Recorded
live in 2015, That Will Never Do from John
Primer and the Real Deal Blues Band, marks 30
years of Primer and Wolf Records, going back to his
tenure in Magic Slim’s band. The jacket outlines
some of that history, but doesn’t say who is on the
current recording outside of harmonica player Bill
Lupkin. Primer’s impressive guitar and vocals are up
front. He has played with the Willie Dixon All-Stars
and the Muddy Waters band, as a bandleader, in
addition to many years with Magic Slim. He’s also
led the house band at both Theresa’s and the
Checkerboard. He released his first record under his
own name in 1995 and has since been heralded as one
of the last of the classic Chicago bluesmen.
This live set
illustrates why he’s so revered. Opening with a
superb take on Little Milton’s title cut, he moves
into Muddy’s "Mannish Boy." "Forty Days & Forty
Nights" is given a nice take, too, offering his
tribute to Muddy. There are also first rate takes on
Snooky Pryor’s high energy "Hold Me In Your Arms,"
Howlin Wolf’s "You Gonna Wreck My Life and Down In
the Bottom," Sonny Boy Williamson’s "Cross My
Heart," Jimmy Reed’s "Sittin’ Here Waitin’," Big Jay
McShann’s "Confessin’ the Blues," Otis Spann’s
"Country Girl," James Oden’s "Take The Bitter With
the Sweet,", and Albert King’s "The Time Has Come."
Sounds like the song
list of everyone’s bar band, right? The difference
is that Primer has been playing these songs for
decades and that he came up knowing many of the
greats who sang them the first time around. This is
just one more in the canon of one of the most
authentic blues bands in the land. Fantastic!
---
Mark E. Gallo
There
have been a few knockdown amazing records lately by
harmonica masters. Put Wash My Horse in Champagne
(Blues Mountain), from Big Harp George at, or
at least near the top of that list. George
Basharat’s big harp is a chromatic, an instrument
that most harpers find cumbersome and difficult to
master. In the hands of George it is nothing less
than spellbinding.
The follow-up to his
equally jaw dropping debut of 2014, Chromaticism,
this takes the law professor’s shift to full time
musician a step further, as each of the 13 cuts
herein are from his own pen. As on the previous
effort, he’s accompanied by Little Charlie Baty on
guitar, Kid Andersen on bass, Chris Burns on
keyboards, and Raja Kawar on drums. And, as on the
last outing, they are superbly right for the job.
The opener, "Home
Stretch," is as impressive a tune as you want.
Lyrically strong and jaw dropping harmonica work, it
opens the door to a 13-song program that impresses
and delights. "Road Kill" looks at a relationship
that shoulda known better. Baty has a killer solo
here. The title cut is percussive and looks at when
his ship comes in.
"Cool Mistake" opens
with drums and harp in tandem on an almost
rockabilly tune that features call and response from
the band. Dare I say it, fantastic harp work. There
are too many bands that put less than impressive
singers up front. Big Harp George is a singer that
deserves that front man status. "My Bright Future"
(“they told me I was special/just need one big break
…it’s all downhill from me brother/and it’s clear to
me/much as I hate to admit it/my bright future is
behind me.”). Piano compliments the fat toned harp.
"I Wasn’t Ready" is a
laconic in a good way. "If Only" rocks in west coast
fashion. Killer horns and guitar dress this one up.”
If only I was better at poker/if only I‘d drawn a
Queen.” Those horns are back with superb keys and
guitar on the instrumental Mojo Waltz, a tune that
lets everyone stretch.
Top to bottom this is
the standout recording of the year. Highly
recommended.
---
Mark E. Gallo
As good as Big Harp George’s 2014 debut album,
Chromaticism, was, nominated for a BMA, his
follow-up may be even better. Wash My Horse In
Champagne (Blues Mountain Records) features 13
tracks written by the prolific harp master (a.k.a.
George Bisharat), with backing by some of the West
Coast’s premier musicians, including Kid Andersen
and Little Charley Baty, who alternate as lead
guitarist on these tracks, Chris Burns
(keyboards/producer), Raja Kawar (drums),
percussionist J. Hansen, Kedar Roy (bass) backing
vocalist Loralee Christiensen, and a tight horn
section on selected tracks (Michael Peloquin –
saxes/arrangements, Mike Rinta – trombone).
Bisharat’s primary focus is on the chromatic
harmonica, but he eschews the traditional method of
most blues harmonica players who use a harp mic,
preferring to play with a voice mic, or
acoustically. That gives his harmonica a more
liquidy tone, a very different sound from most
chromatic players. In addition, Bisharat has a fine,
soulful, occasionally vulnerable tone to his vocals,
which he uses to great effect on the blues ballad,
“My Bright Future,” which would have been a perfect
fit during the late ’40s/early ’50s R&B era of
artists like Ray Charles or Charles Brown.
The opener, “Home Stretch,” finds Bisharat promising
to turn over a new leaf after a health scare. The
vintage rocker “Road Kill” deals with rejection in
love, and features a scorching guitar run from
Andersen. The Latin-flavored title track celebrates
those who pull themselves up by their bootstraps and
overcome adversity to achieve success, and the
swinging “Cool Mistake” is a blast. The jazzy “I
Ain’t The Judge of You” addresses tolerance of
others, and the somber “I Wasn’t Ready” discusses
the sudden loss of a loved one. With these tracks
and others, Bisharat shows himself to be a talented
and distinctive songwriter.
Bisharat ventures down toward the Crescent City with
the rollicking “If Only,” one of several tracks to
feature those peppy horns, and goes funky on “Light
From Darkness.” “What’s Big” is the only tune here
with diatonic harmonica and deliberates over what it
really takes to be a man, while the closing tune,
“Justice In My Time” is a two-man effort, with
Bisharat blowing harp and singing with Andersen
playing upright bass in support. There are also two
instrumentals – the smoldering “Mojo Waltz” and the
swinger “Size Matters”
Wash My Horse In Champagne is another winner for Big
Harp George Bisharat, who shows himself to be an
excellent vocalist and composer, in addition to
being a masterful harmonica player.
---
Graham Clarke
The Mighty Mojo
Prophets present their third album of all-original
material, this time on their own record label, Mojo
King Music. As on their previous releases, Record
Store includes 13 originals penned by vocalist
Tom Eliff and guitarist Mitch Dow that are simply
put, brand new blues the way they used to do
them …. pure and simple. The duo is backed by a
stalwart rhythm section (Dave DeForest – bass, Al
Ricci – drums) and augmented by the keyboards of
Mike Malone and Tom Richmond’s old school harmonica.
The disc kicks off with a rousing boogie shuffle,
“Crazy Love,” then gets down with the funky title
track, which will bring a smile to the face of
boomers everywhere who spent hours in their local
record stores. “Devil At Your Door” and “Things
Don’t Change” are a pair of cool Chicago-style
shuffles, and “Strong Together” ventures toward the
country side of soul. “Workin’ Man” is a solid blues
that could be a blue collar anthem, and the swinging
“West Coast Girl” is a standout.
“Cherry Red” is another funky Windy City shuffle,
and “Good Girl Train” turns up the funk to “10.”
“Spider and the Fly” has more of a rock feel, but is
balanced nicely by the vintage harmonica sound.
“Bring It On Home” is not the Sam Cooke classic, but
a swinging R&B original with a loping rhythm, slick
harmonica, and some scorching slide guitar from Dow.
“Wondering” will remind listeners of those vintage
Excello swampy tracks from the ’50s and ’60s., and
the closer, “All Thumbs,” is a splendid instrumental
guaranteed to get toes tapping and heads bobbing.
The Mighty Mojo Prophets are one of the more
impressive newer blues bands out there, performing
all original tunes that give a nod to the
traditional blues sounds of yore, but also keep an
eye to the present day with their songwriting.
Record Store continues their hot streak.
---
Graham Clarke
While singer/guitarist
Eric Bibb was living in
Helsinki, he met the Haavisto brothers, drummer
Janne and Olli, who played dobro and pedal steel,
and mandolin/mandola player Petri Hakala. The
quartet began working on various recording projects
together and soon began playing gigs as Eric Bibb
and North Country Far. While sharing stories one
day, Bibb happened to mention that he knew Danny
Thompson, who has played bass for the likes of
Alexis Korner, Donovan, Richard Thompson, and
Pentangle, and who happened to be one of Olli
Haavisto’s musical heroes. Soon, a recording session
was born, with Bibb, North Country Far, and Thompson
gathering at The Grange Studios in Norfolk, U.K.
The resulting session, called
The Happiest Man In
The World (Stony Plain Records), consists of 15
laidback tracks, mostly originals, that blend
country blues, folk, and roots. The album has a
wonderful, relaxed feel, like a bunch of musicians
gathering on the back porch to play for their
friends. There are upbeat, lighthearted tracks like
“I’ll Farm For You,” “Toolin’ Down The Road,” “Born
To Be Your Man,” and the title track, interesting
story songs such as “Creole Café,” and “On The
Porch,” and reflective songs such as “Tossin’ and Turnin’,” “Wish I Could Hold You Now,” and “Prison
of Time.”
There are also a couple of excellent instrumentals
in the somber “1912 Skiing Disaster” and the
delightful “Blueberry Boy,” which includes an Irish
whistle. The group also covers the traditional “Tell
Ol’ Bill” and the Kinks’ ’60s classic, “You Really
Got Me.”
The Happiest Man In the World is a beautifully
crafted album of acoustic country blues and roots
compositions. It was obviously a labor of love for
all involved; the spirit and enthusiasm is apparent
in every note. It deserves a spot in any music
lover’s collection.
---
Graham Clarke
It’s been a while since we’ve heard from
Paul Reddick, and the Canadian bluesman’s latest effort,
Ride The One, finds him with a new label (Stony
Plain Records) and a new, rawer sound. Produced by
Blue Rodeo’s Colin Cripps, the new release teams Reddick (vocals, harmonica) with a powerhouse band
that includes Cripps (guitar, backing vocals),
MonkeyJunk’s Steve Marriner (guitar, keyboards,
backing vocals), Greg Cockerill (guitar, backing
vocals), Anna Ruddick (bass), and Derek Downham
(drums, piano, talk box guitar, percussion).
The first two tracks, “Shadows” and “Celebrate,” will
definitely grab listeners --- a pair of thunderous
blues rockers that threaten to shake the rafters
down. The three-headed guitar attack and Reddick’s
intense vocals and energetic harmonica surely play a
role here. The laidback “Mourning Dove” follows,
with a hypnotic, almost haunting feel, and “Gotta
Find A…” is a ballad that marries R&B and Southern
Rock. The relentless “It Goes With You” ups the
energy again with a churning blues groove, and
“Watersmooth” rocks out, backed by the Bo Diddley
beat.
“Diamonds” has an atmospheric, rootsy quality to it,
with ethereal keyboards and guitars and an incessant
beat, and reminds me a lot of a Daniel Lanois track from
the ’80s. The blues rocker “Living In Another World”
showcases the three guitars with Reddick’s harp and
vocals, while “I Tried To Tell You” also rocks but
has a bit of a pop sheen. “Love and Never Know”
features a subdued, but soulful vocal from Reddick,
and the closer, “Moon and Star,” is a solo blues
track with just Reddick’s voice and harp.
Cripps’ production is top notch, giving the whole
recording a rough and ragged feel. Reddick’s vocals
are fantastic. Occasionally, he sings through the
harp mic and the distortion gives his voice even
more intensity. His harp playing is equally
effective and the triple guitar attack suits him
just fine. This is just an outstanding release all
the way and a nice start to Reddick’s hopefully
lengthy tenure with Stony Plain.
---
Graham Clarke
For his third solo album,
Upset The Status Quo (Jukehouse
Records), Alabama Mike (Michael Benjamin) wisely
headed to Kid Andersen’s Greaseland Studios in San
Jose. Andersen, who produced the disc and played
guitar and keyboards, is obviously one of the
hardest working men in show biz these days,
surrounded Mike with some of the West Coast’s
biggest musical talent, and let the charismatic
Alabama-born / Bay Area-based singer/harmonica player
do the rest.
Alabama Mike is one of the most expressive singers
in the business, possessing a huge tenor that
marries blues, soul, and gospel. He penned eight of
the 11 tracks, which take a lighthearted and
occasionally pointed look at modern issues that
affect us all. The title track has a healthy dose of
Chicago blues in its delivery with Aki Kumar
providing some superlative harmonica backing Mike’s
fiery vocal turn. “Identity Theft” is a quirky R&B
tune with ’70s era funky guitar and a nice sax break
from Bernard Anderson. “M-I-S-S-I-S-S-I-P-P-I” is a
raucous blues praising downhome life in the Magnolia
State, and the downhearted “Can’t Stay Here Long”
recounts a return visit to Alabama.
The soulful “Fight For Your Love” encourages
perseverance through tough times in relationships,
and leads to one of the more unusual tracks on the
disc, “Restraining Order,” definitely a different
take on a rocky relationship. “SSI Blues” is a
stomper about how much a little extra money can help
a man get by, and on the inspirational closer, “God
Is With You (Benediction),” Alabama Mike pulls out
all the stops and pours his heart and soul into this
original gospel tune.
Upset The Status Quo also includes three covers, a
funky reworking of Jimmy McCracklin’s “Think,” John
Lawton’s “Rock Me In Your Arms,” and Little Johnny
Taylor’s “Somewhere Down The Line.” Alabama Mike has
one of the most distinctive voices in the blues,
dripping with soul, grit, and passion ..... you’ll know
it’s him when you hear him. The man means every word
that he sings from the bottom of his heart. It’s
almost like he lives the blues himself every day.
---
Graham Clarke
Soon to turn 18 years old, Chase Walker started
playing guitar at age 10, proving to be a prodigy
almost immediately afterward. In 2012, he began to
write songs and formed The Chase Walker Band at the
ripe old age of 13 with bassist Randon Davitt and
drummer Matt Fyke. So far, the band has logged over
150 performances, appearing at the 2013 and 2014 IBC
Showcase, and opening for acts like B.B. King, Eric
Sardinas, Tab Benoit, Devon Allman, Cyril Neville,
Kenny Loggins, and American Idol’s Casey Abrams.
On their second release,
Not Quite Legal (Revved Up
Records), the band rocks vigorously on tracks like
“Done Lovin’ You,” “The Walk,” “Changed” (written
and sung by Davitt) and “Livin’ On Thin Ice,” but
are equally comfortable on the blues side of the
track, too, with tunes like “I Warned You,” “A New
State of Mind,” and the amusing “Cold Hearted.”
Another standout is “Don’t F It Up,” a slower tempo
track life lesson from an old guy’s perspective, and
“It’ll Pass,” a ballad about looking to better
times.
The band’s choice of cover tunes is as unique as
Walker’s original compositions. Jimi Hendrix’s “Red
House” gets a creative reworking, with a
resonator-driven acoustic introduction that
transforms to a funky, driving rocker. The Wood
Brothers’ “Honey Jar” gets rockingly revised as
well, and the band’s cover of Toots Mayall’s reggae
classic “54-46” is a perfect fit. There’s also a
hidden track at the end of the disc, an instrumental
jazz/rock jam called “Yabba Dabba.”
It’s hard to believe that the members of this band
are 18 and under. The musicianship is one thing, and
it’s a big one --- these guys can PLAY --- but Walker’s
songwriting and vocals are developed well past his
years, too. They don’t just play the blues, but they
have they put their own special spin on the blues,
and its much closer to being fully realized than you
would imagine, given their youth. This is an artist,
and band, that you will be hearing much more from in
the future.
---
Graham Clarke
The Nashville-based blues duo
Markey Blue struck it
big with their 2014 debut release, Hey Hey, with
several tracks gaining spots on TV, with one being
featured in a motion picture. They were also
nominated for the Blues Blast Music Awards in 2015
(and again this year in 2016) and advanced to the
semi-finals in this year’s I.B.C. in Memphis. Singer
Markey and guitarist Ric Latina create a rich sound,
which combines the blues of the Mississippi Delta
and Chicago with Memphis soul. Their performing and
songwriting talents are on full display on their
brand new release, The Blues Are Knockin’ (SoulOsound
Records).
As noted, the duo tackles a variety of blues styles.
The opener, “I’ll Wait For You,” features Markey’s
fiery vocal fueled by Latina’s Delta-styled slide
guitar, while “That Ain’t Good Enough” is a tough
blues rocker. “Cold Outside” is a greasy Memphis
slow cooker with B3 and horns supplying a nice
backdrop. The gritty “Cash Is Always King” rocks
with a funk edge, and the title track is a moody
blues ballad.
The next two tracks pay tribute to two of Markey and
Latina’s influences (not to mention lots of other
past and current blues artists); “Be My Train”
salutes the late Little Milton Campbell, with some
sharp Little Milton-inspired fretwork from Latina,
and “Lay Down Lucille” is a cool Texas shuffle
dedicated to B.B. King, with more tasty string
bending. “Nobody’s Fool” is a straight-up soul
testimony with a powerful vocal from Markey, and “Me
Missing You” is a tender ballad with another great
vocal take. The closer, “Worries,” is a sweet, slow
blues with some nice moments from both Latina and
Markey.
The Blues Are Knockin’ is an excellent follow-up to
Markey Blue’s debut release. It features
well-crafted songs and showcases two of the most
exciting performers currently in the blues world.
---
Graham Clarke
In 1996, Jordan Patterson released his promising
debut, Give Me A Chance, to winning reviews and it
looked like the singer/harmonica player was a star
on the rise, as he began touring clubs and
festivals, sharing the stage with such luminaries as
James Brown, Carlos Santana, Robert Cray, Son Seals,
and U.P. Wilson, who recruited Patterson and band to
play on his 1997 disc Whirlwind.
Then, Patterson decided to give it up, becoming a
concert promoter and managing artist tours back
home in his native Ontario, working for artists like
Brittney Spears, Jack White, Lauryn Hill, The Black
Crows, and Coldplay for the next 15 years. In 2014,
Patterson began playing live again, and released an
EP which did so well that the artist decided to
expand it into a ten-song full-length disc. The Back
On Track Recording Project (Flaming Cheese Records)
proves beyond all doubt that Patterson’s first album
wasn’t lightning in a bottle.
Patterson wrote all ten tunes and they mix the blues
with funk, R&B, and rock. From the opening notes of
the relentless rocker “Favourite Boy,” it’s clear
that Patterson hasn’t lost a second off his fastball
with Patterson ripping it up on harmonica, backed by
a double-barreled guitar attack from Darryl Romphf
and Bobby Thompson. Patterson’s soulful vocals are
the main attraction of the sweet ballad “Can We Fall
In Love Again,” and his harp is at the forefront of
the boggie track “She’s Cool.” “You’re My Girl” is a
first-rate pop ballad, and “Living Without Your
Love” delivers the funk in fine fashion.
“Play M y Song” is another solid rocker, with
guitarist Shawn Kellerman guesting (one of three
appearances). The slow grinder “If You’d Help Me
Please” includes some impressive fretwork from
Romphf and Thompson and harp from Patterson and “Do
You Believe” is a smooth, catchy pop rocker.
The
blues rocker “Heartbreaker” and “Don’t Take Me Down”
(both featuring Kellerman) close out this excellent
return effort from Patterson, who hopefully will be
making up for lost time now that he’s back on the
blues scene again.
---
Graham Clarke
The band KALO was formed in Oklahoma City in 2012.
Singer/guitarist Bat-Or Kalo fell in love with a
Jimi Hendrix cassette as a youngster and that led
her on a musical path from her native Israel to
Mississippi to take in the music of the south and
eventually to Oklahoma City University, where she
teamed with bass player Mack McKinney. KALO made the
semi-finals at the 2016 I.B.C. and are touring
throughout the southeastern U.S. behind their 2013
release, Dear John.
Bat-Or Kalo is an intense singer and guitarist, and
that’s obvious from the first notes of the title
track, which opens the disc. Her emotional vocals
and jagged guitar runs, backed by McKinney’s
hypnotic bass, convey the pain and loss of a jilted
lover. “Treat Me Bad” has more of a pop foundation
and a really catchy melody with another strong
vocal. “Marching To The Light” sounds like a
modernized brand of Mississippi blues with the
marching rhythm on the drums, but also mixes
interesting percussion with banjo (courtesy of Jon
Knudson) and a bit of European flair.
“Oh Father” is a frenzied blues rocker with a fierce
guitar solo from Kalo, and “Blue Chevy” incorporates
a bit of country into a pop/rock mix. “Looking For
Me” is a nice slice of Americana, with more banjo
from Knudson, and “Once I Had A Heart” is a
bone-crunching rocker. “Like It Or Not” is a cool
boogie blues reworking of the Madonna song, and the
heartbreaking closer, “Can’t Sleep At Night,” ends
things on a high note.
Kalo and McKinney receive fine support from Knudson,
who also plays fiddle, piano, and keys, Erin Nelson
and Mike McCraw (drums), and Todd E. Clark
(harmonica). Dear John has been available since late
2013, but it certainly deserves to be heard by a
wider audience. KALO mixes the blues with a variety
of American genres and Dear John should appeal to a
variety of music fans.
---
Graham Clarke
The Bo-Keys latest release,
Heartaches By The
Number, is their first in five years and the first
without guitarist Skip Pitts, who passed away in
2012, and Ben Cauley, who died in 2015. During their
history, the band has gradually moved from an all-
or mostly-instrumental group to using a series of
vocalists, usually vocalist Percy Wiggins. This time
around, the Bo-Keys take on a collection of country
music classics (and “shoulda been” classics), giving
them the full Memphis soul treatment, and the
results should be satisfying to fans of either
genre.
The band covers all-time favorites such as the title
track, made popular in the late ’50s by Ray Price
and lovingly rendered here by Stax legend Don
Bryant, Hank Williams’ “I’m So Lonesome I Could
Cry,” Freddy Fender’s ’70s hit “Wasted Days and
Wasted Nights,” and Floyd Cramer’s “Last Date.” They
also mix in lesser known gems from Merle Haggard
(“The Longer You Wait”) and Bob Dylan (“I Threw It
All Away,” from his Nashville Skyline album).
There’s also “Don’t Take Her (She’s All I Got),” a
song from soul songwriter Jerry Williams (a.k.a.
Swamp Dogg) that was covered by country hitmaker
Johnny Paycheck, which shows how thin the actual
line is between country music and soul music.
Bo-Keys leader Scott Bomar also contributes two new
songs, “I Hope You Find What You Are Looking For”
and “Learned My Lesson in Love,” that blend the two
genres seamlessly.
Vocalist Wiggins does a superlative job on these
songs and the band is marvelous, successfully
recapturing the glory days of southern soul labels
like Stax and Hi Records. Soul and country music
fans will find a lot to love with Heartaches By The
Number, a wonderful listen from start to finish.
---
Graham Clarke
The right Reverend Freakchild returns to the music
scene with a massive 3-CD collection called
Illogical Optimism (Treated and Released Records), a
fun and fabulous set of tunes that’s sure to please
fans of multiple genres, but most especially the
blues. The NYC-based Reverend is a singer of note
and a guitarist of formidable talents, especially
when he pulls out his slide. He’s also a gifted
tunesmith and creative interpreter of others’ songs,
and both talents are on full display in this
collection.
Disc One is subtitled “Odds, Ends and Other
Amazingness,” and it consists of a mix of new songs
and additional tracks from the “Freakchild vault.” A
mix of original tunes and re-imagined covers, this is
a spellbinding set of tunes, with the Reverend
working his magic on classic songs of various genres
(John Lennon’s “Imagine” and “Yer Blues,” Dylan’s
“All Along The Watchtower,” “Hey Pocky A-Way,” Bo
Diddley’s “Who Do You Love,” “See That My Grave is
Kept Clean,” “Hellhound On My Trail”) along with
gospel tunes taken in various styles (“I Still Have
Joy,” “Cryin’ Holy Unto The Lord,” “Working On A
Building” combined with “Plastic Jesus”). You can’t
help but be impressed with the Reverend’s
imagination and creativity on these songs. It’s just
a fun disc to listen to.
Disc Two is subtitled “Everything Is Now,” which
features a dozen re-workings of a song (“All I Got Is
Now”) from Freakchild’s previous album, Hillbilly
Zen-Punk Blues. There is a funk version (“Once Upon
A Time Called Right Now”), a reggae version (“All We
Got Is”), a punk version (“All I Want Is Now”), and
a hillbilly version (“Alla Gotta Na’”), plus German
and French versions. My particular favorites were
the funk and hillbilly versions, and the “Low
Society” remix. All of these are a hoot to listen
to, as well. Listeners might think that it would be
a drag to hear the same song over and over again,
but no two versions are alike, so you find yourself
wondering, “What’s the next one going to sound
like?”
Disc Three is subtitled “Kairos,” and features eight
acoustic country blues tracks from a former preacher
from Florida, Ramblin’ Jennings, who now plays
gospel blues on South Beach. Accompanying himself on
guitar and harmonica, Jennings delivers the Good
News with passion and grit, performing a stirring
mix of songs familiar to believers, with standout
tracks including “Safe In The Storm,” “Please Send
Me,” “Silver Sandals,” and a Son House-style
acapella reading of “John the Revelator.”
There’s plenty of great music on these three discs.
If you’ve not experienced the musical talents of the
Reverend Freakchild, do yourself a favor and pick
Illogical Optimism up and give it a spin. You can
thank me later.
---
Graham Clarke
Come and Get It (Juke House Records) is a fine
5-song EP that will introduce blues fans to the
formidable talents of Queen Delphine and the Crown
Jewels. Queen Delphine (a.k.a. Harriett D. Ellis) is
a big-voiced blues singer in the traditiion of Big
Mama Thornton and Koko Taylor, and she’s backed by a
tight band that includes Steven Weakley (guitar),
Ezra Bufford (keys/arrangements), Keith Strong
(drums/percussion), Norman Hamilton
(harmonica/guitar), Lester “Lammy” Johnson
(bass/producer), and background vocalists Shawna
Footman, Darla McCallum-Campbell, and Loriana
Campbell.
The EP includes four original tunes, written by
Ellis and her husband Lee, and one smoking cover of
Koko Taylor’s “I’m A Woman.” The originals cover a
broad range of blues-based genres. The opener, “My
Cat Got Nine Lives,” is a funky bit of southern soul
blues and the tender ballad “What Would I Do” mixes
blues and R&B with jazz underpinnings. The rousing
“Kindness For Weakness” has a gospel feel, and the
closing track is an instrumental, “Lammy’s Blues,”
that gives the band a chance to shine.
From this brief glimpse, it’s obvious that the Queen
has a fine voice and is comfortable in a variety of
styles. The Crown Jewels do an excellent job in
support. Come and Get It is a very good, though
short, set of traditional and modern blues that will
leave listeners wanting to hear more from Queen Delphine soon.
--- Graham Clarke
It’s hard to believe it’s been 10 years since I
reviewed John Long’s first album for Delta Groove,
Lost & Found. That release garnered John a Blues
Music Award nomination for Acoustic Album of the
Year and brought this Colorado Bluesman national
acclaim and attention for his efforts. John is back
with a new disc for Delta Groove, Stand Your Ground,
and his style is rooted in the traditions of old,
those taught to him by his mentor, Homesick James,
and other Bluesmen who called Chicago home during
the glory days of Chicago Blues. As Zack Zunis is
quoted in the liner notes, “If you wanted to make an
argument for reincarnation, John Long is it.” Much
of the new record is just John with his harmonica,
guitar and suitcase for a stomp box, augmented by
appearances from Fred Kaplan on piano; Bill Stuve on
upright bass and Washington Rucker on drums. Most of
the cuts are first takes and all are recorded on
analog tape for the Vintage feel of the era that
John’s music harkens back to.
John opens with “Baby Please Set a Date” and he’s
joined by Fred, Bill and Washington on this track.
He’s dying to see his woman and just needs her to
find the time. “Baby, please set a date…don’t say
tomorrow…that’s too far away.” John appreciates her
good loving and needs to see her soon. John’s all
alone with his guitar for “Red Hawk” and here he’s
asking the spirit of the Red Hawk to check on his
brother. “Well, look at my brother…down in old
Springfield town…let me tell you about it…well my
brother's blind…and he cannot see…red hawk…please look
in on my brother for me.”
John’s harmonica is front
and center for our next tune, “Things Can’t Be Down
Always.” Here John is advising his friend to change
his ways, “Got to stay away from the fast
living…staying late at night…and you come home and
you want to…fuss and fight…I’m going to tell you
something…yes, your life is in a haze…Grandma tell
you right now…things can’t be down always.” Attitude
is a huge factor in how we live our lives and will
see us all through the tough times.
The title track, “Stand Your Ground,” is next and
John’s sharing the wisdom he inherited from his
father. “Stand your ground…don’t give up and don’t
give in…stand your ground.” When things get tough,
stand your ground.
“Welcome Mat” finds John setting
the rules on how he’s going to be treated in his own
house. “Well, now…tell you, Mama…I ain’t going to go
for that…Mama, ain’t going to go for that…I’ll tell
you…because in the woodpile…I smell a low down and
stinking rat.” John’s woman has a lover on the side
and John isn’t going to be a welcome mat and stand
for that. John blows a beautiful harmonica intro for
our next track, “No Flowers for Me”. Here John has
Parkinson’s disease and is directing his boys as
what to do at his funeral. “Don’t want no flowers…I
want you to…remember me…no flowers…and no sad
songs….I’ll feel better…with my spirit set free.” He
wants the money they would spend of flowers to go to
“help find a cure for that dreaded Parkinson’s
disease.” Well done, John, and truly a noble gesture
on your part.
“One Earth, Many Colors” is John’s commentary on the
human race. “One earth…many colors…one human kind.”
We are all God’s children regardless of race, creed
or color and we all need to open up our hearts and
get along. I can hear John’s foot stomping that old
suitcase as he blows the harp intro for “Healin’
Touch”. “I don’t need no cane or crutch…you have got
the healing touch…you touched my face and my
hand…Oh, Lord…I understand…healing powers so grand…I
fell like a brand new man.” God has the power to
change most of what’s wrong in the world today and
John believes in his “healing touch.”
John’s got the
resonator in hand as he segues on to “I Know His
Blood Can Me Whole.” “I was a gambler…just like
you…but I touched the hem of his garments…and Jesus’
blood has made me whole.” I like the symbolism in
these three tunes from John and feel like I’m being
transported 100 years back in time as he proclaims
his faith.
Up next is “Mop, Bucket and a Broom” and here we
find John working at his janitorial duties with the
tools of his trade. “Wash all the windows…well, wipe
down the doors…grease up my elbows…wash all the
floors…wax them…well, I go from room to room…mop,
bucket and a broom.” We all aspire to reach heaven
some day and John covers this next in “Climb Higher
Mountains”. “I’m calling…many names…trying to
get…I’m calling many names…I’m trying to get home.”
John segues on to another spiritual, “Precious Lord,
Take My Hand,” before closing out this disc with
“Suitcase Stomp.” “Suitcase stomp…got to go…I’m a
leaving, baby…done did what I want…where I’ll be
leaving St. Louis…doing that suitcase stomp.” John’s
been to St. Louis, he’s had his fun, and now it’s
time to go.
It’s been refreshing to hear John Long’s new disc
and it still amazes me that 10 years have passed
since I was first exposed to his music. He’s truly
an American legend and a throwback to the early days
of Country Blues, carrying on the traditions he
learned from Homesick James. John’s schedule can be
found on his website at
www.johnlongblues.com.
if
you’re a fan of Country Blues, grab both of his
Delta Groove discs for your collection. There aren’t
many Bluesmen out in the world today doing what John
does and he deserves to be revered and appreciated.
---
Kyle Deibler
I’m the first to admit that
Little Boys Blue are a
new band to me, but I like these guys from Jackson,
Tennessee. They placed 3rd at the International
Blues Challenge long before I started volunteering,
and I know that I’m old, but their Vizztone disc,
Tennissippi, was recorded at Fame Studios in Muscle
Shoals, Alabama --- that’s enough street cred for
now. Let’s give their new disc a spin.
JD Taylor’s harp, along with some wicked guitar from
Brad Webb, provides the intro for the title track, “Tennissippi”,
and according to JD, “It’s when two states of mind
collide…she’s in a Volunteer mood with some Rebel
pride.” That’s as good of a description as I could ever
hope to provide and I like the Southern Blues feel
from Little Boys Blue. Little Boys Blue has two
excellent guitarists, Rex Taylor and Tyler Goodson,
and I hear both in my headphones as JD sings about a
woman he loves and desperately misses in “Lights On.” “I drive by your front door….pull in the
driveway…pound on your front door…I can see the
lights on…nobody’s home.” Dave Thomas’s B3 is
purring in the background and JD’s a broken man,
losing the woman he truly loved. We move on to “Pack
It Up Baby” and here JD is talking about his woman
who’s evidently out on the town, “You’d better pack
it up, baby…you’d better pack it up, mama…and bring
it on home to me.” This is a lively tune and I
appreciate the musicianship of a veteran band that’s
been together since at least 1997.
JD’s harp provides a mournful intro to our next
track, “If I’da Known,” before Dave’s B3 comes in
behind him. Here we find out JD bemoaning the way
his relationship ended. “You hurt me pretty
mama…deep down in my soul…I had love for you pretty
baby…and so much more.” I’m not completely sure why
JD’s relationship ended, but it’s evident that he
wished he had played it a different way. You can’t
win them all my friend; mistakes are what make us
all human so I’ll wish you well next time.
“35
Years” is the first ballad on the disc and the B3
comes in nicely after a sweet drum intro from Mark
Brooks. Here we find JD celebrating the longevity of
the relationship he’s in. “It’s been 35 years in the
making…and that’s making real, good love….good, good
love.” A passionate guitar solo fills in behind JD
and it’s obvious he’s found himself a good woman to
walk life’s path with. Up next is “Chitlins Con
Carne” and it’s a Southern thing. A hauntingly
beautiful instrumental and definitely a surprise to
me in the context of what I’ve heard so far.
JD’s back with a harp intro for “Do You No Wrong”
and we’re back to classic Little Boys Blue. JD’s
wooing a woman he’s got his eye on and he’s sincere
in what he’s telling her, “Baby…let me take you in
my arms…and if I take you home…I won’t do you know
wrong.” Sounds like a Southern gentleman through and
through, so perhaps JD has a chance here. The harp
intro for our next track, “Smoke Rings,” is very
mournful and heartfelt, setting the stage for what
has to be a painful moment. “When I saw you,
Baby…way across the room…you’d remind of…good things
we used to do…right now…I see the smoke rings on
your cigarette, Baby…and it reminds me…Love…gone up
in flames…good Love…gone up in flames.”
Unfortunately for JD, this is one love that just
didn’t work and the pain of what he lost is still
haunting him, every time he sees the woman he loved
sitting right across the bar.
“Health Insurance
Blues” is up next and I’m curious to see what JD
comes up lyrically here. “I got a pre-existing
condition…I’ve got them lovesick blues…and the
Doctor, he done told me, “Man, things ain’t good for
you.” No health insurance and lovesick, too? Sounds
like a recipe for disaster for JD to me.
You’ve got to hand it to JD, he’s a lover through
and through, and we hear it on our next track, “Wanna
Be Your Loving Man.” “I want to ask your Daddy…for
your loving hand…I want to have a happy home,
Baby…want to be your loving man.” JD is nothing if
not persistent and let’s hope the answer is yes on
both counts.
“Big Pimpin Sugar Daddy Romeo” is the
next tune and the rhythm section of Mark Brooks on
drums with Dave Mallard’s bass set the tone for the
tune. JD is living good and living big, “And when
she walks through the door…with a big smile on her
face…she says, Hey there…Sugar Daddy…how was your
day?” “You’re my big pimpin Sugar Daddy Romeo.”
Plenty of money, a big old Cadillac, it’s easy to
see how JD is enjoying the life he’s leading. JD and
most of the band live around Jackson, Tennessee, and
the final cut on their record, “Jackson”, is a
tribute to their home town. A jumping instrumental
with plenty of harp, guitars and the works, it’s a
perfect homage to the place they call home.
Little Boys Blue surprised me with their disc,
Tennissippi, but it’s a classic record from a band
that clearly enjoys its own company and plays their
butts off at the same time. It is definitely a
healthy serving of Southern blues with just the
right amount of soul thrown in for good measure. I’m
really hoping to catch these guys in Memphis the
next time I head to the Bluff City. These Southern
gentlemen have a band site set up at
littleboysblue.bandzoogle.com and that is definitely
the place to go for all things Little Boys Blue.
Tennissippi is a fun disc and one that I’ll
definitely be playing again real soon.
---
Kyle Deibler
