soul." ![]() --- Alan Shutro Based out of Albany, New York, the George Boone Blues Band’s eight-cut debut disc, Stranger In My Hometown (Mr. Gee Music), is a well conceived, produced and performed calling card. Recently heard on Johnnie Marshall’s 98 Cents in the Bank (JSP), Boone has a powerful, though usually understated voice. He’s got the pipes, but doesn’t overwhelm or attempt to beat listeners into submission. He’s an equally adept guitarist with a penchant for loose jams. The groove set up on the opening title cut reminds of Tony Joe’s White’s “Polk Salad Annie,” strangely enough – and that’s a compliment from these quarters. He’s a soulful bluesman with an equally impressive and tight band, able to keep pace and compliment his guitar and vocals. The songs are cast out of the day to day. These are not formulaic clichés, but rather heartfelt monologues that grab. His “Meaning of the Blues” is from the classic mold, and “Somebody Just For Me” is a late night lament that most living, breathing souls can relate to. If this band hits the Midwest, I’m there. Sammy Fender is a well traveled bluesman who has shared stages with the likes of Hound Dog Taylor, Sonny Boy Williamson, Muddy Waters, Howlin’ Wolf, Junior Wells, Buddy Guy, etc., etc. His aunt is Koko Taylor, and Magic Sam was a cousin. His bio also claims that he was an original member of the Impressions. His last recording was released 20 years ago. Blues Jam (Blue Baron) was recorded at Eddie Clearwater’s Reservation Blues at a Sunday night jam, though guitarist Ed Garcia appears to be the only guest sitting in. Given that the recording quality is less than stellar, the music remains pretty solid. Fender and his band (Sugar Baby, bass; Dona Oxford, keys; Baron, drums) work a set of originals and familiar tunes in “Going to New York,” “All Your Love,” “Got My Mojo Working,” “The Thrill Is Gone,” “Hey Bo Diddley” and the Impressions’ “It’s All Right.” They’re probably a treat in the flesh. Unfortunately, the poor quality detracts quite a bit from the music. --- Mark E. Gallo
Wintertime Blues (Evil Teen) is a scorching two-CD set that plays for two hours and 20 minutes. It was recorded live on December 22, 1999 in Asheville, NC at the 11th annual Warren Haynes Christmas Jam benefiting Habitat For Humanity. Needless to say, the featured artists are heavy, southern rockers, but a few bluesmen appear, including Larry McCray and Little Milton. However; even they cannot tame the overpowering and thundering rock blasts from the stage. The only blues you will find here is found in the CD’s title. Edwin McCain kicks things off with his acoustic, alternative pop on "Beautiful Life." The tune carries a strong message about the world’s volatility. Haynes joins McCain for "Alive" and "I’ll Be," and proves that he can be equally effective in an unplugged environment. On his three tracks, Edwin’s vocals are honest yet reflect rebellion. Innovative guitarist Derek Trucks (Allman Brothers Band drummer Butch Trucks’ nephew) regularly jammed with the ABB as a teen. At the time of this recording, he had become a full-fledged member of the Allmans. Here, he leads his own group through numerous tracks. "Rastaman Chant" is an instrumental that combines rock and jazz but it drags on without direction. The exact opposite occurs on the catchy instrumental called "Chicken Strut." Jimmy Herring joins and adds his vocals and second lead guitar to "555 Lake." The fretboard strutting is impressive, but overall its "ABB wannabe" material that just doesn’t work. With the help of Col. Bruce Hampton and Susan Tedeschi, "Yield Not To Temptation/Turn On Your Lovelight" is Derek’s most impressive song. They lay down a mix of R&B and soul stirred up southern rock style. With her great looks, intense voice, diverse guitar playing and talented songwriting, Tedeschi shows she holds the future of roots rock on "Just Won’t Burn." The second (shorter and stronger) disc gets burning with the five-year reunion of Cry of Love. They storm through a couple heavy hitting numbers with their Steve Marriott-sounding singer. Had these guys been given more tracks, it would have been warmly welcomed. The remainder of the disc belongs to Warren Haynes’ aggressive Gov’t Mule. In the early '90s, Haynes was responsible for the resurrection of the ABB. By the mid-'90s he wanted to expand his horizons, so he quit and formed Gov’t Mule. This band has a far heavier and meaner sound than the ABB, as heard on "Bad Little Doggie." Former ABB-member, Johnny Neel, adds keyboards to provide fills that can’t be achieved with a power trio like the Mule. Few modern day rock guitarists can produce tones like Haynes does on the mighty ballad "Fallen Down." On "Devil Likes It Slow," Herring adds his guitar to the mix. The instrumental power rock song takes a major rhythm and timing shift halfway through. Bassist Allen Woody provides more than rhythm by adding to the song’s improvisation movement. Most of the evening’s artists gather for a concluding ensemble of Charles Brown’s timeless classic, "Merry Christmas Baby." The liner is loaded with pictures from the concert, but you won’t find any mention of the instruments played by the various musicians. Produced by Warren Haynes and dedicated to Allen Woody, this release could be hard to find. Evil Teen may not have a wide distribution. However; if you like your rock hard and your guitar cranking, then go and get some Wintertime Blues. For CDs, booking and information, contact: Evil Teen Records, PO Box 651 Village Station, New York, NY 10014-0651 USA Website: www.evilteen.com.
--- Tim Holek Blues fans have always wondered how different things might have been for the blues if Magic Sam had not tragically passed away over 30 years ago (from heart failure at the age of 32) just as he was getting recognized. All that most fans have ever had to listen to from him are his two masterful Delmark studio recordings along with a couple of collections of some outtakes and various odds and ends, a mid '60s set reissued on Evidence, various compilations of his earlier recordings for Cobra, Chief and Crash, and the occasional live album recorded by fans (one with Delmark and one out of print album from Black Top). Ironically, the club settings, where Magic Sam gained his first taste of fame for his electrifying sets, is where he is the least represented on disc. The previously released Delmark and Black Top live sets are powerful, but are marred by substandard sound. Delmark has released another set, titled Rockin’ Wild In Chicago, that adds to his sparse live catalog. This CD captures Sam during four different club appearances. The first set consists of eight songs from a performance at The Copacabana in October 1966, and features Sam with backing by Shakey Jake on harp and vocals on three tracks, Mac Thompson on bass, and Odie Payne Jr. on drums. The sound on this set is probably the weakest of the four, but it’s not bad enough to hide Sam’s incredible guitar work on Albert Collins’ “Tremble” and backing Shakey Jake’s vocal on “Call Me When You Need Me.” Though the set list is heavy on covers, Sam makes each song his own, with his quivering vocals or his stinging guitar. Next comes two songs apiece from two sets at the Alex Club, one from November 1963 and the other from February 1964. Sam is fronting a five-piece band on both sets. The sound on this set is better (one of the songs, “Looking Good,” appeared on the earlier Delmark live set on the LP, but not on the CD due to time constraints), and Sam sounds great on all of the songs here, which include covers of Otis Rush’s “Keep On Loving Me Baby,” Little Milton’s slow burner “I Found Me A New Love,” and “Got My Mojo Working”. The final set is from Mother Blues in 1968, and features Sam with unidentified bass and drums (probably Thompson and Payne, according to the liner notes). The sound here is the best of the four, and the trio threatens to blow the roof off the place. The songs featured are “I Don’t Want No Woman,” a minor key version of “Just A Little Bit,” Freddy King’s “Tore Down” (with some great guitar work), and the final cut, a dandy cover of Earl Hooker’s “Rockin’ Wild In Chicago.” The excellent liner notes, by noted writer/producer Dick Shurman, are very informative. This CD will make you wish that you had been there to experience Magic Sam in person. It also makes you wonder how great Sam, who would only be 65 today, would have been if he had lived. --- Graham Clarke If you have listened to Harry Manx’s first two albums for NorthernBlues, Dog My Cat and Wise and Otherwise, you already know that this is a man not to be bound within the confines of a single musical genre. If you mostly listen to the blues, you might not know who Kevin Breit is, but if you like eclectic jazz singers Holly Cole and Cassandra Wilson, then you already know all about Breit’s prowess and taste on guitar (acoustic and electric). The latest NorthernBlues release is an unlikely collaboration between these two stringed-instrument players, titled Jubilee. No, there is not much blues here. Save for a beautiful version of Sleepy John Estes’ “Diving Duck Blues,” nothing really qualifies as blues on this record. But between them, Manx and Breit play guitar (all sorts), banjo (normal and baritone), mandolin, mandola, mandocello, banjolin, cavaquinho and Mohan Veena, and since they are unaccompanied (save for producer David Travers-Smith doing percussion on two tracks), you get to hear every single last note, every string bending and caressing, every breath in the music. In short, this is the aural equivalent of a 10K diamond to a guitar (and other strings) fan. And who cares what this music is called? It may not be pure blues, but it sure has a lot of feeling. And check out the beautiful booklet, all grace and transparence, that goes with the music!). --- Benoît Brière In promoting the new album
from Smokin' Joe Kubek and B'Nois King, Roadhouse Research
(Blind Pig), press materials play up the contrast between Kubek's distorted
rock-blues-rock guitar and King's more jazz-inflected tones. Well, it's
there if you listen hard enough, but Kubek basically drowns King out most
of the time. Faint whispers and occasional spotlighting of King just make
Kubek sound overbearing, which is a real shame, because he's really not.
Overbearing people turn off their bandstand partners and wash out of music
long before they reach the stature of Smokin' Joe Kubek. He's just stuck
in a role that doesn't really show him to best advantage here, sort of
like Gulliver among the Lilliputians, wrecking their community through the
innocent accident of his size.
The record would probably sound better to listeners who were not trying to
listen for B'Nois King.
--- Arthur Shuey
Deltahead McDonald is a human jukebox of the original Delta blues style.
On Blues On The Slide (Blues Religion Music), he performs acoustic blues songs of the folk blues masters: Robert Johnson
("Walkin' Blues" and "Come On In My Kitchen"), Charlie Patton ("Tom Rushen
Blues"), Son House ("Empire State Express" and "Grinnin'
In Your Face"),
Blind Willie McTell ("World's Made a Change"), and more. Like the early
recordings of John Lee Hooker, this is simply a solo performance of a man
singing, playing guitar and stomping his foot for occasional percussion.
The style is nothing like Australia and everything like the rural American
south that it honors. The part that IS Australia is the Australian-made Beeton Brass Body Resonator Guitar (National Biscuit Cone)
on which McDonald
plays bottleneck slide. The baker's dozen of songs here are delivered
in a patient and melodic style, brightly played by this lowlands master
from down under. McDonald is justifiably proud that this is recorded in a
live fashion, that is, with no overdubs. The lead track is "Evil On My
Mind," which Johnny Winter did overdub. For more info,
www.au.geocities.com/deltaheadmcdonald. --- Thomas Schulte Crazy Kind Of Life (Blind Pig) is the name of Bill Perry’s latest collection of houserockin' blues, filled with gutsy guitar licks and gritty vocals that are sure to please. Perry wastes no time in getting down to business with some stinging slide, along with a few red hot harp licks from Chris O’Leary on the album’s fast shuffling opener, “Trouble In The Shotgun.” Perry’s songwriting talents shine on the album’s title cut, a mid-tempo number about life’s ups and downs, along with a dark piece entitled “Junkie,” which is a wake up call to an addict whose life has gotten away from him. “Too Hot” is a hip-shaking boogie that cooks from its opening bars and contains a wicked solo that is a joy. Co-producer Jimmy Vivino, who produced Perry’s last effort, Fire It Up (reviewed in Blues Bytes Feb. 2002) wrote or co-wrote six of the album’s 11 tracks is on hand once again on background vocals, guitar, piano and organ. His writing contributions, such as “500 Miles,” with its high energy pace and burning slide and harp riffs along with the slow blues of the suggestive “Honey Pie” and the honky tonk bop, coupled with Bill’s searing picking on “Can’t But My Love,” are three of the album’s best numbers. The lone instrumental, “Morning Spiritual,” has Perry slipping into a gospel overcoat for a beautiful tune entitled “Morning Spiritual,” that features some of Bill’s best fretwork. Former boss Richie Havens drops in to handle vocals and acoustic guitar on the disc's only cover, a stirring version of the The Rolling Stones “No Expectations,” that closes things out on a mellow note with its lush acoustic picking and strumming and country blues harp. Supporting Perry is pretty much the same lineup as his last album, with the aforementioned Vivino, David Bennett Cohen punching the black and whites, Rob Curtis massaging the skins, Frank Pagano pounding away on percussion and Tim Tindall plucking the bass, with Johnny B. Gayden sitting in on two tracks. Bill Perry is an artist to keep a close eye on as he continues to evolve as a songwriter. His guitar chops leave no doubt that he is going to make quite a bit of noise as a guitarist. His no nonsense approach to both his playing and his singing is both refreshing and exciting, and this album, like his last, leaves you wanting more. Give this cat a very long hard listen, as he is well worth your time. --- Steve Hinrichsen
While you're out pounding the streets for independent releases, be sure to look REAL hard for the wonderful CD put out by Texas bluesman Hash Brown & The Browntones. Hash Brown is well known around the Lone Star state as one of the many hot guitar players from the Dallas / Fort Worth area. But on Have Some Fun! (Browntone Records), Brown strictly plays harmonica, and plays it quite well, I might add. He also capably handles all of the vocal chores on the album's 13 cuts. Brown (nee Brian Calway) makes sure that his guitar playing is not missed by lining up fellow hot shots Jon Moeller, Nick Curran and his young protégé Elliot Sowell to handle the guitar chores here. There's nothing real complicated about Have Some Fun!, no special hidden messages to be imparted. Instead, this album is just straight-ahead blues, played well and with lots of gusto and feeling. The real keeper, and one to which I will listen frequently, is the novelty jump blues "Poultry Queen Boogie." It'll have you clapping along throughout, and the line "...I'm hanging with the woman that I have eggs and poultry with every week..." will remain in your sub-conscious for years to come. The album opens with a slow Texas blues, "Blues For April Green," immediately showing that Brown is no slouch either vocally or on the harp. He also shows off some impressive harmonica chops on the Sam Myers slow blues "I've Got The Blues." The backing bands on both of the sessions captured here are solid ensembles; I especially liked Matt Farrell's piano work on the shuffle "The Woman I Love." Long live independent releases! Have Some Fun! is a good one --- look for it at www.browntonerecords.com or www.hashbrownblues.com.
--- Bill Mitchell Early 2002 marked the time for the Rotterdam-based blues band, The Nervous Fellas, to record their third album, Nervous Breakdown. As I had not heard any of their previous material, I could not draw any comparisons, but this album was a very pleasant surprise. To start with a number of originals, always highly appreciated, are J. de Roos' authentic harmonica sounds in the dynamic "Reed Rocker," the energizing jungle beat of "Surtogo," in which drummer Rene Klein seems to be having the time of his life, and the highly contagious "Nervous Breakdown," a certified toe tapper. For covers, The Nervous Fellas chose lesser-known material by artists like Jerry McCain, Chuck Higgins and Cecil Gant. Louis Thomas Watts' "The Wolf Pack," is pleasantly crazy, with its poignant "wolf calls." My personal favorite is John Estes' "Whatcha Doin' ," a beautiful slide tune. Although quite a lot of tunes are going to appeal to the harmonica freaks, Arie Verhoef supplies more than solid fretwork, assisted by Andre Prins' no-nonsense bass lines. The album is dedicated to 'fella' musicians that departed this earth much to soon and were part of their musical growth. These guys know what the blues are supposed to sound like, played straight from the heart!!! For info: Nervous Breakdown / Big Beat Records / BBNF0102, www.geocities.com/nervousfellas. --- Bobtje Blues |
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